In connection with the jewelry worn by men, we may consider the little cylinders which served as seals. In Babylonia, because of the scarcity of stone, even tiny pebbles were valued, and it came to be the custom to have these cut in cylindrical shapes by expert stone-cutters. An opening was made throughout their length to allow a cord or chain to pass through. This attached the cylinder to the owner's wrist. Upon the round surface of the cylinder were engraved various designs and figures, and a few words explaining the identity of the wearer, name of his father and other noteworthy facts regarding him. His name was affixed, and with this he stamped his letters and all documents. To be without a cylinder was almost as inconvenient as to be without a name. The very poor, who could not afford such a seal, were obliged to make a nail-mark in the soft clay, while some one wrote the name of the person to whom that particular mark belonged. The possessor of a cylinder had only to pass it over the clay and his signature was made. Many of these little cylinders have been recovered, and some lack the name of an owner, showing that they had been made by a gem-cutter, but had not yet found a buyer.
Food.
Food was easily obtained in Mesopotamia, and consisted mainly of grains and dried fish. Cereals were made into little cakes and seasoned with dates or some other fruit. Fish and fowl were plentiful; many kinds of fruits and vegetables were grown, and wine and beer were universally used. Lacking the tomb-pictures of Egypt, we know less about the food and its preparation in the Euphrates valley.
Sports and Pastimes.
For our knowledge of ancient Babylonian and Assyrian life, we are dependent largely upon scenes depicted on palace walls, especially the walls of royal dwellings. These scenes commemorate the doings of the king particularly, and where laborers, slaves and the common people are shown at all, they are seen at work, building palaces and temples, marching to battle, swelling the triumphal processions, or they are cultivating the fields, storing away the grain—all to the glory of the realm and consequently to the king. Naturally then, we know little about the pastimes of the masses. They no doubt thronged the streets on festivals, for then they were free from work. Even labor on royal palaces—always pushed with all possible speed—was then suspended. Every day in the year had its own significance, but five days each month were of particular importance, being sacred to the gods, and were duly observed. Worship and merry-making were in a measure mingled. Other days for popular observance were those in which the king and the army returned from successful wars. A triumphal procession passed slowly through the streets on its way to the temple, where thanksgiving was rendered the gods who had made victory possible. Such occasions were always holidays, and the people in gay attire, gathered to witness the home-coming of their sovereign, and to gaze in wonder at the booty and the captives.
Two recreations pictured on the palace walls were enjoyed only by the nobles and the wealthy classes—the hunt and the banquet. In modern times, when those in high position have occasionally laid down important matters for a brief while to seek recreation in hunting, fishing and out of door life, they have taken opportunity to throw off much of the conventionality surrounding their every-day life and have found some diversion in "roughing it,"—in sharing the varying fortune likely to befall those who leave the certain comforts of home for the uncertain conditions to be met away from the centers of civilization. Such was not at all the case with the kings of Assyria when they left their capitals to hunt the lion in its distant jungles and marshes. In the palace of Sennacherib and Asshurbanipal, hunts have been depicted throughout their progress. We may see the king marching out of the city in his state chariot, his charioteer at his side, while behind him an attendant holds high an embroidered parasol over his kingly head to protect him from the rays of the sun. Nobles accompany him on horses and they, together with the guards and retinue of servants, make up a small army. Goats and cattle are driven along, that his majesty and his nobles may have fresh milk and meat throughout their absence; a sumptuous tent shelters the king when the procession stops for the night, while each noble tries to pitch his tent near the more splendid one of his king. Maspero has graphically described the hunt. Some wild oxen have been discovered, and the king gives chase:
"In less time than we can speak, three of the bulls are rolling on the ground, pierced with several arrows; the four others but slightly wounded, turn round and gallop towards the river. Asshurbanipal follows the largest of them, which he is almost sure is wounded in the shoulder; then gradually he overtakes it, skillfully drives his chariot beside it without checking speed, and laying aside his bow, grasps one of the poignards he wears in his belt. With one hand he seizes one of the animal's horns, with the other he plunges his weapon into his neck; the short, wide blade divides the spine, between the neck and shoulder, the bull falls like a stone. A flight of arrows arrests the fugitives before they can reach the water; the whole herd is killed, except the old bull that escaped at first.
"The return to the camp is a triumphal march. As soon as the sentinels signal the arrival of the party, soldiers, slaves, women, all who are not bound by etiquette or military duty, hurry to meet it, and form two lines, watching the procession. The sight of the seven bulls, each carried by five or six men, almost causes them to forget the respect due to royalty. They exclaim upon the size of the animals, the strength of their horns, the savage aspect given by their manes; they praise their master's skill, and loudly thank the gods who have favored him with such rare and terrible game. Asshurbanipal has left his chariot in front of his tent, and now prepares to return thanks for his success to the lord Asshur and the lady Ishtar. Two priests with their harps are waiting to commence the hymns of praise. The bearers place the oxen side by side in a single line. The king, accompanied by his fly-flap and sunshade-bearers, stands on the right, the bow in his left hand. He takes the cup full of sacramental wine, which the vizier presents to him, touches it with his lips, then partly empties it over the victims whilst the musicians play. The same evening a messenger will start for Nineveh to have the new exploit graven upon stone. The picture will portray the departure, the chase, the death, the solemn entry, and an inscription placed above the last scene will tell posterity the name of the victor. 'I, Asshurbanipal, king of multitudes, king of Assyria, whose power is secured by Asshur and Beltis, I have killed seven oxen; I have strung the mighty bow of Ishtar, queen of battles, against them, I have made an offering over them and poured wine upon them.'
"On the following day the dogs rouse three lions from their jungle. These are killed after having made a desperate resistance. The three bodies are carried back to the camp, then presented to Ishtar with the same ceremonies that had celebrated the triumph over the wild bulls, and the sculptors were ordered to represent the hand-to-hand struggle of the sovereign and his savage foe. 'I, Asshurbanipal, king of peoples, king of Assyria, alone on foot, in my majesty, I seized a lion of the desert by the ear; and by the mercy of Asshur and Ishtar, queen of battles, I pierced its loins with my lance, with mine own hands.'"[1]