[15] Cf. Hilprecht, "Math., Met., and Chron. Tabl.," p. 55, n. 1.
[16] Thureau-Dangin would assign only one hundred years to this period (cf. "Journal des savants," 1908, p. 201).
[17] The period may well have been longer, especially if Manishtusu should prove to have been the contemporary of Urukagina.
[18] See below, [pp. 176], n. 2, [209 f].
[19] For a list of the kings and rulers of Sumer and Akkad with their approximate dates, see the List of Rulers at the end of the volume.
[20] See the plate opposite [p. 62]. The objects have been previously published by Hayes Ward in "Proc. Amer. Orient. Soc.," Oct., 1885, and "Amer. Journ. Arch.," vol. iv. (1888), pp. 39 ff. They subsequently found their way into a London sale-room, where they were bought as forgeries and presented as such to the British Museum.
[21] Our knowledge of Sumerian art is mainly derived from the finds at Tello, since the objects from other early sites are not yet published. For its best and fullest discussion, see Heuzey's descriptions in "Découvertes en Chaldée," his "Catalogue des antiquités chaldéennes," "Une Villa royale chaldéenne," and the "Revue d'Assyriologie"; cf. also Perrot and Chipiez, "Histoire de l'art," vol. ii. The finest examples of Semitic art have been found at Susa (see De Morgan, "Mémoires de la Délégation en Perse," passim). A scientific treatment of the subject is adopted by Meyer in "Sumerier und Semiten," but he is inclined to assign too much credit to the Semite, and to overestimate his share in the artistic development of the two races.
[22] See below, [p. 267], Fig. 66.
[23] See the photographic reproduction in "Déc. en Chaldée," pl. 22, Fig. 5.
[24] For the use of these perforated sculptures, see below, [p. 110 f].