ancient oriengal seals in the collection of mr. edward t. newell (1984)

8/13/2019 Ancient Oriengal Seals in the Collection of Mr. Edward T. Newell (1984)

1/261

TH E UNIVERSITY OF CHIC GOORIEN T L INSTITUTE PUBLIC TIONS

J MES HE NRY BRE STEDditor

THOM S GEORGE LLENssoci te ditor

oi.uchicago.edu


2/261

oi.uchicago.edu


3/261

ANCIENT ORIENTAL SEALSIN TH E COLLECTION OFMR EDW ARD T NEWELL

oi.uchicago.edu


4/261

THE UNIVERSITY OF CHICAGO PRESSCHICAGO, ILLINOIS

THE BAKE R TAYLOR COMPANYNEW YO RK

THE CAMBRIDGE UNIVERSITY PRESSLO NDO N

THE MARUZEN-KABUSHIKI-KAISHATO K YO , O S AK A, K YO TO , F UK UO K A, S ENDA ITHE COMMERCIAL PRESS, LIMITED

SHANGHAI

oi.uchicago.edu


5/261

THE UNIVERSITY OF CHICAGOORIENTAL INSTITUTE PUBLICATIONS

VOLUME XXII

ANCIENT ORIENTAL SEALSIN TH E CO LLEC TION OFMR. EDW ARD T NE W ELL

yHANS HENNING VON DER OSTEN

THE UNIVERSITY OF CHICAGO PRESSCHICAGO ILLINOIS

oi.uchicago.edu


6/261

COPYRIGHT 1934 BY THE UNIV ERSIT Y OF CHICAGOA L L R IG H T S R E S E R V E D P U B L IS H E D A P R IL 1 9 84

COMPOSED AND PRINTED BY THE UNIVERSITY OF CHICAGO PHE8SCHICAGO ILLINOIS U.S.A.

oi.uchicago.edu


7/261

FOREWORThe collection of cylinders and other seals here presented was assembled by Mr. E dward T .Newell during a period of about thirt y ye ars. M any of the pieces were purchased singly or insmall groups from dealers. A large number of pieces, including most of the H itt ite and archaic seals, were obtained from the la te Mr. W. H. Wa rd. More th an one hundred pieces werepurchased from the late Professor 0. N. Rood of Columbia University.Th is publication should be considered primarily a s a collection of source ma terials. In cata loguing these seals I hav e endeavored to describe them as accurately as possible without discussing their designs, following the method of L. De lapo rte. In the d escriptions certainterm s (caduceus, Engidu, Gilgamesh,kaunakes scaraboid, etc.) are used unquoted. Such conventional use implies nothing as to their real significance, however, but merely the type of acertain representation or design. Drawings in the tex t correlate the various representations ofcostumes, headdresses, ornaments, plants, altars, symbols, weapons, etc. The descriptions and

drawings were made from the originals, as small details, especially on worn surfaces, may notappear in the impressions, yet often remain visible on the stones themselves. The designs in th eplates were all reproduced from impression s. Th e choice of beginnings and ends of designs, ashere published, may in some instances be challenged.Th e seals through N o. 626 are presented on the plates as nearly a s possible in chronologicalsequence, and, when feasible, pieces similar in design or technique are placed together. Inmo st cases, however, even tenta tiv e chronological attrib utio n is still difficult. Nos. 627-46 arein part Egyptian, in part Syrian under Egyptian influence. Nos. 647-65 are acquisitions received after the original grouping had been made . No s. 666-95 (exceptNos.668,677, and 680)are recut or doubtful pieces or clear imitation s, mo st of them from the Roo d collection. Th islast group illustrates the main characteristics of imitations in a very interesting way.The notes and drawings do not attempt a complete analysis, but must be considered solelyas a collection of what seemed especially interesting facts concerning these seals. The purposein giving this material in addition to the catalogue is to facilitate further general or specialstudies of seals and th eir designs. No comprehensive effort h as been ma de to compare th eNewell seals with other published or known pieces. Neither have the details been comparedwi th sculptures or other archeological materia l except in a few cases. For thi s reason I have notgiven references to other studies or catalogues except where absolutely necessary. However,books and articles consulted in the course of this stud y m ay be found in the B ibliography. Tomake such a study completewhich is very desirablewas far beyond the scope of this catalogue.I wish here to express my sincere thanks to Mr. Newell for the privilege of publishing thiscollection and for the valuable suggestions which he has givenm e. I am very grateful to Pro fessor Jam es H. Breasted for h is consent to include this volume among the publications of theOriental Institu te. M r, Howland Wood, curator of the museum of the Am erican Num ismaticSociety, kindly assistedm in preparing t he seal impressions, besides granting me every f acihtyfor this purpose in the museum. For data on the materials of the seals I am indebted to Mr.King Hu bbert of the D epartm ent of Geology of Columbia Unive rsity.Sumerian and A kkadian cuneiform inscriptions were read by D r. F rederickW Geers. Contributions w ere made by Professor Arno Poebel, D r. Ignace J. Gelb, Dr . Arnold W alther, andD r.S N . Kram er. An Old Persian inscription was read by Dr. George G. Cameron. Professor

vii

oi.uchicago.edu


8/261

viii F O R E W O R DM art in Sprenghng p lans to pubhsh the Aram aic Greek and Pahlav i inscr ip tions in theAmerican Journal of Semitic Lan guages and Literatures Dr. T. George Allen carefully editedand saw thr oug h th e press this publicat ion as he ha s m y previou s ones for which I again wishto than k h im s incere ly . He was a lso k ind enough to read and comm ent on the E gyp t ian sea ls .M r. E. V. Pros tov ass i s ted on the Bib l iography. I am a lso very muc h indebted to Miss Ru th C.Wilk ins and Miss Ruth L. Schurman for the i r he lp in preparing the manuscrip t .

H A N S H E N N I N G V O N D E R O S T E N

oi.uchicago.edu


9/261

TABLE OF CONTENTSP A G E

L I S T O F I L L U S T R A T I O N S x iL I S T O P A B B R E V IA T I O N S x

I . INTROD UCTION 1Archaic and Sum erian Seals 3A k k a d ia n S ea ls . 5Sum ero-Akk adian Seals 5Babylo nian Seals 6Kassit e Seals 7H i t t i t e Se al s 7K i r k u k C y l ind e r s 8Eg ypt ian or Egyp tianized Seals 8Assyrian Seals 8Neo-B abylonian Seals 9No rth Syrian Seals 9Achaem enian Seals 10Seleucid or Par thia n Seals 10Sassa nian Seals 10Dou btful Pieces 10Ee cut Pieces 11Forgeries 11Typological Tabl e 12

I I . T H E C A T A L O G U E 1 4I I I . N O T E S O N D E T A I L S 8 6

Deities 86Heroes and Demons 94Priests and Wo rshipers 98Human Figures , Heads , and Hands 1Animals and Mons te rs 1Trees and Sacred Trees 1 6Flowers 108Sun Disks and Winged Disks 11Crescents 110Stars 112Mounta ins 113Wate r 114B u i ld in gs a n d P a r t s of B u i ld ing s . 1 1 4Boats 115Chariots 115Altars 116Seats , Footstools , and Daises 119Vessels 121

Baskets 123Loom 123Plows 123Weapons 123Saws 127Mus ica l Ins t rum ents 127Personal Ado rnm ent 127ix

oi.uchicago.edu


10/261

x TABLE OP CONT ENTSDivine Emblem s or S tandards 139Symbols 141Ornam enta l Motives 146Borders 148Division of Registers 149

I V N O T E S O N T H E S C E N E S 1 50Mytho logical Scenes 150Rit ual Scenes 154W ar Scenes 157Hu nti ng Scenes 157Landscapes 157Anim al Scenes 158Anti the t ic Groups 158ri z s 160

V T H E I N S C R I P T I O N S 1 6 1Sumerian and Akkadian 161Egypt ian 165Old Persian 166Index of Nam es 167

S E L E C T E D B I B L I O G R A P H Y 1 6 8I N D E X O F S E A L N U M B E R S 1 91G E N E R A L I N D E X 1 98

oi.uchicago.edu


11/261

LIST OF ILLUSTRATIONSP L A T E S

I XLI SEALS NOS. 1-695 at endT E X T F I G U R E S

P G E1 . C H A R T S H O W I N G A P P R O X I M A T E L Y T H E E X T E N T , M I X T U R E , A N D O V E R L A P P I N G O F T H E V A R I O U S S T Y L E S

OF SEAL S 22 . F O R M S O F S E A L S , S H O W I N G P E R F O R A T I O N S 43 . T R E E S 1 0 74 . S A C R E D T R E E S 1 0 95 . F L O W E R S I l l6 . S U N D I S K S A N D W I N G E D D I S K S I l l7 . STARS 1128 . M O U N T A I N S 1 1 39 . B U I L D I N G S A N D D O O R W A Y S 1 1 5

10 . CHA RIOTS 11611 . ALTAR S 1171 2. D E T A I L O F A C Y L I N D E R S E A L I N T H E C O L L E C T IO N O F M R S . A G N E S B A L D W I N B R E T T . . 1 1 8IS SEATS 12014 . VES SEL S 1221 5 . A L O O M A N D T W O P L O W S 1 2 31 6 . W E A P O N S 1 2 51 7. S A W S 1 271 8 . M U S I C A L I N S T R U M E N T S 1 271 9 . G A R M E N T S O N A R C H A I C T O B A B Y L O N I A N S E A L S 1 292 0 . G A R M E N T S O N A R C H A I C T O B A B Y L O N I A N S E A L S 1 3 12 1 . G A R M E N T S O N H I T T I T E S E A L S . 1 322 2 . H E A D D R E S S E S O N A R C H A I C T O B A B Y L O N I A N A N D A S S Y R I A N T O S A S S A N I A N S E A L S 1 3 52 3 . H E A D D R E S S E S O N H I T T I T E S E A L S 1 362 4 . F A N S , M A N I P L E S , A N D A S H O E 1 3 825 . EMB LEM S AND STANDARDS 13926 . SYMBOLS 14227 SYMBOLS 1452 8 . R O S E T T E S , G U I L L O C H E S , A N D S P I R A L S 1 47

x

oi.uchicago.edu


12/261

oi.uchicago.edu


13/261

LIST OF ABBREVIATIONSJ American journa l of archaeology The journal of the Archaeological Ins titu te of America (Ba ltimore etc., 1885 )JS L American journa l of Semitic languages and literat ures (Chicago etc., 1884 )OF Archiv fur Orientforschung (Berlin, 1923 )

