Page:History of Art in Phrygia, Lydia, Caria and Lycia.djvu/193

 SCULPTURE. 177 ears, wide-gaping mouth, protruding tongue, and the teeth in the lower jaw are easily discernible. The sculptor made the head and shoulders larger than life. The exaggeration was perhaps intentional so as to add to the effect, and intensify the appearance of strength and power of the two colossal animals. The pose is very frank and the meaning of the group easily grasped. Despite FIG. 121. Broken Tomb. Restoration of rampant lion. FIG. 122. Broken Tomb. Restoration of the two lions face to face. the rudimentary character of the execution, the two figures, boldly flung athwart the living rock, have a fine air enough. However simple, then, Phrygian art is not without merits. That in which it is most deficient is variety. At no stage of its develop- ment does it seem to have known how to model in the round boss ; it never rose above flat relief, and even then the process is only applied to a very limited number of themes. It is possible, how- ever, that some of the types it created or borrowed have not come down to us ; many a picture chiselled in the rock may have been destroyed by the fall of the tufaceous mass, one of whose faces it ornamented. Excavations, such as would be likely to bring to light bronzes and terra-cottas, have not been attempted hitherto in Phrygia ; yet there is no reason to suppose that the Phrygians were ignorant of the method of casting in bronze or VOL. I. N