This series of sculptures finds its counterpart in those upon the opposite side of the recess, which being less numerous, and for the most part like one another, are more readily described. The figures are twenty-two in number, of which only two are male; they are represented likewise in procession, but approaching in the opposite direction with their faces turned consequently to the observer’s left. The leading figure, which is opposed to the godlike figure just described, is likewise of majestic stature. She stands upon the back of a panther, which in turn is poised upon four low flat-topped pedestals (or ‘mountains’). She is clad in a long pleated skirt with train and waistbelt; the upper part of the body seems to be bare or clothed in a tight-fitting garment, and the female breast is suggested in the fulness of the bust below the outstretched arm. Her head-dress is the ‘mural crown,’ an upright flat-topped bonnet with vertical supports.[524] Her long plait of hair and turned-up shoes are conspicuous. Both arms are forward; with her left hand she holds a long staff on which she partly leans, and with her right she proffers certain special emblems,[525] which almost touch those held out by the male figure which meets her. To complete the balance of composition, the forepart of a goat with a conical cap upon his head, protrudes from behind her dress also. [Illustration: PLATE LXVII BOGHAZ-KEUI: ONE OF THE FEMALE FIGURES OF THE RIGHT-HAND SERIES IN THE LARGE RECESS AT IASILY KAYA (_See p. 224._)] The figure that follows, though smaller, is none the less striking and important. It represents a boy or beardless man, with curling pigtail, in the now familiar costume, consisting of short tunic, shoes with toes upturned, and a conical fluted hat. He also stands upon the back of a panther, which differs only from the former in the position of its tail, which is held up while the other is kept low.[526] With his outstretched right hand he clasps the upper end of a staff, and in his left he holds an axe with double head,[527] the offensive edges of which are curved. A short dagger with semicircular handle hangs by the belt, but worn in this case on the right side, doubtless at the discretion of the artist, so as to avoid breaking the contour of the figure. The symbol which seems to denote his name is the lower part of the body and legs of a small being clad in the same fashion as the figure itself, under the usual oval emblem.