o4 SEAL CYLINDERS OF WESTERN ASIA. 
Richter, is correct, we have here one distinct feature not elsewhere clear, if I remem- 
ber, in that the god wears a breechcloth attached to his girdle. 
Yet another is shown in fig. 136c. Here we have but a single scene with a 
worshiper bearing a goat for offering. ‘This case differs from the others in that 
the god has on a long garment, of the style worn by the standing Shamash, and 
his whole body is encompassed with forking rays, a feature not elsewhere duplicated. 
He seizes his foe by the beard and the arm and pushes him against the mountain. 
‘The seizing by the beard gives 
CE A a TE I ne a ee 
a peculiar look to the victim’s & Db) Wy le = 
head, and some of these fig- ‘ Bl We se 




AN 
Le) 

e 136d 
ures were at first supposed to be bird-headed. Exactly what is the meaning of the 
kneeling figure behind the mountains is not clear. Possibly he seizes the victim 
by the long hair. 
There are two scenes in fig. 136d, only one of which belongs to our subject. 
This is a worn and broken cylinder. The god, with rays from his body, pushes 
his foe against the mountain. ‘The other scene gives us a seated, flounced goddess 
and a short-skirted worshiper with a goat conducted to her by another flounced 
figure, probably feminine. 

1376 
It seems to be certainly the standing Shamash in his long garment and with 
his foot on a mountain, whom we see in fig. 137, for it is precisely his attitude and 
attributes, the same dress, position, and notched sword. In this case, however, 
the god is not in conflict with his foe, who is already in submission, kneeling before 
the mountain and with his head turned back so that his beard stands out hori- 
zontally as in fig. 136c. ‘The remainder of this design shows us two worshipers, 
the second with a goat. 
