To the same school we may attribute a bronze from Hillah, now in the Louvre (Fig. 106). It represents a priest robed in a long tunic with five flounces of crimped work. His hair is brought together at the back of his head, and he wears a low tiara with the usual horns folded about it. His beard is short and broad. With his two hands--which are broken--he holds a small ibex against his chest. We have already encountered this motive in Assyria (see Vol. I. Fig. 114). [Illustration: FIG. 106.--Statuette of a priest. Height 5¼ inches. Louvre.] [Illustration: FIG. 107.--Statuette of a woman. Terra-cotta. Louvre. Height 5¾ inches.] It is chiefly, however, among the terra-cotta statuettes that we find good examples of that more elegant and refined form of art of which we catch certain glimpses in some of the Tello fragments. The figure of a priest happily draped in a mantle that covers his head and shoulders from behind, has already been given (Fig. 50). We may here add two more specimens of the same kind. Their merits, however, can only be fairly appreciated in the originals, on account of their small size. One of the very best things produced by Chaldæan art is the statuette of a nude woman, standing and suckling her infant (Fig. 107);[223] her large, and perhaps slightly empty forms are modelled with ease and artistic feeling. She is, in all probability, a goddess of maternity.[224] In the statuette reproduced in our Fig. 108, the treatment is less free, its precision is a little dry and hard. The personage represented employs the gesture proper to the nursing goddesses (see Vol. I. Fig. 16), although robed from head to foot. Her garment ends below in a deep fringe. On her head there is a Persian tiara.[225] [Illustration: FIG. 108.--Terra-cotta statuette. Height 4¼ inches. Louvre.]