(1) See F. von Luschan, Sendschirli, I. (1893), pp. 49 ff., pl. vi; and cf.  Cooke, North Sem.  Inscr., pp. 159 ff.  The characters of the inscription on the statue are of the same archaic type as those of the Moabite Stone, though unlike them they are engraved in relief; so too are the inscriptions of Panammu’s later successor Bar-rekub (see below).  Gerjin was certainly in Ya’di, and Winckler’s suggestion that Zenjirli itself also lay in that district but near the border of Sam’al may be provisionally accepted; the occurrence of the names in the inscriptions can be explained in more than one way (see Cooke, op. cit., p. 183).

The political changes introduced into Ya’di and Sam’al by Tiglath-pileser IV are reflected in the inscriptions and monuments of Bar-rekub, a later king of the district.  Internal strife had brought disaster upon Ya’di and the throne had been secured by Panammu II, son of Bar-sur, whose claims received Assyrian support.  In the words of his son Bar-rekub, “he laid hold of the skirt of his lord, the king of Assyria”, who was gracious to him; and it was probably at this time, and as a reward for his loyalty, that Ya’di was united with the neighbouring district of Sam’al.  But Panammu’s devotion to his foreign master led to his death, for he died at the siege of Damascus, in 733 or 732 B.C., “in the camp, while following his lord, Tiglath-pileser, king of Assyria”.  His kinsfolk and the whole camp bewailed him, and his body was sent back to Ya’di, where it was interred by his son, who set up an inscribed statue to his memory.  Bar-rekub followed in his father’s footsteps, as he leads us to infer in his palace-inscription found at Zenjirli:  “I ran at the wheel of my lord, the king of Assyria, in the midst of mighty kings, possessors of silver and possessors of gold.”  It is not strange therefore that his art should reflect Assyrian influence far more strikingly than that of Panammu I. The figure of himself which he caused to be carved in relief on the left side of the palace-inscription is in the Assyrian style,(1) and so too is another of his reliefs from Zenjirli.  On the latter Bar-rekub is represented seated upon his throne with eunuch and scribe in attendance, while in the field is the emblem of full moon and crescent, here ascribed to “Ba’al of Harran”, the famous centre of moon-worship in Northern Mesopotamia.(2)

(1) Sendschirli, IV (1911), pl. lxvii.  Attitude and treatment of robes are both Assyrian, and so is the arrangement of divine symbols in the upper field, though some of the latter are given under unfamiliar forms.  The king’s close-fitting peaked cap was evidently the royal headdress of Sam’al; see the royal figure on a smaller stele of inferior design, op. cit., pl. lxvi.

(2) Op. cit. pp. 257, 346 ff., and pl. lx.  The general style of the sculpture and much of the detail are obviously Assyrian.  Assyrian influence is particularly noticeable in Bar-rekub’s