formalism.  In the difficult art of representing drapery there is much experimentation and great progress.  It seems to have been among the eastern Ionians perhaps at Chios, that the deep cutting of folds was first practiced, and from Ionia this method of treatment spread to Athens and elsewhere.  When drapery is used, there is a manifest desire on the sculptor’s part to reveal what he can, more, in fact, than in reality could appear, of the form underneath.  The garments fall in formal folds, sometimes of great elaboration.  They look as if they were intended to represent garments of irregular cut, carefully starched and ironed.  But one must be cautious about drawing inferences from an imperfect artistic manner as to the actual fashions of the day.

But whatever shortcomings in technical perfection may be laid to their charge, the works of this period are full of the indefinable fascination of promise.  They are marked, moreover, by a simplicity and sincerity of purpose, an absence of all ostentation, a conscientious and loving devotion on the part of those who made them.  And in many of them we are touched by great refinement and tenderness of feeling, and a peculiarly Greek grace of line.

To illustrate these remarks we may turn first to Lycia, in southwestern Asia Minor.  The so called “Harpy” tomb was a huge, four sided pillar of stone, in the upper part of which a square burial-chamber was hollowed out.  Marble bas-reliefs adorned the exterior of this chamber The best of the four slabs is seen in Fig 87 [Footnote:  Our illustration is not quite complete on the right] At the right is a seated female figure, divinity or deceased woman, who holds in her right hand a pomegranate flower and in her left a pomegranate fruit To her approach three women, the first raising the lower part of her chiton with her right hand and drawing forward her outer garment with her left, the second bringing a fruit and a flower the third holding an egg in her right hand and raising her chiton with her left.  Then comes the opening into the burial-chamber, surmounted by a diminutive cow suckling her calf.  At the left is another seated female figure, holding a bowl for libation.  The exact significance of this scene is unknown, and we may limit our attention to its artistic qualities.  We have here our first opportunity of observing the principle of isocephaly in Greek relief-sculpture; i.e., the convention whereby the heads of figures in an extended composition are ranged on nearly the same level, no matter whether the figures are seated, standing, mounted on horseback, or placed in any other position.  The main purpose of this convention doubtless was to avoid the unpleasing blank spaces which would result if the figures were all of the same proportions.  In the present instance there may be the further desire to suggest by the greater size of the seated figures their greater dignity as goddesses or divinized human beings.  Note, again,