JSOR Society of Orien tal Research . Journ al (Chicago etc., 1917 )OIC Chicago. Unive rsity. OrientalInstitu te. Oriental Institu te communications (Chicago, 1922 )R Rev ue d assyriologie et d archeologie orientale (Paris , 1884 )S OC Chicago. Unive rsity. Oriental Ins titu te. Studies in ancien t oriental civilization (Chicago, 1931 -)

x i n

oi.uchicago.edu


14/261

oi.uchicago.edu


15/261

II N T R O D U C T I O N

It is difficult to classify ancient oriental seals in most of the large collections, since the sealshave u sua l ly been obta ined by purc hase and even th e genera l regions f rom wh ich they came areunknown. Of course dealers give information as to the exact si te from which each piece hascome, b ut for obvious reason s such inform ation mu st be ver y largely discoun ted. Classificat ionof such sea ls mu st depen d on com pari son wi th a l imi ted group of objec ts of know n proveniencean d appro xim ately defini te date . Th ere are two classes of such obje cts: (1) seal impres sions ondatable tablets and (2) seals found in defini te cul tural layers at defini te si tes in the course ofconsc ient ious ly conducted excavat ions .1 There i s not ye t ava i lable enough such mater ia l tofurnish completely accurate classificat ions of the seals in the collect ions. Nevertheless, theavai lable ma ter ia l perm i ts recogni t ion of cer ta in large groups , t em pora l , regional, and cul tura l ,with considerable precision; in some cases even smaller groups can be defini tely placed. I amconvinced tha t a comprehensive s tu dy of a l l the mater ia l kno wn a t present would perm i t m uchprog ress towa rd a more acc ura te classificat ion. So large a tas k, of course, is bey ond t he scop eof the present publ ica t ion.The char t in Figure 1 shows schemat ica l ly the approximate da t ing of the la rge groups andthe i r over lapping. I t wi l l be seen tha t usua l ly two or more cul tura l e lements opera ted a t thesame t ime. This fact adds to the difficul ty we meet in t rying to classify our specimens. Thechronology of the chart fol lows the general ly accepted scheme without cri t ical discriminationor spec ia l s tudies on my par t .In ut i l i z ing for compari son even approximate ly da table sea ls or impress ions , one must becaut ious . Th ou gh a table t i s da ted, an impress ion on i t m ay hav e been mad e wi th a m ucholder seal . A seal found in a definite cul ture layer m ay w ell ha ve orig inated in some other laye r.Such small objects as seals easi ly migrate into ei ther lower or higher levels, natural ly or by human agency . The famous Nebuchadnezza r gem 2 shows a head, undoubtedly of the age ofAlexander , wi th an inscr ipt ion of Nebuchadnezzar a round i t . This i s a Neo-Babylonian s toneof the so-ca l led divine eye type , which was re -used in la te r t imes , when th e Alexander h eadwas adde d. Ex cava tors a t Nip pu r found in a wooden box col lec tions of semiprec ious cu ts tones of the Kass i te per iod, apparent ly assembled for recut t ing about a thousand years la te r . 3Another example of upward migra t ion i s a l a te Sumero-Akkadian cyl inder sea l found by theAn atol ian Expedi t ion of the Orienta l Ins t i tut e in the Rom an layer a t the Ali^ar mo un d. Pr ob ably the piece had come to l ight during the digging of a foundat ion t renc h or a re fuse pi t andhad been ke pt by the anc ient f inder as a cur io. On the other han d, a typica l Sassanian sea l ha dmig ra ted d own ward in to the Ph rygian layer a t Al i^ar , e i ther as the resu l t of leve l ing ac t ivi t i esor s imply by fa l l ing through a woodchuck hole . Therefore , one should be very careful in a t t ributing impressions and seals to defini te cul tural periods even if found in datable levels of excavat ions . The cer ta inty of such a t t r ibut ions ga ins only in proport ion to the f requency of im-1 Datable impressions or seals of known provenience have been published especially by Delaporte (Louvre), Weber,Legrain, Allotte de la Fuye, and the Museum of the University of Pennsylvania . The titles may be found in the B ibliography.

2Joachim Menan t,Les pierres gravies de la Haute Asie II (Paris, 1886) 142-48.8H. V. Hilprech t, The excavations in Assyria and Babylonia (Pennsylvania. University. Babylonian expedition.Series D: esearchesand treatisesI [P hiladelphia, 1904]) pp . 335-36.

1

oi.uchicago.edu


16/261

F I G . 1 CHART S H O W I N G A P P R O X I M A T E L Y T H E E X T E N T M I X T U R E A N D O V E R L A P P I N G O F T H E V A R I O U S S T Y L E SO F S E A L S

oi.uchicago.edu


17/261

I N T R O D U C T I O N 3pressions of a given type on tablets of a defini te period or the frequency of a given type of sealwithin a defini te cul tural layer.

Both s tamp and cyl inder sea l s a re usua l ly perfora ted (Fig. 2) . In the s tamps the bores a repara l le l wi th the base and m ay be in e ither the long or the sh ort diam eter . Th e cyl inders a reusua l ly bored lengthwise , dr i l l ed from both ends . Hard s tonesrock crys ta l , amethyst , e tc .seem to have been perforated first (e .g. , No. 186). When a softer material was used, the designseems to have been cut before the perfora t ion was bored (e .g. , No. 172) . The boring processwas l ike ly to c rack the hard s tones , whereas wi th the sof te r mater ia l there was not so muchdanger .Designs were cut wi th a graver a lone or wi th a graver and a dr i l l . F rom Assyrian t im es on,the use of a wheel as an engraving tool became general , in addit ion to the other two tools. if-fe rences in the techniq ue of the engraving amo ng pieces be longing to th e sam e cul tura l per iodmay have resul ted from regional pecul ia r i t i es of var ious par t s of the anc ient Near Eas t whichwere more or less subject to the same cultural influence at the same t ime; from the style, taste,or abi l i ty of the a r t i s t ; or f rom the preference of the pa t ron for whom the sea l was engraved.Examples of such variat ions are seen on Nos. 130, 142, 148, and 158.Th is collect ion has been num ber ed in chronological order as near ly as possible (cf. p p . vi i and12-13) . We must repea t tha t i t i s usua l ly imposs ible to draw a sharp l ine be tween sea ls ofre la ted groups . Neverthe less , we may discern cer ta in group charac ter i s t ics .

A R C H A I C A N D S U M E R I A N S E A L SAlthough we are able through the very important and consc ient ious excavat ions a t Fara ,Ur, Tell Asm ar, Khafaje, and Tell Bil lah4 to ascribe certain types of cyl inders ei ther to theJemdet Nasr per iod (predynast ic ) or to the 1s t dynasty of TJr (dynast ic , or properly Sumeri -an) , for the purposes of thi s s tud y we prefer to re ta in the genera l t e r m archa ic or Sum erianand not to divide them up. An exac t chronology and a t t r ibut ion of the var ious types of cyl inder seals st i l l requires more study by students of this special period. 5 The grea t ma ss of ma t e r ia l f rom th e ear lie r l ayers of Susa unfor tun a te ly cann ot be used for an y chronological com pari sons . Sea ls Nos . 1-91, 647-48, 650(?) , and 668 may wi th some cer ta inty be ascr ibed to thi s

group. Common to a l l these sea ls i s a cer ta in pr imi t ive vi ta l i ty of composi t ion which disappears in la te r per iods .STAMP SEALS

Especia l ly noteworthy i s No. 4, where the pa t te rn of convent iona l ized animals i s a rrangedwi th grea t t as te and ski ll to fi ll the ava i lable space com ple te ly. N os . 4-6 an d 9 show the use ofthe graver only. On No . 8 a dr i ll a l so was used. In th i s techn ique pro bab ly the dr i l l was usedfirst to block out the la rger and deeper par t s of the proposed des ign. On No s. 16-17 the wo rkseems never to have progressed beyond thi s s tage . No. 23 i s of the same type as the glypt icobjec ts f rom Mohenjo Daro. I t was most probably found in Mesopotamia , as i t was boughtthere by W ard long before the di scovery of such s tones in India . Exis tence of re la t ions be tweenthese two count r ies a t thi s cul tura l per iod, for some years accepted as probable , 6is now to beconsidered established. The finds of Frankfort at Tell Asmar

7 seem to have confi rmed thetheory defini tely.

*See Bibliograph y.8 Cf. Henri Frankfort, Archeology and the Sumerian Problem (SAOC No. 4 [1932]).6Priedrich W. von Biasing, Ein vor etwa 15 Jahre n erworbenes 'H arappa-S iegel, ' in AO F IV (1927) 21-22.7Tell Asmar, Khafaje, andKhorsabad Second Preliminary Report oftheIraq Expedition (OICN o. 16 [1933]) pp . 47- 53.

oi.uchicago.edu


18/261

1

-

/

-

\ rrtr{ .WL *U L J}

593 616 577 6 8F I G . 2 FORMS O F S E A L S , S H O W I N G P E R F O R A T I O N S

615

oi.uchicago.edu


19/261

I N T R O D U C T I O N 5C Y L I N D E R S E A L S

The older cyl inders a re usua l ly regular and the perfora t ions la rge , but there a re some cyl inders wi th concave s ides in which the bo res a re very sm al l . N o. 24 (Fig. 2) shows an unfini shed perfora t ion. N o. 650 , bored a t one end only, ha s been ascr ibed to thi s gro up ; bu t i tm ay be a weight of a mu ch la te r per iod. A divis ion into regis te rs (usua l ly two) begins . Th escenes in the di ffe rent regis te rs a re not a lways centered a t the same point ; hence some sea lsrequi re more than one comple te revolut ion to show a l l the i r scenes in the proper a rrangemente.g. N o s . 3 9 H * 0 ) .8Many of these sea ls may be ca l led Sumerian, a l though thi s des igna t ion must of ten be cons idered ten ta t iv e , as the re i s mu ch overlapping a t each end of thi s gro up. Al th oug h they p rob ab l y a re Sumer i an sea l s , Nos . 84-91 may have been made dur i ng t he t i me of t he Akkadi anEm pi re o r even dur i ng t he Sumero-A kkadi an pe r i od . Th e a rcha ic and Sum er i an sea l s show agrea t var ie ty of technique and qual i ty , owing to the long per iod and widespread te rr i tory fromwhich they hav e come. A typica l techniq ue of thi s group i s engra ving wi th deep an d c lear lyinc ised l ines , as on No. 39 . The heads of the human f igures resemble those of bi rds . Wel lmod eled forms in higher rel ie f app ear on some sea ls (e .g. , N os . 49 -50 an d 647) . No s . 58 -60 and75-78 show deep , angul a r cu t t i ng , whe rea s t he work on No s . 63 and 64 i s sha ll ow and sum ma ry .

