If we pass to the inner sanctuary we only find ourselves face to face with new mysteries. The group of figures on the left is clearly a counterpart to those depicted in the outer chamber, suggesting the ceremonies in the act. But on the opposite side the two separate sculptures are of new and independent character. In the one is seen the dirk-deity enfolded in lion-skins; in the other the youthful god, now assuming a greater dignity, embraces the king. It has been suggested, with much apparent reason,[577] that the symbolism may be interpreted to mean that the priest-king or his representative is gently guided by the deity ‘through the valley of the shadow of death’ to sacrifice. But we know of no parallel for such symbolism in Oriental sculptures, and we prefer to see in this inner chamber merely a special sanctuary of the god, with images pertaining to his cult. In the one the king is received as high priest into the presence and embrace of the god. We have already seen that such an action in itself was deemed of so great moment that it formed the subject of the royal signet. Thereby, maybe, the king became invested with sanctity of person; in any case, his privilege of access to the god is recognised. In the other sculpture, in our opinion, we see the god once more, but in another guise, and identified with another cult, which from its widespread vogue and influence must have been almost national—namely, that of a sacred dirk.[578] A first attribute of the kingship, indicating, it would seem, his priestly office, was the guardianship of the sacred dirk, just as one might say ‘Defender of the Faith.’ That such a dirk has some original reference to sacrifice we cannot doubt. Here we find it forming the lower part of a composite divine figure. The face of the deity may be thought to suggest the Son-god: we are tempted to believe in this identification by a somewhat venturesome analogy. For this god is clearly to be identified with the Sandon of Tarsus, Hercules son of Zeus; and in his early character Hercules is represented clad in lion-skins, much as we see the deity before us. Hence it is possible that the sculpture which decorates the wall of the inner sanctuary commemorates some rite of investiture of the king with the insignia of his office as high priest of the god. We see, then, in the inner chamber a separate shrine of the Son-god, to which the king had access, by virtue of his office as high priest. The outer recess we regard as a shrine of the Mother-goddess, adorned on the one side with the symbolism of her cult, and on the other with the representation of the rite we have described. The further consideration of the historical aspect of these sculptures belongs to a later chapter. V WALLED TOWNS AND PALACES PART I.—THE PALACE AND SCULPTURES OF EYUK.