THE COLLECTION OF ANCIENT OEIENTAL SEALS INTHE UNITED STATES NATIONAL MUSEUMBy I. M. CasanowiczAssistant Curator, Division of Old World Archeology, United States NationalMuseum
The collection of oriental seals in the United States NationalMuseum consists of about 90 originals with the flat plaster castsmade of them, with upwards of 200 casts of seals which were lent tothe Museum by their several owners for the purpose of obtainingcasts of them, which were made in the laboratories of the Museum,the owners receiving in return a set of the casts. The selectionreproduced and described in this paper is fairly representative ofthe artistic types and the engraved m}i:hological subjects of the sealsin the collection. INTRODUCTIONFUNCTION OF THE SEAL IX THE ORIENTThe use of seals Vv'as of great importance in the everyday life ofthe ancient world. They served the purpose of our locks and keys tosecure property from the attack of thieves.^ There have been foundin Babylonia and Egypt pats of clay with the impression of a seal onthem and with the mark of the cord around which it was laid, thecord having evidently been tied about some valuable object; alsostoppers of jars, made of bitumen, mixed probably with clay, onwhich seals have been impressed. But more important was the useof seals to authenticate and validate legal documents, such as sales,leases, loans, contracts, and wills. The seal was a guarantee for thevalidity of a document on the part of the person or persons whoyielded certain rights or who took obligations on themselves.In addition to this the seal also served as a protection againstalterations of or additions to a document. The statement of Hero-dotus (i, 95) that everyone in Babylonia carried a seal is thus con-firmed by the large number of seals found and their impressions on
1 " Locks and keys are comparatively modern inventions, for the most ancient ones inEgypt are not older than the Roman period." Percy E. Newberry, Egyptian Antiquities,Scarabs, 1906, p. 5.No. 2630?Proceedings U. S. National Museum, Vol. 69, Art .493386?26 1 1
2 PROCEEDINGS OF THE NATIONAL, MUSEUM vol. 69
niiineroiis Babylonian inscribed clay tablets. The individual whodid not possess a seal made a thumb-nail mark in the soft clay,which was the writing material of Babylonia, alongside of whichthe scribe usually wrote " thumb-nail mark of NN " and sometimesadding his name.- Even at present the importance attached to theseal in the East is so great that without one no document is regardedas authentic.^Alongside of their legal function it may be assumed that the seals,engraved with the figures and symbols of gods, also served as amuletsto protect against evil spirits. It is even thought by some Assyriolo-gists that this object was the primary and original one.*And lastly, in connection with their more serious purposes, theywere also worn as ornaments.HISTORY AND DEVELOPMENT OF THE SEALThe art of stone engraving has been practiced in the Valley ofMesopotamia since the archaic period. The ruins of Nippur (mod-ern Niffer), Lagash (modern Telloh), and of other sites have pre-served examples on plaques of large dimensions. But it was aboveall developed on the seals which were in use from the earliest timedown to the Persian period. It is estimated that about 10,000ancient oriental seals are now in museums and private possession,and the seals dated from the dynasty of Akkad (about 2,800 B. C.)exhibit such an artistic excellence and vigor of execution, neverreached afterwards, that a long development of the glyptic art inBabylonia must have preceded them.It is an unsettled question wdiether the flat or stamp seal or thecylinder was the earliest form of seal in Mesopotamia. The vastmajority of original seals and of impressions of them on clay stop-pers, and especially on clay tablets, are in the form of cylinders. Ifthe cylinder superseded the more convenient flat seal, the reasonmight perhaps be that the former offered a larger surface for theengraving of a design. The classical land of the cylinder seal isBabylonia, where it is found from the earliest time, at least from theend of the fourth millennium B. C down to the fall of the Neo-Babylonian empire (538 B. C). There the cylinder form of seal
2 Compare Albert T. Clay, Light on the Old Testament from Babel, 1907, p. 174. Theseal-impressing of tablets became customary in the time of the Kings of Akkad (Sargon Iand Naram Sin, about 2800 B. C.) ; it became frequent in the time of the Kings of Ur(about 2400 B. C), and reached its greatest extension in the Hammurabi period (about2000 B. C). Under the Neo-Babylonian empire (005 B. C.) it becomes rare. OttoWeber, Altorientalische Siegelbilder (Der Alte Orient), 1920, p. 4.3 For the use of seals by the Hebrews in biblical times, see I Kings xxi, 8, and Jeremiahxxxii, 9.* Compare Otto Weber, Daemoneubeschwoerung bei don Babyloniern und Assyrern (DerAlte Orient. 7, 4), 1906, p. 35; Morris Jastrow, The Religion of Babylonia and Assyria.1898, p. 672.
ART. 4 ANCIENT ORIENTAL SEALS CASANOWICZ Swas for many centuries the only one in use, and so deeply rootedthat long after the fall of Babylon its heirs, the Persians, continuedto use it alongside of the flat seal.The cylinder seals vary in size from two to three-fifths of an inchin diameter, and from three-quarters of an inch to an inch and a halfin length. Some are as much as one and three-quarters or eventwo inches long, but they are quite exceptional. In some of theearly Babylonian cylinder seals the surface on which the device wasengraved is more or less concave (pi. 1, No. Id), approaching inshape a hollow spool. The probable reason for this is that thetablet was usually convex on its surface and the cylinder was madeconcave to fit it. In the later period the cylinder itself became con-vex or barrel shaped (pi. 1, No. Ic). But as a rule the surface ofthe cylinder seal is parallel to the axis. The cylinders are usuallypierced lengthwise through the center, presumably for the purposeof inserting a swivel that would enable them to be rolled over theclay, and also to pass through a thread by which they miglit besuspended from the neck or wrist.At the beginning of the first millennium, B. C, appears or reap-pears, as the case might be, in Assyria the more practical and con-venient flat seal and gradually also passed into Babylonia, beingused in both countries alongside of the cylinder. It has frequentlythe form of a truncated cone or pyramid, rounded at the top, withan elliptical and somewhat convex base for receiving the device.Sometimes the section approximates a parallelogram with truncatedangles. It was pierced near the top for a string or wire. So thatunder the last kings of Assyria, and still more during the secondBabylonian Empire (605-538 B. C.) and the Achaemenian kings ofPersia (538-334 B. C.) both cylinders and cones may have beenproduced in the same workshop. Later, under the Seleucides (since312 B. C.) and the Sassanides (since 226 A. D.) the cone or pyram-idal seal was flattened more and more into a spheroid and scaraboiduntil it assumed the shape of a heavy ring, and the cylinder ceasedto be used.Comparatively few tablets, and those of the Persian period, arefound sealed with flat seals. In a number of cases the impressionsof both the cylinder and the flat seal of an individual are stamped ondocuments (pi. 1, Nos. 1 and 2).The oldest seals that have been discovered in Egypt are likewisecylinder seals, ranging in size from half an inch to three and a halfinches in length, and from a quarter of an inch to three-quarters ofan inch in diameter. The history of the cylinder seal in Egypt goesback to predynastic times, and it w^as in general use down to thetwelfth dynasty (2,000-1,788 B. C), when it was mostly susperseded
4 PEOCEEDINGS OF THE NATIONAL MUSEUM vol. 69by the engraved scarab, though as an archaism it was not wholly dis-carded there as late as the twenty-second dj^nasty (945-745 B. C.).^It has been ingeniously suggested that the form of the two greatgroups of seals was derived from a small scratched pebble and apiece of notched reed, respectively ; the first was the original of thestamp seal (cone, scarab, etc.), the second the prototype of thecylinder seal, for nothing would be simpler than to take a shortsection of a reed and cut on it one's own private mark. This reedthen gave shape and design to the permanent stone C3dinder seal,pierced like the reed through its axis of length. The step betweencutting one's private mark upon a section of reed and replacing sucha material with an engraved stone cylinder was a short one.**
" The earliest printing press," remarked Doctor Ward, wdio hadmade the study and elucidation of oriental seals his special field,
" was a seal, and the cylinder seal may be said to have been an archaicrotary press." ^ And Newberry adds : " From the invention of thesimple seal to the complex printing press with its movable typesappears a long way to travel, but that we have the germ of this greatinvention in the simple seal is obvious when we come to think of it.The old Egyptian or Babylonian who first took the impression of hissignet on a lump of plastic clay, had discovered the principle ofprinting, though it took the human mind many hundred years be-fore the next great step was taken, that of smearing some black orcolored substance upon a seal and taking a ' print ' of it on plasterand in ink on a papyrus." *MATERIAL OF THE SEALSThe material of which seals were made cover a large variety.The earliest seals, prior to the kings of Akkad (about 2,800 B. C.)were of soft material, as the columella of certain shells picked- upon the shores of the Persian Gulf, bone, ivory, alabaster, marble,serpentine, and steatite. Lapis-lazuli was a favorite material fromthe earliest period. Later, about the middle of the third millenniumB. C, harder materials, as rock crystal, jasper, saphirine, and othersappear. Hematite was the most common stone used for the sealsof the common people. The Assyrian seals, both cylinders andstamps, are largely of fine material, or what is termed semipreciousstones, such as chalcedony, carnelian, and onyx, but also seals ofcomposite mass (false lapis-lazuli) occur.
