Page:History of Art in Persia.djvu/448

 Themes and their Situations. 423 arcber^t but the manipulation is characterized by greater breadth as well. The powerful head, the thickness of the mane, the salience of the shoulder-blade and the principal muscles, every detail is distinctly marked by bold modelling, and this is farther emphasized by contrast of colour. The figures are best seen at a distance. Finally, we have the authprity of the rock-cut tombs Fto. 303. — PenepoUt, GuftfdMwn. Flasdin ud Cobtb, Aw mmtemnt, Plate CI. (seep. 400). {Vg- jo) for the position which the rows of walking lions occupy in our restoration (Phit('s III., IV., and VII.) Whatever may have been the location of the Archers' Frieze in the principal building at Susa, it is probable that, as at Persepolis, it was divided into two groups that advanced towards each other. This is the way they have been arranged in the right-hand panel at the Louvre, where the two lines of figures are separated by a central space covered with inscriptions, the huge lettering of which