The adjoining slab was divided into eight bands or friezes, by parallel lines, and the next slab into seven. On both were represented the Assyrian army returning from its victorious campaign, and bringing to the king the captives and the spoil. The prisoners, who were probably considered rather rebels to his authority than enemies, were being cruelly tortured in his presence. The principal group was that of the eunuch general, or Tartan, leading a chief or prince of the conquered people. Above him was an inscription unfortunately much mutilated. It appears to have declared that he was one of the sons or chiefs of the Susianian monarch, defeated and slain in battle near the district of Madaktu (the name over the city on the adjoining slab), and near the city of Shushan; and that the Assyrian king had placed one of his own generals on the conquered throne.[183] Before the captive prince were gathered a number of the Susianians, probably the subjects of the slaughtered king, who had come to surrender to the Assyrian general, for they still carried their arms, and were not led by the victorious warriors. Some of them knelt, some bowed to the ground, and others, stretched at full length, rubbed their heads in the dust, all signs of grief and submission still practised in the East. The Assyrian generals were welcomed by bands of men and women, dancing, singing, and playing on instruments of music. Thus, "when David was returned from the slaughter of the Philistines, the women came out of all the cities of Israel, singing and dancing to meet Saul, with tabrets, with joy, and with instruments of music."[184] We find from various passages in the Scriptures, that the instruments of music chiefly used on such triumphant occasions were the harp, one with ten strings (rendered viol or lyre in some versions, but probably a kind of dulcimer), the tabor and the pipe[185], precisely those represented in the bas-reliefs. The whole scene was curiously illustrative of modern Eastern customs. The musicians portrayed in the bas-reliefs were probably of that class of public performers who appear in Turkey and Egypt at marriages, and on other occasions of rejoicing.