5 Compare P. E. Newberry, Scarabs, p. 43, and William Hayes Ward, The Seal Cylindersof Western Asia, 1910, p. 1.
" Compare C. W. King, Handbook of Engraved Gems, 1885, p. 4 : Newberry, Scarabs.p. 11 ; Ward, The Seal Cylinders of Western Asia, p. 4 ; and Scribner's Magazine, January,1887, p. 80.
' W. H. Ward, Scribner's Magazine, January, 1887, p. 80.? P. E. Newberry, Scarabs, p. 11.
ART. 4 ' ANCIENT OEIENTAL SEALS?CASANOWICZ 5TOOLS USED FOR ENGRAVING AND PIERCING OF THE SEALSThe early seals were cut with the free hand. The employment ofthe drill and the wheel can not be established before the middle of thesecond millennium B. C. Seals in soft material, such as shell, mar-ble, serpentine, etc., could have been engraved with a sharp flintpoint.^ It is difficult to say when the use of metal tools set in.But the hard stones which already in the time of the dynasty ofAkkad (2,800 B. C.) were used for seals, as also the piercing of theoldest stone cylinders, is scarcely thinkable without metal tools. Themain tool used may have been that named in Jeremiah xvii, 1, ametal stylus, tipped with a diamond splinter.^? With the discoveryof the wheel and drill, the art of gem cutting progressed with thedevelopment of the means of expression, as exhibited in the sealsof the last Assyrian and Babylonian kings. Tlie tools used were aburr to make small holes, such as dots for stars or the knee andshoulder joints of human figures, a round disk, the edge of which,like a circular saw, would cut a straight line, deeper in the middle,and a round hollow tube, the end of which would make a circle or, ifapplied at an angle, a semicircle or crescent. The turning of thewheel and drill may at first have been worked by the hand, and inthe latest period revolved by the attachment of a wheel which wasset in motion with the foot. The piercing of the cylinders w^asprobably done with some metal rod, rolled by the hand or revolvedwith the aid of the string of a bow. The perforation was workedfrom both ends, as in some seals a slight projection may be noticedinside in the center. It would seem then that nearly all the workhad been done with only two instruments?one for round hollowsand other for lines, probably using with the tools some hard friablematerial as emery or corundum.The cutting on all ancient seals is in intaglio, which is the earliestform of engraving on hard stone in every country.The work of seal engraving is mentioned as a distinct occupa-tion in Ecclesiasticus (Sirach) xxxviii, 27.DESIGNS ENGRA%'ED ON THE SEALS AND THEIR ARTISTIC FEATURESThe designs engraved on the seals are almost always mythologi-cal and religious. Profane subjects are few and belong to a lateperiod. Scenes from industrial life are very rare; husbandry and
" Herodotus, VII, 69, describing tlie arrows of the Ethiopians in the army of Xerxes,says : " They were tipped with a stone, which was made sharp, and of that sort withwhich they engrave seals."?" " The Mexicans are reported to have managed to cut the hardest roclvs and to engravefinely upon the emerald with nothing but bronze tools. * * * The Peruvians alsosucceeded in piercing emeralds without iron. Their instrument is said to have been thepointed leaf of the wild plantain, used with fine sand and water. With such a tool theone condition of success was time." Georges Perrot and Charles Chipiez, History of Artin Ancient Egypt, 1883, vol. 2, p. 288. n. 3.
6 PEOCEEDINGS OF THE NATIONAL MUSEUM ' vol. 69
agriculture are more frequently represented, while scenes from warand the chase are comparatively numerous and are almost exclusivelyconfined to Assyrian and Persian products. From the seals we ob-tain an insight into the manner in which the peoples of the ancientNear East represented their gods and goddesses. The rich symbolismof the cult also finds illustration in the various designs, and thecurrent myths and popular tales are revealed to us in a most graphicmanner. They thus supply an invaluable source of information asto the earliest religious ideas and history of the Babylonians andof the peoples that drew their culture from them. Many of thesubjects engraved on seals meet us again on the sculptured walls ofthe temples and palaces of Babylonia and Assyria, and it may bethat the seal impressions suggested the idea of decoration on bas-reliefs; on the other hand, the repertory of the sculptor may nothave been without influence on the seal engraver.A large number of cylinder seals of the earliest periods show acontest with wild beasts?lions, bulls, ibexes, gazelles, antelopes,combining symbolism with realism. No two are exactly alike.- Thesescenes are closely allied with or derived from the episode of the ex-ploits of the great hero, Gilgamesh (formerly called Gishtubar)and his companion, Enkidu (formerly Eabani). Gilgamesh is thecentral figure of the great Babylonian epic Avhich has been termedthe " Nimrod Epic," because the hero has been considered to havebeen the prototype of Nimrod the " mighty hunter before the Lord "mentioned in Genesis x, 10. He is described in the Epic as beingtwo-thirds god and one-third man, a strong and valiant hero, readyfor a fight, while his friend, Enkidu, is depicted with the upper partof a man and the lower of a bull, with a horned headgear, indicatinghis divine nature. These two heroes frequently appear in combatwith wild animals, Gilgamesh usually engaging a wild bull, Enkidu,a lion. This episode of the epic is depicted on the seals in numerousvariations. The battle scenes are sometimes merely adjuncts, tofill out space, to a religious or ritual scene, representing a suppliantbeing led up by a priest or by his tutelary deity to one of the greatgods sitting on a throne (pis. 1 and 2).^^Another theme, not found on early Babylonian cylinders, butfrequent in the Assyrian period, is the fight between the god Marduk
" O. Weber, Daemouenbeschwoerung, p. 35, surmises that the scenes of the conflict of agod or liero with some monster liad an anuilctic significance, inasmuch as they deal withthe overcoming of a hostile power, and so indicating that the patron or tutelary deitywas always ready to fight against the attacks of a hostile demon. Also the scenes repre-senting a worshiper led to a god may be those in which a priest leads a sick person tothe deity to free him from the demon who caused the disease. And in his AltorientalischeSiegelbilder, p. 79, he would ascribe to these conflicts a cosmic import ; the origin of theworld, he says, is conceived by the oriental as a battle between the gods and primitiveforces which assume the form of animals, so that the conqueror of the animal representsthe triumph of the creator of the world over the chaos.
AKT. 4 ANCIENT ORIENTAL SEALS CASANOWICZ 7(Merodach) and the dragon Tiamat, taken from an early cosmogonicstory of the conflict between order and disorder at the creation ofthe world. Tiamat. symbolizing chaos, is usually represented as agriffin or composite monster.^- Marduk attacks her with a scimitaror crooked sword, a dagger, or with bow and arrow.Another subject frequently represented in many variations is thatof the " Sacred Tree " or " Tree of Life." Like the fight betweenMarduk and Tiamat, it belongs to the north. It is distinctly As-syrian in type, but it is also found to some extent in Persia andSyria. Sometimes winged genii, holding a cone and a basket or pail,are seen on either side of the tree, or a king accompanied by aneagle-headed winged genius ; sometimes a priest of Ea, the god of thedeep, clad in fish scales (identifying himself with the god) is inattendance. On some of the seals of this group the standard of thegod Ashur, consisting of the winged sun disk with the bust of thegod in the center, hovers over the tree. The conventionality is mani-fested here in a pronounced degree as to give to the tree mostfantastic forms. In fact the meaning of this theme is still obscure.The general assumption is that it symbolizes the fertilizing of thedate palm (pi. 5 ^^).Of the gods represented on the cylinders Sin, the moon god, andShamash, the sun god, are the ones "most frequently selected. Sinis often indicated by the crescent of the moon over or near hisfigure. Shamash is represented as a majestic figure, seated on athrone, or stepping over a mountain, or passing through gates,symbolizing sunrise. Frequently also rays or streams are depictedas issuing from his shoulders, sj^mbolizing, respectively, the bene-ficient warmth of the sun and the fertilizing water, which arewithin the province of the great orb and which are so essential tolife. Next to these great gods, Ishtar, the goddess of love andfecundity, and Adad (Hadad) or Raman ("the thunderer"), thegod of storm, often appear on the seals.On the flat or stamp seals usually a solitary figure, priest or sup-pliant, stands praying Avith raised hands before an altar or columnwhich is surmounted by the emblem of some god (pi. 6, No. 5).Not all events and objects pictured on the seals necessarily havea meaning. The Mesopotamian artists seem to have been affected
^- Ouly on two seals extant is Tiamat represented as a serpent, one is in the Metropoli-tan Museum of Art in New York (a cast of wliich is on exliibition in the NationalMuseum, see pi. 3, No. 1), the other in the British Museum in London. Doctor Ward, SealCylinders, p. 202, remarks : " We may conjecture * * * that it was directly from,them that the Israelites got the story of the serpent tempter" (pis. 3 and 4)." Compare Edward R. Tylor in Proceedings of the Society of Biblical Archaeology,vol. 12 (1889-90), p. 383, especially p. 388. Another plausible interpretation of thisfrequent scene on Assyrian sculptures is that the figures are plucking the fruit of theTree of Life. Compare Benjamin W. Bacon in the Annual of the American School ofOriental Research, vol. 5, for 1923-1924, pp. 12 and 18.
