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Ancient near Eastern Seals in Birmingham Collections Author(s): W. G. Lambert Source: Iraq, Vol. 28, No. 1 (Spring, 1966), pp. 64-83 Published by: British Institute for the Study of Iraq Stable URL: http://www.jstor.org/stable/4199796 . Accessed: 09/06/2014 19:11 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . British Institute for the Study of Iraq is collaborating with JSTOR to digitize, preserve and extend access to Iraq. http://www.jstor.org This content downloaded from 188.72.96.185 on Mon, 9 Jun 2014 19:11:10 PM All use subject to JSTOR Terms and Conditions

Ancient near Eastern Seals in Birmingham Collections

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Ancient near Eastern Seals in Birmingham CollectionsAuthor(s): W. G. LambertSource: Iraq, Vol. 28, No. 1 (Spring, 1966), pp. 64-83Published by: British Institute for the Study of IraqStable URL: http://www.jstor.org/stable/4199796 .

Accessed: 09/06/2014 19:11

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

British Institute for the Study of Iraq is collaborating with JSTOR to digitize, preserve and extend access toIraq.

http://www.jstor.org

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64

ANCIENT NEAR EASTERN SEALS IN BIRMINGHAM COLLECTIONS

By W. G. LAMBERT

THE purpose of this article is to make available to specialists and others interested the resources of Birmingham in the matter of ancient Near

Eastern Seals. As would be expected, the lion's share comes from the City Museum, and I am indebted to Nicholas Thomas, Keeper of the Department of Archaeology, for permission to study and publish this material. His assistant, John Ruffle, has helped me by gathering the material together and in every other way. Miss Tess Martin, also of the City Museum, has kindly made impressions of all the seals published here.

Of the 56 seals in the City Museum, 42, numbered 54I'65-582'65, were received quite recently as a bequest from Air Commodore E. St. Clair Harnett. He served as an officer in the Royal Air Force in Iraq shortly after the First World War, and assisted the late Miss Gertrude Bell in her founding of the Baghdad Museum. He is mentioned in her letters as " Squadron Leader Harnett ", and it is appropriate that his collection should be published in Iraq, the Gertrude Bell Memorial. A notebook accompanying the seals records that they were collected in Baghdad between 1922 and 1927. Only in one case, now numbered 566'65, does it record the source of a seal, as Kish. Of the other 14 seals (all received from other donors), five, 552'62-5 6'6z, were given by Woolley, and need not have come from Ur, since they are not included in the official publications.

The Selly Oak Colleges Library in Birmingham, famous for its Mingana Collection of Syriac and Arabic MSS, also has a few Near Eastern antiquities, from which the nine seals are published here under the signature SO. The Librarian, Mrs. J. M. Leonard, has made necessary arrangements for their publication, and permission has been given by the Woodbrooke Trustees. Nothing is known of the ancient sites from which they come. The same holds for a group of twelve seals, the property of the University of Birmingham, given here under the signature UB. Private collectors of Birmingham have also consented to the publication of their seals, among them Messrs. A. A. M. Bryer, Department of History, and Paul Robinson, graduate student in the Department of Ancient History and Archaeology, both in the University of Birmingham. Local talent has also been used in obtaining identifications of the stones: the gemstones by Norman Harper, President of the Gemmological Association of Great Britain, the others by Dr. D. P. S. Peacock, Research Fellow in the Application of Scientific Techniques to Archaeology in the

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65 W. G. LAMBERT

University of Birmingham. Mr. P. R. S. Moorey of the Ashmolean MIuseum has answered my questions on several points and has referred me to literature, but since he has not seen the MS he is not responsible for any opinions expressed. To all who have contributed in these various ways to the completion of this article the writer expresses his thanks.

As already stated, the aim here is to publish a significant collection of seals, not to make a general study of ancient glyptic. However, while the notes in the catalogue have generally been kept brief, here and there more detailed comment on particular points or seals has been made. Photographs of all pieces are given on pls. XIV-XXI, and these are all at the original size. The cylinder and stamp seals are all perforated, and no mention of this is made in the catalogue. The measurements given are in millimetres, and for the cylinders the first is the height, the second the diameter. For stamp seals the first is the height, the second (when only two are given) is the diameter of round seals; when three measurements are given the second is the length, the third the breadth. For the three stones for rings (nos. 82-84) the measurements of the exposed surface only are given. All measurements are the maximums when the various surfaces are not regular. Reference to other published collections of seals is made by citation of the number of the seal within the collection after the name of the owner or place of the collection, as follows: Amiet: P. Amiet, La Glyptique mesopotamienne archaYque.

Berlin: A. Moortgat, Vorderasiatische Rollsiegel. Bib. Nat.: L. Delaporte, Catalogue des gylindres . . . de la 13ibliotheqque Nationale.

Borowski: E. Borowski, Cylindres et cachets orientaux. Brett: H. H. von der Osten, Ancient Oriental Seals in the Collection of Airs. Agnies

Baldwin Brett (OIP 37). Bruxelles: L. Speleers, Catalogue des intailles et empreintes orientales des AiMusdes

royaux du Cinquantenaire (and Suppliment). de Clercq: M. J. Menant, Catalogue mithodique (Vol. I when not otherwise

specified). Diyala: H. Frankfort, Stratified Cylinder Sealsfromi the Diyala Region (OIJ1 72).

Guimet: L. Delaporte, Cylindres orientaux (Annales du Musee Guimet XXXIII). Louvre: L. Delaporte, Catalogue des cylindres cachets etpierresgravees de style oriental.

Moore: G. A. Eisen, Ancient Oriental Cylinders . . . of the Collection of Mrs. William H. Moore (OIP1 47).

Morgan: E. Porada, Corpus of Ancient Near Eastern Seals, The Collection of the Pierpont Morgan Library.

Newell: H. H. von der Osten, Ancient Oriental Seals in the Collection of Mr. Edward T. Newell (OIP z2).

