138 HISTORY OF ART IN ANTIQUITY. the latter are sketchy, without salience, and barely outlined. They are more developed and their characteristics are better brought out in the pilaster of the Broken Tomb, in which a colossal lion appears (Figs. 98, 99). Here also the base of the column is not unlike the Ionic, whilst the terminal palmette is akin to that which expands above the volute of certain stelas figured on Greek vases. 1 On the other hand, the palmette in question bears just as much ana- logy to that which crowns a stela discovered in Assyria, at Khorsabad, by M. Place. 2 How great the embarrassment of the scholar who enters upon the study of Phrygian archi- tecture, will be easily under- stood. Thus, many a detail looks as the dawn and harbin- ger of Greece ; many another is only to be explained by the light and traditions of Asianic culture, and one pauses before not a few to which either origin might be assigned at will. The characteristic touch which more ^0,50 FIG. -Elevation and profile of pilaster in Broken Tomb. Drawn by Ramsay. FiG. 99. Pilaster of Broken Tomb. Plan above base. Plan at the commencement of capital. Drawn by Ramsay. to Greek models is no less certain. The blocking out, however, before the ornament was proceeded with, must have offered a mass very similar to that of the Phrygian capital. The basket-shape was in full swing during the rock-cut stage of architecture, and no doubt continued in the habits of the native artisan, even when he had learnt how to dress stone and fashion the capitals and shafts of his columns out of the same material. 1 CHARLES CHIPIEZ, Hist, critique des origines de la formation des ordres grecs, p. 273, Fig. 130. 2 Hist, of Art, torn. ii. p. 270, Fig. no
