NOTICES OF ARCILEOLOGICAL PUBLICATIONS. 299 jKil, the .Sardauapiilu.s of the (Jl•eck^^, representing his campaigns against Teuuiman, king of Siisia, u.c. (>.')(), and liis lion hunts (No. 4.'>!»), the wars of Sennacherib, nx: 70.» (No. 431'), the black obelisk found at Ninirud re- cording the tributes rendered i)y Jehu and Hazael king of Syria, and the annals of the thirty-one campaigns of Shahnaneser II., jj.c. 8-30. The number of clay tablets photographed is considerable, including the principal histori- cal monuments of the reigns of Tiglath-i)ileser II., u.c. .538, Esarhaddon, nx. G80, Assiu--bani-pal, u.c. (JG4-, and the later discovered tablet of the yamc reign, giving the Chaldean mythical account of the deluge lately translatetl by Mr. (J. Smith, which will form a supplement to the original series. The A.ssyrian section is followed by the Greek antiipiitie.s, which commences with views of the galleries. The marbles of the Parthenon, HO familiar in all respects, are already known, and have been engraved and even rejtroduced in small casts and models. The series comprises the wh((lc. It is not necessary here to go into details of that great artistic epos the Parthenon. It is sufficient to state that all the remains of this edifice in the Museum have been ])hotographed, and give a com- plete scries, and would alone form an important contribution to the study of (Jreck art. It is in its Creek galleries that the Museum is priuci])ally rich, and the series gives some of the principal sculptures. The Mausoleum at Ilalicaniassus is well represented both by a general view of the galleiy and the photographs, of the colossal horse of the chariot on its apex, the statue of Artemisia, and a selection of the choicest and best preserved examples of the freize. The s[)lcndid collection of Lycian marbles discovered by the late Sir Charles Fellowes, arc not so well given. This uiu'ivalled collection from Xanthus and other sites, is perhaps more important for the history of art than the marbles of the ^lausoleum. It exhibits in the Harpy tomb one of the oldest examples of Asiatic-Greek art, while the so-called Trophaic monument of Xanthus has a series of bas-reliefs representing the exploits of Harpagus and conquest of Lycia, in a way suggestive of the idea that the Koman triumphal columns were copied from these marljles, as the Xanthian frieze had itself copied Assyrian or EgN-jitian reliefs. These marbles are represented in a series of views of the gallery (Nos. G03 — GOT), but special photographs of some of the best sculptures would have been preferable to render justice to these peculiar monuments of a mixed Asiatic-Greek race, who spoke another Aiyan tongue. To this division will be added the principal oV)jects of the Cypriote collection of General Ccsnola, recently purchased for the United States. These monuments, also of Asiatic-Greek art, exhibit the influences of Egyptian and Phu?nician art, owing to the mixed j)Opulation and repeated subjections of the island to Egyptian and Asiatic rule. Some instructive examples of the art will be seen in a case containing Mr. Lang's collection from Dali, recently jtlaced in the Assyrian transept. The Cypriote language was also of the Aiyan family, but the strength of the Pho-Miician settlements is shown by the inscrip- tions (if Melckialcen, a PhaMiician monarch of Celtum and Idalium, about 11. <. .370, found in that language. To Cyprus, Phoenicians or Egyptians brought the worship of the cow-headed Athor, subsequently modified to that of the Phcenician Astarte and the Greek Aphrodite in alliance with that of the god Kcsciih Mical, perhaps Ekatos, or Apollo, or Dionysos. With a view to render the scries instructive, some of the best smaller objects, such as fictile vases, bronzes, engraved stone, gla.ss, and the miscellaneous
