While Ur-Ninâ's sons upon the smaller plaques are all roughly of the same size, we have noted that the similar figures upon the largest plaque vary slightly in height. It has been suggested that the intention of the sculptor was to indicate the difference in age between the brothers, and in consequence it has been argued that Akurgal, who succeeded Ur-Ninâ upon the throne of Lagash, was his fifth, and not his eldest, son. This inference has further been employed to suggest that after Ur-Ninâ's death there may have followed a period of weakness within the state of Lagash, due to disunion among his sons; and during the supposed struggle for the succession it is conjectured that the city may have been distracted by internal conflicts, and, in consequence, was unable to maintain her independence as a city-state, which she only succeeded in recovering in the reign of Eannatum, the son and successor of Akurgal.[49] But a brief examination of the theory will show that there is little to be said for it, and it is probable that the slight difference in the height of the figures is fortuitous and unconnected with their respective ages. It may be admitted that a good deal depends upon the sex of Lidda, who, on the largest plaque, faces the standing figure of Ur-Ninâ. If this is intended for a son of the king, his richer clothing marks him out as the crown-prince; but, even so, we may suppose that Akurgal was Ur-Ninâ's second son, and that he succeeded to the throne in consequence of Lidda having predeceased his father. But reasons have already been adduced for believing that Lidda was a daughter, not a son, of Ur-Ninâ. In that case Akurgal occupies the place of honour among his brothers in standing nearest the king. He is further differentiated from them by the cup which he carries; in fact, he here appears as cup-bearer to Lidda, the office performed by Anita and Saguntug for the king.