Between this cylinder and the one quoted on the last page as among the masterpieces of Ninevite art, there is the same difference as between the statues of Tello and the bas-reliefs of Nimroud and Khorsabad. The engraver, who some fifteen centuries before our era, cut upon marble this episode from one of the favourite myths of Chaldæa, may not have been able to manipulate precious stones with such ease and dexterity as the artist of Sargon or Sennacherib who made the cylinder in the British Museum, but he had the true feeling for life and form in a far higher degree. So far we have studied the cylinders from the standpoint of their use and the material of which they are composed; we have described the processes employed in cutting them and the changes undergone in the course of centuries in the style of art they display. We have yet to speak of the principal types and scenes to be found upon them. We cannot pretend, however, to give the details in any complete fashion. For that a whole book would be necessary, such as the one promised by M. Ménant. This is not because the themes treated show any great variety; they have, in fact, far less originality than might at first be thought. Compare the impressions from different cabinets and attempt to classify them in order of subject; you will find the same types and scenes repeated, with but slight changes, on a great number of specimens, and you will soon discover that hundreds of cylinders may be divided into a very small number of groups. In each group, too, many individual specimens will only be distinguishable from each other by their inscriptions. All this is to be easily accounted for. The finest cylinders, whether in design or material, must have been commissioned by kings, nobles, and priests, while the common people bought theirs ready-made. When any one of the latter wished to buy a seal he went to the merchant and chose it from his stock, which was composed of the patron gods and religious scenes which happened to be most in fashion at the time. As soon as the purchaser had made his selection he caused his own name to be engraved in the space left for the purpose, and it was this inscription, rather than the scene beside it, that gave its personal character to the seal. The production of these objects was a real industry, carried on all over the country and for many centuries, and continually reproducing the same traditional and consecrated types.