The last word is Farewell. I have felt some doubt as to this really pretty little work being a London antiquity. My sketch is given from Archer’s drawing. Although he may have restored it to some degree, it is probable that it has suffered from decay since he drew it. Other Greek inscriptions have been found in Britain. There is another stele at the Guildhall which is so similar in several respects to the one just described that it might have been carved in the same shop. It is described in the catalogue as a “Monumental slab, limestone, on which is represented a figure of a man and child; the former is clothed in a toga, the folds of which he is holding in his left hand; 26 × 13½ × 2¼ in.” That two slabs so much alike should be discovered in one city, is a strong argument in favour of their having originated there. Notice, further, how the little pediment over the British Museum slab resembles that of the slab of the soldier first described. Again, the wide, plain margins are like those of the Gladiator slab. The evidence seems to be in favour of our accepting all the four slabs described as truly London works. In the British Museum (the Roman corridor) is a tall inscribed slab of the headstone type, about 6½ ft. high (Fig. 44). We may see clearly that it is a descendant of the steles by noting a few little points. It has the side pilasters and a pediment on which some lumps carry on the tradition of acroteria. An inscription occupies the field where the steles have sculptured reliefs, and a lower space is occupied by a festoon. From the inscription, NA ATIENI, it seems that it commemorated a man born in Athens. This slab is especially like a large stele at Cirencester which had two panels, the upper one having a relief and the lower an inscription. Proportions, pilasters, pediment are all like our London slab. Haverfield assigned the Cirencester slab to the end of the first century, and the London one can only be a little later. The inscription terminates with the early formula: H[IC] S[ITUS] EST. [Illustration: FIG. 44. ] This slab is much weathered and it stands at the Museum in a bad light, where it is difficult to make out the details. Running stems, with flowers on the pilasters, are quite pretty (Fig. 45), and, indeed, the whole thing has dignity. The lettering was free and doubtless more elegant than the painted forms now suggest.