With regard to the history of this remarkable monument, it is well known that, on the death of Mausolus, B.C. 353, Artemisia, his widow and sister, resolved to celebrate his memory by all the honours the art and literature of the period could bestow, and to employ, for this purpose, four of the most celebrated sculptors of antiquity,—Bryaxis, Timotheus, Leochares or Scopas, and Praxiteles.[37] It is said that this queen’s short reign, of two years only, did not enable her to witness the completion of her grand design, but that these great sculptors finished the work after her death for their own honour and the glory of art. Much of what they accomplished was, certainly, extant till comparatively modern times. Thus, the building is noticed, first by Strabo and Pliny, then by Gregory of Nazianzus in the fourth, by Constantinus Porphyrogenitus in the tenth, and by Eudocia in the eleventh centuries respectively; all these accounts implying that it was still visible. Again, Frontanus, the historian of the siege of Rhodes, states that a German knight, Henry von Schlegelholt, constructed the citadel at Budrum out of the Mausoleum. Yet, even then, it was only partially destroyed, for when Cepio visited Budrum in 1472 he mentions seeing its remains among the ruins of the ancient town. In the later repairs, however, of the citadel, the masonry of the substructure of the Mausoleum must have been wholly removed; the result being that visitors to Budrum, before Mr. Newton commenced his excavations, could not determine its site. Footnote 37: Its architects were Satyrus and Phiteus, and the building itself a parallelogram surrounded by thirty-six columns, supporting a pyramid of twenty-four steps, which tapered to the top like a _meta_, or goal. Its height was 140 feet. Martial describes it as “Aere vacuo pendentia Mausolea.” Pausanias states that the Romans admired it so much that they called all similar buildings “Mausolea”; while Eustathius, in the twelfth century, observes of it, Θαῦμα καὶ ἦν καὶ ἔστι (“it was and is a wonder”) clearly implying its existence, in some form or other, even then. In M. Guichard’s “Funérailles de Romains,” &c., Lyons, 1581, the sculptured reliefs and “certain white marble steps” (possibly those of the pyramid) are noticed. This information, he says, he had from M. Dalechamps—the editor of Pliny—and he, again, from M. de la Tourette, who was present, in 1522, when its last stones were finally removed to build the castle.