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ANCIENT NEAR EASTERN SEALS IN BIRMINGHAM COLLECTIONS 66

CATALOGUE Jemndet Nasr Period

I. UB i. Gypsum. Cylinder. 23 X I3 mm. Geometric design.

2. SO7. Gypsum(?). Cylinder. 25 X 10 mm. Geometric design.

3. 544'65. Crystalline Limestone. Cylinder. z5 X IO mm. Seated human figure wearing long skirt, with arms raised in a religious gesture; facing is a bovine emerging from cattle-pen on each side of which are divine symbols; between human and bovine is a tall pointed jar.

The inspiration of this scene is derived from Uruk Period seals, and it is paralleled on a group of seal impressions from Ur (UE III 336-349). They differ, however, in that their human is seated on a much lower stool, wears no long skirt, and is holding the pot with his hands, whereas here the pot has no visible support. The pot is certainly connected with milking, since the well known frieze of dairy-farming scenes from El Obeid (a new photograph is given in A. Parrot, Nineveh and Babylon, fig. 277) shows milk being poured from just such a tall jar through a strainer. The actual milking scene on this frieze is not quite clear, but it shows a man milking a cow from behind, and apparently catching the milk in this tall jar. Such a method would of course necessitate moving the jar from nipple to nipple as required. This might seem a needless complication when, in European fashion, a wide-mouthed vessel such as a bucket will catch the milk from all the teats without movement. It had, however, the hygienic advantage that fewer flies got into the milk that way. Some might consider this piece Early Dynastic.

Early Dynastic I 4. 542'65. Fossil shell. Cylinder. 23 x 7 mm. "Brocade Style."

Early Dynastic III 5-9. Contest Friezes

5. 572'65. Calcite. Cylinder. I5 X 7 mm. Goat (?), resting on two front legs, being attacked by two lions (?) one of which is being pulled off by a human figure.

Other examples of this small type of contest frieze are: Morgan 92-93; Diyala 633; Berlin I29.

6. 541'65. Fossil shell. Cylinder. 32 X 14 mm. A pair of lions with crossed bodies fighting with stags (?) on each side. The space marking off the scene may have contained a filling device no longer preserved.

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67 W. G. LAMBERT

7. UB 2. Fossil shell. Cylinder. 36 x I8 mm. A naked human figure standing between and succouring two horned creatures that are being attacked by a leopard on the right and a lion on the left. Another human figure (or a bull-man) on the extreme left is molesting the lion.

8. UB 3. Fossil shell. Cylinder. 38 x 2I mm. From left to right: a human figure (Tammuz ?), a leopard, a horned bovine, a human figure or bull-man, a lion (?), and another type of horned creature. The space marking off the scene is filled below, with a scorpion and above with two recumbent horned creatures back to back.

9. 55 5'6z. Fossil shell. Cylinder. 36 X 24 mm. Two lions with crossed bodies attacking two domestic animals, the right-hand one of which is also being attacked from behind by a leopard. The leopard is being stabbed by " Tammuz". One or more symbols fill the space which marks off the scene.

From Ur (?). io. UB 4. Hard white artificial (?) substance. Cylinder, chipped and badly worn. 36 x 20 mm. The two animals on the extreme left and right can be made out, the former being a lion whose body is represented by shading.

Cf. Diyala 875 for an extreme example of this kind of shading.

Iu-i-. Banquet Scenes

Il. 563'65. White marble. Cylinder. 17 x 8 mm. Three seated figures holding up cups and separated by two attendants.

1a. 568'65. Fossil shell. Cylinder, chipped. 30 X II mm. Upper register: two seated figures separated by one standing; all (?) hold up cups. The space marking off the scene was apparently filled with something no longer identifiable. Lower register: apparently an animal frieze like Newell 40.

13. 552'62. Limestone. Cylinder. I8 x 8 mm. An invertible pattern created by the division of the surface into triangles with a wavy line, each triangle being filled with a bird with outstretched wings, alternately right way up and upside down.

On style alone this might be put anywhere between Jemdet Nasr and Ur III. Many parallels exist, of which the following are given with the editor's dating: Newell 54 (pre-Akkad); Diyala 749 (" ED or Akk."); Berlin 248 (Akkad). A variant of this type (perhaps created to avoid the invertible pattern, which was never popular with seal cutters) fills the bottom triangles with shading: Mlorgan 265-a66 (" Post-Akkad "); A. Parrot, Glyptique Misopotamienne 6-7 (" IIIe dynastie d'Ur "); L. Legrain, Collection Louis Cugnin 3 (pre-Akkad). This specimen is perhaps from Ur.

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ANCIENT NEAR EASTERN SEALS IN BIRMINGHAM COLLECTIONS 68

Elamite (?) I4. 55 3'62. Fossil shell. Cylinder. 30 X i6 mm. Frieze consisting of a bird with outstretched wings and talons reaching down to two recumbent quadrupeds.

This motif is common from Jemdet Nasr to Early Dynastic III, and in Early Dynastic III the bird is sometimes clearly the lion-headed eagle. However, although this piece was perhaps found at Ur, the style of the bird in particular is not typical, and since of the parallels that can be quoted (Amiet I342, 1458, 1460, 146I) the only one to come from scientific excavations (the first) is from Susa, perhaps this specimen also is Elamite.

Old Akkadian 15-2I. Contest Scenes

I5. 55 3'65. Hard greenish-grey granular mineral. Cylinder. 30 X I9 mm. The typical Akkadian contest: bull-man fighting lion and hero (here the hero with the flat cap) fighting buffalo. Three symbols fill vacant spaces and the scene is marked off by a space which once contained the owner's name, but this has been erased.

i6. 558'65. Limestone(?). Cylinder, worn. 22 X IZ mm. Two heroes fighting, the one on the left with a buffalo, the one on the right with a lion.

I7. 55 6'6z. Fossil shell. Cylinder. 32 X I9 mm. Two lions with bodies crossed attacking two horned creatures. A snake (or two snakes) with body (or bodies) twined mark off the scene.

From Ur (?).

i8. UB 6. Crystalline limestone. Cylinder. 30 X I3 mm. Two lions with crossed bodies attacking two horned creatures. A human figure (?) is assisting one of the horned creatures.

I9. UB 7. Fossil shell. Cylinder. 29 X I7 mm. Two lions with crossed bodies attacking two horned creatures, and a third horned creature resting on its front paws fills the space that marks off the group.

