the Sveshtari tomb, a motif where her legs grow into floral volutes, and in the Thracian Tomb of Sveshtari as caryatids with feminine bodies wearing calathus hats and chiton whose skirts are shaped like lotus blossoms or acanthus leaves and with pleats shaped like floral volutes which have an acanthus between them. Their disproportionally large raised hands, which either hold the volutes or are raised to appear as supporting the entablure, are similar to the goddess with her hands raised to her face depicted on a series of Thracian votive plaques. Above the caryatids, a wall painting depicts a goddess holding a crown and reaching out to an approaching horseman. The overall scene represents a Thracian nobleman's posthumous heroisation and depicts the same elements of the Great Goddess-minor goddess complex found in the relation between the Scythian Great Goddess Artimpasa and the Snake-Legged Goddess. These various depictions represent her role as a goddess of autochthonism, as well as a patron deity of vegetation. Thracian greaves from Vratsa and Agighiol were decorated with a female mask at the knee and with three pairs of dragons in a way that recalls the image of the Scythian Snake-Legged goddess, who also presided over the hearth. The image of the Gorgon Medusa was also used in the stead of the female mask on Thracian greaves, which not only identified Medusa with the Snake-Goddess, but also demonstrated her connection with vegetation: this imagery is present on pectorals from Mezek, Varbitsa, and Shipka, on an acroterium from Strelcha, and a greave from Vratsa, on which she wears an wreath of ivy, a plant symbolising the "Dionysian" aspect of the god (that this greave marks only the left leg of the warrior linked him to the underworld, which was also the realm of the goddess). The Thracian equivalent of the Snake-Legged Goddess might also appear in the series of horse bridle plaques from Letnitsa. One of the plaques depicts a seated male figure (the god in his role as an ancestral hero, who was Thracian equivalent of the "Scythian Heracles") with a female figure (the Thracian Great Goddess ) straddling him from above, both of them explicitly engaging in sexual intercourse, and symbolising the king's acquirement of royal power through intercourse with the Great Goddess similarly to the Scythian king's obtaining of royal power through his union with Artimpasa. Behind the Great Goddess is another woman, holding