No. xxxiv. The first is the picture of a musician seated upon a stool. He wears a long skirt with waistband, but the details of his dress and features call for no special comment. The instrument which he plays, however, is of interest, being[674] ‘a Tambur of pronounced Assyrian type, exactly similar to one of the time of Assur-nazir-pal,’ _cir._ 880 B.C.[675] There is a cord for attachment to the shoulder. It has been suggested, alternatively, that an instrument like a harp seen from the side is intended; the position of the musician’s hands, however, does not support this view, as with his left he clasps the stem of the instrument which he plays[676] with his right. On a small stone placed above this one there is the outline of an eagle or vulture.[677] No. xxxv. The sculpture on the next stone shows a man who seems to be in relation to the musician towards whom he is turned. His dress is a short skirt, and he seems to have worn, in addition to the upturned shoes, some prominent ornament around his ankle. The hat is close-fitting and ribbed laterally. The beard and curl are as usual. His left arm is bent, and with his fingers he seems to touch his beard; the right hand is obliterated. Nos. xxxvi.-xxxvii. The last two sculptures of this side may be taken together, for they represent the familiar oriental scene of a pair of goats standing upon their hind legs in order to reach the upper green shoots of a shrub at which they are nibbling. The left-hand flanking wall to the approach of this main gateway seems to have been destroyed previous to excavation, and no sculptures are on record to form the counterpart to the group last described. In our description we have endeavoured to record the actual find-spot of each stone, but we are convinced, from an examination of the original monuments, and of the excavators’ photographs, that very few of them were found in the positions for which they were originally intended. Their varying sizes, the medley and lack of sequence of the subjects they represent, all contribute to support this point of view. Nor do we share with the excavators the opinion that all the sculptures of the outer gate of the town, which we described first, are necessarily older than those of the gate of the citadel; the former are more weathered, for they have been more exposed, and the latter are not, in our opinion, all contemporary with one another. We can distinguish three or four groups of subjects, which were probably ranged together, as at Eyuk and Sakje-Geuzi. Among these are the procession of mythological creatures and representations of the deities (possibly the king himself impersonating the gods[678]), the scenes of the chase, the musicians, and the Ceremonial Feast, all of which appear for the most part to be intermingled haphazard. It seems to us that the warrior-figure (No. ii.) might be as old as any sculpture of Boghaz-Keui, while others again might be as late as history sanctions.