Passing up the valley of the Tochma Su, a small group of monuments is met with just after passing Derendeh. There was a rumour, when the English explorers, Hogarth and Munro, passed that way in 1891,[307] of a sculptured lion at a place called Haüz, not far from Derendeh towards the north. But the monuments on record were found in the neighbourhood of Palanga (Chiftlik), which lies on the higher ground after leaving the gorge of the river, some three hours’ journey westward from Derendeh. Here a small lion carved in basaltic stone was seen built into the main gateway; while lying in a puddle near a well hard by, and used as a stepping-stone, was a fragment of a unique columnar figure made also of basalt. The lion was similar to those found in the neighbouring wayside cemetery, hence called Arslan Tash, which we shall presently describe; the columnar figure,[308] however, is unique and instructive. The fragment preserved is fifty-two inches high and about fifty-five inches in circumference towards the top: it swells a little lower down. It ‘represents the lower portion of a draped figure; it is a mere shapeless column without feet, but a double protuberance of the stone at the end of the first line of the inscription is evidently intended to represent the buttocks. The drapery consists of an underskirt, plain except for a short series of perpendicular pleats down the middle of the back, and an upper garment thrown round the left side, the folded edges almost meeting under the right arm.[309] This mantle or cloak reaches down below the level of the knees; its vertical edges are fringed with a border of narrow lappets or tags very similar to those represented on a terra-cotta statuette from Cyprus.’[310] The inscription on this monument extends from the front of the figure around the left side to the back, covering two-thirds of the circumference. The signs are incised, and arranged in four bands, whereof the lowest is broader but less carefully cut than the others. Mr. Hogarth, in his description, points out other interesting analogies. The columnar form, the flat treatment of the drapery, and the ribbed pleats of the underskirt, recall to him the Hera of Samos in the Louvre; while for the rendering of the zigzag folds at the edges of the cloak and the buttocks, a parallel might readily be found in early Greek art, as, for example, among the archaic statues in the Acropolis Museum at Athens. In particular, the large terra-cotta figures from Salamis present an interesting comparison as regards both form and the general disposition of the draperies.