This monument, writes Mr. NEWTON, in 1869, was erected ‘to contain the remains of MAUSOLUS, Prince of Caria, about _B.C._ 352. It consisted of a lofty basement, on which stood an oblong Ionic edifice, surrounded by thirty-six Ionic columns, and surmounted by a pyramid of twenty-four steps. [Sidenote: _Guide to the Department of Antiquities_, &c., pp. 74, 75.] The whole structure, a hundred and forty feet in height, was crowned by a chariot-group in white marble, in which probably stood MAUSOLUS himself, represented after his translation to the world of demigods and heroes. The peristyle edifice which supported the pyramids was encircled by a frieze, richly sculptured in high-relief,’ and so on. The frieze thus mentioned is that of which the twelve slabs were, as already mentioned, given by Lord STRATFORD DE REDCLIFFE in 1846, four exhumed by NEWTON himself in 1857, and one more purchased from the Marchese SERRA, of Genoa, in 1865. This piecemeal acquisition of the principal frieze, by dint of researches spread over twenty years, is not the least curious of the facts pertaining to the story. But the annals of the Museum comprise ten or twelve similar instances of ultimate reunion, after long scattering, of the parts of one whole. They tell of manuscripts (made perfect after the lapse of a century, it may be) as well as of sculptures, thus toilsomely recovered. But the Greco-Amazonian battle-frieze was not the only frieze of the famous mausoleum. The external walls of the ‘cella’ had two other friezes, of which Mr. NEWTON succeeded in recovering several fragments, some of them of much interest. And the mausoleum was profusely adorned with sculptures in the round as well as with the richly carved figures in relief, both high and low, which encircled (in all probability) the very basement, as well as the peristyle and the cella portions of this marvellous structure. Lions in watchful attitudes (‘lions guardant,’ in heraldic phrase) stood here and there, and the fragments of these which have been recovered testify to their variety of scale, as well as to their number. The names of five famous sculptors of the later Athenian school—SCOPAS, LEOCHARES, BRYAXIS, TIMOTHEUS, PYTHIOS—who were employed upon the decoration of the tomb itself, or upon the chariot-group, have been recorded, and it would seem that each of four of these had one side of the tomb specially assigned to him. ‘The material of the sculpture was Parian marble, and the whole structure was richly ornamented with colour. [Sidenote: Newton, in _Guide_, as above, p. 74; and _Travels and Discoveries in the Levant_, vol. ii, pp. 108–137; and passim.] The tomb of MAUSOLUS was of the class called by the Greeks _heröon_, and so greatly excelled all other sepulchral monuments in size, beauty of design, and richness of decoration, that it was reckoned one of the “Seven Wonders of the World.”’