In his third journey through Lycia, in 1842, Sir Charles Fellows discovered, not far from the agora of Xanthus, a lofty stone basis, some 33 feet by 22 in dimensions; and in close connexion with it a large quantity of reliefs and of fragments of Ionic architecture[292]. Leaving the basis where it stood, he brought to England the sculpture; and by the labours of English archaeologists the tomb to which both basis and sculpture belonged has been reconstructed. I repeat the restoration of Falkener[293], which has been accepted by Overbeck and other authorities (Fig. 74). The restoration is not in all points certain. As the basis remains there cannot be any question as to its form and the position of the sculptured friezes which adorned it. And the examination of the upper surface of the basis established a pteron or line of columns all round, with statues standing in the intercolumniations. But as to the position of the friezes which belong to the upper part of the monument, and as to the acroteria which Falkener places on the top of all, there remains considerable uncertainty. The whole of the sculpture may be studied in the British Museum, and is published by Professor Michaelis in the tenth volume of the Roman _Monumenti dell’ Instituto_. [Illustration: FIG. 74. NEREID MONUMENT, FALKENER.] From the present point of view the most important of [Illustration: FIG. 75. GABLE OF NEREID MONUMENT.] the scenes depicted on this monument is to be found in one of the pediments[294] (Fig. 75). The hero of whom the tomb is a memorial is seated in state, sceptre in hand: his wife sits opposite, and the children are grouped about them. Further to the right are attendants on a smaller scale. One dog is asleep under the master’s chair, another lies in the corner of the pediment. In the other pediment there is a warlike scene, of which only one-half is preserved. The midmost figure, doubtless the hero again, is on horseback[295] charging an overthrown foe, to whose aid his companions, clad as Greek hoplites, hurry forward. The representation here is no doubt of some notable feat of arms of the owner of the tomb. To the warlike scene the peaceful scene first described corresponds. At first sight it seems merely a picture out of daily life: but if we bear in mind the ordinary symbolism of the Greek tomb we may fairly find in it some sepulchral significance. The grouping of the children about their parents reminds us of many Attic sepulchral reliefs, and the train of attendants bears a decided resemblance to the group of votaries usual on heroizing reliefs. In fact, we find here what is called by archaeologists a contamination. The Asiatic custom of regarding a tomb as a monument of the fame and a record of the exploits of some great ruler or leader of men is penetrated by the genius of Attic sepulchral art, and takes new and more beautiful forms.