A close analogy may thus be traced between the two scenes upon the front of the stele and the two upper registers upon the back. In the latter we have representations of Eannatum on foot leading his warriors to battle, and also riding victoriously in a chariot at their head. On the front of the stele are scenes of a similar character in the religious sphere, representing Ningirsu slaying the enemies of Lagash, and afterwards riding in his chariot in triumph. It may also be noted that the composition of the scenes in the two registers upon the face of the stone is admirably planned. In the upper register the colossal figure of Ningirsu with his net, upon the right, is balanced below on the left by his figure in the chariot; and, similarly, the smaller figure or figures above were balanced by the ass that drew Ningirsu's chariot, and the small figure of a goddess who faces him. There are few indications to enable us to identify the goddesses who accompany Ningirsu. If the figures in both registers represent the same divine personage the names of several goddesses suggest themselves. We might, perhaps, see in her Ningirsu's wife Bau, the daughter of Anu, or his sister Ninâ, the goddess of the oracle, to whose service Eannatum was specially devoted, or Gatumdug, the mother of Lagash. But the military standard which accompanies the goddess in the upper scene, and the ends of two darts or javelins which appear in the same fragment to rise from, or be bound upon, her shoulders, seem to show that the upper goddess, at any rate, is of a warlike character. Moreover, in another inscription, Eannatum ascribes a success he has achieved in war to the direct intervention of the goddess Ninni,[19] proving that she, like the later Babylonian and Assyrian goddess Ishtar, was essentially the goddess of battle. It is permissible, therefore, to see in the upper goddess, sculptured upon the face of the Stele of the Vultures, a representation of Ninni, the goddess of battle, who attends the city-god Ningirsu while he is engaged in the slaughter of his foes. In the lower register it is possible we have a second representation of Ninni, where she appears to welcome Ningirsu after the slaughter is at an end. But though the headdresses of the two goddesses are identical, the accompanying emblems appear to differ, and we are thus justified in suggesting for the lower figure some goddess other than Ninni, whose work was finished when Ningirsu had secured the victory. The deity most fitted to gladden Ningirsu's sight on his return would have been his faithful wife Bau, who was wont to recline beside her lord upon his couch within the temple E-ninnû. We may thus provisionally identify the goddess of the lower register with Bau, who is there portrayed going out to meet the chariot of her lord and master upon his return from battle.