6. They are also very inferior to the statues as works of art. The only argument of importance on the other side arises from the fact that the statues and the fragments of the chariot were found together. But it must be observed that the course of discovery in the German excavations at Olympia proved that collocations of remains of ancient buildings have often a most fortuitous character. And not only were the statues of Mausolus and Artemisia found with the remains of the chariot, but also a variety of fragments of other statues which can have had nothing to do with that chariot. We cannot yet venture to say to which of the Mausoleum artists the portrait of Mausolus is due. Quite lately Dr. J. Six has suggested Bryaxis and Dr. W. Amelung Praxiteles, who is said by Vitruvius to have had a share in the monument. But neither of these conjectures reaches beyond a probability. We possess, besides the sculptured remains already mentioned, quite a wealth of fragments of statues and reliefs from the site. (1) Some fragments of metopes, one of which seems to have represented an adventure of Theseus. (2) A few figures from a most spirited frieze, representing a race of chariots. This frieze is generally accepted as the work of Scopas. (3) Scanty vestiges of a frieze representing the battle of Lapiths and Centaurs. (4) The well-known wonderful frieze of the Greeks and Amazons. (5) A magnificent torso of a Persian rider on his horse. (6) Portions of many statues of colossal size and of life size. These sculptural remains have never been properly published[315], nor are by any means all of them exhibited in the public rooms of the British Museum. The Mausoleum was a wonder of the world, not so much on account of its size and costliness as because of its ingenious architecture and noble sculpture. Though it had not the magnificence of the Taj Mahal of Agra, nor the solidity of the Pyramids of Egypt, it is probably the noblest tomb ever erected for mortal man. It not only immortalized the name of Mausolus, but it is also a leading authority for the style of the second great school of Attic sculptors. Its poor remains are among the most precious possessions of the British Museum. Of the authors, we can still say, in the words of Pliny, ‘hodie certant manus.’ CHAPTER XV GREEK SARCOPHAGI The recent great discovery at Sidon of a number of beautiful sarcophagi executed by Greek artists, and belonging to the best period of sculpture, has been quite a revelation to archaeologists. Before, we had abundance of Roman sarcophagi, the sculpture of which showed various degrees of merit; and we had a few sarcophagi from Cyprus and Lycia and Etruria, which were interesting, but not very important in relation to Greek art or Greek religion. One or two of our most beautiful sarcophagi, notably the Amazon sarcophagus of Vienna, were Hellenic, and dated as far back as the fourth century; but these seem almost lost in the brilliancy of the recent discoveries.