On some future occasion it may be worth while to go more fully into all the minor details of this important building, and to illustrate it to a greater extent than has been attempted in this short treatise; not only because it was the building which the ancients, who ought to have been the best judges, admired most of all their architectural treasures, but because it is the one which illustrates best the principles on which their great buildings were designed.

It might, therefore, be well worth while to treat it as a typical example and use it to illustrate not only the principles of Greek design in general, but more particularly to explain the doctrine of harmonic proportions in accordance with which they all were designed, and of which it is, in so far as we at present know, the most perfect example the knowledge of which has come down to our times.

All that has been attempted on the present occasion is, to point out the main broad features of harmonic proportion which governed the principal dimensions of the building; but the “order” was also full of minute and delicate harmonies worthy of the most intense study. To elucidate these something more is required than a hap-hazard restoration, such as that which is found in the plates attached to Mr. Newton’s work, with the superinduced confusion of the lithographers’ inaccuracies. Every fragment requires re-examination, and every part re-measurement; but to do this requires not only unlimited access to the remains, but power to move and examine, which would not, of course, be granted, to me at least. But if it were done, and if the details were published, with the really good specimens of the sculpture, all of which are omitted from Mr. Newton’s present publication, the public might then come to understand what the Mausoleum really was, and why the ancients admired it so much.

The building is also especially interesting, because it is more complicated in its parts and more nearly approaches the form of civil architecture than anything that has yet come to our knowledge. Almost all the Greek buildings hitherto explored are Temples, generally formal and low in their outline. For the first time, we find a genuine two-storied building, which, though covering only half the area of the Parthenon, is twice its height, and contains a variety of lessons and suggestions it would be in vain to try to extract from mere templar buildings.

This building seems also to have a special interest at the present moment, inasmuch as we are now looking everywhere for the design of some Memorial which should worthily commemorate the virtues of the Prince whose loss the nation is still deploring. It would be difficult to suggest anything more appropriate for this purpose than a reproduction of the Monument which excited so much the admiration of the ancient world, and rendered the grief of Artemisia famous through all succeeding generations.

PLATE I

PLATE II

PLATE III