The largest of the plaques[42] is sculptured with two separate scenes, in each of which Ur-Ninâ is represented in a different attitude and with a different occupation, while around him stand his sons and ministers. In the upper scene the king is standing; he is nude down to the waist and his feet are bare, while around his loins he wears the rough woollen garment of the period,[43] and upon his shaven head he supports a basket which he steadies with his right hand. The text engraved beside the king, in addition to giving his name and genealogy, records that he has built the temple of Ningirsu, the abzu-banda which was probably a great laver or basin intended for the temple-service, and the temple of Ninâ; and it has been suggested that the king is here portrayed bearing a basket of offerings to lay before his god or goddess. But the basket he carries is exactly similar to those borne by labourers for heaping earth upon the dead as represented upon the Stele of the Vultures,[44] and baskets have always been used in the east by labourers and builders for carrying earth and other building-materials. It is therefore more probable that the king is here revealed in the character of a labourer bearing materials for the construction of the temples referred to in the text. The same explanation applies to the copper votive figures of a later period which are represented bearing baskets on their heads. In a similar spirit Gudea has left us statues of himself as an architect, holding tablet and rule; Ur-Ninâ represents himself in the still more humble rôle of a labourer engaged in the actual work of building the temple for his god.