20. UB S. Fossil shell. Cylinder, worn. i 8 X 9 mm. A carnelian bead is fixed into the lower end of the seal's perforation. Two horned animals being succoured by a human figure who stands between them as they are attacked from either side by a lion.

Crude work, comparable with Borowski 27.

21. s55'65. Nephrite (?). Cylinder, chipped. 38 X 22 mm. Two horned creatures being succoured by a human who stands between them as they are attacked by two lions, of which one is broken off. A second human

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69 W. G. LAMBERT

figure is stabbing the preserved lion from behind. A symbol is put between the legs of the preserved lion and those of the creature immediately to its right.

While the spirit of the scene could be Early Dynastic, the quality of workman- ship makes it Old Akkadian, and the slenderness of the human figures may be compared with that of Borowski z6.

22. 5 54'62. Numalitic limestone. Cylinder. 37 X 24 mm. Two groups: hero with bovine and lion; bull-man with bovine and lion.

From Ur (?).

23. 56i'65. Red marble with white veins. Cylinder. 20 X 12 mm. Samas, the sun-god, holding his 'saw'-weapon, rising at dawn from the mountain and emerging from the gates held back by two gods.

The blank space was probably left to receive an inscription which the customer did not in fact have carved.

24. 565'65. Red marble. Cylinder. 22 X 13 mm. The bird-man brought as a prisoner before Ea by two other deities. A palm tree marks off the scene.

25. 556'65. Nephrite (?). Cylinder, chipped. 28 X i6 mm. The same scene as no. 24, but better cut.

This conventional Old Akkadian mythological scene has for long been understood as showing Zu (Anziu) being brought to trial for his theft of the Tablet of Destinies. So far as the writer can discover, W. H. Ward first broached the matter, with true scholarly caution, in Metropolitan Museum of Art, Hand-Book no. 12, Seal Cylinders and other Oriental Seals, pp. 13-14.

(No date, but published in i895; Beatrice E. Bodenstein of this Museum kindly arranged for the supply of a copy of the relevant pages of this rare publication.) M. Jastrow, The Religion of Babylonia and Assyria (1898) p. 5424,

refers to Ward and denies any connexion of these seals and Z'u. In his later work, Seal Cylinders of [Wlestern Asia (i 9I o), p. Io6, Ward also expresses himself sceptically on the relationship of the seals to the myth. In 1920 Otto Weber, who was equally at home in literature and seals, likewise dismissed the idea without going into details (Altorientalische Siegelbilder (ig20), p. I04). However, Delaporte, Louvre II A I62-I63 (1923), assumed that the bird-man is ZuC, and more recently the truth of this idea has been assumed by Frankfort (in " Gods and Myths on Sargonid Seals," Iraq I (1934) 2ff.; and in his Cylinder Seals (1939), p. 123, etc.), which has given the idea an unfortunate vogue, so that A. Parrot, Nineveh and Babylon (I96I), pp. 288-28g and 377, speaks of " the Bird-god Zcu ". Miss E. Porada, Morgan I (948), p. 25, while referring to Frankfort's opinion, wisely contents herself with speaking of " a bird-man ". The identification must be given up for the following reasons: (i) Ziu is nowhere spoken off as a bird-man. (ii) On the seals the bird-man is always brought

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ANCIENT NEAR EASTERN SEALS IN BIRMINGHAM COLLECTIONS 70

before Ea/Enki as a prisoner. The myth in its written form as preserved contains no judgment scene, but if it had concluded with such a session in an Old Akkadian recension, there is no reason why the vanquished Ziu should have been brought before Ea rather than Anu. Ea's role in the myth is a minor one, and he was not a judge in divine circles. The seals certainly refer to a mythological episode relating to Ea of which no certain trace has yet been identified in written sources.

26. 562'65. White marble. Cylinder. 24 X I4 mm. Three pairs of fighting gods marked off by a verticle snake. A divine symbol, apparently, stands between the right-hand pair.

Allusions to this and other scenes of fighting gods on Old Akkadian seals have not yet been certainly identified in texts.

27. 343'58. Hematite(?). Cylinder. 25 X I4 mm. Banquet scene of two seated figures separated by one standing. A bush or branch marks off the scene.

28. UB 8. Nephrite. Cylinder, worn. 29 X I5 mm. A seated deity with three standing figures before him.

Partly due to the worn condition of this piece it is not clear if the standing figures are all meant as gods, or if one is human.

29. 569'65. Fossil shell. Cylinder, worn. 27 X 12 Mm.

Two winged lions with deities riding on them.

Crude Akkad Soyle ("Post-Akkad") 30. 545'65. Rock crystal. Cylinder, chipped. 21 X I3 mm. Bull-man holding off two lions.

Inscription: TUR.ti.[x] (name of owner) e.us. [bar ?] (professional designation?)

3I. 566'65. White marble. Cylinder. 21 X 13 mm. A human being introduced to a seated deity by another deity.

According to Harnett: " found in Kish, 1927, in excavations of temple of Istar."

32. 543'65. Hard green-black granular mineral. Cylinder. 17 X 8 mm. Same as no. 3 1.

Inscription: ba.SAR (name of owner).

33. UB 9. Lapis lazuli. Cylinder, chipped. I5 X 9 mm. Presentation scene, similar to nos. 3I and 32 so far as preserved.

34. i84I'65. Black opaque mineral. Cylinder, chipped. I9 x 6 mm. Standing figure greeting seated deity. Space for inscription marks off the scene.

(D5037) F

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7I W. G. LAMBERT

The drilling of the hole has been begun from both ends, but was not completed. Presumably the relief on the surface was cut first, then in attempting to bore the hole a chip flew off and the piece was discarded.

Third Dynasoy of Ur

35. 552'65. Marble. Cylinder. 29 x i6 mm.

Worshipper led by goddess to seated goddess. Three divine symbols fill spaces.

Inscription: ur.d'ara Ur-Sara

dumu lugal.ti.da son of Lugal-(i)tida

er dnin.e'.ga[l] slave of Nin-egal

36. 567'65. Hematite. Cylinder, chipped. 22 X 12 mm.

