Gardner, Percy: The principles of Greek art (London, 1924)

64

PRINCIPLES OF GREEK ART

chap.

ing him as standing or seated, armed for battle, or practising
the exercises of the gymnasium, or merely at rest. Women are

spinning, with the work-
basket at their feet; girls
hold dolls, boys some pet
animal. There is little to
indicate either death or a
future life; the reference
is to the past rather than
the future. The religious
complexion of the Spartan
graves is absent; the
Athenians took life as it
came, without much
thought of what might lie
beyond. But as the size
and costliness of the tomb
increased, the scuplture
of it became more com-
plex. The larger monu-
ments of the fourth cen-
tury have the appearance
of being abbreviated
copies of temples. There
is on each side a flanking
pillar or pilaster, and
above, an architrave on
which is the modest and
self-restrained inscription.
Fig.S.—Tynnias, seated: Athens.1 Qne might at first sight

suppose that the agreement with the general form of a
temple or shrine showed a religious motive. But the un-
religious character of the sculpture is in contradiction to

1 Sculptured Tombs, PI. III.