indicate that he is running with great velocity, just as on the two tombstones already described; the fore and hind legs of the horse are not separated, but appear as one broad leg. In this case the reins with which the warrior guides the horse are well indicated by one broad band; also the horse's tail is less bushy and better proportioned, but the rest of the animal's body is a perfect copy of that of the horse on the preceding bas-relief. The chariot-box is here exceedingly low, and very small when compared with that of the chariot on the other tombstone, but it is not less remarkable, because it is surrounded by a band or fillet (ἄντυξ), which is double on the lower part. Just behind this chariot-box is represented an enormously broad two-edged knife, the handle of which terminates in a very thick knob. As such a knife can never have existed, I presume that the artist intended to represent here a two-edged sword with a thick knob at the end of the handle, but that for want of space he made it very short, without however diminishing its breadth, for which there was room enough. The one wheel which is visible is much like that of the chariots on the other tombstones, for it has also only four spokes, forming a cross round the axle. The adversary on foot, who is visible on the right side, and whose upper part is likewise missing owing to the breaking of the stone, does not stand on the same level as the horse and the chariot, but he appears as if hovering in the air, on a level with the warrior in the chariot. He assaults the latter with a long lance, on which can be seen an object of a peculiar form, which much resembles one of the plain Trojan idols,[202] and must have served to attach the lance to the shoulder. In the lower compartment we see two large circles, forming a figure of eight, lying horizontally, and in each of the two circles six spirals, of which the adjacent parts are linked together alternately, on the inside and outside, by curved bands in relief. Below the sculpture at the foot of the tombstone we see two spiral ornaments imperfectly scratched in the stone, as if the artist had made a trial sketch of what he was going to carve on the tablet. Our present artists make their sketches on paper, but the early Mycenean sculptor had neither paper and pencil nor pen and ink at his disposal, and so he made his trial sketch on the stone itself, but on its lower part, which was to be sunk into the ground and was therefore hidden from the eye. [Illustration: No. 142. The Fourth Tombstone, found above the Sepulchres in the Acropolis. (4 M.) About one-ninth of the actual size.]