At a later period several Grecian carriages were in common use, though not in warfare. Representations of such cars are to be found on the Elgin Marbles. And, as was the case a dozen or more centuries afterwards, the carriage became the outward sign of luxury. It invariably appeared in the state processions, and was made the receptacle for the most gorgeous ornamentation. Gold, ebony, copper, ivory, and white lead were all used for this purpose, while the interiors of the cars were made comfortable with soft cushions and fine tapestries. They appeared, too, in great numbers at the famous chariot races, at which four or more horses were driven abreast. Often the same man was rich enough to possess more than one carriage. So we read of Xerxes changing from his ἄρμα to his ἁρμάμαξα, or state-carriage, at the end of a march. Besides these, there were also the ἀπήνη, a kind of family sociable, the ἅμαξα, a waggon, the κάναθρον, and the φορεῖον, or litter. The ἁρμάμαξα was a large four-wheeled waggon, enclosed by curtains and provided with a καμάρα or roof. Four or more horses were required to draw it. It was so large that a person could lie in it at full length, and, indeed, on many occasions it acted the part of a hearse. By far the most extraordinary hearse ever built was a ἁρμάμαξα used to convey the body of Alexander the Great—himself the possessor of numerous carriages—from Babylon to Alexandria. “It was prepared,” says Thrupp, “during two years, and was designed by the celebrated architect and engineer Hieronymus. It was 18 feet long and 12 feet wide, on four massive wheels, and drawn by sixty-four mules, eight abreast. The car was composed of a platform with a lofty roof supported by eighteen columns, and was profusely adorned with drapery and gold and jewels; round the edge of the roof was a row of golden bells; in the centre was a throne, and before it the coffin; around were placed the weapons of war and the arms that Alexander had used.”