The remains of another stone lion bearing an inscription of Gudea, from which we gather that the lion in question formed part of the decoration of the door through which access was gained to the sanctuary of the goddess Gatumdug were recovered from the same site. This lion[100] shows still further the subtle influence of conventionalism in the manner in which the hair on the lower part of the belly is portrayed, a series of triangles, such as is often seen in the figures of lions on the cylinder-seals, representing a fringe of long hair. Many of the lion-heads discovered at Tellô were provided with holes for the insertion of a peg, and probably served for lower supports of the back of thrones. One of these lion-heads is of especial interest as it bears the name of Ur-Ninâ, the founder of the first dynasty of Lagash,[101] while a second mentions _Magan_, the uncertain district whence the Babylonians procured their stone. Another early animal sculpture of some considerable interest was discovered by Captain Cros at Tellô in 1904 (cf. Fig. 36, B). It represents a recumbent dog—apparently of the mastiff breed, and identical in species with those figured on Ashur-bani-pal’s bas-reliefs: the length of the dog is only about four inches, its height just under three and a half inches, and it is two inches thick, but the interest attaching to it lies in the fact that it bears an inscription of one Sumu-ilu, a king of Ur who probably reigned towards the close of the third millennium B.C., but of whom little else is known, and whose name had not even been heard of before the discovery of this little black stone dog. The material used for this sculpture is steatite, and the dog’s back is pierced with a hole which served as a stand for a cylindrical steatite vase. The hole and the vase are apparently of later date than the dog itself.[102] Another very interesting example of early Babylonian sculpture in the round is that of a small human-headed bull[103] (cf. Fig. 36, C) now preserved in the Louvre. It is, as it were, the archetype or prototype of those winged human-headed bulls and lions placed at the entrances of palaces to guard against maleficent demons. The pose of the bull is one that is entirely natural, and recalls the semi-recumbent calves on Entemena’s silver vase (cf. Figure 45), but the body of the animal lacks the intense realism of the earlier animal representations. He wears a long vertically streaked beard, which is flanked on either side by plaits of hair, and his head is surmounted by a cap with four pairs of horns.