Animal f igures appear f requent ly (e .g. , on Nos. 50-52, 60, 63 , and 647) , of ten rampant andcrossed. Such animal groups , somet imes combined wi th human f igures , a re of ten so inte rlocked as to form a n endless f r ieze . To wa rd th e end of the per iod s t ruggles be tween hero es andani ma l s fo rm t he domi nant no t e , and t he compos i t i ons become more and more s t e reo t yped .A K K A D I A N S E A L S

Cyl inders Nos . 92-103 a re typica l Akkadian sea ls . Most of the cyl inders of the per iod aresom ewh at concave (e.g., N o/ 9 5 in Fig. 2) . N os . 9 6-9 7 s ti l l show par t s of the i r or igina l mo un t ings (simi la r to tha t on No . 429 ) . A piece of copper or bronze inser ted into th e perfora t ion ha da knob a t the bot tom to hold the cyl inder and probably had a loop a t the top for suspension.N o . 93 , unf ini shed, w as pro bab ly discarded before the perfora t ion w as dr i l l ed.Th e mos t comm on des igns show comba t s be tween Gi l gamesh or En gi du an d an i ma l s . The reare many var ia t ions , but the des igns have los t the vi ta l i ty (somet imes a l i t t l e c rude) of the a rcha ic and ear ly Sumerian compo si t ions . Th e techn ique of the c ut t in g of the s to ne i tse lf dur in gthis per iod was ra re ly surpassed in la te r t imes .Sea ls such as Nos . 90, 104, and 111 m ay h ave been pro duc ed b y or for the Sum erian e lemen tduring the per iod of Ak kad ian dom inat ion. Ce rta in sea ls showing int rodu ct ion before a de i ty(e .g. , No. 114)a mot ive espec ia l ly f requent in pos t -Akkadian t imesand mythologica lscenes such as No. 153 could a lso be long to the Ak kad ian per iod, a l tho ug h the y are p rob ablyla te r . In composi t ion they show re la t ion to the f reer Sumerian s tyle .

S U M E R O - A K K A D I A N S E A L SUnd e r t h i s head I woul d group pos t -Akkad i an sea l s down t o t he 1s t dyn as t y o f B ab yl on(cf . p . 6) . As s ta te d in the preceding p arag rap h, i t i s dif ficul t in m an y cases to dec ide wh ethera seal i s l a t e Ak kadi an or e a rl y Sumero-Akk adi an . Th e a t t r i bu t i on of No s . 164-65 and 168to thi s group i s ques t ionable . Some of the f igures on No. 164 appear in the upper regis te r ofN o . 312 , a H i t t i t e s ea l. Seve ral e l ement s on No . 165 re sembl e equa l l y H i t t i t e r epre sen t a t ions . On No . 168, cut in a pecul ia r s tyle , the c ross would sugg est a t t r ibu t ion to the K ass i te8Th e impressions of Nos. 38 and 9 4, published on Plat es V and X , have been cu t at th e wrong place.

oi.uchicago.edu


20/261

6 A N C I E N T O R I E N T A L S E AL S I N T H E N E W E L L C O L L E C T I O Nperiod, whereas the s tandard (c f . p . 139) appears on archa ic sea ls . These three s tones , wi thmany others , aga in show the di ff icul ty of making def ini te a t t r ibut ions .

S T A M P S E A LN o . 171,wi th a lm ost c i rcular base and ro und ed back , is the only s ta m p sea l of thi s col lec t ionwhich be longs in thi s group. I t s des ign i s c lose ly re la ted to tha t of cyl inder No. 131.

C Y L I N D E R S E A L STh e cyl inders a re of ten concave , bu t a lmo st as m an y are regular in shape . Th e m oun t ingsseem to have inc luded a smal l cap a t each end. Most pieces show wear a t the i r upper edges ,per hap s from such caps . No s . 185 (Fig. 2) and 186 show ca ps cut in the s tone itself No s. 138and 186, bo th of rock crys ta l , hav e been perfora ted a l thou gh th e des igns a re unfinished (cf .p . 3) .Th e engrav ing techniqu e var ies , of course , but i t i s usua l ly careful . Unfinished pieces suchas No. 138 suggest tha t the dr il l was used to block out th e pa t t e r n before the out l ines and deta i l s were cut wi th the graver . B ut on N o. 172, a l so unfinished, th e graver seems to have beenused first . On some seals (e.g. , No. 134) certain figures are careful ly engraved, whereas behind

or be tween th em , in spaces which app ear to ha ve been le ft f ree or igina l ly, other f igures or sy mbols hav e been added , som et imes in ver y c rude fashion. Th is seems to indica te th a t sea l s a l ready engraved were offered for sa le wi th blank spaces in which a few i tems chosen by thebuy er could be adde d (cf. Ba bylo nian sea ls N os . 213, 228, and 254 ) .The ear l ie r sea l s of the group show de i t ies wearing s imple horned crowns, espec ia l ly in theint rod uct ion scenes where one de i ty leads a worshiper by the ha nd tow ard ano ther de i ty . Th enelabora te horned crowns appear , toge ther wi th round caps worn by worshipers or de i t ies .Such pieces as N os . 173-7 4 and 178 m ay be ass igned wi th some cer ta inty to the per iod of t he3d dynasty of Ur.

B A B Y L O N I A N S E A L SIt i s even more di ff icul t to di s t inguish be tween Sumero-Akkadian and Babylonian sea ls than

betwe en thos e of ear l ie r per iods . Genera l ly a l l cyl inders where th e god wearing a rou nd capand carrying a mace appears have been a t t r ibuted to the Babylonian per iod, as i t i s probablet ha t t h i s god , l i ke t he nude goddess , appea red i n t he sou t he rn Mesopot ami an pan t heon wi t ht he Amor i t e i nvas i on .Both concave and regular cyl inders occur . The engraving technique i s somet imes exce l lent .In other cases there i s a marked tendency to convent iona l iza t ion, evidenced by pronounceddri l l holes and summary engraving (e .g. , Nos . 195, 199, and 652) . This may be due la rge ly tot he ma t e r i a l used , t hough hem a t i t e , the comm ones t , is hand l ed bo t h ways . No s . 213 and 254are examples of seals probably offered for sale with some of the figures careful ly engraved,leaving spaces in which symbols or the f igure of a favori te de i ty, chosen by the buyer , wereadd ed in a c ruder techniqu e (cf. Sum ero-A kkad ian sea l N o. 134) . N o. 228 m ay be such a piecewhich was unsold.Most of the des igns represent de i t ies . The process of s te reotyping the f igures of the gods ,

begun in la te Sumerian t imes , reaches comple t ion in the Babylonian per iod. The f igures a reta l le r than those on Sumero-Akkadian sea ls , and northern de i t ies such as the nude goddess andthe god wearing a rou nd cap and carry ing a mac e app ear f requent ly. Th e app earan ce of ornaments and symbols f i l l ing spaces be tween the main f igures , as on Nos. 217 and 224, showsHi t t i t e i n f l uence .

oi.uchicago.edu


21/261

I N T R O D U C T I O NK A S S I T E S E A L S

On the Kass i te cyl inders the inscr ipt ion i s usua l ly the most important e lement in the des ign(e .g. , N o. 274) . Often only a s ingle figure, worshiper or de i ty, ap pea rs in addi t ion. Th e te nd en cy to e longate the f igures cont inu es . Th e cross as a sym bol f requen t ly ap pear s on such s ton es .Fo r thi s reason a cyl inder such as No . 168 m ay be long in thi s grou p (cf . p p. 5 -6) .

H I T T I T E S E A L SI follow older wri te rs in group ing as H i t t i t e those sea ls which app aren t ly or igina ted in theH i t t i t e t e rr i to ry (Asia M inor and Syria ) and regions adjacen t to i t . Such sea ls a re on thewhole the most difficul t of al l to classify* This is understandable when we consider the longperiod of t ime represented and the many e thnica l and cul tura l e lements involved.

C O P P E R A G E S T A M P S9St amp sea l s such a s t hose found i n ea r l y s t ra t a i n Syr i a , nor t he rn Mesopot ami a , and cent ra l Anatol ia a re the oldes t sea l s f rom regions outs ide of southern Mesopotamia and may becontem poran eous wi th the a rcha ic s tam p sea ls of th a t region. The typica l Co pp er Agesta m ps are gable-shaped (e .g. , N o. 367 in Fig . 2) . Th ey seem to have been carved wi th agrave r on l y . Anot he r k i nd of s t amp sea l appea rs wi t h e i t he r round or r e c t angul a r ba se anda s imple s tem as handle , perfora ted a t the top. The des ign i s usua l ly a c ross wi th inscr ibedangles , no t unl ike the Eg yp t ian c i t y s ign. A la rge nu m ber of such s tam ps, toge ther wi th afew gable-shaped s tone s tamps, have been found a t Al i^ar in layers represent ing the Copper

Age, which ma y be roug hly da te d be tw een 3000 and 2400 B.C.C A P P A D O C I A N C Y L I N D E R S

Cyl inders which pro bab ly or igina ted in Cap pado cia and which were used ther e e i ther byMe sopot am i an merch ant s or dur i ng the pe ri od of the i r r e s i dence a re c a ll ed C a pp ado c i ancyl inders . Th ey show a t leas t two s tyles of engraving one ra the r de l ica te an d sha l low (e .g. ,N o . 282) and the other deep and ang ular (e .g. , N os . 285 and 287 ) . Th ei r des igns a re s t rong lyinf luenced by southern Mesopotamia , but wi th modi f ica t ions of mot ives or pecul ia r addi t ionsin the way of figures and symbols. The difference is seen by a comparison of Nos. 131 and 179wi th N os. 183, 279 -80, 282-84, and 286. Find s a t Al iar indica te tha t such pieces as No s .297-301 and probably Nos. 302-3 be long to thi s group. Besides such cyl inder sea l s , impress ions of typica l 3d dyna sty of Ur cyl inder sea l s and s tam p sea ls app eare d there . Un fortu na te lynoth ing can be sa id abo ut the s tam ps, s ince the i r des igns a re unreco gnizable . In ad di t ion, tw o3d dynasty of Ur sea ls were found a t Al iar in the same leve l as Cappadocian table t s .