8 PROCEEDINGS OF THE NATIONAL MUSEUM vol.69by the horror vacui^ and their art is often exhausted in merely fill-ing the space with the familiar types of deities and emblems with-out much pains to select them. Moreover, to secure pictorial effect,reality is often sacrificed to symmetry. Gods and animals are veryoften so arranged as to balance each other, and for this purpose agod or other object is often repeated.Less than half of the seals have on them inscriptions. They veryfrequently bear little reference to the figures. In the Kassite period(about 1750-1174 B. C.) the inscription was extended to a shortprayer and crowded out the picture, reducing it to a single figure(pis. 20, No. 8, and 14, No. 5).
DESCRIPTION OF THE SPECHIENS FIGURED IN THE PLATESPlate 1
1. Original cj'linder seals. Natural size.a. Chalcedony. Hillah, Mesopotamia. (Cat. No. 207924, U.S.N.M..)&. Hematite. Engraved in two registers. Hillah, Mesopotamia. (Cat.No. 207938, U.S.N.M.)c. Lapis-lazuli. Barrel-shaped. Hillah, Mesopotamia. (Cat. No. 207941,U.S.N.M.)d. Jasper. Concave. Hillah, Mesopotamia. (Cat. No. 207921, U.S.N.M.)e. Carnelian. Hilliah, Mesopotamia. (Cat. No. 207901, U.S.N.M.)f. Hematite. Hillah. (Cat. No. 207.960, U.S.N.M.)2. Original flat or stamp seals. Natural size.a. Spheroid. Chalcedony. Vicinity of Baghdad, Syria. (Cat. No. 158358,U.S.N.M.)6. Scaraboid. Chalcedony. Asia Minor. (Cat. No. 158362, U.S.N M.)c. Cone. Chalcedony. Hillah, Mesopotamia. (Cat. No. 207942, U.S.N.M.)d. RiDgstone. Chalcedony. Asia Minor. (Cat. No. 158370, U.S.N.M.)e Spheroid. Hematite. Asia Minor. (Cat. No. 158414, U.S.N.M.)3. Gilgamesh and Enkidu in battle with the divine bull and the lion, respec-tively. Both heroes are represented en face, bearded and nude, wearingthe horned tiara, indicating their semidivine character. The lower partof Enkidu is of an animal. One line of inscription. The original of .schist,from Hillah, Mesopotamia, is in the United States National Museum.(Cat. No. 207907, U. S. N. M.) See above p. 6.)4. Gilgamesh and Enkidu. The repre.seutation of the two heroes is the sameas in No. 3. But here the roles are changed. Gilgamesh is attacking thelion and Enkidu the bull, grasping it by the hindlegs with head down.Two lines of inscription. The original of jasper, from Hillah, Mesopotamia,is in the United States National Museum. (Cat. No. 207921, U.S.N.M.)Plate 2
1. Battle of Gilgamesh and Enkidu with the bull and lion. Enkidu grasps theforelegs of the lion, while Gilgamesh, with his head turned to the right,holds with the left hand one of the forelegs of the bull, with the right heseems to wield a club. At the other end is perhaps a repetition of Gil-gamesh attacking another animal (leopard?). In the field, between Enkiduand the lion, is a club or the arrowheaded column {ashera) of Marduk.The original of mixed diorite Bagdad, Mesopotamia, is owned by Prof.H. Hyvernat. (Cat. No. 300577, U.S.N.M.)2. Gilgamesh and Enkidu in battle with the lion and bull. The animals arein the center, the heroes at the ends. The original of greenstone fromAintab, Syria, is owned by Dr. Frederick Stearns. (Cat. No. 158432,U.S.N.M.)3. Contest with fantastic animals. In the field the winged disk symbolizingthe god Ashur and the column of the god Marduk. The original ofschist from Hillah, Mesopotamia, is in the United States National Museum.(Cat. No. 207928, U.S.N.M.)93386?26 2 9
10 PROCEEDIXGS OF THE NATIONAL MUSEUM vol. 0!)
4. Gilgamesh is holding the bull by the hind legs and his right foot on thehead of the bull, while Enkidu is engaging the lion. In the field, twosmall figures in antipodal position ; four dots?the four winds or fourpoints of the compass (?) ? ; a crook placed on a tiny dog (the animalof the goddess Gula or Bau), and between Enkidu and the lion, a fish(which may be connected with Nina, a fish goddess, or with Nineveh,in Assyrian, Ninua, the fish city). The original of chalcedony is ownedby Mrs. Talcott Williams. (Cat. No. 31126.3, U.S.N.M.)5. Contest with monsters. In the main the scene represents a single hero (manor deity) fighting a single animal. The second animal is loosely relatedto the composition. The original of chalcedony from Bagdad, Meso-potamia, is owned by Prof. H. Hyvernat. (Cat. No. 300593, U.S.N.M.Plate 31. Marduk fighting Tiamut, the personification of chaos and disorder. Tiamatis here represented as a long serpent with horned head. (See above,p. 7, and note 12.) The god thrusts at the serpent's mouth with a lanceor scimitar weapon. There is a kneeling worshipper, perhaps the ownerof the seal, and probably an attendant deity or priest. In the field,crescent, the symbol of Sin, the moon god ; rhomb or oval, which is per-haps a conventionalizing of the eye, so frequent in Egyptian symbolism,"seven dots (one missing), which are interpreted to stand for the sevenIgigi, the spirits of heaven, or the pleiades (sun, moon, and the fiveplane's), and two small trees?to fill out space. This seal has had quite ahistory. The original, probably of serpentine, was bought by the Rev.W. Frederick Williams from an Arab who had come over the river fromLayard's diggings near Mosul in 1857. It passed into the hands of Prof.Frederick Wells Williams, from him to Dr. William Hays Ward, and thento the Metropolitan Museum of Art in New York. (Cat. 15S319, U.S.N.M.)2. Tiamat is here represented as human-headed, winged sphinx with body of alion, on the left side as a male sphinx, on the right as a female sphinx.The doubling is for the sake of symmetry. In the field, a star, the emblemof Ishtar, the goddess of fertility. The original is unknown. (Cat. No.16S976, A, U.S.N.M.3. Marduk with bow, quiver, and ax attacks Tiamat, represented with headand forelegs of a lion, hind legs of an eagle, l)ody covered with feathers,wings and short tail. The god stands upon another smaller dragon withscorpion tail, crouching, and shoots his three-pronged arrow of lightningat the monster. In the field, the winged disk of the god Ashur, the
?crescent of Sin, the moon god, and the star of Ishtar. Below, a fish, tworhombs (for which see No. 1), and a palmette (the sacred tree). Theoriginal of greenish serpentine is in the Metropolitan Museum of Art inNew York. (Cat. No. 130285, U.S.N.M.)4. Marduk attacking Tiamut with the scimitar. Behind is the tree of lifesurmounted by the winged disk of Ashur. In the field on the right, above,lamp, symbol of Nusku, the fire god, below, the rhomb. The original ofchalcedony is owned by Prof. H. Hyvernat. (Cat. No. 300605, U.S.N.M.)5. Marduk with bow and sword pursuing Tiamat. represented as winged dragonwith horned head, forelegs of a lion and hind legs of an eagle. Twoworshippers, one kneeling under the winged disk of Ashur. In the field,seven dots (see pi. 3, no. 1), and the rhomb. Original of chalcedony is inthe Metropolitan Museum of Art in New York. (Cat. No. 130287, U.S.N.M.)
