As in the sphere of art, so, too, in that of politics and government, the Dynasty of Akkad did not originate, but merely expanded and developed its inheritance along lines already laid down. Even with Sharru-Gi, it is clear that we have not reached the beginning of the Semitic movement in Northern Babylonia, and that in this respect the kingdom of Kish resembled the later empire of Akkad. The battle scenes upon his monuments prove that Sharru-Gi was a great conqueror, but the traces of the text supply no details of his campaigns. It is significant, however, that his enemies are bearded Semites, not Sumerians, proving that the Semitic immigration into Northern Babylonia and the surrounding districts was no new thing; we may infer that kindred tribes had long been settled in this portion of Western Asia, and were prepared to defend their territory from the encroachments of one of their own race. Yet details of Sharru-Gi's sculpture prove that with him we are appreciably nearer to the time of Sumerian domination in the north. The shaven faces of the king's suite or body-guard suggest Sumerians, and their clothing, which the king himself shares, is also of that type. In such details we may see evidence of strong Sumerian influence, either in actual life or in artistic convention. Such a mixture of Sumerian and Semitic characteristics would be quite foreign to the Dynasty of Akkad, and it is probable that the earlier rulers of Kish had not yet proved themselves superior to Sumerian tutelage.