this assumes that the unidentified third design, which occupies one of the twelve panels, was a replacement for a damaged panel. Assuming so, the pattern occupied eight spaces on the lowest row of the skull cap (i.e., all but the two showing design 1), and two panels, one atop the other rising towards the crest, in the centre of each side. All panels showing design 2 appear to have been struck from the same die. The horse and rider thus move in a clockwise direction around the helmet, facing towards the rear of the helmet on the dexter side, and towards the front on the sinister side. As substantial sections of design 2 are missing, particularly from the "central area," reconstruction relies in part on continental versions of the same scene. In particular, similar scenes are seen on the Valsgärde 7 and 8 helmets, the Vendel 1 helmet, and on the Pliezhausen bracteate. The latter piece, in particular, is both complete and nearly identical to the Sutton Hoo design. Although a mirror image, and lacking in certain details depicted in design 2 such as the sword carried by the rider and the scabbard worn by the fallen warrior, it suggests other details such as the small shield held by the kneeling figure. Design 2 shows a mounted warrior, spear held overhead, trampling an enemy on the ground. The latter leans upwards and, grasping the reins in his left hand, uses his right hand to thrust a sword into the chest of the horse. Atop the horse's rump kneels a "diminutive human, or at least anthropomorphic figure." The figure is stylistically similar to the horseman. Its arms and legs are positioned identically, and, together with the rider, it clutches the spear with its right hand. The iconography underlying design 2 is unknown. It may derive from Roman models, which frequently depicted images of warriors trampling vanquished enemies. The subsequent development of the design, which has been found in England, Sweden, and Germany, suggests that it carried a unique meaning broadly understood in Germanic tradition. Whereas the Roman examples show riders in moments of unqualified victory, in Germanic representations the scene is ambiguous. The symbolism is unclear, and elements of victory are combined with elements of defeat: the rider directs his spear straight forward at an invisible enemy, not down at the visible enemy on the ground; though the enemy is trampled,