398 SEAL CYLINDERS OF WESTERN ASIA. 
brood, but the majestic figure of the great sun-disk with outstretched wings resting 
over the worshiper. Chantre (“Mission en Cappadoce,” p. 44) is in error in sup- 
posing the Assyrian god Ashur to represent the Moon-god Sin. 
In the earlier Syro-Hittite and Assyrian period the wings were short, as in d, 
and the entire figure was very simple, merely the circle with the wings and tail. 
Then followed, as an Assyrian development, the cords connecting the worshiper with 
his deity; much as in the very early Babylonian designs we see in Chapter xv1i the 
kneeling worshiper grasping what looks like a stream from under the wings of a 
gate. In this Assyrian period we begin to see the deity represented in human form— 
as a warrior with a bow, even; and, finally the divine triad—as in b. We find the 
triad also in Persian art, frequent as an architectural ornament, as well as on cylin- 
ders, etc., and the wings are often made very long and narrow, as in c. The fact 
of the prevalence of the triad in Persian times may indicate that there by no means 
prevailed a pure dualism, with one supreme god of good, Ahura-mazda, but that 
the polytheism of Babylonia still continued to survive. The proper place for the 
winged disk, whether of Ashur or Ahura-mazda, was over the king or owner of 
the seal; or it might be placed over the tree of life, where it represented the same 
idea of protection, since the tree itself was the emblem of life and all the bounties 
of fortune, supplying these in the form of fruit to the owner of the seal. Morgen- 
stern says (“Doctrine of Sin in the Babylonian Religion,” p. 23) that “Ashur and 
Ashuritu were always the god and goddess of the king of Assyria, but of no one 
else.” The frequent appearance of the winged disk on private seals does not agree 
with this statement. 
7. The Divine Seat and the Horned Turban: Two or even three of these 
figures frequently occur together on the kudurrus, at the beginning of the succession 
of emblems, or following the three gods of the sky, Sin, Shamash, and 
Ishtar. ‘The lower portion is not an edicule, a shrine, or an ark, but a 
seat, the resting-place of the god. It is so designated in the text accom- 
panying one of the kudurrus, where we read: “All the great gods whose 
names are mentioned on this stone, whose weapons are figured, whose 
seats are represented” (Scheil, in de Morgan, “Délégation en Perse,” 1, p. 89). 
When Marduk conquered Tiamat, the gods gave him “a scepter, a throne, and 
a ring (?)” (King’s “Seven Tablets of Creation,” 1, p. 61). 
One may perhaps consider the seat as representing the god’s residence in 
the sky, and the animal under the seat sometimes seems to be his emblem as a 
constellation. Above the seat is the sign of the god, his high horned hat, or turban, 
with its folds arranged like horns. ‘The fact that there are two or three of these 
shows that the god was not in familiar representation, so that two or more gods 
could be figured in the same way, much as we have seen that, in the Middle Empire, 
the goddess Aa, wife of Shamash, and Shala, wife of Adad, were figured in the same 
dress and attitude, or as, in the yet earlier art, the seated Shamash can not be always 
differentiated, except by some emblem attached, from the seated Sin. ‘The seats rep- 
resent Anu, Bel, and sometimes Ashur, and at other times perhaps Ea, although this 
is not his usual emblem. Anu of the Heavens was never a familiar god even among 
the Babylonians; and the same was true of Bel, after the emergence of Marduk, who 
assumed his functions and displaced him. They were quite too far off from the relig- 

