5. The horse. We have already spoken of the many votive and sepulchral reliefs on which the dead appear as horsemen. And the horse is also of frequent occurrence on portrait-stelae. Of this we have cited instances above, Chap. IX. The horse on the base of the Lyseas monument seems to be a memorial of some victory in the racecourse. But on another very early tomb, from Lamprika in Attica[227], we find, sculptured on the face of it, a young knight on horseback fully armed. Another armed horseman carved beneath the feet of a standing man occurs on an Attic tombstone of somewhat later date[228]. On the lekythus-stelae of the fourth and third centuries, in the scenes of leave-taking, the husband who gives his hand to his wife is often accompanied by a horse[229], and sometimes also by a youth who bears his armour. 6. The dog. On the stele by Alxenor (Pl. IX) we have a dog as companion of the dead; also in Pl. XIII and on the Ilissus relief (Pl. XV). This addition to sepulchral groups is so common, and so natural, the Greeks being as fond of dogs as we are, that it requires no comment. The stele of Eutamia (Pl. XXX) seems to lie very nearly on the boundary between the heroizing stelae and ordinary Attic reliefs. At first glance it does not present any marked deviation from the usual Athenian types. Yet when one examines it in detail many links are evident connecting it with Sparta and ancestor-worship. The difference in scale between the seated lady and her attendant makes the latter seem rather a worshipper than a mere handmaid. And the offerings which she brings, more especially the dove, belong to the cultus of the dead. The dog too, sculptured in relief above, offers an exact parallel to the horse in relief of the stele Fig. 30. Our first point then, that there is an unbroken line of connexion between stelae of the Spartan and those of the Athenian class, is made out to demonstration. But another point may be made out with equal clearness, that at all events a large part of the Attic reliefs have reference exclusively to the past. Several groups of them may be cited in proof. 1. Reliefs in which an actual death-scene is portrayed. Such a scene is represented in our Fig. 66. It is clear that here nothing can be referred to except what has occurred in the past; and this is equally clear in the case of-- 2. Reliefs in which is represented some notable scene in the life of the deceased. A good example is offered by the monument on which Dexileos appears striking down his enemies (Pl. XII), or that of Democleides, Fig. 59. 3. Reliefs in which the profession of the deceased is indicated, as in the case of the physicians[230]: and as in the stele of Mynno (Fig. 62).