The king forms the principal object, nearly in the centre of the picture, and by the superior height of his conical head-dress, and the position of the two arrows which he holds in the hand that draws the bow-string, dominates over the entire composition.

As he turns round to shoot down at the lion which assails him from behind, his body is naturally and gracefully bent, while his charioteer, being engaged in urging his horses forward, leans naturally in the opposite direction, thus contrasting with the main figure and balancing it.

The lion immediately behind the chariot is outlined with great spirit and freedom; his head is masterly; the fillings up of the body, however, have too much conventionality.

As he rises to attack the monarch, he conducts the eye up to the main figure, while at the same time by this attitude his principal lines form a pleasing contrast to the predominant perpendicular and horizontal lines of the general composition.

The dead lion in front of the chariot balances the living one behind it, and, with its crouching attitude, and drooping head and tail, contrasts admirably with the upreared form of its fellow.