The _Leopard_ is occasionally figured on the more archaic seals, but seldom on those of later date, it is distinguished specifically by its spots; a good example of the leopard is afforded by an archaic seal much earlier than the time of Shar-Gâni-sharri.[14] It will thus be seen that the artistic and literary bequests of Mesopotamia have aided us in no small degree in our endeavour to get a general idea as to the animal-world of that country in bygone days. Such however has been the case, only to a very limited extent in regard to birds, where colour is a more determining factor in their infinite variations than form and shape: here it was that the Egyptian shone forth in all his native genius, and succeeded in vividly depicting so many different kinds of birds upon the walls of his tombs by the aid of his brush and colours. In Assyria and Babylonia, on the other hand, where the artistic genius of the people can never really be said to have used colours alone as the mode of its expression, the only birds frequently found, are the eagle and the vulture,—the eagle as the emblem of sovereign royalty, the vulture as the ever-ready devourer of the remains of slaughtered foes—though without doubt a great variety of birds haunted the plains and marshes as they do to-day. The _Eagle_, the royal bird _par excellence_, is the embodiment of kingly rule in the heraldic arms of Lagash as early as the time of her first dynasty, and by the time of Gudea (2450 B.C.) the double-headed eagle, generally characteristic of Hittite art, has made its appearance. It is upon the eagle’s pinions that Etana seeks unsuccessfully to ascend to Heaven, which legend is pictorially represented (cf. Fig. 62) on various archaic seals. In course of time the eagle becomes the aerial support of Ashur, the god from whom Assyria derived its name, and lends its form to the winged disc, which, as M. Heuzey well says, is a “yet more mysterious emblem of divinity”; the Assyrians further deemed it worthy to receive the honour of being united with the body of a man, the composite creature thus produced being accredited with powers more than those enjoyed by mere men, and apparently partaking of a semi-divine character, while on other occasions we see its wings applied to the human-headed body of a bull (cf. Pl. XXV) or a lion, the combined effect of which must have been such as to stagger the boldest of subterranean demons. The long and bare-necked _Vulture_ is not of frequent occurrence in Mesopotamian art, while on cylinder-seals, it only occurs on those known as Syro-Hittite. The birds of prey from which the “Vulture-stele” derives its name, no doubt are intended to represent vultures; as also are the birds depicted on the bas-reliefs which adorned the walls of Ashur-bani-pal’s palace at Nineveh,[15] for in either case they are busily engaged in carrying off the sharply severed limbs and heads of fallen foes.