H I T T I T E S T A M P SCer ta in s ta m p sea ls (e.g., No s . 372-7 5 and 377-79 ) wi th va r ious typ es of han dles a re mo re orl es s con t emporan eous wi t h t he C ap pad oc i an cy l i nde rs . The re a re no i nsc r ip t i ons on t hem.Neverthe less , these a re the only sea ls which we know to be ac tua l ly Hittite c o n t e m p o r a n e o u s

wi th the du ra t io n of the emp ires in Asia Mino r (a bou t 2000-1200 B.C.) . A t Al i^ar such s tam psare regular ly assoc ia ted wi th remain s of the Hi t t i t e per iod. Th is cul ture ha d been es tabl i shedthere before the coming of the fore ign merchants and survived the i r pass ing. Therefore suchs t amp sea l s we re pa r t l y con t emporaneous wi t h t he C appadoc i an t ab l e t s .Natu rally these cannot actually be H itt i te / ' but they are so designated by many writers for the sake of convenience.

oi.uchicago.edu


22/261

8 A N C I E N T O R I E N T A L S E AL S I N T H E N E W E L L C O L L E C T I O NP O S T - H I T T I T E S T A M P S

The l a st H i t t i t e g roup t o whi ch an approx i ma t e da t e c an be a s s igned (Nos . 376 and 38 0-94) inc ludes s ta m p sea ls or am ule ts , ma ny of them d isk-shaped. Al l such objec ts di scovered a tAl iar app eared in the s t r a tu m fol lowing the des t ruc t ion of the Hi t t i t e E mp ire ( i. e ., a f te r 1200B.C. ) . Hieroglyphs occur on some of them. As such hieroglyphs appear sporadica l ly before1200 B . C , some of the sea ls may be ass igned to the rul ing c lass of the New Hi t t i t e Empire ,organized about 1500B.C. Severa l sea l s wi th hie roglyphic an d cunei form bi l ingual inscr ipt ionsof kings of the New Hi t t i t e Empire have been found a t Bogazkoy. Most of the sea ls wi thhieroglyphs , however , probably da te f rom af te r 1200 B.C.C Y P R I O T E C Y L I N D E R S

Exa mp les of thi s group hav e been found on Cy prus , bu t others have been found on the m ainland ; hence the group i s t enta t ive ly inc luded amo ng H i t t i t e sea l s (cf . p . 9) . No s . 355,358,an d 359 are typica l pieces showing the two mo st com mon Cy pr iot e s tyles . So met imes acer ta in Cre tan or Mycenean inf luence i s not iceable .O T H E R H I T T I T E S E A L S

C yl i nde rs No s . 634-35 and 637-46 mi ght be c l as sed a s H i t t i t e because t hey p robabl yoriginated in Syria or Palest ine at the end of the second or the beginning of the first mil lenniumB.C. These cyl inders , however , show a s t rong Egypt ian inf luence and are therefore descr ibedwi th the Eg yp t ian sea ls . T he rema ining H i t t i t e sea l s , mo st ly cyl inders , cann ot ye t be c lass i fied defini tely. Th e motiv es in th e designs often show foreign influence, wh ereas the compo sit i on m ay be t yp i ca ll y H i t t i t e . The i r approx i m a t e chronology i s p robab l y de r i vab le f romContenau's para l le l s .10

K I R K U K C Y L I N D E R SN o s . 288-90 resemble c lose ly glypt ic objec ts or impress ions found a t Ki rkuk in northernM esop otam ia . S tyl i s tica l ly the y be long be tween the H i t t i t e group s and the Assy rian sea ls .

E G Y P T I A N O R E G Y P T I A N I Z E D S E A LSThe predynast ic cyl inder No. 636 and the scarabs Nos. 627-33 were doubt less made inEgypt . Cyl inders Nos . 634-35 and 637-46, which probably or igina ted in Syria or Pa les t ine ,show s t rong Eg yp t ian inf luence. Th ey bear fa ir , poor , or hopeless imi ta t io ns of Eg yp t ian h ie roglyphic inscr ipt ions . N os . 637 and 639 are def ini te ly of Sy rian or igin. N o. 639 has borrow edal l i t s e leme nts from E gy pt . Aside from No . 636, a l l the pieces of thi s gro up be long to the12 th-1 8th dy nast ies . Th e Hyks os conquest of Eg yp t fel l wi thin thi s t ime (2000-1350 B.C.) ,and some mo t ives charac ter i s t ic of the per iod are of ten ca l led H yk so s .

A S S Y R I A N S E A L SC Y L I N D E R S E A L S

Most of the ear ly cyl inders a re regular in shape , though a tendency to taper a t the ends i sdeveloping. M ater ia l s were mo st ly dior i te and sof te r ma ter ia l s such as serpen t ine . Th e m ou nt ing of No. 429 i s s t i l l preserved though i t i s badly corroded. The t r iangular borders on Nos.416 and 417 probably developed in order to make the fas tening of the caps more secure (c f .10G. Contenau, La glyptique syro hittite (Paris, 1922).

oi.uchicago.edu


23/261

I N T R O D U C T I O N 9p . 149) . Th e engraving i s usua l ly sha llow. T he most comm on des igns a re s te reotyp ed re presen ta t ions of a worshiper before a de i ty, but war and hunt ing (Nos . 411 and 412) a l so appear .Most of the la te r cyl inders a re of cha lcedony cut barre l -shaped. The engraving var ies inqual i ty f rom the f ine execut ion on No. 443 to the summary and crude engraving on No. 428.No . 445 i s inte res t ing b ecause i t s lower end a l so is engr aved . Th e use of the w heel as an engraving tool began in thi s per iod.

S T A M P S E A L SSt am p sea ls r e app ea r abou t 700B .C . I t has of ten been sa id th a t s tam p sea ls becam e com mo nin the Assyrian an d la te r per iods because c lay was no longer the gen era l wri t ing mate r ia l . B uttha t s tamp sea ls were wide ly used when c lay was s t i l l a common wri t ing mater ia l i s shown bym any impre s s i ons on C ap pad oc i an , Assyr i an , Pe rs i an , and Sel euc id t ab l e t s . One i s t em pt e dt o a s sume t h a t t he i n t roduc t i on of s t am p sea ls went hand- i n -h and wi t h a f inal a t t em p t by t heAssyrians to f ree themselves cul tura l ly , as wel l as pol i t i ca l ly , f rom the ha ted dependence onB aby lon. T he cone sea ls a re of ten very carefully shap ed (e .g ., No s . 484, 498, an d 517 inFig. 2) . B y comp ari son the engraving of the des igns i s usu a l ly incredibly c rude and su mm ary .Thi s t ype of s ea l r ema i ned i n use i n Meso pot am i a t h roug h t he N eo-B abyl on i an pe r i od anddown t o t he Sel euc id and pe rhaps t o some ex t en t i n t o t he Pa r t h i an pe r i od . M an y i mpre s s ionsfrom such sea ls a re preserved on da table table t s of thi s t ime .

N E O - B A B Y L O N I A N S EA L SC Y L I N D E R S E A L S

Cyl inder sea l s of thi s per iod can ra re ly be di s t inguished from the la te r Assyrian cyl inders .Cyl inders showing divine sea ts wi th symbols on them (e .g . , No. 448) a re commonly ascr ibedto thi s per iod.S T A M P S E A L S

Co ne sea ls of the same shape as th e Assyrian ones cont inu ed to be used. I t is imposs ibleto di s t inguish the Assy rian from the Neo -B abylo nian or la te r sea l s . A new typ e of s ta m p i sduck -shap ed (e .g . , No . 507 in Fig. 2) . S ince such pieces m ay h ave bee n used for weights r a th erthan sea ls , the i r weights have been added in the Cata logue .

N O R T H S Y R I A N S E A L SThis i s the most unsa t i s fac tory grouping of sea l s tones . I t comprises the glypt ic objec tsf rom approx i ma t e l y 1000 B .C . to some t ime short ly before or after the beginning of our era.Sea ls of thi s kind were used not only in N or th Syria prop er , bu t a l so in Pa les t ine , Cy pru s , a nd,as proved b y the excavat ion of the Al i^ar mo und , even in Asia Min or . The se sea ls hav e beenca l led N or th Syrian, as they ap pea r ther e mo st f reque nt ly . Th ey comp rise of course var iouss tyles . The so-ca lled Cy p rio te cyl inder seal s be long s tyl i s tica l ly , as wel l as according tothe i r t echniqu e , par t ly wi thin thi s group (cf . p . 8) . T he sh ape s and des igns hav e been influenced by the many cul tures which a t var ious t imes occupied and penet ra ted Syria . We f indscaraboids ,1 1pe rhap s der ived from th e Egy p t ian s carab form, f la t sea ls wi th des igns on b oth

faces, resembl ing the pos t -Hi t t i t e di sk-shaped sea ls or amule ts , cyl inder sea l s , and sea ls wi thfour or f ive s ides . The des igns inc lude anc ient southern Mesopotamian, Assyrian, Hi t t i t e , andEgyp t i an mot i ve s mi ngl ed wi t h Arama i c i nsc r i p t i ons o f t he Achaemeni an pe r i od . The t e chnique too shows any number of var ia t ions , f rom very careful ly engraved and de ta i led des igns11A. ProcopS -Walter, Eiii B indeglied zwischen Rollsiegel und Hemiovo id (Ska raba oid), in OF VI (1930-31) 65-75.

oi.uchicago.edu


24/261

10 A N C I E N T O R I E N T A L S E AL S I N T H E N E W E L L C O L L E C T I O Nto crudely scra tched l ines which of ten do no t perm i t one to recognize the i r t ru e mean ing a t a l l .Th us t he de s i gna ti on N or t h Syr i an ha s t o be t aken in eve ry re spec t cum gr no s lis and asne i ther regional ly nor tempora l ly def ini te .

A C H A E M E N I A N S E A L SThe Achaemenian sea ls cont inue genera l ly the forms and scenes of the Assyrian per iod.The hero ki l l ing or t r iumphing over monsters becomes now the king, ident i f ied by the c idar i s ,personifying the l ight and the good t r ium ph ing over the darkn ess and evi l . In des ign and execut ion the bes t pieces be long to the so-ca l led Greco-Pers ian group, most of which or igina tedprobably in Asia Minor . Various Greek gem forms occur . Some of them are engraved on severa l s ides , perh aps in reminiscence of cer ta in H i t t i t e sea l s . In the des igns , only the co s tumesof the f igures change from the previo us mot iv e . Eg yp t ian inf luence i s evide nt on the sea ls , asa l so in other a r t of the Achaemenian era .S E L E U C I D O R P A R T H I A N S E A LS

I ve ntur e to ass ign to the Se leuc id or Pa r th ian per iod only one piece in thi s collec tion, nam ely No. 626. I t s Greek mot ive i s ra ther barbar ica l ly engraved on a convexly pyramidal sea l , aform derived from Assy rian and Neo -Bab ylonian forms. In addi t ion to thi s piece , of course ,many of the so-ca l led Assyrian or Neo-Babylonian s tamp sea ls , as wel l as a number of sea l sclassified usu ally as Sass anian , ma y belong to this perio d. In th is perio d a sma ll seal ston e setin a r ing, l ike the Greek and Roman gems, i s in grea t favor , as we know from impress ions ont able t s ; but there a re no examples in thi s col lec t ion.S A S S A N I A N S E A L S

Our Sassanian group consists chiefly of stamps (e.g. , Nos. 577, 608, 615, and 616 in Fig. 2).No . 616 shows the m ost ty pica l form, m ore or less globular except for a f lat base w hich m aybe circular or oval . Increased flat tening at the sides and enlargement of the bore lead to ther ing form of No. 615.Som et imes the back i s orna me nted w i th a geom etr ica l des ign inrelief Th is form i s a d er ivat ion of the hemispheroid sea l . I t s or igin, in turn , m ay have been the As syr ian cone sea l .Toward the end of the Sassanid Empire a l l kinds of shapes were used. Hel lenis t ic inf luencehad spread from Bact r ia to India , where i t a ffec ted the Gandharan ar t , and wi th the expansionand consol ida t ion of the Sassanid Em pire th i s Indo-Hel lenis t ic cul ture exer ted a new influenceup on the a r t i s ans (c f. No . 620) . Th e mater ia l s inc lude jasper , rock crys ta l , cha lcedony, a ga te ,carne l ian, and hemat i te . For the smal le r sea l s wi th f la t te r shapes lapis l azul i , banded aga te ,and o ther semiprec ious s tones a re of ten emp loyed. Th e technique of the engravin g shows muchvarie ty . Besides ski lful ly a nd nea t ly engraved s tones , there a re others wi th rough an d care lesswork. Typica l ly Sassanid i s a cer ta in roundness of form of a l l subjec ts represented.

