210 HISTORY OF ART IN ANTIQUITY. right bank of the Halys, in Western Cappadocia. 1 Its size and general disposition, everything, brings to mind that which we have just described ; if no frontal appears above the architrave, a decorative form occurs over the window of the side chamber, whose value is precisely similar. Instances observed here are reproduced in the small tomb at Tokat ; their significance is sufficiently great to constitute a special type, which we propose to call the northern type of the Asiatic tomb. The type has an individuality sui generis, albeit in many respects closely allied to that which we have studied in Phrygia. Nowhere is this more conspicuous than in the position and general aspect. Here as there, a happy instinct presided over the choice of the rocky masses, in whose flanks tombs were to be hollowed ; it warned the architect to put his faade neither too far nor too near the spectator ; it taught him the height at which it would dominate the plain and produce the utmost effect. A distant likeness is apparent between tombs of widely different arrangement ; Hambar Kai'a and Delikli Tach, for example (Fig. 50). The upper contour of the stone is wrought in the former, and left in its native ruggedness in the latter. In both a rude frontal follows in a general way the movement of the architectural composition, and serves to separate shapes created by art from shapes traced by nature itself. Both testify to a far more ephemeral style of architecture than could be derived from stone buildings, be it in the outline of frontals, the mouldings of entablatures, the form of ceilings, the arrangement of capitals, the division into panels of vertical surfaces, the extent of which will require orna- ment. The same symbols obtain in the north and the centre of the peninsula. Thus the lion, which in Phrygia is placed high up on either side of the tomb to guard the entrance, crouches here before the portals (Fig. 136). Elsewhere he has taken his stand on the top of pillars, the better to watch the approaches to the abode of the dead (Fig. 149). At other places animals in pairs appear face to face in the field of the pediment ; now a lion and a bird are brought together, now griffins separated by a female figure, who is no other than the great goddess, the tamer of ferae (Fig. 132). One and all of these motives passed under our eyes when we visited the Phrygian necropoles. Within certain limitations, then, the funereal monuments of Phrygia and Paphlagonia may be 1 Hist, of Art, torn. iv. vol. ii. Figs. 344-347.