"Compare Ward, The Seal Cylinders of Western Asia, p. 410.
AKT. 4 ANCIENT OEIENTAL SEALS CASANOWICZ 11
6. Marduk in low cap, four winged, witli left foot raised against Tiamat, whois represented with head of an eagle, wings and feathered body, graspsVv'ith the left hand one of the wings of the monster, while his right hand,holding the scimitar or crooked sword, hangs down. Tiamat stands onthe hind legs with head turned back. Behind is the tree of life sur-mounted by the sun wheel. Two lines of in.scription. The original ofchalcedony from Hillah, Mesopotamia, is in the United States NationalMuseum. (Cat. No. 207937, U.S.N.M.)Plate 4
1. Battle of Marduk with Tiamat continued. The latter is represented on oneside as a winged, eagle-headed griftin with scorpion tail, on the other as awinged sphinx. Marduk, four winged, seizes them by one of the forelegs.In the field, above, the winged disk of Ashur, below, a dog and the head ofa bull, the animal of the storm god, Raman or Adad. The original ofquartzite onyx from Hillah, Mesopotamia, is in the United States NationalMuseum. (Cat. No. 207956, U.S.N.M.)2. The same as the last one, only that in the field below the upper part of thehorned dragon, the animal of Marduk, takes the place of the head of abull. The original of porphyry from Hillah. Mesopotamia, is in theUnited States National Museum. (Cat. No. 207940, U.S.N.M.)3. Tiamat is represented as a winged, bearded sphinx. Marduk, four winged,uses as weapon the thunderbolt (?). In the field, the winged disk ofAshur, a fish, and a small tree. The original of jade from Aintab, Syria,is owned by Frederick Stearns. (Cat. No. 15S433, U.S.N.M.)4. Probably a hunting scene. A man with bow attacking some quadruped. Inthe field, above, crescent, sun, or star, and seven dots (pi. 3, No. 1) ; below,a small tree, to suggest the open country. The original of steatite fromAintab, Syria, is owned by Frederick Stearns. (Cat. No. 158439, U.S.N.M.)5. Hunting scene : Man chasing antelopes. The original of steatite fromAintab, Syria, is owned by Frederick Stearn.s. (Cat. No. 15S42S, U.S.N.M.)6. Contest with some animals. The original of black stone from Aintab, Syria,is owned by Frederick Stearns. (Cat. No. 15843S, U.S.N.M.)Plate 5
1. The sacred tree, or tree of life, surmounted by the symbol of the god Ashur,worshipped on one side by a priest, on the other by the man-fish, or godor genius clad in a fish skin, holding a basket (but no fruit). Behind thehuman worshipper is, for the sake of symmetry, another man-fish with bas-ket. The original of chalcedony from Hillah. Mesopotamia, is in theUnited States National Museum. (Cat. No. 207924, U.S.N.M.) (Seeabove, p. 7.)2. The tree of life, surmounted by the emblem of Ashur, between two worship-pers. In the field, crescent (moon god), seven dots (pi. 3, No. 1), rhomb,and perhaps the lamp of Nusku, the fire god. Drill work. Original un-known.3. Lion and hind (?) climbing up a peculiarly shaped tree. Behind the lion isa man (or god) in low round cap and short tunic grasping the lion's head;with his left hand, while with the raised right hand he wields someweapon. Perhaps Persian hunting scene. The original of jade fromBaghdad, Mesopotamia, is owned by Prof. H. Hyvernat, (Cat. No.300598, U.S.N.M.)
12 PROCEEDINGS OF THE NATIONAL MUSEUM vol. 69
4. Two worshippers in long robes, low turbans, with hair looped behind,standing in the attitude of adoration before the tree of life which issurmounted by the winged disk of Ashur. In the field, the star of Ishtarand a fallow deer. The original of chalcedony from Hillah, Mesopotamia,is in the United States National Museum. (Cat. No. 209957, U.S.N.M.)5. In the center, the tree of life surmounted by the emblem of Ashur. On theleft side a kneeling worshipper in low cap, on the right, an ibex. In thefield, crescent (the moon god. Sin), and the star of Ishtar. The originalof clouded agate is in the United States National Museum. (Cat. No.130106, U.S.N.M.)6. Three divinities. The two at the ends have rays issuing from their shoul-ders, the one at the right holds a scepter, perhaps Shamash, the sun god
;
on the left end may be Ishtar, to whom the star over the head may bepointing. The god in the middle may be Nebo (Babylonian, Nabu) orMarduk. Between them is the tree of life. In the field, above, crescent(Sin), the seven Igigi or Pleiads and stars; in the middle, rhomb; below,the columns of Marduk and Nebo, respectively. The original of hematiteis owned by Mrs. Talcott Williams. (Cat. No. 311262, U.S.N.M.)7. Marduk standing on his animal, the horned dragon. Before him a wor-shipper in long robe in the attitude of adoration ; behind, the tree of lifesurmounted by the winged disk of Ashur. In the field, crescent (Sin, themoon god). The original of chalcedony from Baghdad, Mesopotamia, isowned by Prof. H. Hyvernat. (Cat. No. 300602, U.S.N.M.)Plate 6
1. Lion attacking an antelope from behind, both animals standing on theirhind legs. On either side of them is a man, or Deity, battling the animals.The antelope is grasped by the forelegs, while the other figure has takenhold of the lion's tail. The figures wear low caps and belts for clothing.The original of lapis-lazuli from Hillah, Mesopotamia, is in the UnitedStates National Museum. (Cat. No. 207931, U.S.N.M.)2. Shamash, the sun god, stepping with the right toot over a mountain, symbol-izing sunrise, and holding a scepter; before him a worshipper carrying akid for a sacrifice, introduced by a priest or another deity. The otherscene represents Gilgamesh fighting the lion (see p. 7). The original ofhematite from Hillah, Mesopotamia, is in the United States NationalMuseum. (Cat. No. 207935, U.S.N.M.).3. The same as the preceding, only that here Enkidu takes the place of Gilga-mesh and the introducing god or priest is omitted. In the field, above,crescent (Sin, the moon god) ; below, some small animal climbing up thegod from behind ; between the lion and Enkidu, a nude small figure whichis assumed to represent Zirbanit, the spouse of Marduk. The originalof hematite from Hillah, Mesopotamia, is in the United States NationalMuseum. (Cat. No. 207915, U.S.N.M.)4. Above, the winged disk with the heads of Ann, the Babylonian god ofheaven, Bel, the god of the earth, and Ea, the god of the water deep. Onthe left side, sun (Shamash) or star (Ishtar) in crescent (Sin) ; on theright, the columns (a.sheras) of Nebo and Marduk, respectively; in themiddle, the Egyptian symbol of life (ankh) reversed (compare W. H.Ward, The Seal Cylinders of Western Asia, p. 395). The original, a coneof chalcedony, from Aintab, Syria, is owned by Frederick Stearns. (Cat.No. 158416, U.S.N.M.)
