The left side, with its two seated figures, belongs to the class of ceremonial feast, of which we have already described various examples. The association of this subject with others of entirely different import has a parallel in the wall sculptures of Sinjerli, where, however, the different subjects are not found on the same stone as in this instance. Here also the persons represented seem to be man and woman. Neither serves the other; both seem to share equally in the rite. In them we are inclined to see the local king and queen, inasmuch as they are personages of sufficient importance to be represented, even though no special attributes of rank denote them. The chieftain and his consort feasting would constitute a theme readily comprehensible in oriental art; but if the subject have really a religious significance, which is more probable, we see them in their capacity of chief priest and priestess,[291] an association for which the sculptures of Eyuk provide us with sufficient analogy.[292] This alternative we regard as the real explanation in this instance. A third sculpture from Malatia[293] is of smaller size, measuring only thirty-two inches in length and eighteen in height. It is, however, in beautiful condition, and though the edges are broken, the scene depicted upon it is complete in itself. The carving is in relief. As in previous cases a line of inscription[294] runs along the top from left to right. The subject reproduces a striking resemblance to most of the features on the stone first described, except that a fleeing stag takes the place of the wounded lion. Otherwise the horse, chariot, bowman and driver, even the dog below the horse’s feet, are reproduced almost in exact facsimile. Only in this case the better preservation of the stone enables us to trace some details more clearly, while the drawing and carving are executed with greater skill and care. The short sleeves of the men’s dress are distinguishable; the ‘two quivers’ suspended crosswise on the side panel of the chariot seem almost like stout diagonal supports to an open framework. As in the former case only one horse is represented, but the trappings are clearly designed for two, and there is a raised band above his back which may be taken for the back of the further horse, or possibly the pole of the chariot. The horse is entire. The muscles of the shoulder and thigh on all the animals are outlined with deliberation, and behind the horse’s shoulder are certain further markings, intended probably to represent the ribs or muscles more fully, recalling the similar convention seen on certain sculptures of Eyuk[295] and of Sakje-Geuzi.[296] The stag is represented with branching horns; and his head is well drawn. He is in full flight before his pursuers, his hind legs being shown in the picture as overlapping the forelegs of the horse. [Illustration: PLATE XLIV MALATIA.