The Siren, in her ordinary Greek form, is found on another Lycian monument, which has not hitherto been engraved. In the British Museum[72] only the gable end of this tomb is preserved. In the midst of it is a column of Ionic type, though not of the ordinary form, on which stands the Siren of whom we speak. She is clad in a short chiton, girt at the waist, with loose sleeves. Though the wings and legs are those of a bird, she has human arms, outstretched. On either side of the column sits a figure: on the left a beardless elderly man, on the right a bearded man; each holds a staff, and extends the unoccupied hand. These two dignified men appear to be the heroes to whom the tomb belongs; and the Siren represents the mourning of the survivors. Here, even more than in the Harpy Tomb, we seem within the range of Greek conceptions and Ionic art. [Illustration: FIG. 28. GABLE OF LYCIAN TOMB.] Another monument[73], probably not much later than 500 B.C., was adorned with what appears to be a funeral procession--old men in chariots, young horsemen, and armed men marching. One of the venerable figures in the chariots holds in one hand a flower, in the other apparently a cup, symbols which we shall presently see to have a decidedly sepulchral signification. Another fragment of archaic Lycian work in the British Museum[74] represents a woman standing at the foot of a couch, whereon it appears that a man reclined, for one of his feet is visible; but whether alive or dead we cannot be sure. But we must not linger over these fragments, though they might repay a more careful and detailed study. The threads which we are now obliged to drop, we shall regather when we treat of the tombs of Athens, and of the monuments erected by Attic artists on the coast of Asia Minor. CHAPTER VI SPARTA The group of grave reliefs which constitutes our record of the customs and beliefs of the Lacedaemonians in regard to the tomb, a group which is inferior to few sets of ancient monuments in historical interest, has not very long been known to the world. Attention was first called to it in 1877 by Drs. Dressel and Milchhoefer, and it has since then found a place in all the histories of sculpture.