To the art historian, however, the most interesting feature is the frieze. The principal subject of the existing fragments in the British Museum is a fight between Greeks and Amazons. But the most beautiful section is perhaps a sadly-mutilated slab from a portion of the frieze whereon was pictured a chariot race. It is known as the “Mausoleum Charioteer.” Nothing could bring home more clearly the immense strides Greek art has made than a comparison of this tiny marble fragment with the “Bronze Charioteer” from Delphi, sculptured about one hundred and twenty years earlier. The Mausoleum figure is also clad in the long close-fitting robe of his calling. But every trace of conventionalism has vanished. Even the calm restraint with which an Alcamenes would have treated the subject has gone. Instead we find a passionate intensity which is altogether new. As Mr. E. A. Gardner reminds us, the “Mausoleum Charioteer” might well be of the company described by Shelley, who: “With burning eyes, lean forth and drink With eager lips the wind of their own speed, As if the thing they loved fled on before, And now, even now, they clasped it.” [Illustration: THE NIOBE GROUP] The “Mausoleum Charioteer” is a beautiful illustration of the more individualistic melody which the early fourth-century sculptor drew from the great orchestra of Greek genius. But we can gauge the effects of the new sympathies still more clearly in the celebrated “Niobe” group. Even in classical times it was a moot point whether its author was Scopas or Praxiteles. Probably the question will never be settled. Modern criticism, however, generally favours its attribution to Scopas. The group certainly contains all the characteristics which we have associated with his influence. The series was excavated in Rome in 1583 A.D., near the Church of St. John Lateran. It was acquired by one of the Medici family, and placed in the garden of his villa, where it remained until it was removed to its present resting-place in the Uffizi Palace, Florence.