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ARCHAEOLOGY

of horsemen in relief, bears the name of Bryaxis, and was probably made by a pupil of his. Probable conjecture assigns to Leochares the originals copied in the Ganymedes of the Vatican, borne aloft by an eagle, and the noble statue of Alexander the Great at Munich. Thus we may fairly say that we are now acquainted with the

Fig. 36.—Amazon from Bpidaurus. work of all the great sculptors who worked on the Mausoleum—Scopas, Bryaxis, Leochares, and Timotheus; and are in a far more advantageous position than were the archaeologists of 1880 for determining the artistic problems connected with that noblest of ancient tombs. As regards the plan and architecture of the Mausoleum, contributions have been made by Mr Oldfield (Archceologia, 1895-97), and Dr Adler (Das Mausoleum) ; but no generally accepted conclusion has been reached. Another great 4th-century artist, Damophon of Messene, is now known to us from his actual works. He set up in the shrine of the Mistress (Despoena) at Lycosura in Arcadia a great group of figures consisting of Despoena, Demeter, Artemis, and the Titan Anytus. Three colossal heads found on the spot probably belong to the three lastmentioned deities. We engrave the head of Anytus, with wild disordered hair and turbulent expression (Fig. 37). Dr Dorpfeld has argued, on architectural grounds, that shrine and images alike must be given to a later time than the 4th century; and in consequence some archaeologists are of opinion that Damophon Fig. 37.—Head of Anytus : Lycosura. must have worked in the Roman age, or at all events in Hellenistic times. It is difficult to accept this view, because Damophon is spoken of by Pausanias as author of a statue of the City of Thebes, and of many works in the cities established in Peloponnesus at the time of the Theban hegemony early

(CLASSICAL) in the 4th century. We prefer to retain Damophon as a sculptor of the 4th century, and even find no great difficulty in reconciling the style of his works with that date. This may be the most appropriate place for mentioning the remarkable find made at Sidon in 1886 of a number of sarcophagi, which once doubtless contained the remains of kings of Sidon. They are now ofsiTon^' in the museum of Constantinople, and are admirably published by Hamdy Bey and T. Reinach (Une necropole royale a Sidon, 1892-96). The sarcophagi in date cover a considerable period. The earlier are made on Egyptian models, the covers shaped roughly in the form of a human body or mummy. The later, however, are Greek in form, and are clearly the work of skilled Greek sculptors, who seem to have been employed by the grandees of Phoenicia in the adornment of their last resting-places. Four of these sarcophagi in particular claim attention, and in fact present us with examples of Greek art of the 5th and 4th centuries in several of its aspects. To the 5th century belong the tomb of the Satrap, the reliefs of which bring before us the activities and glories of some unknown king, and the Lycian sarcophagus, so called from its form, Avhich resembles that of tombs found in Lycia, and which is also adorned with reliefs which have reference to the past deeds of the hero buried in the tomb, though these deeds are represented, not in the Oriental manner directly, but in the Greek manner, clad in mythological forms. To the 4th century belong two other sarcophagi. One of these is called the Tomb of the Mourning Women. On all sides of it alike are ranged a series of beautiful female figures, separated by Ionic pillars, each in a somewhat different attitude, though all attitudes denoting grief (Fig. 38). The pediments at the ends of the cover are also closely connected with the mourning for the loss of a friend and protector, which is Fig. 38.—Tomb of mourning women: Sidon. the theme of the Hamdy et Reinach, Necropole a Sidon, PL 7. whole decoration of the sarcophagus. We see depicted in them the telling of the news of the death, with the results in the mournful attitude of the seated figures. The mourning women must be taken, not as the representation of any persons in particular, but generally as the expression of the feeling of a city. Such figures are familiar to us in the art of the second Attic school; we could easily find parallels to the sarcophagus among the 4th-century sepulchral reliefs of Athens. We can scarcely be mistaken in attributing the workmanship of this beautiful sarcophagus to some sculptor trained in the school of Praxiteles. And it is a conjecture full of probability that it once contained the body of Strato, king of Sidon, who ruled about 380 b.c., and who was proxenos or public friend of the Athenians. More celebrated is the astonishing tomb called that of Alexander, though there can be no doubt that, although it commemorates the victories and exploits of Alexander, it was made not to hold his remains, but those of some ruler of Sidon who was high in his favour. Among all the monuments of antiquity which have come down to us,