Same scene as no. 3i, but behind the seated goddess is a dog and another divine symbol, the pole surmounted by a single lion's head.

With the symbols cf. Berlin 296. In Old Babylonian legal documents and on boundary stones from the late Kassite Period and onwards the dog is the symbol of Gula. The dog here and on other Ur III and Old Babylonian seals has something projecting from his head which is lacking on the dogs on boundary stones.

37. I840'65. Hard green-black granular mineral. Cylinder. i6 x 8 mm.

Two standing figures adoring divine symbol.

Very crude cutting. The adoration of this symbol is virtually confined to objects from the 'rhird Dynasty of Ur, and is particularly common on seals from Ur (UB X 259-277) and Lagas (Parrot, Glyptique 42-52). The symbol itself also appears with representations of a god during this dynasty, e.g. on a seal showing MIeslamtaea (L. W. King, A History of Sumer and Akkad, facing p. 246), and on the well known stele of Ur-Nammu. It is not certain that any particular deity is meant, though Parrot, op. Cit. p. 2, suggests Ningiszida. The object itself is unidentified. It has been taken quite commonly for a date-palm branch and two bunches of dates, but in some cases the upright object looks more like a bush than a branch, and when details of the two side excrescences can be seen, as on the stele of Ur-Nammu (see the photograph in A. Parrot, Sumer, fig. 282), they are clearly not bunches of dates. Indeed, in some cases they are represented as pointed (op. cit. fig. 314). The description of L. Delaporte, " deux inflorescences " (Guimet p. 40), is probably nearer the truth.

38. i 843'65. Hard green-black granular mineral. Portion of cylinder. 19X 9mm.

So far as preserved the same scene as no. 37.

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ANCIENT NEAR EASTERN SEALS IN BIRMINGHAM COLLECTIONS 72

39. UB IO. Greenish metamorphosed rock. Cylinder, chipped. I7 X 9 mm. Same as no. 37, but in addition the symbol consisting of a staff surmounted with two feline heads marks off the scene. As with no. 34, the drilling of the hole had begun at each end, but was not completed, no doubt because the piece chipped in the process of drilling.

Old Babylonian Period

40. 574'65. Rock crystal. Cylinder, chipped. I8 x Ii mm. Samas, the sun-god, on the right (identified by his ' saw'-weapon), faced by a standing figure in an act of adoration, and by another figure (on the left), holding a curved club. A divine symbol marks off the scene.

4I. 548'65. Hematite. Cylinder. 22 X I2 mm. Two representations of Samas facing a male figure and a goddess, both in attitudes of adoration.

The reasons for assuming that both figures facing left are Samas are the following: despite slight damage, the left-hand figure of these two can be seen to hold the 'saw '-weapon as on no. 40 and many other Old Babylonian seals. This is derived from the Old Akkadian scene of Samas rising from the under- world (no. 23 in the present collection and many others), which explains why so regularly in the Old Babylonian examples Samas has one leg projecting from his skirt: in the prototype he was climbing a mountain. Akkadian seals show him with one of two weapons or rarely with both: the 'saw', which he holds upright in front, or a club with a round lump on the end, which he holds downwards behind him. In Old Babylonian seals the 'saw' is still held in front, though most commonly not upright, but almost horizontally. The other Old Akkadian weapon of Samas, the club held downwards behind, does not generally occur on Old Babylonian seals, though there is a club of the same general shape, but instead of the lump at the end, it is curved at the same point. Since this long club with curved end is held by a variety of gods and goddesses an Old Babylonian seals, it is normally impossible to decide if a god holding it is Samas or not. The rays from the shoulders, which mark out the sun-god in Old Akkadian representations, are no longer employed in the Old Babylonian period. Since on our seal there are two figures distinguished only by the different weapons they hold, since the one is indisputably Samas, and since this is based on Old Akkadian originals, where he may hold either of these two weapons, the obvious interpretation is that Samas is shown twice. There is, indeed, an Old Akkadian seal with this very feature: UE II pl. 215 364

Frankfort, Cylinder Seals XVIII k. Both Legrain (UE II p. 362) and Frankfort (Op. Cit. pp. 102- I03) understood the two gods with rays emanating from their shoulders as two representations of the same deity (correctly in our opinion; otherwise E. Porada, Iraq XXII II6 ff.), despite the differences in clothing

(D5037) F2

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73 WV. G. LAMBERT

and armour. Since either separately would have been taken for Samas without question, it is only their occurrence together that has raised any doubt. How- ever, a double representation of the same figure on one piece of art is nothing unusual. Quite a number of Old Akkadian seals show the same figure or pair of figures twice, facing different ways but otherwise identical, and the well known base of Tukulti-Ninurta I (Frankfort, Art and Architectulre, pl. 73 B) shows this king in two different poses in front of the divine symbol.

42. 342'58. Hematite. Cylinder. zi x io mm. Apparently Samas, as on nos. 40-41, though the spot where the 'saw' should be is damaged. Before him are two worshipping figures, the left-hand one carrying a kid or other small animal. The inscription is largely worn away:

[dfa,]af da-[a]

43. 554'65. Hematite. Cylinder, chipped. 25 X 14 mm. Kilted god receiving adoration of a goddess. Between them is the bow-legged man and the combined symbols for sun and moon. There are remains of more glyptic adjacent to the chipped portion.

Inscription: dnin.si4.an.na dkab.ta

The kilted god, though very commonly found on Old Babylonian seals, is still unidentified. Ninsianna is " Istar of the star ", to quote an ancient explanation (dU.DAR mul: KAV73 + 145 rev(!) 6, dup. CT a6 49, K 6093 6), and is unrelated to Nin-Isinna (" Lady-of-Isin "), as rightly maintained by Kraus (JCS 3 74). It can be deduced that Kabta is her spouse, also known under the name dmah.di.an.na (" The-Lofty-One-of-Heaven "). Instead of the common " Ninsianna Kabta ", the Louvre sealing A 485 B (Delaporte II pl. II2 io) has: dnin.si,.an.na dmah.di.[an].na; and two Old Babylonian god- lists give Ninsianna and Kabta in one section so as to imply their marital relationship: TCL I 5 pl. XXVIII 262-266 and SLT 124 IV 19-22 - 122 III 30f. It is commonly held that the ideogram for Kabta is LAL, but this is incorrect. dLAL is a vizier in the court of Sin (Weidner, AfK II io i 3; Perry, Sil 25 II 9). Kabta, the spelling of which is assured by the personal name nu-iir-ka-ab-ta (PBS VII S 7 i), is written with a sign sinmilar to LAL, but differentiated from it quite clearly in the Old Babylonian god-list TCL IS pls. XXVff. i64 and 263. LAL is TA x HI, Kabta's ideogram is TA-guni (see also AS VII 22 213).

