These two heroic pairs are probably the proprietors of the sacred enclosure, which was built like a finely carved casket to hold their ashes. In the decoration of the casket we find one Oriental motive. Over the door inside is a line of dwarfs, or of repetitions of the Egyptian monster Bes, holding musical instruments or dancing. Here we have a touch lent by a religion less refined and artistic than that of the anthropomorphic Greeks. The rest of the reliefs take their subjects from the legendary tales of Greece. We do not appear to have here, as on the Nereid monument, allusions to the lives of the buried heroes. There is no scene which bears the impress of history. The Greek artists who were employed by the wealthy Lycian family to adorn the wall seem to have been left quite free in their choice of subjects. So they run on almost without plan, from tale to tale and from scene to scene. Sometimes we have two subjects, one above the other, quite independent one of the other. Sometimes the two lines of decorations are occupied with a single scene. It would be useless to attempt to describe in detail scenes which we are unable to set before the eyes of the reader. The landing of the Greeks at Troy, the siege of the City, the battle of Achilles with the Amazons who come to its rescue, Odysseus meeting Penelope, and shooting down the suitors, are taken from the cycle of Trojan legend. Then we have the hunting of the Calydonian boar, the carrying off of the daughters of Leucippus, the expedition of the Seven against Thebes, all portrayed with the freedom which Greek artists use, always ready to subordinate strict fidelity to tradition to the necessities of art and the love of balance and measure. The interest of those scenes is great, but it does not belong to our subject. The art is not sepulchral, but of the myth-loving kind which prevails in the decoration of Greek temples, and which once marked the lost masterpieces of the great Greek painters. Professor Benndorf has tried, and not unsuccessfully, to prove that in the reliefs of Gyeulbashi we may find clear traces of the influence of the great Thasian painter Polygnotus, another of whose lines of influence reached the sculptors of the Parthenon. The Lycian heroon and the Attic temple are works of about the same period, widely as they differ in some respects. At Athens the influence of Polygnotus is fairly and fully translated into sculptural style. In Lycia the sculptor has less transforming vigour, and he retains in the work of the chisel some conventions appropriate only to the work of the brush. One other important tomb must be mentioned which was built in Asia, though its construction is purely Greek, its material the marble of Pentelicus, and its erection on the coast of Asia Minor no more than an instance of the fortune of war. [Illustration: FIG. 77. LION-TOMB, CNIDUS.]