Page:A History of Art in Chaldæa & Assyria Vol 2.djvu/293

Gems. 261 On examining the oldest Mesopotamian engravings on precious stones a skilled craftsman would see at once that nearly all the work had been done with only two instruments — one for the round hollows and another for the straight lines. In the designs cut with these tools we find curiously complete likenesses of the small lay figures with ball-and-socket joints used by painters. 11—- -^s^ty lllliiii- ijssméPI ■ t Fig. 139. — Chalcedony cylinder. British Museum. Some idea of the strange results produced by these first attempts at gem-engraving may be formed from our reproductions of two cylinders in the collection at the British Museum. The influence of the process, the tyranny of the implement, if we may use such a phrase, is conspicuous in both. Note, for instance, in the first faff,? •t^VvJw^J ^^l .^§^ Fig. 140. — Cylinder of black jasper. British Museum. design, which is, apparently, a scene of sacrifice (Fig. 139), how the head and shoulder of the figure on the left are each indicated by a circular hollow. The same primitive system has been used in the cylinder where the god Anou is separated from another deity by the winged globe (Fig. 140). The design is here more complex. The bodies of the two divinities and the wings of the