J*.RT. 4 ANCIENT OKIENTAL SEALS CASANOWICZ 13
5. Worshipper before the column of Marduk, which rests upon an altar. Above,star (Ishtar). The original, a cone of chalcedony, from Hillah, Meso-potamia, is in the United States National Museum. (Cat. No. 207931,U.S.N.M.)6. God, probably Sin, the moon god, as suggested by the crescent above, seated
;
before him a worshipper in long robe ; below them some small animal iscreeping into the lap of the god. Behind the worshipper a lion on hishind legs. Three lines of inscription separate the lion from the god.The original of brown hematite from Hillah, Mesopotamia, is in theUnited States National Museum. (Cat. No. 207906, U.S.N.M.)7. Ishtar in her character as goddess of war ("Ishtar of Arbela," in con-tradistinction from " Ishtar of Nineveh," as goddess of love and fertility)in conical headdress, with right foot on her bird, the dove, holding in herright hand the Babylonian caduceus ; " in the left, the crooked sword orscimitar, common to her and Marduk. From her shoulders rise sheavesof clubs. A small animal?monkey (?)?is climbing up to the goddess.At her right is Raman, the storm god, in low cap and short tunic, hold-ing in his left hand an ax or hammer with the right arm bent againsthis side. On the other side is a repetition of the figure of Raman withShala, his spouse, in long flounced robe and conical headdress in theattitude of adoration, with a small figure in short tunic between them.Two lines of inscription separate the two scenes. The original, of por-phyry, from Hillah, Mesopotamia, is in the United States NationalMuseum. (Cat. No. 207926, U.S.N.M.)8. Ishtar standing in a circle of rays which terminate in dots (stars). Theoriginal, a scaraboid of chalcedony, is owned by Frederick Stearns.(Cat. No. 158362, U.S.N.M.) Plate 71. Seated divinity in flounced robe. Before him the tree of life and twoworshippers. Four lines of inscription. The original of hematite is ownedby Mrs. Talcott Williams. (Cat. No. 311264, U.S.N.M.)2. Seated divinity. Before him worshipper with left arm raised, right closeto the body. Between them, below scorpion, the animal of Iskhara, orgoddess of the Kassite i^antheon of whom very little is known; above,star; behind the god are three small animals, one above the other. Theoriginal, of carnelian, from Hillah, Mesopotamia, is in the United StatesNational Museum. (Cat. No. 207918, U.S.N.M.)8. The same as plate 6, No. 6.4. Two divinities standing. In the field, tree and crescent. The engraving istoo much worn for detailed identification. The original is owned by Mrs.Talcott Williams. (Cat. No. 311287, U.S.N.M.)5. In the center, Shamash, the sun god, stepping over a mountain, symbolizingsunrise; to his right, another god, perhaps Sin, the moon god, as sug-gested by the crescent above; to his left, a worshipper. One line ofinscription. The original of basalt from Aintab, Syria, is owned byFrederick Stearns. (Cat. No. 158437, U.S.N.M.)
"The Babylonian caduceus consists of two serpents rising from a vertical stem, -withimperfect bodies and beads thrown outward. The neck is thickened, like that of theEgyptian asp (sacred uraeus). This caduceus may have been the source of the Greekcaduceus, carried by Hermes (Mercury), and was probably originally conceived as aweapon. Compare W. H. Ward, The Seal Cylinders of Western Asia, p. 408.
14 PROCEEDINGS OF THE NATIONAL MUSEUM vol. 69
6. Sliamasb stepping over tbe mouutain, as in the preceding seal. Before hima worshipper introduced by another deity, the former with low cap, thelatter with conical headdress, both in long robes. In the field, crescentand three lines of inscription. The original is owned by Mrs. TalcottWilliams. (Cat. No. 311274, U.S.N.M.)7. Shama.sh stepping over a mountain, as in the preceding, with a worshipperbrought up' by another god. In the field, stars and crescent. The originalis owned by Mrs. Talcott Williams.' (Cat. No. 311269, U.S.N.M.)8. God seated. A priest leads up by the hand a suppliant. The original oflimestone from Hillah, Mesopotamia, is in the United States NationalMuseum. (Cat. No. 207914, U.S.N.M.)9. Two figures in low, round caps and long robes standing with raised leftarms before a god in short tunic, perhaps representing Raman, the stormgod. In the field, between the figures, some undetermined animals
;
above, crescent. Two lines of inscription. The original is not known.(Cat. No. 16S976I, U.S.N.M.) Tlate S
1. God seated, holding staff or scepter, a small animal climbs up his knees.The first figure in long robe, right arm raised, left close to the body, isturned toward the god, perhaps introducing the worshippers. The nexttwo figures, in flounced robes, are facing one another. The last figure isfacing front. In the field, above, sun in crescent ; the other objects on topare not determined. Below, between the two first figures, is what has beentermed "libra," the significance of which is not exactly known (compareW. H. Ward, The Seal Cylinders of Western Asia, p. 408) ; between thetwo last figures, a small nude figure, perhaps Zirbanit, the consort ofMarduk. One line of inscription. The original is not known. (Cat. No.168976, U.S.N.M.)2. In the center, Raman, the storm god, in short tunic, facing front, on one sidehis wife, Shala, in high headdress and fiounced robe, with raised arms,turned toward him ; on the other, nude figure, facing front, hands akimbo,probably intended for Zirbanit, the spouse of Marduk. The original isowned by Mrs. Talcott Williams. (Cat. No. 311277, U.S.N.M.)3. God in round cap and short tunic, probably. Raman, holding in his righthand the scimitar, left arm raised. Another god seizes a small figurearound the waist. The rest of the engraving is too much worn foridentification. Three columns of inscription. The original is owned byMrs. Talcott Williams. (Cat. No. 311272, U.S.N.M.)4. Raman, Shala, between them Zirbanit. Three columns of inscription. Theoriginal, of carnelian, from Hillah, Mesopotamia, is in the United StatesNational Museum. (Cat. No. 207901, U.S.N.M.)5. God in long robe, right arm raised in blessing, left close to the body, per-haps Sin, as may be indicated by the crescent above. Nude female figure,probably Zirbanit, the spouse of Marduk, and the thunderbolt of Raman,the storm god, resting upon his animal, the hull. In the field, fish (forwhicli see pi. 2, No. 4), some small animal (monkey (?)), and crook.The original is owned by Mrs. Talcott Williams. ( Cat. No. 311286, U.S.N.M.)6. Raman, the storm god, in high pointed headdress and short tunic, withleft foot on the bull, his animal, holding in his left hand the thunder-bolt, in his raised right a club. Next is Shamash, the sun god, steppingwith his right foot over a mountain (sunrise), and two worshipp^^rs or
ABT. 4 ANCIENT ORIE:sTAL SEALS CASANOWICZ 15deities. In the field, between the tvv-o worshippers, "libra" (for whichsee pi. 8, No. 1), and the column (ashera) of Marduk. The originalis owned by Mrs. Talcott Williams. (Cat. No. 3112G6, U.S.N.M.)7. Raman, holding in his left hand the thunderbolt, with his raised rightwielding a club or scimitar ; a half-leaning small figure with raised riglitarm as if to ward off a blow; between them, some small animal (?).Next, Ishtar in long rol)e and high headdress, holding in her raised righthand the serpent caduceus (for which see pi. 6, No. 7), in her hangingdown left hand, a club or scimitar. Behind, probably Shala, the consortof Raman. The original, of chalcedony, is owned by Mrs. Talcott Wil-liams. (Cat. No. 311270, U.S.N.M.)8. God, probably Shamash, the sun god, approached by two suppliants, or a
' suppliant presented by another god or priest. One column of inscrip-tion. The original, of hematite, from HlUah, Mesopotamia, is in theUnited States National Museum. (Cat. No. 207960, U.S.N.M.)
^. Raman and Shala, separated by three columns of inscription. The original,of hematite, from Ilillah, Mesopotamia, is in the United States Na-tional Museum. (Cat. No. 207959, U.S.N.M.)10. Raman, Shala, and Zirbanit (pi. 8, No. 4). In the field, crescent, "libra,"and crook. The original, of hematite, from Hillah, Mesopotamia, is iathe United States National Museum. (Cat. No. 207919, U.S.N.M.)Plate 9
1. Probably " Syro-Hittite " seal.i" Two gods in round caps and short gar-ments, one, in front, raising the right hand in blessing, in the loft holdinga scepter or club ; the other behind, holding a lance, probably both repre-senting Raman. Before them Shala in long flounced robe in the attitudeof adoration. In the field, rope pattern (guilloche)!'^ between two lion-beaded sphinxes. The original is owned by Mrs. Talcott Williams.(Cat. No. 311284, U.S.N.M.)2. Syro-Hittite .seal. Naked goddess?Zirbanit?within an arch, holding whatlooks like a skipping rope or garland. The arch is framed with branches.God or king in conical headdress, holding scepter or club and scimitar.In the field, rope pattern between ibexes. Below, rhomb (for which seepl. 3. No. 1). The original is owned by Mrs. Talcott Williams. (Cat.No. 311271. U.S.N.Ai.)3. Seated god to whom a worshipper is introduced by a priest or another god.In the field, cre.scent (Sin). Three columns of inscription. The originalis owned by Mrs. Talcott Williams. (Cat. No. 311282, U.S.N.M)4. Seated god and goddess holding cups. Between them a standing figure alsoholding a cup. Perhaps a libation scene. One column of inscription.The original is ov.-ned by Mrs. Talcott V/illiams. (Cat. No. 3112S3,U.S.N.M.)