D O U B T F U L P I E C E SNo . 664, wi th i t s beaut i ful cut t in g an d correc t de ta i l s , would no t be do ubted if i t were not forthe ques t ionable inscr ipt ion. Dr. Geers of the Orienta l Ins t i tute be l ieves tha t thi s sea l i s amo dern forgery. In spi te of the inscr ipt ion, I personal ly am inc l ined to consider thi s a genuinepiece of the Neo-Babylonian per iod.

oi.uchicago.edu


25/261

I N T R O D U C T I O N 11N o . 671 seem s to be art ificially worn so as to app ear an t iq ue . Severa l detai ls , as for insta ncethe eyes of the f igures, give the piece the appe aranc e of a mo dern forgery. N o. 681 would no tevoke any doubt as to i t s genuineness i f i t were not for the ext raordinary technique used inrepresen t ing th e eagle. As i t i s , thi s sea l should be considered doub t ful unt i l para l le l s showingthe same technique on undoubtedly genuine pieces a re found or made known. No. 683 seems

art i f ic ia l ly worn so as to appear ant ique .M r. New el l i s inc lined to be lieve th a t N o. 686 i s anc ien t . I , on the o th er han d, a m inc l inedto see in i t a forgery, probably made by the same forger who made No. 685, which i s un-doubt ed l y a mode rn i mi t a t i on .N o . 690 looks to me a t l eas t highly suspic ious , a l though there i s no par t icular reason todo ub t i t s genuineness except for the pecul ia r form of the f lowers . I s t rongly d ou bt the genuine-ness of No. 695, a l though s tones wi th s imi la r representa t ions and cut wi th a s imi la r t echniqueare known to have come from Susa .

R E C U T P I E C E SThese a re genuine pieces which have been recut , most ly in very recent t imes and for com-merc ia l purposes . On No. 673 the genuineness of the or igina l des ign can hardly be doubted.Several detai ls , for instance the flying eagle and the face of Engidu, seem to have been recut .On No . 676 i t i s evident th a t the hum an hea ds of the anim als a re recu t . Th ey m ay ve ry wel lhave been original ly a Hon and a bull .N o . 684 shows the e ffort of the moder n a r t i s t ' ' to ma ke the undo ub tedly g enuine sea l pic -ture c learer and so more va luable for commerc ia l purposes . No. 688 seems to have been abadly worn anc ient sea l which a modern a r t i san has suppl ied wi th a c rudely engraved des ign.No. 689 shows c lear ly the recut t ing of an Assyrian sea l .N o . 692 was probably an anc ient sea l on which the des ign had become obscure f rom longuse . The mod e rn a r t i s t r e cons t ruc t ed t he de s ign i n ano t he r manne r , no t ve ry mu ch c l eare r .

F O R G E R I E SN o . 666 i s obviously a mode rn forgery. Th e inscr ipt ion i s mean ingless , and th e de ta i l s (asfor ins tance the horned crown, the sea t of the de i ty, and the garments) a re misunders tood andent i re ly wrong.No. 667 imi ta tes an Assyrian sea l . The sacred t ree and the unicorn a re each good in form,but they be long to ent i re ly di ffe rent per iods . The inscr ipt ion can be t rans la ted, but i s abnor-ma l .N o . 669 is similar in design to a seal in the Louvre col lect ion.12 The s tyle , t echnique , anddeta i l of the piece in the Louvre show i t to be absolute ly genuine ; our sea l i s undoubtedly aforgery and seems to me to be a copy of the Louvre sea l (c f . espec ia l ly the gar land and theflowers).That No. 670 i s a modern forgery i s espec ia l ly evident in the representa t ion of the eagle .N o . 672 i s so obviously a modern forgery tha t nothing need be sa id of i t .Th e ar t i s t of N o. 674 was ra th er careful in cut t in g the represen ta t ion, and if i t were notfor the mean ingless inscr ipt ion the piece could pas s for a genuine one . On the o the r hand , N o.675 i s ent i re ly unc lear , and No. 678 i s condemned by i t s t echnique .No . 679 lacks , fi rs t of a ll , the vi ta l i ty w hich sea ls of i t s supp osed typ e should h ave . Fu rth er-more, the edges of the design and of the cylinder i tself show no signs of wear and are as sharp12Delaporte ataloguedes cylindres cachets et pierres gravies de style oriental II (Paris, 1923) PI. 69, No. A. 116.

oi.uchicago.edu


26/261

12 ANC IENT ORIENTA L SEALS IN TH E NEW ELL COLLECTIONas if they were cut yesterday* On No. 682 the details are wrong, and the general impressionshows its lack of genuineness.N o. 685 is shown to be a forgery by its details and composition. I would ascribe it to thesame ar ti st who ma de N o. 686, which I consider anoth er forgery (cf. p . 11).N o. 687 I classify as a forgery because of its composition, although the details are such asappear on genuine seals.N o. 691, a rema rkable piece, is obviously a forgery. I h ave seen several pieces of similartechnique in the collections of dealers. Recently Dr. Dietrich Opitz discussed a steatite reliefwith a similar representation in exactly the same style, and proved beyond doubt that it wasa forgery.13No. 693 shows th at it is a forgery by eve ry de tail of the thr ee figures. As an example thebearded deity standing on a dais, supposed to be the god wearing a round cap and carryinga mace, should be compared with the representation of that god on No. 218. The carefullyengraved inscription is meaningless.N o. 694 is crudely engraved, with wrong details and a meaningless inscription.

TYPOLOGICAL TABLENos .1-222324-9192-103104-29130

131-43144145-63164-65166-67168169-79180181182183184185-86187-259260261262-65266267-78279-87288-90291-96297-303304-49350-65

Archaic or SumerianIn d i a n (H a ra p p a a n d Mo h e n jo D a ro )Archaic or SumerianAkkadianSumero-AkkadianP ro b a b ly S u me ro -A k k a d ia n ,C a p p a d o c i a nSumero-AkkadianBabylon ianSumero-AkkadianMay be Sumero-Akkadian , bu tre s e mb le H i t t i t eSumero-AkkadianMay be Sumero-Akkadian ; some

p o s s i b l y

strongly

featuresof the design are Kassite , others archaic

Sumero-AkkadianBabylon ianSumero-AkkadianBabylon ianH i t t i t e ( C a p p a d o c ia n )Babylon ianSumero-AkkadianBabylon ianKass i teBabylon ianKass i teBabylon ianKass i te

H i t t i t e ( C a p p a d oc i a n )K i r k u kH i t t i t eH i t t i t e ( C a p p a d o c ia n ? )H i t t i t eH i t t i t e ( C y p r i o te )

Nos .366-67368-71372-75376377-79380-94395396397-447448449450451452453-58459-61462-69470-505506507508509-20521522-24525-26527 28529-30531532-47548-49550551-54555-625626

H i t t i t e (C o p pe r A g e)H i t t i t e (N o r th S y r i an )H i t t i t eP o s t -H i t t i t eH i t t i t eP o s t -H i t t i t eH i t t i t e (N o r th S y r ia n )N o r th S y r i a nAssyrianNeo-Babylon ianAchaemenian?North Syrian?Neo-Babylon ian?H i t t i t e ( C y p r i ot e )AchaemenianAchaemenian (Greco-Persian)AchaemenianAssyrian o r Neo-Babylon ianN o r th S y r i a nAssyrian o r Neo-B abylon ianNorth SyrianAssyrian o r Neo-Babylon ianNorth SyrianAssyrian o r Neo-Babylon ianNorth SyrianAssyrianNorth SyrianNorth Syrian (Cre tan?)North Syrian

H i t t i t e ( C y p r io te )N o r th S y r i a nH i t t i t e ( C y p r i ot e )SassanianSe leuc id o r Par th ian13 Ein altpersisches Speckstein-Relief? inA OF V(1928-29) 168-70.

oi.uchicago.edu


27/261

INTRODUCTIONNos . Nos .627 33634 35

636637 46647 48649650651 52653654655656657658659660661 63664665666 67668

EgyptianEgyptianized; probably from Palestine orSyriaEgyptianEgyptianized; probably from Palestine or

SyriaArchaic or SumerianAssyrianPerhaps archaic o rSumerian (cf. p. 5)BabylonianAssyrianH i t t i t eNorth S y r i a n (? ) ; about 6 th century B.C.?H i t t i t eH i t t i t e ( Cypriote )KassiteH i t t i t eProbably Kassite

KassiteDoubtful (cf. p . 10)KassiteForgeriesSumerian

669 70671672673674 75676677678 79680681682683684685686687688 89690691692693 94695

ForgeriesDoubtfulForgeryRecutForgeriesRecutSumero AkkadianForgeriesSumero AkkadianDoubtfulForgeryDoubtfulRecutForgeryDoubtful (cf. p. 11)ForgeryRecutDoubtfulForgeryRecutForgeriesDoubtful

oi.uchicago.edu


28/261

I ITHE CATALOGUESom e obje cts which are difficult to identify o r to describe are me rely desig nated b y some conven i en t a rb i t r a ry t e rm (e. g. , c adu eeus and kaunakes ), even though i t s correc tness may notha ve b een p rov ed. A t th e first occurrence of such an object a cross-reference is given to ch apte r i i i, where such d es igna t ions a re di scussed. A few arb i t ra ry usages and dis t inc t ions ma y bemen t ioned here , however . W i th one or two except ions , every hu m an f igure wearing a hornedcrown i s ca l led a de i ty, a l though th i s is not th e only mean s of ident ifying de i t ies . T he nam esGi lg am esh and En gid u are used of cer ta in typica l heroes (e .g., on No. 95) , though we canno t be sure in every case th a t these heroes were intende d. Q ua dru pe d i s used for obscurerepres enta t ion s of animals , whe reas the c learer ones a re ca l led ani m als . Glo bes inc lude mo stcircular elements (globes, disks, or bal ls) appearing singly or in composit ion, regardless ofwh at the i r or igina l mea ning m ay have been. Ho wev er , repre senta t io ns of the sun a re re ferred

to as di s ks . Cr esc ent i s used only of those des igns which were sure ly m ean t for c rescen ts ;other s a re c rescen t -shap ed. A gar m ent i s ca l led a tu ni c only if t race s of i t s up per p ar tcan be seen; otherwise i t i s ca l led a sho rt sk i r t .In the measurements of s tamp sea ls the f i rs t number a lways indica tes the la rges t diameterof the sea l impress ion; the second number , the thickness or he ight of the s tone . When threenumbers a re given, the second one represents a second dimension of the impress ion, and thelast gives the thickness or height of the stone. In measurements of cyl inder seals, the firstnumber gives the he ight and the second the diameter . When i t i s thought tha t an objec t mayhave been used as a weight , the weight in grams i s given a l so.Unless otherwise s ta ted , a l l cyl inder sea ls , scarabs , and scarab oids a re perfora ted lengthwise .1 . Limestone . Sea l wi th domed back, perfora ted lengthwise , and f la t , near ly c i rcular base .3 9 X 3 3 X 1 5 m m .

