Two lions attack a horned animal; human figures (probably lahmu) attack each of the lions from behind, apparently stabbing them with daggers. At the right human figure with a tail (possibly kusarikku) stands left holding a standard. Before the right lion, a plant; before the other, an uncertain device.

Contest scene: two man-headed bulls stand crossed with one another; the further of the two is attacked from the right by a rampant lion, its head shown as if from above; the lion is in turn attacked by a kusarikku. To the left an antelope standing left, its head back, is attacked by a panther which is in turned attacked by a man wearing a long robe who holds an axe in his right hand. The seal is beautifully carved and the style is superficially convincing. A number of details, however, are poorly understood by the seal carver. In particular the man-headed bulls are problematic. Strictly speaking, man-headed bulls do not occur on the seals of the Akkad period. Bison, however, are common on genuine seals throughout that period. Relatively early in the period, the bison is typically shown with its head shown frontally, and bearing almost human features (as on Princeton Art Museum 70-26 and Garrett 3, shown below). Later in the period the bison's head is shown in profile, as on Balken 15. Note that on Garrett 3 the bison has two horns, as we would expect on a bison; but on Garrett 2 they wear an elaborate headdress apparently intended as that worn by gods, featuring multiple tiers of horns, though poorly understood here. The headdress intended by the seal carver was common from the late Akkad period through the Old Babylonian, but it should not appear on a bison. The kusarikku on this seal wears the same headdress; indeed the heads of the bison and of the kusarikku are indistinguishable. The kusarikku may wear such a headdress on seals, but not before the Old Babylonian period (see Pyne 42).

b u - n a - u m / d u b - s a r "Buna'um, the scribe" Contest scene consiting of six figures; near the center is a bearded human figure wearing an unusual headdress and kilt, standing left with his face shown frontally; he holds his arms around two bison, the right one with his head turned right, the other with his face shown frontally; the right bison is attacked by a lion, while the other stands back-to-back with another bison, shown symmetrically, which is held by a lahmu. Behind the lahmu a small kilted god stands right holding a staff; above him is the inscription. The central figure is directly comparable only to a figure on a seal formerly in the Moore Collection, also lapis lazuli (Eisen 20, Forte 45, Sotheby's 26). On that seal the figure is shown as here, with the same fez-like headdress and the same fringed kilt. The two seals are clearly not by the same maker; in comparison, the carving of the Moore seal is clumsy, and its figures lack the impressive muscular definition of the Garrett seal.

Contest scene involving eight figures. At the right are two lions, each held by a lahmu who grasps one of the lions' hind legs and rests his own foot on the lion's neck. To the left, a bison is held by a bearded human figure wearing a kilt and a fez-like headdress; behind the latter is a god who holds another figure, perhaps a bison or more likely a kusarikku, in similar fashion. The proportions of the figures are in many places rather irregular; note in particular the left lahmu, whose head seems unusually small and whose left leg is completely out of proportion to the rest of his body.

A large bull recumbent l. with a winged altar on his back; before him sits a male figure wearing a fringed garment who appears to hold the bull's horns; behind the bull is a nude male figure who half-kneels, one foot on the bull's back, holding the altar with his hands. In the sky before the seated figure is a crescent. This type of scene is well known throughout the Akkad period; see Boehmer Abb. 593-619. This particular example, though wear obscures the design somewhat, apparently belongs to the Akkad III group.

Introduction scene; four standing deities approach a deity seated r. Plants grow from the primary figure's shoulders; the primary figure wears a flounced garment, all the standing ones wear pleated garments. The details of all figures are obscured by the poor condition of the material.

{d} U T U . K A R Presentation scene: A goddess sits l. on a single-niched throne; before her stands a worshipper, behind her an attendant. The worshipper seems to hold both hands out, but one such 'arm' is more likely folds on his garment. The attendant seems to carry a palm frond. Looks a little suspicious.

Uninscribed; an inscription has probably been erased. Introduction scene. The primary figure wears a flounced garment, but all other details are lost due to the condition of the material. Before the primary figure is an uncertain symbol; behind the introducing goddess is a ball-staff below a comb. In the terminal space, which probably once held an inscription, two figures stand on a ground line over a large dog standing r. The two figures are probably a lahmu half-kneeling r. facing a kusarikku standing l. holding a standard.

