6.—PEDESTAL OF MONTE CAVALLO GROUP.] There can be no doubt but that they belong to the age of the Mausoleum and no one seems to know where they came from, while the arrangement of the group is certainly very peculiar (Woodcut, No. 6). It is true it is quite impossible that the angle line of the building could have been lost behind such a pedestal as this; and the two, if belonging to the Mausoleum, must have stood on separate pedestals; but this I think would have been an improvement; certainly so in that situation; but when placed where no architectural exigencies suggested their arrangement, nothing could be so easy as to bring them together as we now find them by simply sawing through their pedestals on the dotted line. At all events the coincidence is most remarkable, and it is also a curious coincidence that Cicero should accuse Verres of robbing Halicarnassus of its statues. Why not of these? We know how Mummius plundered Corinth more than a century before that time. There seems no inherent improbability in the case. Assuming for the moment that these sculptures came from the Mausoleum, there is no reason to suppose that there ever were more than two such groups, and they would therefore have adorned the southern face, and the figures would in consequence have been the work of Timotheus. There would consequently be still four pedestals, which were almost certainly occupied by men or Amazons on horseback, such as the torso in the Museum, which is avowedly the most beautiful thing which was found in the excavations. These pedestals, both from their position and size, are just such as are required for this kind of sculpture, and such as would show it off to the greatest advantage. The one question seems to be, were all the eight pedestals adorned with similar sculptures, or were four occupied by the Monte Cavallo groups, and four by the prancing Amazons?[27] It only now remains to refer to one of Pliny’s dimensions, which could not be explained till these pedestals and their uses were established. The great puzzle of his description always was, that with the dimensions given for other parts, the “totus circuitus” should be 411 feet. This is evidently no loose measurement or mere guess, but a dimension copied out of the book of the architects, and unless it can be absolutely incorporated with the design, no restoration can for one moment be allowed to pass muster. The plain meaning, as I understand it, is that this was the girth of the building; it is such a measurement as a man would take of the bole of a tree, or, in other words, of any object of which he wished to know what the length of a tape or rope would be which he could bind round it,—in this instance on the upper step.