“The tunic, crossed on the chest, is embroidered at the collar; it is drawn tightly round the body and knotted at the side. Two long folds fall below the knee; on the neck is an amulet; heavy bracelets are on the wrists, and a long girdle round the waist. The legs are bare, and on the feet are sandals with flat soles, similar to those worn at the present day by many Orientals, fixed on by straps passed between the toes, and fastened together above the ankle.” On close examination it will be seen that the two groups of warriors depicted, the victors and the vanquished, clearly indicate their distinguishing characteristics, from the ethnical and anthropological point of view. The first--the conquerors--have the Semitic profile, while the second--the conquered--have a profile approaching the Negritic type. Thus, in this carefully sculptured piece of so remote a date, we find realism, which is most minute in detail, associated with most fantastic conventions as regards the general arrangement of the composition--a double characteristic which, as we have repeatedly maintained, has always remained the original stamp of oriental art. The ethnic peculiarities of the Negrito race are even more strikingly indicated on a fragment of bas-relief which represents the bust of some person, nude, bearded, with a small cord tied round the head (fig. 247). What living realism there is in this lean body, bony and loose jointed! What close study of nature in the knitting of the muscles, the crisp thick beard, the enormous projecting lips, the nose with its distended cartilages, and the disproportionate eye presented full face! In all this is there not an amount of character which bespeaks a sincere art, observant of nature, and capable of rendering it with brutal frankness? [Illustration: Fig. 247.--Fragment of bas-relief representing figure of Negrito type.]