1" The Ilittito empire at one time or another was spread over all the region fromSmyrna to Lake Van and from Nineveh to Sidon in Phenicia. The Hittites in this con-nection include a succession of peoples of the same general race, besides the Hittites(Khatti) proper, as the Mitani, the people of Naharina, the Lycians (Lukki), the Cilicians(Khilukki), which inhabited different sections from Armenia to the Mediterranean untilthey were, in the eighth century B. C, swallowed up in the Assyrian empire. Beingplaced between the two great empires of antiquity, their art and religion were necessarilymuch influenced by the civilization and religion of Egypt and Babylonia." The guilloche is specially characteristic of the Syro-Hittite art, being its most favoriteornament. It apparently originated in Egypt and may have been simply an ornamentCompare W. H. Ward, The Cylinder Seals of Western Asia, p. 411.
16 PROCEEDINGS OF THE NATIONAL MUSEUM vol. 6*
5. Shamash with one foot on a mountain (sunrise). Suppliant introduced byanother god or priest. Behind them, a fish and a scorpion (for whichsee pi. 7, No. 2). Between Shamash and the worshipper, crescent anda human head. Behind Shamash, a small dancing figurine and a tree(?). The original, of hematite, from Hillah, Mesopotamia, is in theUnited States National Museum. (Cat. No. 207,902, U. S. N.M.)6. Syro-Hittite seal. Three divinities standing upon animals as their pedes-tals ; two of them, the one of left end and the middle one, upon antelopes,the third upon a lion. In the field, two small ibexes, libra (for whichsee pi. 8, No. 1), and some undetermined objects. The original is ownedby Mrs. Talcott Williams. (Cat. No. 311276, U.S.N.M.)7. Turbaned bust between branches. Persian. The original, a spheroid ofclouded chalcedony, from Asia Minor, is owned by Frederick Stearns.(Cat. No. 158901, U.S.N.M.)8. In the center is an altar on which lies a fish, surmounted by the crescent(Sin), and star (Ishtar). To the left, a god in horned headgear andelaborate robe extending the left hand ; to the right, worshipper or priest,arms akimbo. In the field, the caducous (for which see pi. 6, No. 7),which rests on the rhomb or triangle, and over this are curved stems oneither side of the shaft, crossed each with three bars. On top, betweeathe serpents, is a vase or the spearhead of Marduk. The original ofonyx, from Hillah, Mesopotamia, is in the United States NationalMuseum. (Cat. No. 207913, U.S.N.M.)Plate 10 ,
1. God, holding staff or scepter, advancing. Behind him procession of fourworshippers. Above the latter two birds facing one another. The orig-inal is owned by Mrs. Talcott Williams. (Cat. No. 311279, U.S.N.M.)2. God seated, probably Sin, the moon god. Worshipper introduced by priestor god. In the field, above, crescent and ashera ; in the middle, betweenthe god and worshipper, a small dancing figure ; between the two standingfigures, another small nude figure, perhaps Zirbanit, the spouse of Marduk.Three columns of inscription. The original is owned by Mrs. TalcottWilliams. (Cat. No. 311268, U.S.N.M.)3. Shamash, the sun god, having emerged from the gates of heaven, heldby two porters, steps over the eastern mountain, symbolizing sunrise.Between the two porters is another figure, and in the field, next to theright hand gate, is the column (ashera) of Marduk. The original ofschist, from Hillah, Mesopotamia, is in the United States NationalMuseum. (Cat. No. 207909, U.S.N.M.)4. Raman, the storm god, holding the bull, his animal, upside down by its hindlegs with his foot on the head of the animal. Behind him a worshipperintroduced by a god in horned turban. In the field, at right end, in thecenter the lamp of Nusku, the fire god; above and below, heads. Theoriginal, of hematite, from Baghdad, Mespotamia, is owned by Prof. H.Hyvernat. (Cat. No. 300582, U.S.N.M.)5. Raman in the center; on either side of him probably Shala, his spouse,doubled for the sake of symmetry. In the field, above, the vase ofNusku and crescent; below, libra (pi. 8, No. 1) and an arrow-shapedobject. Three lines of inscription. The original, of composition, isowned by Prof. H. Hyvernat. (Cat. No. 300583, U.S.N.M.)
?ART. 4 ANCIENT ORIENTAL SEALS CASANOWICZ 17
6. On right end, divinity in long robe witli feather bush hanging from hisheaddress, in front of altar. Over the altar is the column of the godNebo. Next to it is a herme, that is, a column, surmounted by a humanhead, protected by a covering. Next, a lion on its hindlegs has thefront feet on a column which is topped by a cone. Beneath the lion aretwo human heads (?). At the extreme left is a figure holding a cone,and libra. The original, of steatite, is owned by Frederick Stearns.(Cat. No. 158429, U.S.N.M.)7. God standing on horned animal?perhaps Marduk on his horned dragon.There are three other tall figures and one small one. In the field, a re-versed arrowhead, some small animal (?), and a crook or erect snake (?).The original is owned by Mrs. Talcott Williams. (Cat. No. 311273,U.S.N.M.)8. Kassite seal." Worshipper or god and five columns of inscription. In thefield, fallow deer (?), rhomb, and "Greek cross," formed of two crosslines in a frame or in an enveloping cross. Dr. W. H. Ward, Seal Cylin-ders, etc., p. 394, remarks that this included cross also appears in Crete,and surmises that out of this cross was the swastika derived. The original,of agate, from Hillah, Mesopotamia, is in the United States NationalMuseum. (Cat. No. 207933, U.S.N.M.)9. Raman and two goddesses. The latter, who probably represent Shala, thespouse of Raman, doubled, hold between them a staff or scepter, sur-mounted by a star. Drill work. The original is owned by Mrs. TalcottWilliams. (Cat. No. 311275, U.S.N.M.)Plate 11
1. Marduk, with scepter, standing on his animal, the horned dragon. Behindhim a composite figure, half man and half animal, probably intended forEnkidu (pi. 1, No. 3), in the attitude of adoration. The third figure, alsoholding a scepter, may be a king. In the field, above, star (Ishtar), thewinged disk of Ashur, and seven dotes (pi. 3, No. 1) ; between the figures,the spearheaded column of Marduk, and the column in form of a stylusof Ncbo (Nabu), the god of writing. The original, of chalcedony, is owi>edby Miss M. W. Bruce. (Cat. No. 130272, U.S.N.M.)2. God seated holding cup. In front, three worshippers ; behind, an attendant.Probably libation scene. In the field, the spearheaded column of Mardukand another ashera, probably of Nebo. The original of slate, from Hillah,Mesopotamia, is in the United States National Museum. (Cat. No.207925, U.S.N.M.)3. Syro-Hittite seal. Raman and Zirbanit. Behind them, an ibex or gazellecrouching attacked by a winged sphinx between guilloches or rope pat-terns, the characteristic ornament of the Syro-Hittite seals. In the field,
1^ The origin of the Kas.sites is still involved in doubt. They were a people of moun-taineers, north of Babylonia, who, in about 1760, succeeded in conquering Babylonia andmaintaining themselves for more than half a millennium. They were a semibarbarouspeople, but capable of rapidly assimilating the elements of the higher civilization ofBabylonia, with which they came in contact. Their cylinder seals are usually long inproportion to their diameter, and notable for their long inscriptions, which may run toseven or eight lines, which are usually composed of prayers to the gods. The space forfigures is thus limited, often only a single figure appearing, or two at the most, a godand a worshiper. Of the emblems occurring on Kassite seals the most remarkable is the" Greek cross." Compare Morris Jastrow, The Civilization of Babylonia and Assyria,1915, pp. 153, 155 ; W. H. Ward. Seal Cylinders of Western Asia, p. 184.
