Fresh progress is marked by the appearance of inscriptions at the sides of the figured scenes. Every possessor of a cylinder makes a point of having his name or that of a favourite deity engraved upon it. Accordingly the names of several _patesis_, who governed Chaldæan towns three or four thousand years before our era, have been found upon cylinders. The cylinder on which M. Oppert read the name of Asrinilu, _patesi_ of Umalnaru (fig. 33), represents an episode in the Chaldæan epic. The hero Izdubar, with curly beard and hair, seizes with each hand by a hind-leg two lions hanging head downwards. The scene is completed by trees, an antelope, a small human figure, a lion-headed scorpion, a human-headed bull. What is here especially striking is the archaism of the cuneiform signs, formed of strokes, which cross one another, but have not yet the form of wedges, which they are to assume later, and also the modelling and suppleness of most of the figures; the instrument is no longer felt through the work. [Illustration: Fig. 33.--Chaldæan cylinder (De Clercq).] [Illustration: Fig. 34.--Cylinder of Sargani (De Clercq).] Chaldæan seal-engraving reaches its apogee with another cylinder of the De Clercq collection, which has the advantage of being dated, at least relatively: it bears the name of Sargani or Sargon the First, king of Agade, about 3800 years before our era. M. Menant mentions it as marking an important stage in the history of art. The picture, which is very simple, is composed of two symmetrical scenes: Izdubar, with one knee on the ground, on the bank of a river, holds with both hands the sacred ampulla, from which a double jet of water escapes, and at which a bull with long striated horns comes to drink.[28] Here the artist possesses all the secrets of his art: never, at any epoch, will he be able to reproduce with greater delicacy and truth the powerful muscles of the bull and the giant. And as it must certainly be admitted that monumental sculpture advances as rapidly as seal-engraving, I do not know which should astonish us most--the degree of perfection to which the Chaldæans had carried the plastic arts, or the prodigiously distant epoch to which such monuments transport us. A cylinder in the museum at New York (fig. 35), which from the characters of the writing seems almost contemporary with that of Sargon the First, is executed with a still greater perfection. The play and graceful suppleness of the muscles of the bull and the lion are rendered with the precision which the direct study of nature brings, and with the ease which betrays an artist who can overcome technical difficulties. [Illustration: Fig. 35.--Chaldæan cylinder (New York Museum, after Menant).]