If the influence of the western stonemason’s craft is very much in evidence at Pasargadae, the impact of the Greek aesthetic vision on the design of the palaces is less clear. Certain decorative motifs, including horizontally fluted tori and bichromatic stonework, were borrowed from the West (Boardman, pp. 65-66), but the architectural sculpture is almost entirely of Mesopotamian origin and many decorative features, most notably the quintessentially Persian addorsed animal capitals, seem to have been invented by the Pasargadae designers themselves (Stronach, 2001, p. 99). Certain more subtle stylistic features of the Greek aesthetic can be detected in selected features of the palace architecture at Pasargadae, including some of the fluted tori from Palace P that appear to bulge under the weight of the columns (Stronach, 1978, fig. 43c) in a way that is reminiscent of the Greek tendency to treat stone forms as organic (Nylander, 1970, p. 107), as well as the naturalistic rendering of human feet in Palace S (Boardman, p. 102). But while the inspiration for the broad porticoes of Pasargadae has been sought in Greek dipteral temples, palaces, or stoas (Nylander, 1970, p. 115-16), various antecedents in Iran may also provide parallels in terms of both form and function (Dyson, fig. 1; Goff, 1970, pl. 1a; Stronach and Roaf, fig. 1; Young and Levine, fig. 37), even if no single source adequately accounts for the revolutionary nature of the Pasargadae palace plans. Achaemenid art is often referred to, sometimes disparagingly, as eclectic in that it incorporates a variety of other artistic traditions (Nylander, 1979, p. 350), but the palace area at Pasargadae offers a clear testament to the rich inventiveness of the Persian designers themselves.