he had done towards the erection of a temple worthy of the deity to the god of Sippara:  “for three thousand two hundred years not one of the kings had been able to find them.”  We have no means of judging what these edifices were like for which the Chaldaeans themselves showed such veneration; they have entirely disappeared, or, if anything remains of them, the excavations hitherto carried out have not revealed it.  Many small objects, however, which have accidentally escaped destruction give us a fair idea of the artists who lived in Babylon at this time, and of their skill in handling the graving-tool and chisel.  An alabaster vase with the name of Naramsin, and a mace-head of exquisitely veined marble, dedicated by Shargani-shar-ali to the sun-god of Sippara, are valued only on account of the beauty of the material and the rarity of the inscription; but a porphyry cylinder, which belonged to Ibnishar, scribe of the above-named Shargani, must be ranked among the masterpieces of Oriental engraving.  It represents the hero Gilgames, kneeling and holding with both hands a spherically shaped vase, from which flow two copious jets forming a stream running through the country; an ox, armed with a pair of gigantic crescent-shaped horns, throws back its head to catch one of the jets as it falls.  Everything in this little specimen is equally worthy of admiration—­the purity of outline, the skilful and delicate cutting of the intaglio, the fidelity of the action, and the accuracy of form.  A fragment of a bas-relief of the reign of Naramsin shows that the sculptors were not a bit behind the engravers of gems.  This consists now only of a single figure, a god, who is standing on the right, wearing a conical head-dress and clothed in a hairy garment which leaves his right arm free.  The legs are wanting, the left arm and the hair are for the most part broken away, while the features have also suffered; its distinguishing characteristic is a sublety of workmanship which is lacking in the artistic products of a later age.  The outline stands out from the background with a rare delicacy, the details of the muscles being in no sense exaggerated:  were it not for the costume and pointed beard, one would fancy it a specimen of Egyptian work of the best Memphite period.

[Illustration 096.jpg THE SEAL OF SHARGANI-SHAR-ALI:  GILGAMES WATERS THE CELESTIAL OX.]

     Drawn by Faucher-Gudin, from Menant.

One is almost tempted to believe in the truth of the tradition which ascribes to Naramsin the conquest of Egypt, or of the neighbouring countries.

[Illustration:  096a.jpg Painting in Color of Charioteer]

     Drawn by Boudier, from a photograph published by Father
     Schiel.

[Illustration:  097.jpg Page image]