FUNEREAL ARCHITECTURE. 133 Thus rectangular door, shape and size of pediment, modillions, and dentels in the cornice which form the coping, proneness to adorn the top and angles of the frontal by means of devices which, if less elegant, have none the less the same value, are identical in both, even to the shield in the middle of the tympan. Differences are shown in the two columns, in touch with the wall, on either side of the doorway which uphold the entablature ; the pilasters at the outer edge of the fa9ade, and the rudimentary capitals upon which are put dissimilar objects. Of these, that to the right seems to be a vase, or funereal urn, instances of which are plentiful in these hypogeia. Bandelets and necklaces intervene between column and pilaster, whilst a foliate scroll above the lintel graces the doorway. The ornament throughout is very much injured, and the general aspect is further marred by rectangular niches pierced in the facade, but for what purpose it would be hard to guess. With the advent of Christianity the tomb must have served as chapel or domestic dwelling. As years rolled by, Hellenic art crept in and became dominant in Phrygia and the peninsula generally, and replaced all that had gone before. About the centre of the northern necropolis which surrounds the Midas monument, a tomb is descried, which, like one of the exemplars in Pteria, goes by the name of Gherdek Kaiasi (the Rock of Marriage) (Fig. 91, 3 in map). 1 The architecture of the facade is clearly Hellenic Doric, with all the elements characteristic of the order. If the columns are smooth, it is because the fluting, which is easily obtained when the shaft is made up of several pieces, cut and prepared in the stone-yard, would have offered real difficulties, and required a whole system of scaffolding, with a support of great size taken from the actual mass of the rock. Hence, reverse curves, or 1 Hist, of Art, torn. iv. Fig. 345. The monument is a double chamber, which the peasantry imagine contains husband and wife, whence its name "Gherdek Kaiasi " (the Rock of Marriage). It has been published by Stewart, Plate XII., and by TfixiER, Description, Plates LX., LXI. But the elevation of the latter, he informs us in the text, is a restoration (torn. i. pp. 158-162). Part of one column alone remains in position hanging from the architrave. M. Ramsay writes that the Doric faade, our Fig. 91, after Te"xier, is inexact. I suspected as much. On the other hand, it is to be regretted that he has not thought fit to supply a better one himself. As far as he can recollect, he says, the monument has a more massive character, the pillars are stouter than Te'xier represents them. I must demur against the words put in my mouth, that " in style it was Roman Doric ; " what I did say was that " it recalled the attenuated proportions of Roman Doric."
