Naram-Sin's son was Bingani-sar-ali. A queen, Ellat-Gula, seems to have sat on the throne not many years later, and with her the dynasty may have come to an end. At any rate, the empire of Akkad is heard of no more. But it left behind it a profound and abiding impression on western Asia. Henceforward the culture and art of the west was Babylonian,--Semitic Babylonian, however, and no longer Sumerian Babylonian as in the days of Lugal-zaggi-si. Sargon was a patron of literature as well as a warrior. Standard works on astronomy and astrology and the science of omens were compiled for the great library he established at Akkad, where numerous scribes were kept constantly at work. Sumerian books were brought from the cities of the south and translated into Semitic; commentaries were written on the older literature of the country, and dictionaries and grammars compiled. It was now that that mixed language arose, or at least was admitted into the literary dialect, which made Babylonian so much resemble modern English. The lexicon was filled with Sumerian words which had put on a Semitic form, and Semitic lips expressed themselves in Sumerian idioms. Art, too, reached a high perfection. The seal-cylinders of the reign of Sargon of Akkad represent the highest efforts of the gem-cutter's skill in ancient Babylonia, and a bas-relief of Naram-Sin, found at Diarbekr in northern Mesopotamia, while presenting close analogies to the Egyptian art of the Old Empire, is superior to anything of the kind as yet discovered in Babylonia of either an earlier or a later date. As in Egypt, so too in Babylonia, the sculpture of later times shows retrogression rather than advance. It is impossible not to believe that between the art of Egypt in the age of the Old Empire and that of Babylonia in the reigns of Sargon and Naram-Sin there was an intimate connection. The mines of the Sinaitic Peninsula were coveted by both countries.