At Rome, it is true, it is quite lost sight of amid such a vast multitude of similar works of art: and then besides, the inattention to these matters that is induced by such vast numbers of duties and so many items of business, quite precludes the generality of persons from devoting their thoughts to the subject. For, in fact, the admiration that is due to this art, not only demands an abundance of leisure, but requires that profound silence should reign upon the spot. Hence the artist is now forgotten, who executed the statue of Venus that was dedicated by the Emperor Vespasianus in his Temple of Peace, a work well worthy of the high repute of ancient times. With reference, too, to the Dying Children of Niobe, in the Temple of the Sosian Apollo, there is an equal degree of uncertainty, whether it is the work of Scopas or of Praxiteles. Scopas had for rivals and contemporaries, Bryaxis, Timotheus and Leochares, artists whom we are bound to mention together, from the fact that they worked together at the Mausoleum in Halicarnassus, such being the name of the tomb that was erected by his wife Artemisia in honor of Mausolus, a petty king of Caria, who died in the second year of the hundred and seventh Olympiad. Through the exertions of these artists more particularly, this work came to be reckoned one of the Seven Wonders of the World. The circumference of this building is, in all, four hundred and forty feet, and the breadth from north to south sixty-three, the other two fronts being not so wide in extent. It is twenty-five cubits in height, and is surrounded with six-and-thirty columns, the outer circumference being known as the “Pteron,” or “wing.” The east side was sculptured by Scopas, the north by Bryaxis, the south by Timotheus, and the west by Leochares; but, before their task was completed, Queen Artemisia died. They did not leave their work, however, until it was finished, considering that it was at once a memorial of their own fame and of the sculptor’s art: and even to this day, it is undecided which of them has excelled. A fifth artist also took part in the work; for above the Pteron there is erected a pyramid equal in height to the building below, and formed of four-and-twenty steps, which gradually taper upwards towards the summit; a platform, crowned with a representation of a four-horse chariot by Pythis. This addition makes the total height of the work one hundred and forty feet.