the right, but the pose is the same. In this case the details are all changed. To judge by certain faint indications on the stone, and by comparison with the monument of Ivrîz described below, it may be inferred that the hands are clasped in front of the face; it is at any rate clear in the photograph that one hand at least is raised before the mouth. He does not occupy the centre of the stone but the side of it, as may be judged from the short lines of inscription beginning just opposite the face. He does not fill the whole monument in accordance with the idea of ‘exclusive majesty’ so common and so dominant in Oriental art; on the other hand there are three lines of inscription above his head, and at least one below. We are inclined from these considerations to regard these fragments as forming part of a much larger whole, on which the theme was one of adoration, not much unlike that carved on the rocks at Ivrîz.[443] The resemblance may well be extended, for on comparing the two priestly or kingly figures many striking features will be found in common. The most apparent difference is the arrangement of the cloak, which on the Bor stone is fastened below the throat, while on the Ivrîz sculpture it is shown to hang more loosely, so that the front edge of the fringed border trails on the ground. Otherwise the details correspond closely; in each case the cloak is embroidered in three bands, and bordered with a fringe. Even the patterns are similar, the _svastika_ appearing on the stone before us in the middle band between two bands decorated with _diamond_ pattern (or ‘continuous squares’). The skirt below is even more sumptuously embroidered; in each case the _svastika_ fills the lowest band, and from this hangs a fringe. On the Bor fragment other elaborate devices are introduced, including the double or quadruple Ionic curve, and the rosette; an embroidered waistbelt, collar, and shoes complete the treatment. Other features, less exceptional, conform to the old conventions: the turning-up points to the shoes, the bunched curl of hair behind the neck, the skull-cap, and the straightness of the nose. The beard is full and curly. [Illustration: PLATE LVI BOR: HITTITE INSCRIPTION AND RELIEF The subject is the King-Priest in adoration of a deity whose figure is missing. Cf. Pl. LVII.]