We should ascribe several other objects found at Tello to the same period. These are in the first place the votive bronzes inscribed with the name of Gudea, which M. de Sarzec drew from their hiding places (Vol. I., Figs. 146–148); secondly, a statuette carved from a rather soft, fine-grained stone (Fig. 100). By its attitude it reminds us of the statues of Gudea, while the treatment of its drapery is more like the alabaster figure that we have chosen for reproduction from the old Louvre collections. Those symmetrical folds that appear to have been obtained with an iron, and that we have already seen imitated on the oldest Chaldæan cylinders (Vol. I., Figs. 3, 17, and 20; and above, Figs. 39 and 40), may be observed in its draperies. Thirdly, a bas-relief in soft stone, of which two compartments still remain, would date from the same period (Fig. 101). In its original condition it may have comprised some further divisions, for the subject as we see it in the fragment preserved is by no means clear. In the upper compartment there are four figures diminishing in size from left to right. The male figure on the left bears what seems to be an instrument of music, a kind of cymbal upon which he would beat with the hammer-shaped object in his right hand. The three individuals behind him are all in attitudes of submission and respect. In the lower division a seated individual twangs the cords of a harp. In front his instrument is decorated with the image of a bull, recalling the richly ornamented harps that we find so often figured in the Egyptian tombs.[217] Another figure, again in the attitude of respect, stands before the harpist. It seems to be that of a woman, but the relief is in such a condition that nothing but the general contours can be made out. [Illustration: FIG. 101.--Fragment of a relief; from Tello. Height 44 inches. Louvre.]