A N . T I / I B . G I Š ? / l u ₂ - {d} e n - l i l ₂ - l a ₂ Introduction to a seated god who, like the introducing goddess, wears a flounced garment. In the sky, a crescent; at the primary figure's knees, a bird stands r. The seal is rather worn and has been recarved somewhat; the bird in the field is probably also secondary. The inscription is well carved in the manner of seals of the Ur III dynasty but does not appear to make sense, other than the last line which is a common personal name meaning 'man of Enlil.'

u r - b a - k u g - g a / d u m u l u ₂ - n i n - š u b u r . Introduction scene; the primary figure is a goddess wearing a flounced garment and seated on a two-niched throne placed on a dais; the introducing figure is a goddess wearing a pleated garment; the worshipper wears a fringed garment. In the sky between the goddesses is a crescent.

{d} U T U / {d} A . A " Š a m a š, A y a " Introduction scene; the primary figure is a god wearing a flounced garment, who is approached by a god wearing a flounced garment who leads a worshipper in a fringed garment. In the sky is a crescent; in the field a staff, a ball-staff and a comb. Terminal in two registers: above, a dog sits l. with lion-headed harpe behind him, the inscription before him; below, a dog stands l. Goetze doubted the authenticity of this seal. Though some details have evidently been recarved, such as the faces and garments of the figures, the seal is probably genuine.

{d} U T U Contest of two symmetrical pairs, each consisting of a kusarikku fighting a human-faced bison. The latter are arranged in the center of the scene, their bodies facing away from one another, their heads side-by-side shown frontally. Between them is an ornamental mace-standard; in the space before the bison are a ball-staff and comb. The inscription serves as a terminal but is not enclosed in a frame.

{d} n i n - š u b u r / s u k k a l a n - n a ! The last sign of the inscription is completely bungled, allowing Goetze's interpretation "sukkal of Inanna". This title is not known to the author, however, while "vizier of heaven" is a well-known title of Ninshubur. Libation scene consiting of three figures: Shamash ascends l. wearing an open pleated robe, his foot resting on a simple box-like object, and carrying his saw in his r. hand. Before him a man wearing a fringed garment stands pouring a libation from a cup; behind him stands another man in the posture characteristic of an audience.

Devotional scene consiting of three figures: at l., a nude female figure shown frontally but her head turned r. toward the other two, who stand facing one another; in the center a kilted man stands in the posture of an utukku, facing another figure, probably a god, wearing a pleated garment. He appears to hold something in his hand, but this is more probably a 'fly' in the field. Above this is a crescent. In the terminal space are two or more abraded symbols, probably a bow-legged dwarf and another figure above it as well as a standard of some kind. These have perhaps been erased in preparation for an inscription.

b a - š i - A N D U M U i b - n i - {d} M A R . T U I R ₃ {d} M A R . T U Devotional scenes; a god standing l. is judging from his posture and a possible saw held in his r. hand, the sun god; before him stands a figure holding an animal as an offering, behind whom stands another deity. All three figures wear the flounced garment of gods, but the central figure is apparently the king, who is normally shown in this posture. A second scene shows an utukku facing a lamassu. A ground line runs under the whole scene. The inscription is interspersed in three separate lines through the scene. This leaves two spaces between the figures which are fileld with a ball-staff below a comb and a human head over a fly.

e - r i - i b - {d} E N . Z U D U M U k u - . . . - b i I R ₃ w a - i - u m An utukku and a lamassu stand on a ground line facing one another. The last lines of inscriptions of this type normally name either one or two deities or the king. Though no king of the name Wayyum is known at present, it is quite possible that he was the king of some minor city-state in the 19th or 18th century BC.

r i ! - i š - {d} E N . Z U ! [ d u m u x ] - {d} E N . X I R ₃ {d} e n - k i "Rish-Sin, son of ..., servant of Enki (Ea)." The theophoric element in the patronymic may be either EN.ZU or EN.KI. Devotional scene (salutation): the worshipper stands r. with one hand held before his face before an ascending god who wears an open pleated robe and a square headdress. He holds a crook in each hand and rests his r. foot on a small horned animal. The primary figure may be identified as Amurru, god of the Ammorites. The hole is filled with wax.

Inscription (bungled). Utukku and lamassu stand facing one another. The seal, if genuine at all, has been completely recarved, probably by the manufacturer of Garrett 20, Balken 76, and Pyne 56.

s a ! - b u - u m ! D U M U u š - h i - i t ! I R ₃ {d} I M Several disjointed scenes on two registers, both using the dividing line as ground line. Upper register: Adad stands r. on the back of a bull, holding up a thunderbolt; a lion attacks a man l; a scorpion over a bow-legged dwarf, both inverted; a column of three quadrupeds standing r., the lowest identifiable as a hedgehog. Lower register: a deity stands (?) r. on the back of a quadruped; a liongriffin attacks a man l.; a figure wearing a flounced garment and a brimmed cap stands in audience posture before a deity seated l., an astral symbol in the sky between them.

