The monuments which we have just reviewed allow us to appreciate the degree of prosperity and perfection attained side by side with the higher branches of art by various industries in Chaldæa, such as tapestry, weaving, and the embroidery of stuffs. The stela of Marduk-nadin-akhi, for example (fig. 22), bears witness to the wonderful skill of the women of the royal hareem, or of the men employed in the workshop, whence issued that robe with golden fringe, covered with elegant designs and precious stones set in the web of the tissue, that tiara adorned with feathers and wide-open daisies, those sandals, the broad lozenge-shaped stitches of which can be counted. M. Heuzey[26] has demonstrated that the stuff called _kaunakes_ (καυνἁκης) by the Greeks, who gave this name to a Babylonian garment, goes back at least as far as the epoch of Gudea. The representation of this woollen tissue shows several series of tufts arranged in rows one above the other; the principle of the manufacture of the _kaunakes_ is the same as that of plush or velvet, only the woollen pile is longer and arranged less closely. This sort of material, invented by the Chaldæans, continued to be made by the Assyrians and Persians; in this way the Greeks came to know it, and Aristophanes speaks of it in his comedy of the _Wasps_. Garments made of _kaunakes_ are frequently met with on the Chaldæan monuments, especially on the cylinders, where they have been mistaken for robes of a gathered and gauffered material. They are worn both by women and by men, as is proved by the bearded personage whom we reproduced above (fig. 20), and a female statuette in alabaster which shows all the characteristics of Chaldæan art contemporary with the monuments of Tello (fig. 28). [Illustration: Fig. 28.--Chaldæan statuette in alabaster.] [Illustration: Fig. 29.--Bas-relief of the tablet of the god Samas (British Museum).]