the purpose of chastisement, or whether it is intended to represent
the performance of some magic ceremony. The finger which is
raised towards the lips of this figure seems rather to be indicative of
imposing silence than of conveying admonition; and the arm and
hand of the person kneeling appear to be more expressive of veneration
or submission, than of either alarm or supplication. There is
a curious appearance on the head of this figure which somewhat
resembles in form the twisted lock of the Egyptian Horus, but its
colour is decidedly red, while that of the other parts of the head
are uncertain. The lower part of this figure has been so much
rubbed as to be nearly unintelligible, and the face has disappeared
altogether. A similar accident has happened to one of the preceding
figures, the lower part of which is not now distinguishable. In the
third group we see a female figure with a helmet closely fitted to
the shape of the head, bearing on her shoulder an ark, or canis-
trum; a second female, attired in white, is represented walking, and
looking hack towards the other, whom she is beckoning to advance.
The folds of the white drapery have nearly disappeared, and little
more is left of it than the outline. The helmet of the first-mentioned
figure of this group is painted red, and the back part of it, with a
portion of the arm, is rubbed out. The fourth design represents a
young man asleep, and a matron apparently watching over him, who
appears, from her countenance and action, as well as from the garment
which is thrown over her head, to be labouring under some
affliction. In the fifth we observe a female figure sitting, and apparently
employed in spinning; by her side is a youth of ten or twelve
years old, with a turban of a different form from those with which
some <rf the other figures are furnished: this appears to be merely a
family-party, and the careless and schoolboy-like action of the youth
whose thumbs are stuck into the folds of his garments, is well expressive
o f youthful unconcern. The last group represents an old man
in a reclining position, who appears to be welcoming or taking leave
of his son, who is kneehing by the side of his coach : the complexion
of the aid man is decidedly red, but that of the youth is very uneer-
tain, asi this picture has suffered more than any of the ‘rest. The
head and trunk of the old man, so far as they remain, are designed
in the best style of Grecian art, and, indeed,, we may say of the
groups in general that they exhibit a perfect knowledge of the
figure, as well as great taste in the mode of displaying it ; and we
cannot but regret that the rude hands of barbarians, rather than
these of time,, have, deprived us of any part of these beautiful compositions.,
Enough however remains to make them very interesting ;
and we present them to the publie- as, examples of Grecian painting
at Cyrenff, with the impression that they will not be thought unworthy
relics of the. genius and talent of the eolony.
The colours-; employed in the architecture of this tomb- (so far as
they at present, remain): are faithfully given in the elevation of the
inferior façade,, (page- 4!52),, and appear to have been confined' to the
entablature, and to the capitals and plinths- of the columns and
pilasters..
There is: only one cella; in this instance;, for the reception of tie
dead, and it appears to have been allotted to a. single body only; but