{d} U T U / {d} a - a Utukku (?) stands between two lamassu. Fake, probably by the same maker as Garrett 18, Balken 76, Pyne 56 etc.

Inscribed in five lines. A male worshipper stands r. in salutation posture; in the field before him are two symbols, and another two encased in the last line of the inscription.

A jumble of various motifs drawn from a wide range of Mesopotamian glyptic; the main scene seems to be a worship scene, with a worshipper standing before a seated deity whose throne rests on the back of a lion crouching left, behind which is another lion crouching right. The worshipepr stands on the head of a sphinx crouching right. As a terminal, two antelopes rear up against a tree, over which is a star. In the field are two birds, a scorpion, a crescent, and an unusual figure, apparently a pazuzu, standing on a pedestal and holding an animal by the feet in each hand. The upper edge of the seal has an elaborate guilloche-like border; the lower edge has a border of four lines.

Herding scene? A herdsman stands r. flanked by two horned animals that stand facing him; behind the l. animal is another figure, human but for a tail, who holds a vase out in both arms; in the field is a fish, a bucranium above it. Linear borders.

Devotional scene: two 'king' figures stand facing one another, a lamassu standing r. between them. The l. 'king' holds his arms in salutation posture, the other salutes with one hand while in the other carrying a rabbit which hangs head-downward before him. A terminal in two registers divided by a guilloche between linear borders; upper register: a bird-demon half-kneels r. holding in each hand the tail of a goat which tries to escape; both goats turn their heads back toward the demon. Lower register: two lions sit facing one another, holding up one paw as if in greeting.

Two registers: the lower one shows a devotional scene, the upper one shows heraldic motifs that appear to be decorative in nature. Lower register: a god with short hair and no beard sits r. on a two-niched throne, holding an axe over his r. shoulder and holding the other hand out. He wears a flounced garment. Before him is a recumbent bull recumbent l. on whose back stands the female figure who raises her skirt. In the field are a bird, a star, and two uncertain motifs. Terminal: two kusarikku stand facing one another, their faces shown frontally, holding a spear between themselves with both hands. Upper register: two recumbent sphinxes face one another, a star between them and a crescent over each's back; behind them an antelope recumbent l. with its head turned back; over its back another star.

Devotional scene: a god who is nude except for a double belt stands r. holding a filetl (?) in his outstretched l. hand. Before him stands a 'king' figure, wearing a mantle with rolled hems, a kilt and a rounded headdress. He holds a plant motif in his outstretched r. hand. Between these figures is an offering stand, above which an astral symbol. Behind the 'king' is a male worshipper wearing a fringe garment and short hair, no beard, holding a trident in his outstretched hand. Terminal in two registers: above, an antelope recumbent l. with one of its forelegs raised; below, a hare crouches l. A guilloche between linear borders divides the registers of the terminal; linear borders at both ends of the seal.

Devotional scene; a worshipper in audience posture stands r. before the storm god who wears a kilt and the crowns of Upper and Lower Egypt; he holds in his r. hand a thunderbolt and in the other an axe. Behind him is a smaller kilted figure. Behind the latter is an uncertain animal, above which two horned animals crouching l. in the field, two ankhs, a bucranium and a crescent or throwstick. Linear borders.

Devotional scene. Three figures, left to right: a worshipper holding a palm frond stands r.; before him two figures, a man wearing an open pleated robe who strides r. holding a doubled staff, and a man wearing the dress of the 'king' but no headdress, also holding a staff, stand facing one another; between them is a tall stylized tree motif. Terminal: a large game bird or vulture flies l. between two plants; above and below, short scroll motifs set off with single lines. Linear borders.

Two figures, both wearing kilts and the royal headdress of Upper and Lower Egypt, stand facing one another, each raising one hand to a tall stylized plant and holding a crook or plant motif in the other hand. Terminal: a lion pounces l. on the back of a hare running l. Above, a scorpion. Linear borders.

Contest scenes. Two male figures wearing rounded headdresses and open robes fight a lion; the r. figure holds the lion by its jaw and one foreleg while the other pulls its nose and tail while resting one foot on the lion's legs. This design is then repeated, the only difference being that the r. figure now holds a harpe at his side rather than holding the lion's foreleg.

Worship scene; Adad stands r. on a recumbent bull, holding an axe; before him is a worshipper who holds out both hands. Behind Adad is a bird-demon. In the upper field is a crescent and seven dots (the Pleiades), a star and several stray wedges. Terminal: marru and stylus. Linear borders.

