It is an exception, and a remarkable exception. Stone was the material of the implements of the poor--implements which were coarse in shape, and cost little: if much care were given to their execution, they would come to be so costly that no one would buy them, or, if sold for a moderate sum, the seller would obtain no profit from the transaction. Beyond a certain price, it was more advantageous to purchase metal implements, of copper in the early ages, afterwards of bronze, and lastly of iron. Among the metal-founders and smiths all kinds of examples of these were to be found--axes of an elegant and graceful design, hammers and knives, as well as culinary and domestic utensils, cups, cauldrons, dishes, mountings of doors and coffers, statuettes of men, bulls, monsters, and gods--which could be turned to weapons of all descriptions--arrow and lance heads, swords, daggers, and rounded helmets with neck-piece or visor. [Illustration: 311b.jpg CHALDAEAN STONE HAMMER BEARING AN INSCRIPTION.] Drawn by Faucher-Gudin, from the illustration published by Fr. Lenormant. [Illustration: CHALDAEN IMPLEMENTS OF BRONZE] Drawn by Faucher-Gudin, from Rawlinson’s _Five Great Monarchies_. On the right two axes, in the middle a hammer, on the left a knife, and below the head of a lance. Some of the metal objects manufactured by the Chaldaeans attained large dimensions; for instance, the “brazen seas” which were set up before each sanctuary, either for the purpose of receiving the libations, or for the prescribed rites of purification. As is often the case among half-civilized peoples, the goldsmiths worked in the precious metals with much facility and skill. We have not, succeeded up to the present in finding any of those golden images which the kings were accustomed to dedicate in the temples out of their own possessions, or the spoil obtained from the enemy; but a silver vase dedicated to Ningirsu by Entena, vicegerent of Lagash, gives us some idea of this department of the temple furniture. It stands upright on a small square bronze pedestal with four feet. A piously expressed inscription runs round the neck, and the bowl of the vase is divided horizontally into two divisions, framed above and below by twisted cord-work. Four two-headed eagles, with outspread wings and tail, occupy the lower division; they are in the act of seizing with their claws two animals, placed back to back, represented in the act of walking: the intervals between the eagles are filled up alternatively by two lions, two wild goats, and two stags. Above, and close to the rise of the neck, are disposed seven heifers lying down and all looking in the same direction: they are all engraved upon the flat metal, and are without relief or incrustation. The whole composition is harmoniously put together, the posture of the animals and their general form are well conceived and boldly rendered, but the details of the mane of the lions and the feathers of the eagles