[18] See Meyer, "Geschichte," Bd. I., Hft. II., pp. 155, 162, 393 f.; and cf. Breasted, "Ancient Records," I., p. 66. According to Schäfer's translation, the forty ships were made of cedar-wood, not loaded with it (see "Ein Bruchstück altägyptischer Annalen," p. 30). But this does not affect the inference drawn from the passage, for the cedar must have been obtained in Lebanon, and the record in any case proves a connection between Egypt and Syria in Sneferu's reign.
[19] See above, pp. [197] f., [233] f.
[20] See Thureau-Dangin, "Recueil de travaux," XIX., p. 187.
[22] See De Morgan, "Recherches archéologiques," published as the first, seventh, and eighth volumes of the "Mémoires de la Délégation en Perse."
[23] The manner in which the Semitic culture of Babylonia persisted in influencing that of Elam in the religious sphere is well illustrated by the bronze votive plaque of Shilkhak-In-Shushinak, recently found at Susa; cf. Gautier, "Rec. de trav.," XXXI., pp. 41 ff. It is termed a "Sit-Shamshi," and probably represented a rite of purification which was performed at sunrise. As its title would seem to imply, the rite had been bodily taken over by the Elamites and incorporated along with its Semitic name into the native ritual.
[25] Cf. Scheil, "Textes Élam.-Sémit.," IV., pp. 14 ff.
[26] "Textes Élam.-Sémit.," II., pp. 169 ff.
[27] A good example of Elamite sculpture of the earlier period is furnished by the fragment of a bas-relief, published by De Morgan, "Recherches archéologiques," II., pl. i., A; in the treatment of the mythological being, half-man and half-beast, who is holding a sacred tree, it is quite unlike the early work of Sumer or Akkad. That, in spite of Babylonian and Assyrian influence, the Elamite sculptor continued to retain his individuality is clear from such a work as the well-known "bas-relief of a spinning woman," which probably dates from the time of the Sargonids (op. cit., I., pl. ix., p. 159 f.).