(2.) In the second group of theories, the enthroned figures are deities of the lower world to whom the souls of the dead pay reverence. On the west side are Demeter (left), and Persephonè (right), and three worshippers who carry symbols of life and birth, as the egg and the pomegranate. The door of the tomb signifies death, while the cow and calf, immediately above, suggest the renewal of life. The three seated figures remaining, are, according to this system, either Zeus (south), Poseidon (east), and Hades (north), (Braun, _Annali dell' Inst._, 1844, p. 151), or Zeus viewed under a triple aspect (Curtius, _Arch. Zeit._, 1855, p. 10). The symbolic system has been most elaborately worked out by Curtius (_loc. cit._, and _Arch. Zeit._, 1869, p. 10). Thus he regards the "Harpies'" bodies as intended for eggs, and so symbolical of life. This view is untenable, as the bodies are of the form usually given to birds in early art (Conze, _Arch. Zeit._, 1869, p. 78). (3.) In the third and most recent group of theories, the seated figures are not deities, but heroified personages, buried in the tomb, to whom offerings are made by members of their family. (Milchhoefer, _Arch. Zeit._, 1881, p. 53; Wolters, p. 75.) This view is supported by analogies found elsewhere (cf. p. 299), while it avoids the difficulty of supposing deities to be represented on a tomb. But no parallel has been adduced for such a scene as a young warrior giving his arms to the figure of an heroified ancestor; moreover the dignity and adornments of the enthroned figures seem most appropriate to deities. On the whole it seems best to suppose that we have on this tomb scenes connected with death, though we cannot attempt, for want of knowledge of Lycian mythology, to assign names to the personages represented. Maidens make offerings to female deities, and men to male deities. On the east side a boy makes an offering, on the north side a young warrior gives up his armour, and on the south side a man offers a bird. Kindly winged beings bear away the souls of the dead, and the crouching figure on the north side suggests the grief of the survivors. (Cf. Brunn, _Sitzungsber. d. k. bayer. Akad. Phil. hist. Cl._, 1872, p. 523, who points out the succession of ages among the figures, but does not consider the idea of death to be implied in the central groups of the north, east, and south sides.)