The tomb itself was composed of two chambers, one immediately over the other, and approached by a long passage, like the dromos of rock-cut Greek tombs, which was full of earth and small stones. The entrance, as was that of all the tombs, was towards the sunset. This passage was 53 feet in length, extending from the outer rim of the circle to the mouth of the tomb. Around the outer circle of the mound itself ran a wall of huge stones, evidently to support the weight of earth necessary to conceal the tomb, and large unhewn stones closed the entrance to the two chambers of the tomb at the head of the passage. We first entered the upper chamber, the floor of which was covered with gritty earth. It was 30 feet long, and at the four corners were recesses 2 feet 10 inches in depth, and the uniform height of this chamber was 4 feet 6 inches. The whole surface of the interior to the depth of two or three inches above the other _debris_ was covered with yellow earth composed of the tiny bones of the jerboa, that rat-like animal which is found in abundance on the shores of the Persian Gulf. There was no sign of any recent ones and only a few fragments of skulls to show what this yellow earth had been. We then proceeded to remove the rubbish and sift it for what we could find. The chief objects of interest consisted in innumerable fragments of ivory, fragments of circular boxes, pendants with holes for suspension (obviously used as ornaments by this primitive race), the torso of a small statue in ivory, the hoof of a bull fixed on to an ivory pedestal, evidently belonging to a small statue of a bull, the foot of another little statue, and various fragments of ivory utensils. Many of these fragments had patterns inscribed on them--rough patterns of scales, rosettes, encircling chains, and the two parallel lines common to so many ivory fragments found at Kameiros, and now in the British Museum. In fact, the decorations on most of them bear a close and unmistakable resemblance to ivories found in Phoenician tombs on the shores of the Mediterranean, and to the ivories in the British Museum from Nimrud in Assyria, universally accepted as having been executed by Phoenician artists: those cunning workers in ivory and wood whom Solomon employed in the building of his temple, and, before the spread of Egyptian and Greek art, the travelling artists of the world. The ivory fragments we found were given into the hands of Mr. A. S. Murray, of the British Museum, who wrote to my husband as follows: 'I have not the least doubt, judging from the incised patterns, from bull's foot, part of a figure, &c., that the ivories are of Phoenician workmanship.'