When we examine the figures more closely, we can see the elements which make up their characteristic style. The figures invariably march on tiptoe. Their fingers are extended and the little finger is usually bent back in an affected manner. This detail is derived from the archaic pose of the hand holding out a flower, so common in late Ionian art. The tiptoe pose is also found on ancient reliefs. The drapery is based mainly on that of the late fifth-century Attic school, but with various additions and refinements. The fluttering ends of cloaks and mantles recall fourth-century reliefs, while the curving swallow-tail ends of flying drapery are imitated directly from the sixth century. The drapery on the figure itself usually hangs in straight archaic lines as in the Artemis of Pompeii,[121] where the zigzag shape of ancient folds is reproduced with great formality; or it follows an almost equally artificial system of wavy folds, based on the school of the Balustrade, as in the fine relief of a dancing Maenad in the Conservatori Museum.[122] The elegant lounging poses with bent head, which remind us somewhat of Burne-Jones figures, are based no doubt on Praxiteles. The delineation of the surface muscles of the nude body also follows a uniform rule derived rather from the middle fifth-century Attic art than from that of Ionia. The muscles of the male figures tend to be over-emphasized, so far as that is conformable with the elegant slenderness of their figures. But a description of the figure-types of Neo-Attic art is incomplete without some notice of the intricate decorative designs of plants and animals which always frame and enshrine the reliefs on altar or candelabrum. Archaic Greek decoration was always formal and conventional in character. The exquisite mouldings of the Erechtheum or of the later Corinthian capital are not naturalistic but highly stylized. Naturalistic floral or animal decoration begins with the Hellenistic age, and is especially prominent in the Neo-Attic monuments. The trailing vine, grape-clusters, wreaths of flowers, new heraldic sphinxes, lions’ heads, &c., are carefully worked out from nature and combined with the remnants of the old decoration of palmettes, volutes, and tongue and dart mouldings. The vase of Sosibios shows a combination of the two principles, which is truly symbolic of the Greco-Roman combined school, for naturalistic decorative designs are just as representative of Roman art as formal ones are of Hellenic. From the combined system of the Neo-Attic reliefs we pass directly to the purely naturalistic floral designs of Augustan architectural sculpture.