A year later Frankfort (1937) acknowledged Van Buren's examples, added some of his own and concluded "that the relief is genuine". Opitz (1937) concurred with this opinion, but reasserted that the iconography is not consistent with other examples, especially regarding the rod-and-ring symbol. These symbols were the focus of a communication by Pauline Albenda (1970) who again questioned the relief's authenticity. Subsequently, the British Museum performed thermoluminescence dating which was consistent with the relief being fired in antiquity; but the method is imprecise when samples of the surrounding soil are not available for estimation of background radiation levels. A rebuttal to Albenda by Curtis and Collon (1996) published the scientific analysis; the British Museum was sufficiently convinced of the relief to purchase it in 2003. The discourse continued however: in her extensive reanalysis of stylistic features, Albenda once again called the relief "a pastiche of artistic features" and "continue to be unconvinced of its antiquity".