the delectation of the entire party. All the figures, except the boy attendant, are decently draped, in robes with many folds, resembling the Greek. At the side of each couch is a table, on which are spread refreshments, while at the extreme left is a large bowl or amphora, from which the wine-cups may be replenished. This is placed under the shade of a tree, which tells us that the festivity takes place in a garden.[729] No one can fail to see, in this entire series of sculptures, the dominant influence of Greece. While the form of the tomb, and the lions that ornament the covering, are unmistakably Cyprio-Phoenician, the reliefs contain scarcely a feature which is even Oriental; all has markedly the colouring and the physiognomy of Hellenism. Yet Cyprian artists probably executed the work. There are little departures from Greek models, which indicate the “barbarian” workman, as the introduction of trees in the backgrounds, the shape of the furniture, the recurved wings of the Gorgon, and the idea of hunting the wild bull. But the figures, the proportions, the draperies, the attitudes, the chariot, the horse, are almost pure Greek. There is a grace and ease in the modelling, an elegance, a variety, to which Asiatic art, left to itself, never attained. The style, however, is not that of Greece at its best, but of archaic Greece. There is something too much of exact symmetry, both in the disposition of the groups and in the arrangement of the accessories; nay, even the very folds of the garments are over-stiff and regular. All is drawn in exact profile; and in the composition there is too much of balance and correspondence. Still, a new life shows itself through the scenes. There is variety in the movements; there is grace and suppleness in the forms; there is lightness in the outline, vigour in the attitudes, and beauty spread over the whole work. It cannot be assigned an earlier date than the fifth century B.C., and is most probably later,[730] since it took time for improved style to travel from the head-centres of Greek art to the remoter provinces, and still more time for it to percolate through the different layers of Greek society until it reached the stratum of native Cyprian artistic culture.