From s ix dr i l l ed holes radia te , espec ia l ly toward the per iphery, var ious i r regular lycurved grooves . Perhaps animals a re intended.2 . Am ygdaloid. Sea l wi th d om ed back, perfora ted, and f la t c i rcular base . 37 X 15 m m .A wavy l ine divides the base into two fields. On one side a horned animal is flanked bycrescent -shaped des igns; on the other s ide two horned animals face each other . The des ign i s obscured by the amygdules in the s tone .3 . M arb le . Sea l wi th domed back, perfora ted, an d flat c i rcular base . 4 2X 20 m m .Tw o qua dru ped s (?) a re shown bac k to b ack.4. G ray and bro wn band ed l imestone . Sea l wi th dom ed back, perfora ted lengthw ise , andf l a t , nea r l y c i rcu l a r ba se . 51X49X27 mm.Four horned animals , one eagle , and two other bi rds(?) , a l l highly convent iona l ized,compose the des ign.5. Gray and brown banded l imestone . Sea l wi th domed back, perfora ted lengthwise , and

fla t , near ly c i rcular base . 46X24 mm.Four horned animals and an unrecognizable e lement form the des ign.6. Marb le . Sea l wi th dom ed back, perfora ted lengthw ise , and f la t, near ly c i rcular base .4 7 X 4 3 X 2 2 m m .A band wi th chevrons a l te rna te ly fac ing in opposi te di rec t ions divides two groups ofsimilar designs at right angles to i t .4

oi.uchicago.edu


29/261

T H E C A T A L O G U E 157. Lim estone or dolo mite . Seal with dom ed back, perfo rated, a nd flat , circular base. 41X18 mm .Two l ions appear feet to feet , facing in opposi te direct ions, each devouring an animal.8. B lack l imestone , ve ined wi th ca lc i te . Sea l wi th do med ba ck, perfora ted lengthwise , an ds l i gh t l y convex , ova l ba se . 44X31X15 mm.Four animals , three of which are horned, and seven la rge globes occupy the f ie ld.9. Bro wn d olom i te . Sea l wi th do med b ack, perfora ted lengthwise , and f la t, near ly c i rcularb a s e . 3 5 X 3 2 X 1 6 m m .A cross-shaped design, each arm of the c ro ss ending in thre e prong s , shows wi thini ts four angles l inear designs which are almost identical .10. R ed marb l e . R ec t angu l a r s t am p sea l, pe r fora t ed l eng t hwi se . 35X 33 X 11 mm .Two animals s tand one above the other , fac ing in opposi te di rec t ions .

11 . Red marble . Hemicyl indrica l s tamp sea l , perfora ted lengthwise . The f la t rec tangularside forms the base. Crisscross l ines are incised on the back, with a double l ine at eache n d . 3 2 X 2 6 X 1 4 m m .Two animals a re a rranged fee t to fee t , fac ing in opposi te di rec t ions .12 . Lim estone . Sea l in form of a recum ben t bul l , perfora ted u p a nd dow n. Th e eyes werep r o b a b l y i n la i d. 3 5 X 2 5 X 1 5 m m .

The des ign shows three c rouching animals , two placed a l ike , the thi rd reversed and inve r t ed .13. Calc i te . Sea l in form of a recum bent b ul l , perfora ted up and dow n. Th e eyes were pro ba b l y i n la id . 3 3 X 2 0 X 1 8 m m .Th e des ign shows three c rouching animals , the second one reversed, the thi rd inve r ted.14 . Calc i te . Sea l in form of a recum bent bul l , perfora ted up an d down . Th e eyes were pro ba b l y i n la id . 3 8 X 2 3 X 2 0 m m .The des ign shows a s ingle c rouching animal .15 . Brow nish limestone . Sea l in form of a recum ben t bul l , perfora ted up and dow n. Th e eyeswere p robabl y i n l ai d . 37X 28 X2 0 mm .Two crouching animals a re placed back to back.16 . Serpent ine . Sea l in form of a recumbent bul l , perfora ted up and down. The eyes wereprobabl y i n l ai d . Unfi n ished? 3 4X 26 X 14 m m .

Small holes, seemingly irregularly distributed, are dri l led in the base.17 . Limestone . Sea l in form of a recumbent bul l , perfora ted up and down. The eyes wereprobab l y i n la i d . Unfi n ished? 3 1X 24 X1 7 mm .Smal l holes , seemingly i r regular ly di s t r ibuted, a re dr i l l ed in the base .18 . Lime stone . Sea l in form of a recum ben t jacka l , perfora ted u p and down . Th e eyes werep r o b a b l y i n la id . 3 8 X 2 5 X 2 0 m m .Three animals face in a l te rna te di rec t ions .19 . Lim estone . Sea l in form of a recu mb ent jacka l , perfora ted up and do wn. Th e eyes werep r o b a b l y i n la id . 3 9 X 2 6 X 1 8 m m .Three animals face in a l te rna te di rec t ions .20 . M arb le . S ea l in form of a squa t t ing m an res t ing his head in hi s han d, perfora ted frontt o back . T he eye was probab l y i n l a id . 2 8X 19 X 9 m m .

On the base a re three sea ted human f igures wi th extended arms. Below two of thema single l ine paral lels the edge.21. Brownish l imestone. Seal in form of one side of a l ion's head, perforated up and down.6 4 X 5 0 X 2 1 m m .A ta i led monster wi th a human body and the head of a long-horned animal i s sea tedin human fashion, holding a mace-shaped objec t before him.

oi.uchicago.edu


30/261

16 A N C I E N T O R I E N T A L S E A L S I N T H E N E W E L L C O L L E C T I O N22 . Marble . Fragment of a cyl inder sea l . In the perfora t ion a re t races of a bronze fas teningo r p i n . 6 3 X 4 4 X 2 1 m m .A bull carries on i ts back an al tar (cf. p. 116) decorated with two standards (cf. p. 139).Behind i t a re one la rge s tandard and the upper par t of a second one .2 3. Serpen t ine . Sta m p seal wi th a smal l perfora ted k nob and a near ly c i rcular base . 24 X 14

m m .Above a bul l appear f ive pic tographic s igns .P u b l is h e d b y W . H . W a r d , The Seal Cylinders of Western Ada Fig. 803.24. M arble . Cy l inder sea l showing a t top and bo t tom the beginnings of a perfora t ion. 44 X 39m m .Three long-horned animals , one behind another , approach a doorway (cf . p . 114) .25 . Pet r i f ied she l l . Cyl inder sea l . 24X17 mm.Two horned animals , one above the other , approach a doorway. Behind them are twolarge objects, then four fish, on e above another , a l te rna t ing in di rec t ion.26. G ray i sh marb l e . C yl i nde r s ea l. 20 X1 4 mm .Two quadrupeds , one above the other , appear before two rows of vase-shaped objec ts(cf. p. 121).27. Marb l e . C yl i nde r s ea l . 37X34 mm.Two long-horned animals , one behind the other , approach a doorway before whichstands a t ree .28. M a r b l e . C y h n d e r s e a l . 4 2 X 3 5 m m .Two long-horned animals , one behind the other , approach a doorway. The secondanim al i s bear ded . Over the back of each appea rs a vas e(?) .2 9. R ed marb l e . C yhn de r sea l wi t h concave s i des , 25 X 33 m m .Five pigta i led human f igures wi th both a rms ra i sed a re sea ted one behind another oncushions or low da ises . Before each except the las t appear three vases . There a re a l sotwo globes with rays, one in front of the first and one in front of the second figure.30 . B rowni sh l i mes t one . C yl i nde r s ea l . 22X22 mm.Three pigta i led human f igures wi th both a rms ra i sed a re sea ted on mats or cushions ,one behind another . Before each appear two objec ts .31 . Se rpen t i ne . C yl inde r s ea l . 18X2 0 m m .Two pigta i led human f igures s i t fac ing each other . Between them is an e longated objec t wi th thre e c rossbars a t and near i t s center . Th is objec t seems to be suppo rted b y tw opo sts wi th rec tang ular bases . Tw o unrecognizable objec ts appear abov e thi s des ign; below i t i s another unident if ied objec t . A thi rd hum an f igure appe ars beh ind on e of theothers . Each f igure has one a rm extended, and two of them hold an unident i f ied objec ti n t he o t he r hand .32 . S e rpen t i ne . C yl i nde r s ea l. 19X 19 mm .

Two horned animals (s tags?) a re shown upside down wi th re ference to each other .33 . B ronze or coppe r . C y l inde r s ea l ; muc h worn . 19X 18 m m .A quadruped and a human f igure a re separa ted by two unrecognizable ta l l objec ts .34. Pet r i f ied she l l . Cyl inder sea l . 23X14 mm.

