. Old Testament and Semitic studies in memory of William Rainey Harper;. Fig. 21.—British Museum the goddess in a seated attitude, with crossed legs, not winged,and lifted by two stalwart, nude, male figures seen in Catalogue deClercq, No. 357, may be the same. In Fig. 21, but not in Fig. 20, William Hayes Wabd 377. Fig. 22The Hermitage the goddess is provided with an extra joint in the legs. There isno means of learning what goddess is intended, or what is themeaning of the twisted legs. We may conceive that it indicatesher virginal character, as against the idea ofwantonness conveyed in Ezek
. Old Testament and Semitic studies in memory of William Rainey Harper;. Fig. 21.—British Museum the goddess in a seated attitude, with crossed legs, not winged,and lifted by two stalwart, nude, male figures seen in Catalogue deClercq, No. 357, may be the same. In Fig. 21, but not in Fig. 20, William Hayes Wabd 377. Fig. 22The Hermitage the goddess is provided with an extra joint in the legs. There isno means of learning what goddess is intended, or what is themeaning of the twisted legs. We may conceive that it indicatesher virginal character, as against the idea ofwantonness conveyed in Ezek. 16:25. The at-tendant figures in Fig. 20, the body human andwith two heads, one of a stag and one of anibex, are utterly foreign to the art of Babylonia,Assyria, and Persia, and must have come,through the influence of an Egyptian sugges-tion, from a Mesopotamian or Syrian source ofa comparatively late period, as indicated, amongother things, by the Persian shape of the wingeddisk. The arch about the goddess in Fig. 21,while composed of squares, yet is derived from the guilloche orrope-pattern, of Hittite art, which is yet a perversion of theMycenean scroll pattern. Of the so-called Assyrian cone-seals a very few require great majority of these seals show great paucity of design,perhaps the major
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