82 SEAL CYLINDERS OF WESTERN ASIA. 
in fig. 220, where we have the star, probably here the sun and not Ishtar. Another 
example of a procession is seen in fig. 221, on which we have, beside the seated 
goddess, a female worshiper and her husband, and then perhaps the same couple 
or another couple separated by an irregular tree. But it is noticeable that the 
woman is the leader of the two. In fig. 222 two of the women in the procession 
stand before the goddess and two behind her. All have the hair looped, as does 
the goddess. The tree is a date-palm, notwithstanding the distance between the 



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“222 
branches. In fig. 223 one female worshiper presents the offering to the goddess, 
who accepts the cup, while a second carries the pail and a third stands behind the 
goddess with a fan. The fan is rare in Babylonian art, but frequent in corresponding 
Assyrian scenes; although the fan is here small, but with a long handle. In 
place of the altar is a table; and the other objects are a crescent, the slender 
tree, and the star-sign of the sun. In fig. 224 we have both the goddess and her 
consort, but here the god is the principal figure and the male worshiper stands 

295 226 
before him; while another, or the same one repeated, stands behind the god; and 
a woman, it may be the wife of the owner of the seal, stands behind the goddess, 
each with looped hair. ‘The hair of the male figure is the same as in fig. 218. 
In quite a number of these designs the worshiper is led by the hand to the god- 
dess, and this form of the scene is more frequent in a period somewhat later, but 
yet early. A good example is seen in fig. 225, where we have a cylinder dated in 
the reign of Gudea, with the inscription, “Gudea, patesi of Lagash; Abba, scribe, 
thy servant.”’—Price. Here a female divine attendant on the goddess leads to her 
the owner of the seal, whose hair is dressed in the same masculine manner as in the 
last case, while the female figures have the hair looped. With this compare fig. 226, 