T w o b i r d - h e a d e d 1 human f igures in long garments a re sea ted on cha i rs fac ing eachother . Between them s tands a thi rd. Traces of engraved l ines show tha t the garmentsworn by a l l three were made of goa t - or sheepskin (c f . pp. 127-28) . Behind one of thesea ted f igures appear two animals rampant and crossed and a la rge vesse l .1 This term describesthe form of the head, but not the intention of the lapidary. The figures are no doubt meant to bewholly human . M any of the seals described below show this feature.

oi.uchicago.edu


31/261

T H E C A T A L O G U E 1735 . Pe t r i f ied she l l . Cyl inder sea l . 19X8 mm.Two human f igures in long garments made of goa t - or sheepskin a re sea ted in a boa tfac ing each other . T hey dr ink thro ugh long tube s c f. p . 121) f rom a ja r s tandin g between the m . T he ja r conta ins an unuse d thi r d tub e a l so. One sea t i s c ross- legged, wh ereasthe other i s indica ted by three short hor izonta l l ines . Behind the group s tands a t ree .36 . B asa l t . C yl i nde r s ea l . 20X9 mm.A bo at is floating on a river cf. p . 114). A tree grow s on the bank , and abo ve the b oa ta c rescent appears .37. Pe t r i f ied she l l . Cyl inder sea l . 71X25 mm.Tw o regis te rs a re sepa ra ted b y a ban d of lozenges and la rge globes . Th e upper regis te rshows an eagle holding two l ions by the i r t a i l s ; the i r heads a re turned backward to facethe eagle . B ehind one l ion app ears an a nte lope in a s imi la r pos i t ion. Th e lower regis te rshows s ix hu m an f igures approaching a doorw ay. Ea ch h as one a rm ra i sed and h olds a dag-ger ? ) in the other hand. Beside one of them appears a s ingle la rge globe .3 8. Pe t r i f ied she l l . Cyl inder sea l ; mu ch worn . 49 X 19 m m .Tw o regis te rs a re sepa ra ted by a herr ingbo ne pa t t e r n be tween para l le l l ines . T he upp erregis te r shows a human f igure holding an animal on each s ide , behind each of which ap

pear s another anim al . O ne of these animals is a t tac ke d by a second hu m an f igure , theother by an animal . The lower regis te r shows a s imi la r group, wi th a thi rd human f igurein place of the fifth animal . A tree ?) appears at the end of the scene.39. L apis lazul i . Cyl inder sea l . 34 X 10 m m .Two regis te rs a re separa ted by two para l le l l ines . The upper regis te r shows three hum an f igures wearing long garm ents mad e of goa t - or sheepsk in. Tw o are sea ted on squ arestools facing each oth er. A sta nd b efore one figure holds a large j ar from wh ich pro tru de fivel ines , probably dr inking-tubes . The other sea ted f igure i s offe red a cup by the s tandingfigure . In th e lower regis te r an eagle wi th ou tsprea d wings holds two long-horned an telopes by the i r t a i l s . The animals turn the i r heads backward to face the eagle .40. Pe t r i f ied she l l . Cyl inder sea l . 28X9 mm.Tw o registe rs a re separ a ted by two para l le l l ines . T he upp er regis te r shows four h um anfigures , each wi th one a rm ra i sed, wearing long garments made of goa t - or sheepskin.Two, sea t ed on cha ir s , ho l d cups ev i den t l y jus t p re sen t ed t o t hem by t he a t t en dan t s wh ostan d before them . Th e lower regis te r shows two l ions ra m pa nt an d crossed, each a t tack i ng an an t e l ope whi ch ha s i t s head ben t back . B ehi nd t h i s g roup appea rs a nude mankneel ing on one knee .

41. Pe t r i fied she l l. Cy l inder sea l ; worn and par t ly broke n off. 33 X 19 m m .A human f igure wearing a garment made of goa t - or sheepskin i s sea ted in a char iotdrawn b y a horse ?). Th e harness is decora ted w i th long fr inge . A ma n l ies on the gro undunder the horse .42. B asa l t . Cyl inder sea l ; worn and pa r t ly broken off. 33 X 20 m m .There seem to have been two regis te rs . In the upper one four human f igures s tand,three at one side of a large circular object and one at the other. Behind the single figurei s a doorway. The res t of the des ign i s chipped or obscure . In the lower regis te r appeartwo human f igures , an animal , another human f igure , and another animal .43 . Pe t r if ied she ll . Cyl inder sea l ; upp er par t brok en off. 20 X 11 m m .Tw o regis te rs a re sepa ra ted b y two para l le l l ines . Th e uppe r regis te r shows pa r t s of twohuman f igures wearing garments made of goa t - or sheepskin, sea ted on cha i rs and fac ingeach other . Simi la r ly dressed a t t en da nts evident ly s tood before the m cf. N o. 40) . Th esecond regis te r shows an eagle wi th ou tspread wings holding two ante lopes by the i r rum ps .

oi.uchicago.edu


32/261

18 A N C I E N T O R I E N T A L S E A LS I N T H E N E W E L L C O L L E C T I O N44. Yel lowish l imestone . Cyl inder sea l ; mu ch worn. 21 X1 2 m m .An eagle wi th outspread wings holds a quadruped in each c law. A ta l l objec t bes idethis grou p i s u nident i f iable .45 . Pe t r i f ied she l l . Cyl inder sea l . 11X6 mm.The des ign consis t s of two eagles wi th outspread wings .46. P e t r if ied she ll . Cyl inder sea l ; worn . 3 9X 20 m m .Two regis te rs a re separa ted by a s ingle l ine . The upper regis te r shows an eagle wi thoutspread wings holding two ante lopes by the i r rumps. At the end of thi s group appearsa z igzag l ine perh aps the represen ta t ion of a bran ch or snake . In th e lower regis te r th reehu m an f igures face three o thers . E ach of the foremost tw o seems to touch a t r iangu lar object which is between them. One of the other figures holds a long staff4 7 . Marb l e . C yl i nde r s ea l . 29X17 mm.A bearded god or hero who wears a long garment made of goa t - or sheepskin and hastwo horn s pro t rudin g from his forehead w i th a branc h or p la nt be tween th em is sea ted ona bo at the prow of wh ich consists of th e upp er po rt ion of a similar figure. B oth seem to b erowing. Above the m app ears an eagle wi th ou tspread wings be tween tw o crouching ante lopes which i t i s supposedly holding. Before the boa t appears a scorpion-man wi th a

crescent -shaped des ign above i t s t a i l and tw o globes be tween ta i l and body . Behind thebo at walks a l ion wi th perh aps a bearded hu m an hea d; be twe en i t s hind legs i s a globe .Abo ve i t app ear a pi tcher on i t s side a plow and the fore par t of a l ion devouring anante lope .4 8. Pe t r i f ied she l l . Cyl inder sea l . 29X13 mm.

A god or hero wearing a goa t - or sheepskin garm ent i s sea ted in a boa t w hich ha s a hu ma n f igurehead ho lding a plan t or bran ch. Before th e god app ears a pla nt or t ree . Behindthe b oa t c rouches a l ion. Below the bo a t an eagle wi th o utspre ad wings grasps two mou nta in goa ts by the i r rumps; the i r heads a re turned backward to face the eagle . Betweenone animal and the eagle appears an X-shaped design with loops at i ts four ends.49. P e t r if ied she l l. Cyl inder sea l ; worn. 34 X 17 m m .Tw o l ions ra m pa nt and crossed are devouring two horned animals . Behind thi s groupappears an eagle wi th outspread wings holding a horned animal in each c law. A thi rdsmal l animal s tands on the ground.5 0. Yel lowish l imestone . Cyl inder sea l . 35X19 mm.An eagle wi th ou tspread w ings holds two ante lopes wi th head s turn ed b ackw ard. Belowthe eagle is a scorpion. A second group shows two l ions ram pa nt and crossed.P u b l i s h e d b y W . H . W a r d op cit Fig. 68.5 1 . B rowni sh li mes t one . C yl i nde r s ea l ; worn . 26 X1 3 m m .An eagle wi th outspread wings grasps by the i r rumps a l ion and a horned animal . Below is a frieze of four horned animals.5 2 . Se rpen t i ne . C yl i nde r s ea l . 24 X13 mm.An eagle wi th outspread wings holds two horned animals by the i r rumps; the i r headsare turned backward to face the eagle. Above one wing of the eagle is a crescent .5 3. Serpent ine . Cyl inder sea l . 21X9 mm.

Tw o eagles wi th ou tsprea d wings a re shown one upside down . B etween th e wings ofone are a globe and a c rescent ; be tween those of the other a globe and an e ight -pointeds t a r .5 4 . Di or i t e . C yl i nde r s ea l . 19X10 mm.A wav y double l ine separa tes two eagles wi th ou tspread w ings one upside do wn.

oi.uchicago.edu


33/261


34/261

2 0 A N C I E N T O R I E N T A L S E A L S I N T H E N E W E L L C O L L E C T I O N7 1 . Se rpen t ine . C yl i nder s eal ; worn and ch ipped . 46X 23 m m.Two human f igures wi th a rms upl i f ted face each other across a di sk wi th an inscr ibedcircle and a center globe. The disk rests on a cross-legged support between the angles ofwhich appear globes. Above the disk is a semicircular figure with a globe at each side.Behind each of the large human figures appears a smaller one. At the end of the group is

a t ree . A t top and bo t tom s ingle l ines form b orders .7 2 . L i mes t one . C yl i nde r s ea l. 28 X1 4 mm .Tw o lions a re ram pa nt an d crossed. One Hon a t tack s an ante lope above which ap pearsa scorpion. The other l ion a t tacks an animal which i s apparent ly upside down.7 3. L i mes t one . C yl i nde r s ea l . 37X23 mm.The design shows two pairs of figures, rampant and crossed. The first group consistsof a l ion and a s tag. Th e s tag is a t tack ed w i th a dagger by a ma n who wears four p lum eson his head . Th e lion i s devouring an an te lope . Th e second group shows a lion and a bul l -m an. Th e la t te r a ims his dagger a t the group f irst descr ibed. Th e res t of the des ign i sdivided into three regis te rs of smal l pic tures which suggest a pic tographic inscr ipt ion.The top regis te r i s badly worn and obscure ; the middle one conta ins two l ions heads infront view; the lowest one shows a c rescent and two animals .7 4. L i mes t one . C yl i nde r s ea l . 30X17 mm.A nude human f igure holds by the i r throa ts two long-horned animals , each of which i sa t tacked from behind by a l ion. Between the l ions appears a second nude human f igurewhich may have been added later. On each side of this figure appears a globe.7 5 . L i mes t one . C yl i nde r s ea l . 1 5 X9 mm.Two l ions , ram pa nt a nd crossed, a re devouring two horned an imals . At one end of thegroup appears a human f igure wearing a garment made of goa t - or sheepskin.7 6 . Se rpen t i ne . C yl i nde r s ea l . 26X16 mm.A knee l ing, t ight ly gi rded b ut otherwise nude , hum an f igure holds a Hon by i t s t a i l an da long-horned animal by one hind leg.7 7 . Ca lc i te . Cy l inder sea l . 26 X 20 m m .A hum an f igure , t ight ly gi rded bu t otherwise nude , wears two fea thers on his head . H eholds two short -horned animals by the i r beards . At each s ide of him appears a ver t ica l

des ign. An adjoining group consis t s of two animal bodies uni ted in the t runk of a manwho wears two fea thers on his head . In hi s hand s he holds the animals ta i l s , which seemto end in animal heads . A ram pa nt l ion wi th head turned back ward i s added a t one s ide ofthi s group, a scorpion a t the o ther . Between the legs of the joined animal bodies appearsthe head of a short -horned animal .7 8. L i mes t one . C yl i nder s ea l. 29 X1 4 m m.Tw o lions a re ram pa nt an d crossed, and two ante lopes a re ram pa nt an d crossed. Al te rna t ing wi th these pa i rs a re two nude human f igures wi th fea thers on the i r heads . Eachhuman figure holds a l ion by i ts foreleg and an antelope by i ts beard.7 9. L i mes t one . C yl i nde r s ea l . 23X18 mm.A nude human f igure holds each of two long-horned animals by one front l eg. Between him and the animals appear on one s ide a scorpion and on the other a smal l l ion

below which i s the h ead of a bul l . One of the horned animals i s a t tack ed from behind bya l ion be low which appears an animal head.80. M arb l e . C yl i nde r s ea l ; worn and ch i pped . 20 X1 8 mm ,A hu m an f igure, wearing a sash wi th one end hang ing down and w hat seems to be af la t rou nd c ap wi th a fea ther , holds a Hon and a long-horned an imal each by i t s hind leg.Behind each of the animals i s another man, c lad l ike the f i rs t , who a t tacks the animal

oi.uchicago.edu


35/261

T H E C A T A L O G U E 2 1wi th a dagger and a t the same t ime grasps i t by the ta i l . At th e end of the scene appears ata l l , narrow objec t .

