headdress of Sam'al; see the royal figure on a smaller stele
of inferior design, op. cit., pl. lxvi.

(2) Op. cit. pp. 257, 346 ff., and pl. lx. The general style
of the sculpture and much of the detail are obviously
Assyrian. Assyrian influence is particularly noticeable in
Bar-rekub's throne; the details of its decoration are
precisely similar to those of an Assyrian bronze throne in
the British Museum. The full moon and crescent are not of
the familiar form, but are mounted on a standard with
tassels.

The detailed history and artistic development of Sam'al and Ya'di convey
a very vivid impression of the social and material effects upon the
native population of Syria, which followed the westward advance of
Assyria in the eighth century. We realize not only the readiness of
one party in the state to defeat its rival with the help of Assyrian
support, but also the manner in which the life and activities of the
nation as a whole were unavoidably affected by their action. Other
Hittite-Aramaean and Phoenician monuments, as yet undocumented with
literary records, exhibit a strange but not unpleasing mixture of
foreign _motifs_, such as we see on the stele from Amrith(1) in the
inland district of Arvad. But perhaps the most remarkable example
of Syrian art we possess is the king's gate recently discovered at
Carchemish.(2) The presence of the hieroglyphic inscriptions points to
the survival of Hittite tradition, but the figures represented in
the reliefs are of Aramaean, not Hittite, type. Here the king is seen
leading his eldest son by the hand in some stately ceremonial, and
ranged in registers behind them are the younger members of the royal
family, whose ages are indicated by their occupations.(3) The employment