However, it was also placed in the tombs of the unmarried, "presumably to make up in some way for what they had missed in life." The one-handled "lekythos" had many household uses, but outside the household, its principal use was the decoration of tombs. Scenes of a descent to the underworld of Hades were often painted on these, with the dead depicted beside Hermes, Charon or both—though usually only with Charon. Small pottery figurines are often found, though it is hard to decide if these were made especially for placement in tombs; in the case of the Hellenistic Tanagra figurines, this seems probably not the case. But silverware is more often found around the fringes of the Greek world, as in the royal Macedonian tombs of Vergina, or in the neighbouring cultures such as those of Thrace or the Scythians. The extension of the Greek world after the conquests of Alexander the Great brought peoples with different tomb-making traditions into the Hellenistic sphere, resulting in new formats for art in Greek styles. A generation before Alexander, Mausolus was a Hellenized satrap or semi-independent ruler under the Persian Empire, whose enormous tomb (begun 353 BCE) was wholly exceptional in the Greek world – together with the Pyramids it was the only tomb to be included in the Seven Wonders of the Ancient World. The exact form of the Mausoleum of Halicarnassus, which gave the name to the form, is now unclear, and there are several alternative reconstructions that seek to reconcile the archaeological evidence with descriptions in literature. It had the size and some elements of the design of the Greek temple, but was much more vertical, with a square base and a pyramidal roof. There were quantities of large sculpture, of which most of the few surviving pieces are now in the British Museum. Other local rulers adapted the high-relief temple frieze for very large sarcophagi, starting a tradition which was to exert a great influence on Western art up to 18th-century Neo-Classicism. The late 4th-century Alexander Sarcophagus was in fact made for another Hellenized Eastern ruler, one of a number of important sarcophagi found at Sidon in the modern Lebanon. The two long sides show Alexander's great victory at the Battle of Issus and a lion hunt; such violent scenes were common on ostentatious classical sarcophagi from this period onwards, with a particular revival in Roman art of the 2nd century.