8 1 . L i mes t one . C y l inde r s eal ; worn . 30 X1 7 mm .Tw o l ions , ram pa nt an d crossed, and a bul l and a lion, ram pa nt and crossed, a l te rn a tewi th Gi lgamesh and Engidu. Each hero holds one animal of each pa i r by i t s throa t . Ata l l des ign, probably a symbol , appears bes ide Gi lgamesh.8 2. Ma rb l e . C yl i nde r s ea l ; worn . 31 X1 8 m m.A nude human f igure , holding a quadruped by i t s hind legs , faces two rampant andcrossed l ions , each devouring an anim al . A second gro up show s a huma n-he aded bul land a quadruped , r am pan t and c ros sed .

8 3. Lapis lazul i. Cyl inder seal . 32X 19 m m .A nud e hum an f igure holds by the i r thr oa ts two ante lopes each of which i s a t tack ed bya l ion from be hind. In a second group a bul l -man wi th a pigta il holds a s tag by i t s thro a tand menaces i t wi th a dagger . The s tag i s a t tacked from behind by a leopard ? ) .84 . M arble . Cy l inder sea l ; par t ly brok en off a t the top . 22 X 19 m m .Two Engidus a re shown in combat wi th two human-headed bul l s . In the f ie ld a re acadu ceus cf. p . 141), a com b-shap ed object cf. p . 142), an d a l ibat ion vessel cf. p . 122 ).8 5 . Basa l t . Cyl inder sea l . 24X14 mm.Gi lgamesh holds two hum an-h eaded bul l s each of which is be ing a t tacked from behindby a l ion.8 6. Grayish l imestone . Cyl inder sea l . 16X11 mm.Two rampant l ions , heads turned backward, symmetr ica l ly grouped above an ante lopelying on i t s back ?) , a re a t tacked from behind by two bul l -men who hold them by the i rta i l s and menace them wi th daggers . At the end of the scene appears a smal l eagle .8 7. L apis lazul i. Cyl inder sea l . 17 X1 1 mm .A nude human f igure holds by the i r throa ts two ante lopes , each of which i s a t tackedfrom behind by a l ion. Beside thi s grou p s tan ds a bu l l -man wi th a pigta i l , holding along s ta ff wi th both hands . Behind him appear two horizonta l l ines ; above them is adisk set in a crescent , and below them, an unidentified design.8 8 . Bro wnish l imestone . Cyl inder sea l . 24 X1 6 m m .A nude man holds by the i r throa ts two horned animals each of which i s a t tacked frombehind by a l ion. A bull-man grasps the tai l of one l ion. Behind the other l ion, abovetwo short hor izonta l l ines , appear a s ta r and a c rescent .8 9. Diori te . Cyl inder sea l . 20X10 mm.A m an w earing a short ski r t holds a t each s ide a horned animal , one of which i s a t tack edfrom behind by a l ion. Behind the other appears a t ree wi th a c rescent above i t .90. Serpent ine . Cyl inder sea l . 26X14 mm.A t ight ly gi rded, otherwise nude , bearded man wi th a seemingly round cap holds a teach s ide an ante lope which i s a t tacked from behind by a l ion,

91. Ma rb l e . C yl i nde r s ea l. 19X 11 mm .A nude bearded man holds by the i r throa ts two ante lopes , each of which i s a t tackedfrom behind by a l ion.92. B rowni sh li mes tone . C yl i nder s ea l; worn . 26 X1 5 m m .Engidu i s wres t l ing wi th a l ion, Gi lgamesh wi th a bul l .93. Brow nish l imestone . Cyl inder sea l , unperf ora te d; pro bab ly unfini shed and discarded.4 3 X 2 6 m m .Only two panels, each with two l ines of inscript ion, and two Gilgamesh figures are dist inguishable .

oi.uchicago.edu


36/261

2 2 A N C I E N T O R I E N T A L S E A LS I N T H E N E W E L L C O L L E C T I O N94. Se rpen t i ne . F ragment o f a cy l i nde r s ea l . 26X17 mm.Two bearded men, back to back, a re wres t l ing wi th bul l s . One of the bul l s i s a t tackedfrom behind by a l ion which Gi lgamesh i s se iz ing by i t s mane and ta i l .95 . R ock c rys t a l . C yl i nde r s ea l . 32X23 mm.Gi lgamesh holds a bul l by one front l eg and one horn; Engidu i s f ight ing wi th a l ion.

Above a mounta in goa t i s a pane l wi th three l ines of inscr ipt ion.96 . Limestone . Cyl inder sea l . Par t of the or igina l bronze mount ing i s s t i l l wi thin the perfora t i on . 28X19 mm.A bearded man wearing a short ski r t and shoes wi th upturned toes wres t les wi th a bul l ;En gid u wres t les wi th a lion. Betwe en the tw o groups s tand s , in one ins tance , a t ree growing on a mou nta in c f. p . 113) , in the o ther , a pan e l wi th two l ines of inscr ipt ion.97 . B asa l t . C yl i nde r s ea l . T race s o f t he b ronze mount i ng rema i n a t t he uppe r r i m . 25 X16m m .

Tw o Gi lgamesh f igures appear , one subdu ing a lion and th e other a bul l . B etween Gi l gamesh and the Uon are two crossed l ines . Below a panel of inscr ipt ion a re two twis tedsnakes .98. Fe l s i t e . C yl i nde r s ea l. 22 X1 3 mm .Gi lgamesh wres t les wi th a bul l , and, back to back wi th him, Engidu wres t les wi th al ion. The heroes turn the i r heads toward each other . Between Gi lgamesh and the bul ls tands a plant or t ree .99 . F e l s it e . C yl i nde r s ea l. 24 X1 5 mm .Two bearded men wearing short ski r t s a re wres t l ing wi th a bul l and a l ion respec t ively. Between the man and the bul l appears an eagle wi th outspread wings . Between thebul l and the l ion and be tween the l ion and the second man are par t s of an inscr ipt ion.100 . Se rpen t i ne . C yl i nde r s ea l . 25 X15 mm.Tw o bearded m en in short ski r t s a re wres t l ing wi th a Uon and a bul l respec t ive ly. Ananimal s tands under a panel conta ining two l ines of inscr ipt ion.

101. La pis lazul i. Cyl inder sea l . 20X 10 m m .Gi lgamesh, behind whom appears an ante lope s tanding on i t s hind legs , holds a l ion byi t s t a i l and mane . The l ion c laws a bul l wi th which Engidu i s wres t l ing. A t ree s tandsbehind the ante lope , another be tween the l ion and the bul l .102. Fe ls i te . Fragment of a cyl inder sea l . 22X12 mm.A bearded man wearing a short ski r t and a fea ther headdress i s wres t l ing wi th an ante lope . There a re t races of a s imi la r f igure back to back wi th him.103. Fe l s i t e . C yl i nde r s ea l . 24 X14 mm.A beard ed m an w earing a sho rt ski r t and a headd ress is wres t l ing wi th a horned anima l ,whi le a bul l -man, wearing a pigta i l , wres t les wi th a l ion. Between the l ion and the bul l -man s tands a t ree . A panel apparent ly meant for an inscr ipt ion was le f t empty.104 . Basa l t . Cyl inder sea l . 24X12 mm.Two bearded and gi rded human f igures contend wi th a l ion. At the end of the sceneappears a panel wi th three l ines of inscr ipt ion.105. Se rpen t i ne . C yl i nde r s ea l . 28X15 mm.

Engi du and a t i gh t l y g i rded bea rded man wea r i ng a horned headdre s s con t end wi t h awinged monster . At the end of the scene appears a panel wi th two l ines of inscr ipt ion.106. B asa l t . C yl i nde r s ea l . 25 X14 mm.A bearded ?) f igure wearing a long garment holds two horned animals , each a t tackedfrom behind by a l ion.

oi.uchicago.edu


37/261

T H E C A T A L O G U E 3107. Pe t r i f ied she l l . Cyl inder sea l . 21X10 mm.Tw o t ight ly gi rded, but otherwise nud e , men , one of them bearded , contend w i th a l ion.Above the l ion is a crescent , before i t a scorpion, and behind i t a mace(?). At the end ofthe scene appears a panel wi th one l ine of inscr ipt ion.108. Lim estone . F rag m en t of a cyl inder sea l . 12 X1 1 mm .

The preserved port ion shows the upper par t s of two men who are contending wi th al ion. A t the end of thi s scene app ears the up per p ar t of a pan el wi th two l ines of inscr ipt ion.109. R edfe l s i t e . C yl i nde r s ea l . 20X10 mm.Tw o hu m an f igures , one seemingly wearing a long garm ent , co ntend w i th a mo nster .In f ront of the f igure in the long garment appear two crossed l ines . Behind him an unrecognizable ta l l objec t s tands on a smal l rec tangular base .110 . Di or i t e . C yl i nde r s ea l . 25X14 mm.Two l ions , rampant and crossed, a re devouring two ante lopes . One of the ante lopes i sa t tacked from behind by a thi rd l ion.111. Pe t r i f ied she l l. Cyl inder sea l ; chipped. 29 X 16 m m .Two bul l s , rampant and crossed, a re each a t tacked by a l ion. Above the l ions ta i l s i s

a c rescent .112. Pe t r i f ied she l l . Cyl inder sea l . 30X21 mm.Tw o lions , ram pa nt an d crossed, a re devou ring ante lopes . A man i s s tabb ing one of th eante lopes in the neck from behind. Behind the other ante lope a re a s ix-pointed s ta r anda long staff with a star at i ts top, a t riangle across i ts center, and a pointed end.113. Lap is lazul i . Cyl inder sea l. 1 6X 9 mm .A nude human f igure wi th a fea ther

ancient oriengal seals in the collection of mr. edward t. newell (1984)

Documents