Page:History of Art in Phœnicia and Its Dependencies Vol 1.djvu/406

 384 HISTORY OF ART IN PHOENICIA AND ITS DEPENDENCIES. Further examples of the same thing are to be met with in Africa. In Fig. 262 we reproduce a sketch, made by the famous traveller Bruce, from that mausoleum of Thugga from which a bi -lingual text, Libyan and Punic, was afterwards violently wrenched, to be carried to London. Here the Greek style is predominant in both details and general arrangement. This is natural enough, because from the style and lettering of the inscription we may date the building from the first century before our era ; it is in fact, the tomb of some Numidian prince, erected in the years between the fall of Carthage and its restoration under the Empire. And yet, as Bruce instinctively perceived, there are signs of another tradition. He made separate drawings of the angle pilasters (Fig. 263) whose capitals are decorated with flowers recalling those on the lintel of FIG. 263. Angle pilaster. Fir. 264. Profile of cornice. Ebba (Fig. 234), and also of a still more significant detail, namely, the Egyptian cornice with which the tomb is finished above (Fig. 264)^ We again find this cornice in the well-known monument of the Numidian kings, the Madracen, which dates from the end of the second century before our era. 2 1 We borrow these sketches of Bruce from plate xxiv. in the work entitled Travels in the footsteps of Bruce in Algeria and Tunis, illustrated by facsimiles of his original drawings, by Lieut-Col. R. L. PLAYFAIR ; London, 410, 1877. 2 Archaeologists are agreed in calling this the tomb of Massinissa or of Micipsa (DE LA BLANCH!:RE, de rege Juba regisjubce filio, Paris, 1883). A complete description of this monument, illustrated, is given by M. BRUNON in the Memoires de la Societ'e archeologique de Constantine, 1873-74, pp. 304-353. A profile of the cornice is given on plate vii.