Most of the single Greek reliefs in the British Museum are described in the present section of the catalogue (Nos. 599-817.) Those reliefs which are known to have belonged to particular buildings, and to have served an architectural function, are catalogued separately. A few reliefs also, principally of the later Attic School, are reserved for a subsequent part. We deal, in this place, with a number of works of minor importance, and of various degrees of artistic merit. At the same time they are of interest both for their subjects and also as showing the instinctive grace and skill of subordinate Greek craftsmen, even in hastily executed and unimportant work. The following classification has been adopted, but the classes are not perfectly distinct, as the sepulchral reliefs sometimes partake of a votive character. _Sepulchral Reliefs._--599-618, Decorative Stelae. 619-680, Scenes from Daily Life and Animals. 681-686, Plain Vases. 687-710, Vases and reliefs with figures clasping hands. 711-746, Sepulchral Banquets, &c. 750-757, Rider and Horse, heroified. 760-766, Reliefs from Lycia. _Votive Reliefs._--770-794, Figures of the God or his attributes. 795-812, Figures of the Dedicator, or of the object dedicated. 813-817, Agonistic reliefs. SEPULCHRAL RELIEFS. The Greek sepulchral reliefs are of several distinct types, each type having an independent origin and history, though occasionally the different types are blended one with another. The early Attic examples which are assigned to a period before the Persian wars, have recently been collected by Conze (_Die Attischen Grabreliefs_, Part 1), and we are thus enabled to trace the rise of the different types in Attica, so far as the materials discovered allow. The earliest and simplest form of monument is the plain stone ([Greek: stêlê]), set up on a mound ([Greek: tymbos]) to mark the place of the grave, and such a tomb is well known to Homer (_Il._ xi., 371, etc.)