This Babylonian TA- Az became TA x MI in Late Assyrian script (MSL II 536-537 and III 138 ioi-ioz). The character of Kabta is completely unknown, except that as spouse of " Istar of the star" he could be presumed to be an astral Tammuz. The astrological occurrences of Kabta (IL IV/2 2o7) are unhelpful. His identification with the brick-god Kulla, based on line 337 of Enki und die Wleltordnung (D.O. Edzard apud H. W. Haussig (ed.), G6tter und

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ANCIENT NEAR EASTERN SEALS IN BIRMINGHAM COLLECTIONS 74

Mythen i,t, Tlorderen Orient p. 59), cannot be sustained. The trace restored T[A x X] is ignored in Falkenstein's translation and notes (ZA 56 84 and I09).

44. Privately owned. Hematite. Cylinder, chipped. I9 X io mm. Same scene as no. 43, except that the mongoose replaces the sun and moon.

Inscription: dnin.sub[ur] Nin-subur [s]id.dui sag.gi6.g[a] Supervisor of humanity [ x ] x x x zalag.g[a] [.] . .. shining [d]sara& da-a Samaw and Aya

The phrase sid.dui sag.gii also occurs in JRAS 1926 68I 4, but of Nin-egal.

45. 546'65. Hematite. Cylinder. 25 X 13 mm. The main group consists of the kilted god with a goddess on each side in postures of adoration. To the left is a deity holding a spear on the shaft of which a mongoose is apparently mounted. Four filling motifs around the kilted god are: the nude female, the man with bucket and " sprinkler ", a fish (?), and a scorpion.

Inscription: a-na-pa-ni-iliii? Ana-pani-ilim vlar ra-bu-/lt-dfal,as Son of RabCut-Samas warad dadad Slave of Adad

46. SO 6. Hematite. Cylinder. 23 X I9 mm. Kilted god on left being greeted by a bearded and pigtailed figure on the right. Behind the kilted god is an upright fish.

The inscription, which was of the type " Mr. X, son of Mr. Y, slave of the god Z ", has been crossed out, probably in antiquity, by coarse lines probably made with a revolving disk. There are three similar marks on the scene.

47. i 842'65. Greenish mineral. Cylinder with top broken off. I4 X 7 mm. Kilted god standing between two figures that face him. There is a mongoose between the kilted god and the figure on his right.

48. 547'65. Nephrite(?). Cylinder. 2I X IO mm. A human, on the left, being introduced by the deity in the centre to the deity on the right, who holds an unusual symbol. There are illegible remains of a two-line inscription.

With the symbol cf. Berlin 425.

49. Privately owned. Black limestone. Cylinder, chipped and broken. 22 X I2 mm. Two standing figures on the left are facing the one on the right, behind whom are both the " lion scimitar " and the " lion club ". A mongoose and the crescent staff appear in front of this god.

Inscription: dx XX

dn'.iriji.ga[l]

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75 W. G. LAMBERT

The first divine name of the inscription could be restored dla-mi-tum, the wife of Nergal, but if this is correct the lines are in the wrong order, since the lesser deity in importance should follow and not precede his or her spouse.

50. 55 9'6 5. Limestone. Cylinder. 24 X I 2 mm. Three standing figures similar to no. 49, and unidentified filling motifs.

A crudely cut piece, not certainly from one of the centres of Mesopotamian seal cutting.

5I. 549'65. Hematite. Cylinder. zi x II mm. Three standing figures. Inscription: dJ1a,uasi Samas

da-a Aya

52. 564'65. Hard green-black mineral. Cylinder, chipped. 20 x ii Imm. Two standing figures before seated deity holding a symbol, above which is a crescent.

The traces of a two-line inscription are probably to be restored as that of no. 5I.

53. 5 70'65. Carnelian. Cylinder, slightly convex. i5 x 7 mm. Seated deity on left separated from two standing figures on right by a symbol.

Crudely cut.

54. UB ii. Shell. Cylinder, worn. 29 X 13 mm. Two standing figures on left before seated deity on riglht, and illegible traces of inscription.

5. Privately owned. Nephrite. Cylinder. 23 X 10 mm. Standing figure before seated deity.

Inscription: SU-dX (X)

ur? mdr x x x warad d

nin-subur This is not an original of a good Old Babylonian gemli cutter, or cutters if, as is probable, the man who carved the relief did not normally carve the inscription also. First, the seated figure's head is lower than that of the standing one, and while this is anatomically correct, it is not what is done on well-cut seals. Secondly, the inscription runs not from top to bottom as it should, following old Sumerian scribal practice, but from bottom to top. In addition it is divided at points which are not permitted in properly done work. It is the common type: " X, son of Y, slave of the god Z," but the last sign in eaclh case of the two personal names is put on the following line, and the deter- minative of the divine name is put on line 3, but the name proper on line 4. A superficial. study may incline one to dismiss this as a fake, but such pieces have turned up in scientific excavations. In Crete in I9II a cylinder seal

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ANCIENT NEAR EASTERN SEALS IN BIRMINGHAM COLLECTIONS 76

was excavated which seemed Babylonian, but the inscription, like this one, was divided at the wrong points, and even the sign NIN was broken into two parts on different lines. See P. E. Pecorella and P. Sacchi, " Sigillo babilonese rinvenuto ad Haghia Triada", Miscellanea Egeo-orientale, Rome (in press: com- munication of E. Sollberger). Similarly the collection of seals found in recent excavations in the Greek Thebes contains, in addition to pure Greek and pure Mlesopotamian specimens, imperfect copies of Mesopotamian seals which may well have been done in Thebes or in some place between Mesopotamia and Greece, such as Cyprus or Crete. There are modern imitations of ancient Mesopotamian seals in which the inscription so far as it consists of genuine cuneiform signs, reads from bottom to top (Berytus VIII pl. V 75, 79-85; ibid. V pl. I I I). These can with good reason be dubbed 'fakes', but our seal has a quite different character and can with good reason be taken as an ancient copy of an Old Babylonian seal, probably made in Syria or some region further to the west.

