clothed you in scarlet with other delights, who put on ornaments of gold on your apparel.’ The main field is occupied by three women standing, separated one from the other by pillars of Ionic form. In the attitude of all there is something of pensiveness, as it would seem to us, but to a Greek eye it would mean more than thought,--sorrow. The poses are precisely those to which we are accustomed in the Attic family groups; and there can be little doubt that the artist who made this sarcophagus belonged to the school, Praxitelean in character, which produced the stelae of Athens. The lowest line of sculpture in the engraving is on a very small scale and in low relief; it represents scenes of hunting and the bringing home of the booty. The remaining three faces of the sarcophagus correspond with that which we have described in subject and in style, the other end closely so. On each side we find--besides the lowest relief, which runs all round--above, a funeral procession, in which a hearse is convoyed to the grave by a chariot and led horses, and below, six more women in mourning attitudes standing between pillars. The number of these female figures is thus eighteen. It would puzzle many a modern artist to solve the artistic problem thus set, to produce eighteen figures of women, all young and of the same type, all standing in poses both in themselves elegant but yet suggestive of grief, and so different one from the other that there is no sameness or repetition. But artistic problems of this sort had a special attraction for Greek artists of the best period--for the artist who planned the Parthenon frieze as well as for the artists of the Mausoleum. And no solution could be found more perfect than that offered us in the present case. The eighteen women have been compared to a dirge of eighteen stanzas; and though to sustain the comparison the dirge would be somewhat monotonous, that fact perhaps would not make it less impressive. M. Reinach well observes that the whole form of this monument is taken from that of a temple. The columns support an entablature, above which rises a pediment. Between the columns stand statues, as very often in Greek temples and in monuments such as the Lycian heroon (Fig. 74). No doubt, morphologically, the sarcophagus is a miniature temple, as the temple itself is a beautified and idealized house; but in Greece every form of monument soon acquires a decoration specially suited to it; thus the form and decoration of this tomb are an able adaptation rather than a survival.