18 PROCEEDINGS OF THE NATIONAL MUSEUM vol. 6&the sun in crescent and the column of Marduk. The original of hematite,from Baghdad, Mesopotamia, is owned by Prof. H. Hj'vernat. (Cat. No.300580, U.S.N.M.)4. Ishtar standing in a circle of stars, conventionalized into dots. Before hera worshipper in long robe ; behind her, a winged genius. In the field,above, crescent (Sin) ; below, rhomb (pi. 3, No. 1). The original, ofopalescent chalcedony, from Baghdad, Mesopotamia, is owned by Prof.H. Hyveruat. (Cat. No. 300585, U.S.N.M.)5. God stepping over mountain (Shamash and sunrise). Before him twoworshippers, one in long garment, the other in short one, in the attitudeof adoration. Behind is an attendant. Between the latter and the sup-pliants are two pairs of small figures in antipodal position. The originalis owned by Mrs. Talcott Williams. (Cat. 311280, U.S.N.M.)6. Syro-Hittite seal. Two gods or god and worshijiper with uplifted armsfacing one another, with an altar between them. Behind them is anothergod in conical headdress. In the field, heraldic vulture, or eagle,'" aboveand a sphinx below, with the guilloche between them. The original isowned by Mrs. Talcott Williams. (Cat. No. 311285, U.S.N.M.)Plate 12
1. Two kneeling figures adoring the tree of life, which is surmounted by thewinged disk, the emblem of Ashur. In the field, star (Ishtar) and eagle(pi. 11, No. 6). The original, of chalcedony, from Baghdad, Mesopo-tamia, is owned by Prof. H. Hyvernat. (Cat. No. 300599, U.S.N.M.)2. Raman and Shala. In the field, the thunderbolt of Raman. The other ob-jects are indefinable. The original, of hematite, from Baghdad, Mesopo-tamia, is owned by Prof. H. Hyvernat. (Cat. No. 300584, U.S.N.M.)3. Three standing figures in long garments. Between them asheras (?), oneof which is surmounted by the crescent. The original is unknown. (Cat.No. 168976F, U.S.N.M.)4. Engraved in two registers. In the upper one, two worshippers before thetree of life, which is stylized into the form of a cypress ; in the lower,geese or swans. The original, of hematite, from Hillah, Mesopotamia, isin the United States National Museum. (Cat. No. 207938, U.S.N.M.)5. Seated god vs'ith worshipper and priest approaching. In the field, above,two dots and crescent; below, fish and ibex (?). The original, of hema-tite, from Hillah, Mesopotamia, is in the United States National Museum.(Cat. No. 207929, U.S.N.M.)6. Animals crossing each other and fighting. Two serpents intertwined. Theserpent (Babylonian, siru) is the emblem of Ninlil, the spouse of Enlil,the chief god of Nippur. The original, of limestone, from Hillah, Mesopo-tamia, is in the United States National Museum. (Cat. No. 207930,U.S.N.M.)7. God seated, holding vase (?), perhaps Shamash, the sun god. A worship-per is introduced by a god in horned turban ( ?) and flounced robe. Inthe field, crescent. Three columns of inscription. The original, of hema-tite, is owned by Mrs. Talcott Williams. (Cat. No. 311259, U.S.N.M.)
^ The figure of the eagle played a great part in art and early religious symbolism.It was the symbolic animal and the coat of arms of Lagash (modern Tello) and otherBabylonian cities.
AKT. 4 ANCIENT OEIENTAL SEALS CASANOWICZ 19Plate 13
1. Raman, the storm god, in short tunic, holding in the right hand a cone, theleft arm close to the body, with his spouse, Shala, in conical headdressand long flounced robe, doubled for the sake of symmetry. In the field,above, some insect (?) ; in the middle, on one side, a fallow deer, on theother, some small horned animal ; below, a bird on a mountain. Twocolumns of inscription. The original, of jasper, from Hillah, Mesopotamia,is in the United States National Museum. (Cat. No. 207912, U.S.N.M.)2. Raman and Shala. Between them a cypress. Three columns of inscription.The original, of lapis-lazuli, from Hillah, Mesopotamia, is in the UnitedStates National Museum. (Cat. No. 207904, U.S.N.M.)3. Raman and Shala, separated by two columns of inscription. In the field,star (Ishtar). The original, of hematite, from Hillah, Mesopotamia, isin the United States National Museum. (Cat. No. 207958, U.S.N.M.)4. In the center, Raman and Shala. Between them, three dots, the number ofSin, the moon god. Beliind Raman is an attendant and next to the latterthe small nude figure of Zirbanit, the consort of Marduk. Behind Shala aworshipper holding kid for sacrifice, facing another god. Between them,one dot. The figures are framed between borders of double zigzag tri-angular lines, with dots in them. The original, barrel shaped of lapis-lazuli, from Hillah, Mesopotamia, is in the United States National Museum.(Cat. No. 207941, U.S.N.M.)5. Two divinities, one in short tunic, the other in long flounced probe, openingthe gate (for the sun god to pass (?)). Below the gate is a small nudefigure dancing. A column, surmounted by the sun in crescent, separatesthem from another nude figure, holding a scepter or club, which may rep-resent Shamash, the sun god. The original is owned by Mrs. TalcottWilliams. (Cat. No. 311267, U.S.N.M.)6. Raman and Shala. Two columns of inscription. The original is owned byMrs. Talcott Williams. (Cat. No. 311278, U.S.N.M.)Plate 14
1. Battle with gazelles. The scene is doubled for tlie sake of symmetry. Inthe field, a star (Ishtar) and some undefinable objects. The original isowned by Mrs. Talcott Williams. (Cat. No. 3112G5, U.S.N.M.)2. Seated figure holding a cup in front of intertwined serpents. Offering alibation to a serpent god (?). The original, pyramidal of limestone,from Hillah, Mesopotamia, is in the United States National Museum^(Cat. No. 207949, U.S.N.M.)3. Two rams couchant facing one another. The original, a spheroid of agate^from Hillah, Mesopotamia, is in the United States National Museum.(Cat. No. 207950, U.S.N.M.)4. Contest with fantastic monstrous animals. The original, of quartzite, fromHillah, Mesopotamia, is in the United States National Museum. (CatNo. 207903, U.S.N.M.)5. Kassite seal. Worshipper in low cap and long garment. In the field, above,the Kassite cross ; in the middle, the sun in form of rosette, and a smallanimal. Seven columns of inscription. (See on Kassite seals, pi. 10, No.8.) Tiie original, of limestone, from Hillah, Mesopotamia, is in the UnitedStates National Museum. (Cat. No. 207927, U.S.N.M.)
20 PROCEEDINGS OF THE NATIONAL MUSEUM vol. 69
6. A god or man, nude except for a belt, seizing witli one hand the head of agazelle, which stands on its hindlegs and has turned its head backward,with the other the tail of a scorpion. Between the two animals is a hornedserpent, and underneath the scorpion a knot ornament. The original, oflimestone, is owned by Mrs. Talcott Williams. (Cat. No. 311261, U.S.N.M.)Plate 15
1. Marduk fighting Tiamat, the personification of chaos and cosmic disorder,who is represented as a composite monster with human head, eagle'swings, and body of a lion. The scene is doubled for the sake of sym-metry (pi. 3). The object at the bottom of the seal is not determined.The original, of limestone, is owned by Mrs. Talcott Williams. (Cat. No.311260, U.S.N.M.)2. Contest with animals (gazelles ?). In the field, the winged disk of Ashurand the spearheaded ashera of Marduk reversed. The original, of schist,from Hillah, Mesopotamia, is in the United States National Museum.(Cat. No. 207925, U.S.N.M.)3. God or man between two gazelles, seizing one by the head, the other by thetail. The original, of calcite, from Hillah, Mesopotamia, is in the UnitedStates National Museum. (Cat. No. 207917, U.S.N.M.)4. Contest with gazelles (?). The original, of white quartzite, is owned byFrederick Stearns. (Cat. No. 158436, U.S.N.M.)Plate 16
1. Two naked figures in fight with monsters. A third figure has his right footon the head of the animal which the other holds by its hind legs upsidedown. In the field, a fish, crescent, a pointed club with projections inthe center, and an indefinable object. The original is owned by Miss M.W. Bruce. (Cat. No. 1.30274, U.S.N.M.)2. Three horned animals?fallow deer (?)?disporting themselves in a field,seven dots (pi. 3, No. 1), tree, and an indefinable object. The original, ofporcelain, from Baghdad, Mesopotamia, is owned by Prof. H. Hyvernat.(Cat. No. 300594, U.S.N.M.)3. Hunting scene : Man with bow aiming at a fleeing deer. In the field,crescent (Sin, the moon god) and rayed sun disk (Shamash), or star(Ishtar). The original, of schist, from Hillah. Mesopotamia, is in theUnited States National Museum. (Cat. No. 207946, U.S.N.M.)4. In the center Enkidu (pi. 1) fighting a lion, whose forelegs he has grasped.To the right a lion has in its mouth the snake-like head of some animal,and is in turn attacked by a winged monster. The original is owned byMrs. Talcott Williams. (Cat. No. 311281. U.S.N.M.)5. Agricultural seal. Seated deity holding a stalk of wheat. Before him aman driving an animal with a curved stick. On the side of the animalare two grain stalks fastened to poles. In the field, crescent ; two columnsof inscription. The original, of mixed diorite, from Baghdad, Mesopo-tamia, is owned by H. Hyvernat. (Cat. No. 300592, U.S.N.M.)Plate 171. Engraved in two registers which are separated by a geometric band ofsquares and dots. In the upper register are depicted two worship scenes,to the left a god in elaborate dress seated on an ornamented chair, hisright hand raised in blessing. Before him a worshipper holding a kid or