Kassite

56 55i`65. Agate. Cylinder. 25 X II mm. Deity on left being adored by figure on right. Between the two the nude female stands below, and a bird appears above.

Inscription: dutu umun.gal Samas, great lord, di.ku5.an.ki Judge of heaven and underworld, igi.du8!a !ni! Look with favour on him arhus tuku.m'a And have mercy!

The scene is very similar to that of the Louvre seal II A 604 (also given in Frankfort, Cylinder Seals pl. XXXI b). The inscription here is crudely cut, and the third line has been considerably emended to give sense. Since the text consists entircly of stock phrases this has been done with reasonable certainty from RA I 3 pI. III 27 and other seals. \WZhile the last line is very common on Kassite Period seals, the orthography and grammar often show variations. The complexity of the ARHUUS sign often resulted in its appearing little different from the simple PISAN, so some scribes resorted to writing the SAL outside and after the PISAN (e.g. Louvre II A 604; Iraq 24 pl. XIII no. I), just as in some late copies of lexical texts expounding the values of compound signs the inner sign is repeated outside and after the complex one. The grammatical elements in the verb are also quite variable: tuku alone, tuku.a, tuku.ba.ab, tuku.ma.ra.ab are all attested.

Late A- ssyrian 57. S0 II. Serpentine. Cylinder, chipped. 15 X IO mm. Recumbent sphinx separated from bull kneeling on front paws by plant or branch. A crescent surmounting a pole marks off the scene.

Linear style.

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77 W. G. LAMBERT

58. 34I'58. Hernatite. Cylinder. 31 X 14 mm. The astral symbols at the top divide the scene: the combined sun and moon serves to mark both beginning and ending, while the winged solar disk supported on a stand marks the middle. On the left a row of 20 circles, i6 of which have an inner circle inscribed within the outer, though the lower four on the right lack this, encloses a large bird with outstretched wings, a cross and a rosette. In the middle of the composition, under the winged solar disk, is a " lire altar ". The right is occupied by a seated god with a beard, holding an animal's head in his right hand and a leash ending in two thongs in the otlher.

This is a unique and highly original seal, combining elements from different periods. The combined sun and moon had been common since the Third Dynasty of Ur, and the winged solar disk from the period of AMitannian empire. On other seals too it is supported on a stand, e.g. Morgan 5 98 (NMiddle Assyrian) and 1047 (Mitannian). The arch of circles is probably taken directly from the guilloche of Syrian and Mitannian seals, and some of these peripheral specimens already show the technical simplification of cutting the guilloche with tubular drills, e.g. Morgan I028. The putting of a major item of a design under this kind of arch is also found on Syrian and other western pieces: Morgan 944, 946; Bruxelles II I38o, I 437; Berlin 577; Brett go, 9I. The closest parallel to the bird occurs in the Old Akkadian mythological scenc (e.g. Diyala 5 I9, 6o2, 665), which depicts a large bird in just such a pose being, attacked by gods. The cross and rosette came to fashion in the Kassite period. The scated figure also has something Kassite about its stiffness, but the present writer knows no parallel to this holding of an animal's head. The very realistic detail of this feature and the way it is held seem to exclude the possibility that it is a vessel in the shape of an animal's head. Such heads by themselves have a long ancestry in Anatolian seals, and the odd one does occur on Late Assyrian seals (Berlin 598). The "fire altar " occurs on other Late Assyrian seals (Morgan 68o, 68i; de Clercq 308), before which period the nearest parallel seems to be the similar object associated with the snake-bodied god on Old Akkadian seals (e.g. Diyala 589, 6i6; Morgan 2I6; Bruxelles II 1362). One cannot know if the scene as a whole had any particular meaning to the cutter and its first owner.

The seal belonged to Richard Cadbury (I835-I899), one of the second generation of Cadbury brothers who made cocoa and chocolate in Birmingham, and a note accompanying the seal and bearing his name records, " Mr Loftus declared this, the most interesting cylinder he ever saw." This is W. K. Loftus, the explorer and excavator, who died in I 8 5 8, so this seal passed through this hands not later than that year.

Late Asyrian and Late JBabylonian 59. 49'96. Nephrite. Cylinder, chipped. 36 x 17 mm. Two deities seated on thrones raising their right hands and holding out their left hands horizontally. In front of the right-hand deity there is a third figure

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ANCIENT NEAR EASTERN SEALS IN BIRMINGHAM COLLECTIONS 78

kneeling, but in all other respects the three figures are identically portrayed. The symbol of the moon occurs above the left-hand seated figure; that of the sun above the two facing figures; and that of the Sibitti above the kneeling figure. Three other symbols occur adjacent to the kneeling figure.

