Turning now to the reliefs that adorn the frontage-walls, it is seen that, as at Iasily Kaya, two main series are opposed to one another in the composition of the whole. In both the main themes are religious. On the left-hand side the shrine of a Bull is represented, with priest and priestess and attendants bringing up smaller animals to be sacrificed. On the right-hand side the centre of worship appears as an enthroned goddess, twice depicted; and other stones in the row are decorated with a bull and lion of magnificent proportions. The cult-deity occupies in each case the naturally prominent place, namely, the front face of the corner-stones on either side, facing towards the worshippers and others who follow in their train. The bull (_a_), the object of adoration on the left, stands on a panelled pedestal with projecting cornice. His dewlap, hair, full chest, and heavy shoulders are delineated, and he seems to bear some special marks upon his flank and quarter. His generative organs are represented, but not in exaggeration when allowance is made for the tendency of old-time sculptors to enlarge on details. He stands the emblem of earthly strength and virility; and it is reasonable to infer from his counter-position to the Mother-goddess, that he here separately embodies the essentially masculine powers of her divine consort, with whom indeed he seems to have been originally identified.[602] In front of the bull, the nearest object, on the next stone, may be taken for an altar, the precise form of which, however, is not apparent. It was presumably round. Its pedestal narrows towards the top, and is crossed by lateral bands, the alternate ones being decorated by transverse lines in alternating series.[603] The figure who leads the worshippers is the priest-king, a type familiar in the sculptures of Boghaz-Keui and Malatia, only here he lacks the winged emblem which seems in the former case to denote his sovereignty. Here, however, his dignity at the head of the procession is apparent. He wears the same skull-cap, toga-like robe, earrings, and shoes with upturned toes. In his right hand is the reversed lituus, while his left, with the thumb prominent, is stretched out towards the altar. He is followed or accompanied by a female, the chief priestess, his queen. We do not hesitate in this identification, derived from general considerations, because this office is associated with the queen in the description of the seal of the treaty concluded between the Hittite and Egyptian kings[604] to which we have previously alluded. Her dress is interesting. She wears a skirt with oblique curving pleats, and tightly fitting vest. Her hair seems to descend behind as a pigtail almost to the ground, though some stray plaits may be seen also falling over the ear. The earring is plain: so too are the turned-up points of her shoes. The arms are in a curious position, and not easy to trace upon the stone: it seems probable, however, that the left one is