THE KASSITE CYLINDERS. 185 
of supplication. Sometimes there is a single god represented, seated or standing, 
and occasionally both the god and his worshiper. We may also expect a new variety 
of symbols, the /abarum, or Greek cross, the sphinx, the winged disk, and various 
forms of birds and animals. Some of these seem to have come from an Egyptian 
influence, following the irruption of the eighteenth dynasty into Asia, and they 
are found more abundantly in the Syro-Hittite art. We have also in some, if not 
all, of these cylinders an evidently new facture, the use of the revolving terebra, and 
yet generally the inscriptions are as carefully cut with the point as in any of the 
earlier seals. While it would not be easy to find direct evidence for it, it sometimes 
seems as if as late as the Second Empire the style of this Kassite period was followed 
archaistically. 

As has been said, the most usual design shows only a single worshiper with 
the long inscription, as appears in figs. 512, 513, 514, 518. See figs. 40, 40a, 41a, for 
discussion of their relation to the times of the Kassite dynasty. Fig. 515 has the 
name of the son of Duriulmas, who was son of Kurigalzu. Here the cross, in the 
developed form of a cross within a cross, will be observed in fig. 514, and in fig. 515 
the vase (?) in the seated god’s hand, the bird, and the two rhombs, each inclosing 
a rhomb. Another admirable example is in the blue chalcedony (“saphirine’’) 
cylinder shown in fig. 516. In my “Hand-book No. 12” of the Seal Cylinders of 
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516 517 
the Metropolitan Museum, I put this cylinder very much later, owing to the material 
which we scarcely find in use before the period of the Persian Empire, but even 
with the sphinxes facing each other the workmanship may well belong to the later 
Kassite period. The sphinxes are, to be sure, not found on other seals of this style, 
but they are common enough on the Syro-Hittite seals of as early a period. It is 
much to be desired that we knew the topographic source of the blue chalcedony 
so much admired later. This cylinder was brought by General di Cesnola from 
Cyprus, but it probably did not have its origin there. We observe in this, as in 
the preceding cylinders, the straight, stiff garment of the worshiper, a style which 
is quite characteristic. 

