Yet a clear indication which unites the two classes of representation is furnished by the votaries who appear in both alike. They are in the Spartan relief very small in stature; a naive way of indicating how far below the hero they rank. The votary of the Athenian relief is scarcely smaller than his ancestral hero. Yet his presence is an undoubted proof of the connexion of the monument with actual worship. On many of the later representations of banquets, this is further emphasized by the introduction of the well-known symbolism of ancestor-worship. In some a snake is depicted in the foreground. In others a horse’s head appears in the background. In others the superhuman character of the hero is indicated by the lofty crown, which belongs to the god of the lower world, Hades or Sarapis, and which appears on the head of the reclining hero[85]. The Spartan monuments were probably in many cases set up as tombstones over the actual graves of ancestors. But the Athenian banqueting reliefs were not usually on tombstones, more often on memorial tablets preserved in chapels devoted to the cultus of the dead. This their shape clearly indicates. All tombstones are almost of necessity higher than they are broad, usually tall and narrow. But the banqueting reliefs are oblong in the opposite direction, broader than they are high. This difference indicates a different use and destination. In fact they come rather into line with the reliefs which belong to the worship of civic or local heroes, or those set up by grateful votaries in the shrines of Asklepius and other healing deities, than with the immediate memorials of the dead. [Illustration: FIG. 34. COIN OF BIZYA.] The likeness between some of the votive monuments of Asklepius and the ordinary sepulchral banquets is so close as to have caused considerable confusion. The Asklepian reliefs appear to borrow of set purpose much of the symbolism which belongs to ancestor-worship. As an instance we engrave (Fig. 34) a coin of Bizya, a Greek city of Thrace[86], struck in the reign of Philip the Arab. On the reverse of the coin we see Asklepius reclining on a couch, against which rests his serpent-twined rod. His daughter or wife Hygieia is seated beside him; a human attendant brings in a wine-jar. The accessories, a coat of mail hung on a tree, a shield suspended from the wall, a horse who trots in from the right, are among the ordinary features of sepulchral banqueting reliefs, and seem inappropriate to a peaceful and non-equestrian deity like Asklepius. Such contamination of one class of monuments by another, such transfer of symbols from one artistic field to another, is among the common phenomena offered by Greek art.