other heroes upon the seals is important, as it points to a knowledge on the part of the earlier Sumerians, of the principal legends that were incorporated in the great national epic of Babylon.[33] The sealings are no less important for the study of Sumerian art, and they prove that seal-cutting must have already been practised by the Sumerians for a considerable length of time. While the designs are of a very decorative character, it is interesting to note how the artist has attempted to fill up every portion of his field, an archaic trait which is in striking contrast to the Semitic seals of the Sargonic period. Another peculiarity which may here be referred to is the employment, on the larger seal below the inscription, of a sort of arabesque pattern, an ingenious and symmetrical combination of straight lines and curves, the course of which may be followed without once passing along the same line a second time. It has been suggested that this pattern may have formed the engraver's monogram or signature,[34] but it is more likely to have been a religious symbol, or may perhaps be merely decorative, having been added to fill in a blank space remaining in the field of the seal. The discovery of these seal-impressions enables us to realize that, in spite of the period of political unrest through which Lagash was now passing, her art did not suffer, but continued to develop along its own lines. In fact, her sculptors and engravers were always ready to serve the reigning patesi, whoever he might be. Although, as we have seen, the exact relation of the three patesis, Enetarzi, Enlitarzi, and Lugal-anda, to the dynasty of Ur-Ninâ is still a matter for conjecture, there is no doubt that with Urukagina, at any rate, a complete break took place, not only in the succession, but also in the traditions and principles which had guided for so long the ruling family at Lagash. That Urukagina did not obtain the throne by right of succession is clear from the total absence of any genealogies in his inscriptions. He does not even name his father,[35] so that we may trace his succession to his own initiative. He himself ascribes to Ningirsu his elevation to the throne, and the phrase that follows suggests that this was not accomplished without a struggle. When describing in detail the drastic reforms which he had carried out in the internal administration of the state, he prefaces his account by stating that they took place when Ningirsu had given him the kingdom of Lagash and had established his might. In view of these very reforms, we may regard it as extremely probable that he headed a reaction against certain abuses which had characterized the recent government of the city, and that, in usurping the throne, he owed his success to a wide-spread feeling of discontent among the great body of the people.