There are several interesting points about this piece. First, while kneeling is often mentioned in religious texts as the posture of devotion, in glyptic the worshipper normally stands. Another of the few cases of kneeling is the well known base of Tukulti-Ninurta I (Frankfort, Art and Architecture pl. 73 B). Secondly, it is most unusual to have two deities seated one behind the other. Presumably the kneeling figure is adoring both enthroned gods, and the conventions of seal cutting did not allow any other way of presenting such a scene. Thirdly, if, as one naturally supposes, the kneeling figure is a human (even if a king), it is curious that there is no distinction between their appearance. An astral interpretation can be advanced on the basis of the three astral symbols: the Pleiades (represented as one deity) is submitting to Sin and Samas, but more knowledge is needed before such speculations can be seriously considered. Of the three symbols around the kneeling figure, the diamond shape is well known on late seals (e.g. Iraq 24 p1. XII 2; de Clercq 32I, 323-326, 328, 330), but the other two are not. The four stars on the backs of the thrones are elsewhere represented by drill holes (e.g. Morgan 700), and the same kind of back cloth for even a standing deity occurs in Wiseman, Cylinder Seals of lrestern Asia 92. Presumably such articles of cultic furniture were actually made and used, and these extremities were what a lexical text refers to: " (a chair) whose knobs are overlaid with gold" (kussz sa kar%u bturdyu uhhbuu: see A. Salonen, Die Mobel des alten Mesopotamnien, pp. 94-96). This is a very fine seal, and the modelling of the figures and tlheir dress brings to mind more the figures on Neo-Babylonian boundary stones (e.g. the Merodachbaladan stone, Frankfort, Art and Architecture pl. Izo) than anything Assyrian. 6o. 57i'65. Obsidian. Cylinder. 20 X lo mm. Pairs of facing sphinxes sitting on th-eir haunches.

Cut style. 6i. 56o'65. Quartz(?). Cylinder. 22 X IO mm. Row of sphinxes sitting on their haunches, separated by tree and symbol.

Cut style. 62. 573'65. Chalcedony. Cylinder, chipped. I9 X 9 mm. Monster pursuing horned creature; winged solar disk and fish (?) as filling motifs.

Cut style, similar to Morgan 742; UE X 6oo; etc. 63. 576'65. Chalcedony. Stamp, pyramidal with rounded top and slightly convex octagonal base. 29 X> 2I X II mm. Worshipper before symbols of Marduk (the spade) and Nabu (two cuneiform

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79 W. G. LAMBERT

wedges?), both of which symbols rest on a base. Th-e svmbol of the sun is above.

Drilled style.

64. Privately owned. Chalcedony. Stamp, as no. 63. 27 X 2I X I0 mm. Similar to no. 63, but symbol of Marduk alone, and the moon above.

65. 575'65. Pebble. Stamp, scaraboid. 7 X 20 X i8 mIn. Similar to no. 63, but (apparently) one cuneiform wedge lying flat on stand and moon above.

66. Privately owned. Chalcedony. Stamp, conical, with flattened top and slightly convex bottom. 2I X I4 mm. God with club about to strike winged monster.

Wlhile the miiotif is exceedingly common in this period, this particular rendering of it is both unusual and very successful. Drilled style.

67. Privately owned. Hematite. Duck. I4 X I 8 x i i mm. The duck shape is one traditionally used for weights, but the pattern on the base of this and other similar pieces is paralleled on stamps of conoid or scaraboid shape (Louvre I D 75-76; II A 639, etc.), so there is no reason to doubt that this served as a seal, though perhaps also as a weight. It weighs 6.034 grams, which is not closely matched by any one of the ten ducks in the Newell collection (nos. 5ooff.), of which the weights are given by the editor.

68. SO i2. Serpentine. Stam-ip, scaraboid. 9 X I9 X 14 mm. Bottom surface: standing figure with hands in the same positions as those of the figures on no. 59. Above them is a symbol for the sun, below them another symnbol somewhat like an arrowhead, and behind the figures are the two cuneiform wedges (?), symbol of Nabiu. Top surface: crescent symbol oni conventional pole support, flanked on both sides by trces or branches, all tlhrce objects resting on a base.

Bottoin: the figure somewlhat resembles those of Morgan 7go and Iraq XXIV pl. XII 3, and all the symbols are well known on late seals. Witlh the whole cf. Louvre 1I A I I 5 7 (hedgechog shape).

Top: many parallels can be quoted to this too: PBS XIV 740; Iraq XVII 124 fig. 29; Berlin 679; Bib. Nat. 341; etc.

Both sides of this piece are in the Assyrian tradition, though some might prefer to regard them as imitations not ftom Assyrian craftsmen. It is not an easy question to settle, nor why both sides were cut in contemporary styles, thouglh Moore 95 is a sinmilar case from the same period.

Achaemenid

69. SO 9. Chalcedony. Top portion of cylinder. I4 X IS mm. Winged solar disk and top of human figure holding weapon.

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ANCIENT NEAR EASTERN SEALS IN BIRMINGHAM COLLECTIONS 80

The cut style could be late Assyrian or Babylonian, but the head does seem to have a cap of Persian style, cf. Frankfort, Cylinder Seals pl. XXXVII f and g.

lPeripheral and Doubtful

70. UB 12. Limestone. Cylinder. 20 X 13 mm. Seated figure on left, behind him a standing figure, and a large scorpion marking off the scene.

While approximate stylistic parallels can be found, for example Egyptian cylinders (e.g. Bib. Nat. 406-4iI; Guimet 128-135) and some Cypriot pieces (e.g. Morgan 1075-76), and though the two figures can be paralleled on Moore 192 (" unclassified ") and Morgan 1097 (" classification . . . completely in doubt ") and the scorpion on Berytus V pl. II 2I (no. zo on p. 14, dated to the second half of the second millennium), the present writer cannot offer a more precise classification than: probably western and earlier than the first millennium.

71. 55 7'65. Hard green-black mineral. Cylinder. 23 X II mm. Standing figure on right raising left arm. The rest of the scene is in two registers: from left to right, the upper offers: a seated figure, something unidentified, and a bird. The lower offers: a winged horse and a different kind of bird. Vertical lines enclose the birds.

Again of western provenience, and probably of first millennium date.

72. 62'5 2. Nephrite. Stamp, conical, with rounded top and slightly convex bottom. 14 X I5 mm. Prancing winged horse.

