Nevertheless, it would be very rash to say that the heroic and the ordinary horseman reliefs had no influence on one another. For example, a relief at Tanagra[100] seems to fall exactly between the two classes. On it a horseman in armour rides, followed by an attendant who holds the tail of the horse, as was the way of Greek body-servants. A female figure meets the pair with wine-jug and cup. Here, if the relief belongs to the one class, the servant is out of place; if to the other class, the pourer of wine. Probably, being oblong in form, it is really of the heroic class, but contaminated by the influence of the other. On an ordinary sepulchral slab in the British Museum[101], the horseman and servant recur, but the lady is absent. In recent years an immense quantity of votive terra-cottas has been discovered on the site of the Dorian colony of Tarentum. These illustrate in a striking fashion the monuments of the Spartan mother-city. They consist mainly of two groups. In the first group we see a man, bearded or beardless, wearing a tall crown, reclining on a couch, often holding a wine-cup. Beside him is seated a woman, sometimes bearing in her arms a child, who stretches out his arms towards the man. We engrave (Fig. 37) a specimen of the class[102], in which, however, the child does not appear, but instead, in the background, a horse, who seems to be drinking from the flat cup. And this horse connects the first group with the second, which consists of figures of riding horsemen. [Illustration: FIG. 37. VOTIVE TABLET, TARENTUM.] Mr. Arthur Evans, who has had the advantage of studying these terracottas at Tarentum[103], is disposed to maintain that the group represents, not deceased persons, but rather the deities of the lower world, Dionysus, Cora, and Iacchus. ‘The terracotta representations here found must be rather regarded as primarily connected with the cult of chthonic deities and national heroes, than with that of departed human spirits,’ though ‘the starting-point may be regarded as purely sepulchral.’ Dr. Wolters, on the other hand[104], connects the representations far more closely with the worship of the dead. But after all, the opposition between these two opinions is not fundamental. Probably at Tarentum, as at Sparta, the dead ancestor and ancestress were regarded as scarcely distinguishable from the king and queen of the world of shades, into whose being they passed at death. Thus the last note struck in the monuments of Dorian hero-worship is in complete harmony with the first. [Illustration: FIG. 38. HERO ON FOOT.]