On examining these curious works of art, it will be observed that most of those in gold have been used either as necklaces or for attachment to other substances, probably leather, consisting, as they do, for the most part, of thin pieces or plaques of metal, averaging from one to two and a half inches in length, with subjects on them worked up, as a rule, from behind, after the fashion now called _repoussée_ work. Thus we meet with standing female figures, draped to the feet (which are close together), as on the sculptures from Branchidæ, with long and elaborately-dressed hair falling on their shoulders and naked breasts, the arms being raised in a stiff and formal manner, and the hands partially closed. Another figure has large wings, almost like a _nimbus_, hands crossed, and elbows square; and against the body of this figure, a rudely-executed animal. A third holds in each hand a small lion by the tail, just as on some of the sculptures from Khorsabad. On a fourth the lions are not held, but are springing up against the figure. On another plaque we have nearly the same type, with this distinction, that the lions stand out in very high relief, and, curiously enough, are in style almost identical with those on a _fibula_ obtained from Cervetri by the late Mr. Blayds. Many instances may be seen of the _narsingh_, or man-lion type—a compound figure, with the head, body, and legs of a man, but attached to or behind this body, and, as it were, growing out of it, the body of an animal with hoofs. This monstrous form occurs, also, on a vase from Athens and on Assyrian cylinders. There are, also, specimens of winged, man-headed lions, their wings being thrown back so as to cover the whole figure, just as on the Assyrian sculptures. In some cases, we find bronze plated with gold, the latter having often been forced asunder by the rust and consequent expansion of the bronze.