230 SEAL CYLINDERS OF WESTERN ASIA. 
or of a pomegranate, or a cone, or it may take a purely imaginary shape, but yet 
it remains a fruit; or if, as in fig. 1153, the fruit itself is lost with the branches, then 
the winged genius no longer carries the cone and the pail. 
The usually accepted interpretation of this design is that the sacred tree is 
worshiped, that it was a palm, in original intent, of which there can be no doubt, 
and that the attendant figure with the “cone” in his hand really holds the stami- 
nate flowers of the male palms, with which it is necessary to dust and fertilize the 
pistillate blossoms. ‘This is requisite, and the account of it comes down to us from 
classical times. But there is absolutely no evidence that this is the meaning of the 
design. We are indebted to Mr. E. B. Tylor (Nature, June 23, 1890; “ Proceedings 
Society of Biblical Archeology,” June, 1890) for this really brilliant and fascinating 
suggestion, which is accepted by Bonavia, in his “The Flora of the Assyrian Monu- 
ments,” as also by d’Alviella in “The Migration of Symbols,” and by many other 
writers. To be sure, so far as we know from classical writers, it was not the custom 
to dust the fertile flowers with the sterile, but only to bring the sterile bunches where 
the wind would carry the pollen, but Bonavia finds in 
the winged genii the symbols of the winds. I can not 
but think that this explanation, even with its sexual 
attractiveness which so fascinates some people, is really 
farfetched, and that a nearer explanation is called for. 
Similarly I do not find any support for Bonavia’s dis- 
covery of horns about the trunk of the sacred tree, 
which horns, he tells us, are attached to trees to ward 
off the evil eye. The ornamental curves do not partic- 
ularly suggest the horns of cattle. 
There are two seals which have an important bear- 
ing on the purpose and meaning of the winged figures 
“ which accompany the sacred tree. One of these is 
a a7— shown in fig. 706. ‘This is a beautiful quartz-crystal 
cylinder, unusually well executed considering the refractory and brittle material. 
The central tree is clearly of the palm type, although conventionalized. On each 
side is the composite figure, half man and half bull, which is so often to be met. 
There are two main branches on each side, terminating in what one may call flower 
or fruit, and each of the two attendant figures seizes one in each hand. There is 
also a circle within which are four small nude kneeling figures, each of whom seizes 
with each hand the branches of the trees which alternate with them. In this case it 
is absolutely certain that the purpose of the attendant figure is not to fertilize the 
fruit; it is much more likely that the purpose is to pluck it off. 
That such is the purpose is made quite certain by the design in fig. 707, a 
cylinder which bears the inscription “Seal of Tilasharan, pashishu (exorcizer) of 
Khalkulsharya” (Price). Here again there is no question that the tree is a modi- 
fied date-palm. From the summit there arise five clusters of the fruit; and a winged 
human figure with the head of the eagle, such as is familiar in the Assyrian art, 
with evident effort is breaking off the bunch of dates, if we may so call it; he has 
rested his foot on the lower part of the tree, so as to secure a purchase for his pull, 
and with one hand he holds the fruit, while with the other he bends its stem so as 
to break it off. We are left here under no reasonable doubt that the purpose is to 