ART. 4 ANCIENT ORIENTAL SEALS CASANOWICZ 21gazelle for sacrifice, attended by a priest or another god. To the right isanother seated god with two worshippers before him, and next to theseated figure is Raman in his usual low cap and sliort tunic, with thunder-bolt (?) in his right hand, and facing him, perhaps Marduk with his rightfoot on his animal, the horned dragon. In the field, above, crescent (Sin),star (Ishtar) : in the middle, asheras. In the lower register. Gilgameshand Enkidu fighting the bull and lion, respectively, in various positions ; inone of these Gilgamesh kneeling holds the animals in reversed position,head down. Behind this scene is a figure in long garment standing, serv-ing as separator between the scenes. The original, of brownish hematite,from Hillah, Mesopotamia, is in the United States National Museum.(Cat. No. 207934, U.S.N.M.)2. Engraved in two registers, which are separated by a line. Perhaps Syro-Hittite or Persian seal. The upper register may represent a religiousprocession. In the center, a figure standing driving a chariot. Left ofthis scene are two nude figures led by god in long dress to the tree oflife in form of a cypress. To the right of the chariot is a god, nude,walking behind four small nude figures who carry a god in long dressand conical head dress, holding the thunderbolt?perhaps the Hittite godTeshub-Adad. The mutilated lower register may depict a hunting scene.The original is owned by Mrs. Talcott Williams. (Cat. No. 311258,U.S.N.M.)3. Persian seal, depicting a military scene. Persian soldier, bearded, withPersian garment and feathered crown, and bow and quiver on hisshoulder, grasps a kneeling and appealing captive, who is clad in anelaborate garment and wearing a high helmet, with his left hand, andstrikes him with the spear in his right hand. Behind the soldier and infront of a palm tree are four prisoners, tlieir hands tied behind andtheir necks held by a rope. The original, of bloodstone, from Hillah,Mesoix)tamia, is in the United States National Museum'. (Cat. No.20790S, U.S.N.M.) Plate 18
1. Geometrical design, consisting of symmetrical curves and lines deeply cut.The original, deeply concave, of salmon-colored marble, is in the Metro-politan Museum of Art, New York. (Cat. No. 130283, U.S.N.M.)2. Geometrical design, consisting of irregular curved and cruciform lines.The original, of oriental alabaster, from Baghdad, Mesopotamia, is ownedby Prof. H. Hyvernat. (Cat. No. 300587, U.S.N.M.)3. Two horned animals standing back to back, with crescentic decorations.Perhaps Cyprian seal. The original, of chert, is owned by O. C. Marsh.(Cat. No. 130249, U.S.N.M.)4. Decorative seal : crescents and lines forming triangles and pits. Theoriginal, a scaraboid of chalcedony, from Hillah, Mesopotamia, is in theUnited States National Museum. (Cat. No. 207947, U.S.N.M.)5. Two winged dragons attacking a bull. Between the monsters is the stylizedtree of life. The original, of clouded alabaster, is in the MetropolitanMuseum, of Art, New York. (Cat. No. 130288, U.S.N.M.)6. Syro-IIittite seal. Ishtar, the goddess of love and fecundity, in singleloose garment, which, with her left hand, she draws back, exposing naveland right leg, while in her right hand she holds her bird, the dove withwings extended. Facing her is a god in low cap and short garment.The other half of the seal is taken up with two lions couchants facingone another, and a griffin attacking an ibex, the guilloche, or rope pattern,
22 . PEOCEEDIJSTGS OF THE NATIONAL MUSEUM vol. 69
separating the two pairs of animals. The orisjinal, of black obsidian,is in the Metropolitan Museum of Art, New York. (Cat. No. 130279,U.S.N.M.)7. Deer couchant. The original, a spheroid of hematite, from Hillah. Mesopo-tamia, is in the United States National Museum. (Cat. No. 207948,U.S.N.M.)8. Caparisoned horse. Persian. The original, a riugstone of agate from AsiaMinor, is owned by Frederick Stearns. (Cat. No. 158378. U.S.N.M.)9. Zebu. Inscription. The original, a spheroid of jasper, from Hillah, Me-sopotamia, is in the United States National Museum. (Cat. No. 207954,U.S.N.M.) Plate 19
1. God within an arched gate. The original, pyramidal of clouded chalcedony,from the vicinity of Antioch, Syria, is owned by Frederick Stearns.(Cat. No. 158412, U.S.N.M.)2. Worshipper before sacred columns or asheras. Above, star (Ishtar). Theoriginal, a scaraboid of chalcedony, from Hillah, Mesopotamia, is in theUnited States National Museum. (Cat. No. 207943, U.S.N.M.)3. Worshipper in low round cap and long garment with hair looi>ed in back,between branches. The original, of pottery, from the vicinity of Antioch,Syria, is owned by Frederick Stearns. (Cat. No. 158424, U.S.N.M.)4. Four horned serpents intertwined. In the field, star and inscription. Theoriginal, a spheroid of jasper, from Asia Minor, is owned by FrederickStearns. (Cat. No. 158415, U.S.N.M.)5. Scorpion, emblem of the goddess Iskhara (pi. 7, No. 2). The original, aspheroid of chalcedony, from Cappadocia, Asia Minor, is owned by Fred-erick Stearns. (Cat. No. 158420, U.S.N.M.)6. Four masks of a lion (?) arranged to form a cross. The original, a spher-oid, is owned by Mrs. Talcott Williams. (Cat. No. 311288, U.S.N.M.)7. Heron (?) with open wings. The original, a spheroid of sard, from Cappa-docia, Asia Minor, is owned by Fredei'ick Stearns. (Cat. No. 158418,U.S.N.M.)8. Winged griffin (?). In the field, star. The original, a spheriod of seri>en-tine, from the valley of the Tigris, Mesopotamia, is owned by FrederickStearns. (Cat. No. 158423, U.S.N.M.)9. Engraved in two registers. Above, Nefr, the Egyptian sign for good fortune,between two sacred asps (uraei), the Egyptian emblem of sovereigntyand majesty ; below, sphinx or some mythical animal. Between the tworegisters is the Egyptian winged sundisk. The original, a ringstone ofchalcedony, from Asia Minor, is owned by Frederick Stearns. (Cat. No.15S361, U.S.N.M.)10. Rude Syro-Hittite seal. Bull, with branch above. The original of steatitefrom the vicinity of Canchemish, Syria, is owned by Frederick Stearns.(Cat. No. 158398, U.S.N.M.)11. Deeply notched. The three columns are crudely engraved each with aseated figure with uplifted hands. The original, of hematite, from Hillah,Mesopotamia, is in the Unitetl States National Museum. (Cat. No.207951, U.S.N.M.) Plate 20
1. Zebu. Over the body, crescent ; between the horns, the sundisk. Theoriginal, a ringstone of hematite, is owned by Fredei'ick Stearns. (Cat.No. 158410, U.S.N.M.)
ART. 4 ANCIENT ORIENTAL SEALS CASANOWICZ 23
2. Lion rampant. The original, a ring.stone of clouded chalcedony, is owned byFrederick Stearns. (Cat. No. 158400, U.S.N.M.)3. Man on horseback. In the field, star. Probably Persian. The original, aspheroid of chalcedony from the vicinity of Aintab, Syria, is owned byFrederick Stearns. (Cat. No. 15S375, U.S.N.M.)4. Figure with helmet in short tunic standing with hands raised in adoration.The original, a ringstone of carnelian, from Asia Minor, is owned byFrederick Stearns. (Cat. No. 158380, U.S.N.M.)5. Deity in low turban, seated, holding in the left hand a cup. In front, a palmbranch : above, behind the head, a crescent. The original, a ringstone ofcarnelian, from Asia Minor, is owned by Frederick Stearns. (Cat. No.158379, U.S.N.M.)6. Two warriors (?). The original, of steatite, from Asia Minor, is owned byFrederick Stearns. (Cat. No. 158394, U.S.N.M.)7. Rectangular double seal. On one side, sphinx (?) with star (?) above; onthe other, geometrical design. The original, of steatite, from the vicinityof Aintab, Syria, is owned by Frederick Stearns. (Cat. No. 158363,U.S.N.M.)8. Spherical double seal. On one side, goat; on the other, winged animal. Theoriginal, of seatite, from the vicinity of Aintab, Syria, is owned byFrederick Stearns. (Cat. No. 158426, U.S.N.M.)O

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