Worship scene; a god sits l. on a throne placed on the back of a dog or lion; before him a worshipper stands r. holding out both hands. Between the figures is a table on which rests an uncertain device, perhaps an offered animal. Over this is a winged sundisk. In the field, a crescent, a balance, and a rhomb. Linear borders.

Contest scene: a winged genii fights a large bird, which appears to have the body and tail of a fish.

Master of animals scene; a man wearing an open robe stands l. holding the forelegs of two demons, each a winged lion with human head; in the field, rhombs. Terminal: a bull recumbent l. with a fish l. below it, a pellet and a crescent between them. Fake?

A priest stands r. before three divine symbols all placed on the back of a mušhuššu r. Above, a crescent; behind the priest, a rhomb.

Contest scene: the king stands r. holding with his l. hand a monster by the horn on its head and preparing to strike it with a dagger held in his r. hand. The monster is a lion with wings and a horn. The action takes place on a ground line.

Ring-shaped; the stone shows some signs of burning. A human-headed quadruped r.

Ring-shaped. Two horned animals crouching r.

Ring-shaped. Inscribed in Pahlevi. A hump-backed bull recumbent r.

Gable shaped. A stag stands r. with his head turned back; behind him, the forepart of another animal, probably a doe, in the same posture. The design appears to be incomplete, as if it was intended to show both the stag and a complete doe; but from the orientation of the gabled back it does not appear that the seal is broken.

Gable shaped. A horned quadruped standing l.; above and before it, plant motifs; another uncertain motif below it.

A fawn crouching r.; above it, a plant motif.

Gable-shaped. An ibex stands r.

Hemispherical shape with suspension knob. An ibex or goat stands l.

Indented drum shape, not perforated. Geometric design: A cross with a central circle, the arms marked with linear incisions in a ladder-like pattern; corners and crescents fill the angles.

Uncertain design consisting of a quadruped and other motifs.

n a - q i - i ' - a e k a l l i t u / s a s i n - . . . White / brown / black.

The glaze is dark brown wher it fills the crevasses of the seal design, but a lighter amber color elsewhere. Cartouches filled with designs intended to resemble Egyptian hieroglyphic writing.

A figure stands l. with both arms raised, apaprently smiting a figure kneeling l. before him; On a lower register, another standing figure holds a falcon. The field is filled with symbols that resemble hieroglyphics. Terminal: pseudo inscription in three columns of alphabet-like letters. Ladder-like borders.

No description available.

Banquet scene; two figures sit on 'camp stools' facing one another; the l. figure seems to hold up a cup while the other figure reaches one hand towards the other's knee. In the sky between them, a crescent. Behind each figure stands an attendant with arms folded; as a terminal behind the latter is a standard.

Introduction to goddess on two-niched throne on dais; in the sky, a crescent; in the field before the primary figure, a scorpion. The terminal space, reserved for an inscription, has been filled with a bull crouching l. above which is a mongoose (?) l. and a tortoise (?).

Introduction scene; the primary figure is a goddess wearing a flounced garment and seated on a single-niched throne placed on a dais; the introducing figure is a goddess wearing a pleated garment; the worshipper wears a fringed garment. In the sky between the goddesses is a crescent. The seal originally bore an inscription which has been erased and replaced with a scorpion, a large standing bird and an uncertain motif.

Devotional scene in two groups of two figures each; right to left: a god wearing an open robe ascends l. facing a 'king' holding an offering, probably an animal such as a goat, in his arms; in the sky before the ascending god is an astral symbol. A god stands l. holding a harpe in his l. hand which hangs behind his back; he faces another male figure, probably an utukku variant (no mace, unusual clothing, pointed headdress). In the sky between the other two figures is a human head l. Terminal: a dog sits l. with a tall pole resting on his head.

[ . . . ] - a n - n i [ d u b ] - s a r d u m u M A N . {d} E N . Z U I R ₃ š a ₃ {d} E N . [ Z U ? ] Two figures stand facing one another; the l. figure wears a short garment and apparently carries something in his folded arms (an animal?); the other stands in salutation posture. Between them is a bow-legged dwarf, above which is a crescent.

Inscription in four lines beginning " Nergal ..." A lamassu faces the inscription.

{d} M A R . T U / d u m u a n - n a / [ k u r ] e l - l a U N "Amurru, son of heaven, pure mountain of the country." Two figures stand facing one another; the l. is a goddess, probably a lamassu; she faces Amurru who wears a short kilt and holds a crook in his r. hand. Both figures stand on a ground line.

{d} M A R . T U / d u m u a n - n a / d i n g i r M E . U R . S A "Amurru, son of heaven, the god who ... {religious} order." A woman stands in praying attitude.