visible in several Mesopotamian works of art of the end of the Uruk period, such as the Blau Monuments, cylinder seals and statues. Pre-Dynastic period: Jemdet Nasr (3100–2900 BC) The Jemdet Nasr Period covers the period from 3100 to 2900 BC. It is named after the type site Tell Jemdet Nasr, where the assemblage typical for this period was first recognized. Its geographical distribution is limited to south-central Iraq. The culture of the proto-historical Jemdet Nasr period is a local development out of the preceding Uruk period and continues into the Early Dynastic I period. The period is characterized by splendidly painted monochrome and polychrome pottery, as well as the appearance of large proto-cuneiform tablets, clearly going beyond the initial pictographic writing. Pre-Dynastic dress (4000-2700 BC): kilts and "net-dresses" The earliest type of dress attested in early Sumerian art is not the kaunakes, but rather a sort of kilt or "net dress" which is quite closely fitting the lower body, while the upper body remains bare. This early type of net dress looks much more similar to standard textile then the later kaunakes, which looks more like sheepskin with ample bell-shaped volume around the waist and the legs. Early Dynastic period (2900–2350 BC) The Early Dynastic Period is generally dated to 2900–2350 BC. While continuing many earlier trends, its art is marked by an emphasis on figures of worshippers and priests making offerings, and social scenes of worship, war and court life. Copper becomes a significant medium for sculpture, probably despite most works having later being recycled for their metal. Few if any copper sculptures are as large as the Tell al-'Ubaid Lintel, which is 2.59 metres wide and 1.07 metres high. Many masterpieces have also been found at the Royal Cemetery at Ur (c. 2650 BC), including the two figures of a Ram in a Thicket, the Copper Bull and a bull's head on one of the Lyres of Ur. The so-called Standard of Ur, actually an inlaid box or set of panels of uncertain function, is finely inlaid with partly figurative designs. A group of 12 temple statues known as the Tell Asmar Hoard, now split up, show gods, priests and donor worshippers at different sizes, but all in the same highly simplified style. All have greatly enlarged inlaid eyes, but the tallest figure, the main cult image depicting the local god, has enormous eyes that give it