of basalt in place of limestone does not disguise the sculptor's debt
to Assyria. But the design is entirely his own, and the combined dignity
and homeliness of the composition are refreshingly superior to the
arrogant spirit and hard execution which mar so much Assyrian work. This
example is particularly instructive, as it shows how a borrowed art may
be developed in skilled hands and made to serve a purpose in complete
harmony with its new environment.

(1) _Collection de Clercq_, t. II, pl. xxxvi. The stele is
sculptured in relief with the figure of a North Syrian god.
Here the winged disk is Egyptian, as well as the god's
helmet with uraeus, and his loin-cloth; his attitude and his
supporting lion are Hittite; and the lozenge-mountains, on
which the lion stands, and the technique of the carving are
Assyrian. But in spite of its composite character the design
is quite successful and not in the least incongruous.

(2) Hogarth, _Carchemish_, Pt. I (1914), pl. B. 7 f.

(3) Two of the older boys play at knuckle-bones, others whip
spinning-tops, and a little naked girl runs behind
supporting herself with a stick, on the head of which is
carved a bird. The procession is brought up by the queen-
mother, who carries the youngest baby and leads a pet lamb.

Such monuments surely illustrate the adaptability of the Semitic
craftsman among men of Phoenician and Aramaean strain. Excavation in
Palestine has failed to furnish examples of Hebrew work. But Hebrew
tradition itself justifies us in regarding this _trait_ as of more
general application, or at any rate as not repugnant to Hebrew thought,