The excellence of this piece makes one all the more curious about its origin, since it belongs to no well known style. Its shape also is unusual, but there are at least three other stamps of this shape and containing similar glyptic: Iraq VI pl. IX 77-78 and Louvre I D I 3 5. The last of these shows a horned animal with a bird on its back, a scene which is also found on stamps of scaraboid shape: Louvre II A 1065-1067 and I069. One may wonder if this scene is not a corrupted descendant of a well known type of Hyksos scarab found in Palestine and Egypt (see S. H. Horn, JNES 2 5 pp. 5 3-5 4 and pls. V-VI nOs. 51-52). All these conoid and scaraboid stamps fall into what Delaporte termed " syro-cappodociens " and von der Osten " North Syrian " (Newell pp. 9-IO), though, as the latter is careful to specify, this group includes all first millennium pieces from the regions west of Mesopotamia that do not fall into any well known style. The identification of the winged horse is uncertain. In addition to the Greek Pegasos and the Babylonian Zcu (Anzfi), which was conceived as a flying horse in the first millennium (B. Landsberger, WZKM 57 939), there mav have been other named winged horses current west of Mesopotamia in the first millennium.

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8i W. G. LAMBERT

73. SO 13. Black limestone. Stamp, scaraboid. io X 20 X i6 mm. Horse in gallop with outspread wings; filling motifs around.

Four other specimens of this shape and with this design have been noted: de Clercq II III, Bib. Nat. 65o (cut on both sides: this scene on its flat side), and Louvre II A I074-75. Their similarity is very great: the horse always faces left, has its wings in the same curious position, and the filling motifs are similar. This too belongs with the " North Syrian ".

74. 555 '65. White rock with bluish specks. Cylinder. z8 X II mm. Hero with horns, full beard, and leonine below the waist fighting with lion. A scorpion marks off the scene.

This seems to draw inspiration from the Old Akkadian scenes of heroes and animals fighting, but the body combining human and lion parts seems to be unique, as is the scorpion in just this form and position. Probably this is a fake.

Sassantiani

75. S 14. Agate. Stamp. i6 x 2o mm. Winged horse. The inscription is blundered and does not give a reading (communication of A. D. H. Bivar).

76. 577'65. Agate. Stamp. 17 X 20 X 12 mm. Ibex head between wings.

77. 58i'65. Water-worn pebble. Stamp. IO X 14 X 13 mm. Recumbent stag.

78. SO I5. Agate. Stamp. io x Iz x 8 mm. Recumbent stag.

79. 578'65. Chalcedony. Stamp. I2 X 13 X 8 mm. An altar, similar to Hilprecht Anniversary Volume p. ioo and facing plate, no. 36.

8o. Privately owned. Chalcedony. Stamp. I4 X I5 X I2 mm. Bust of man, at right angles to hole.

8I. Privately owned. Agate. Stamp. II X 13 X II mm. Bust of man, parallel with hole.

82. 579'65. Agate. Stone mounted in ring, cut surface flat: I2 X I0 mm. Goddess Anahit holding flower.

83. 58z'65. Carnelian. Double (concavo-convex) cabochon. 14 X II mm. Lion under crescent.

A crudely cut piece, not certainly Sassanian, perhaps earlier. A comparison with Louvre II A 1383 makes one wonder if the marking under the lion's body is not intended as the paws.

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ANCIENT NEAR EASTERN SEALS IN BIRMINGHAM COLLECTIONS 82

84. 5 8o'65. Agate. Simple cabochon. Io X 9 mm. Two winged figures dancing (?).

While winged figures and pairs of figures holding, or apparently holding, hands do occur on Sassanian seals, this piece is too crudely cut for it to be certain that it really is Sassanian. It might come from, say, the Roman period.

85. SO 8. Chalcedony. Bead. 23 mm. long x io mm. wide. Period and region of origin unknown.

Concordance of Numbers

Birmingham City Museum 5 67'65 36 49'96 -no. 5 9 S 68'65 1 2

62')2 72 569'65 29 34I'58 5 70'65 53 342'58 42 57i'65 6o 343' 8 27 5 72'65 5 552'62 13 S73'65 6z 553'62 14 574'65 40 554'62 22 5 75'6 6S 5 5 5'62. 9 576'65 63 556'62 17 577'65 76 54I'65 6 578'65 79 542'65 4 579'65 82

543'65 32 5 8o'65 84 544'65 3 58i'65 77 545'65 3?0 8z'6 83 546'65 45 1 840'65 37 547'65 48 I84I'65 34 548'65 4I I842`65 47 549'65 S I I843'65 38 5? 5o65 2I

55 i'65 56 Selly Oak Colleges Library 5 5 z'65 3S5 S06 =no.46 553'65 I5 SO 7 2 554'65 43 So8 88

5 5 5'6574 SO09 69 5 5 6'6525 SO II 57

557'65 7I SO iz 68 5 5 8'65 I6 SO I3 73 5 59'65 50 SO I4 75 6o'6S 6i SO '5 78

562'65 26 563'65 2 6 University of Birmingham 5 64'65 52 UB i =no. I 5 6 5'6 5 24 UB 2 7 566'65 31 UB 3 8

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83 W. G. LAMBERT

University of Birmingham-contin;eed In private collections

UB 4 I0 no. 44 UB S 20 49 UB 6 18 55 UB 7 I9 64 UB 8 z8 66 UB 9 33 67 UB Io 39 67 UB iI 54 8o UB I2 70 8S

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PLATE XIV

1 2

4

6 7~~~~~~~~~~~~~~~~~~km

8lll:

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PLATE XV

9 s 10

't12

'.4

13~~~~~~~~~~~~1

15~~~~~~~

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PLATE XVI

1 6

1 7

19

18~ ~ ~~~4

2 1

20

It 37$ 'A1p 123

22 0 J s~~~~~~~~~~~~2

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PLATE XVII

25 2 26

27 _ _28

* Ks tF, .r 2 9 ii)

30

_ C _

34

3 1

3 3

"4 _ 4~ r) 1 jI1~32 i

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PLATE XVIlI

37 36

38 ~~~~~~39 40 38

4TL 't 42l4 4 4

4146

43

45

- ~~~~~4 7

t;b tilix U U

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PLATE XIX

50

~~~~~51 52~5

53~~~~5

rnw~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~9 1 D A

5 56 I

a

55

57

58

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PLATE XX

60 61

162 66 63

6 4 6 6

68~~~~6

Bottom Top 67

69

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PLATE XXI

ol ~~~~~~~~~71

73 72 74

'Eu

78 79

75 177 I 76

85

@; 1~~~~~~~~~~~~8

82 80 E8

84 ~~~~~83

8i

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