Meanwhile excavations were also going on in Babylonia, excavations moreover which were destined to usher in a new era of Babylonian exploration, and which proved of incalculable value both to the archæologist, and also to the student of early art. In the spring of 1877, some few months before Rassam’s return to Assyria after an interval of a quarter of a century, Ernest de Sarzec, the French Vice-Consul at Basra, started tentative operations at the ruined mounds of Tellô, whither his attention had been directed by J. Asfar, a native Christian, and formerly a dealer in antiquities. Tellô had already won for itself a name as a site likely to repay the labour entailed in its methodical excavation, in consequence of the discovery of inscribed cones and bricks in its ruins, and needless to say, it has more than lived up to its early reputation, for of all the ancient sites of Babylonian civilization, Tellô has yielded by far the richest harvest of material for the reconstruction of Sumerian history, and the systematic study of Sumerian art and culture. It would be impossible here to chronicle all the far-reaching results of De Sarzec’s immortal work, and we must therefore content ourselves with a notice of the more important of his discoveries. On his very first visit to Tellô he was fortunate enough to find a portion of a dolerite statue lying at the foot of one of the mounds, from which he correctly inferred that the statue itself must have originally occupied a position in some large building, the ruins of which he assumed to be lying concealed within the mound in question. He accordingly commenced excavating the mound, and very shortly discovered that it contained a building of no small dimensions, erected upon a large platform of crude, or sun-dried bricks: the objects which he unearthed comprised a large statue of dolerite bearing an inscription of Gudea, priest-king of Lagash about 2450 B.C., inscribed door-sockets, sculptures and vases, copper statuettes of a votive character, and last but most important of all, the first fragments of the Vulture stele of Eannatum, one of the most famous works of early Babylonian art, both in regard to its antiquity and also in regard to the manner in which it illustrates not only the artistic but also the military operations of the Sumerians at this remote period (cf. Pl. XII). In his next two campaigns (1880-81) he systematically excavated the building in the mound generally known as “A,” in the course of which he discovered some nine or ten dolerite statues, numerous statuettes, and a stone vase of Narâm-Sin, son of Shar-Gâni-sharri of Agade, who probably lived some few centuries before Gudea. The building itself, which in the main belongs to the Parthian-period, but in which part of the old palace of Gudea had been incorporated is briefly discussed on page 149. But as Prof. Hilprecht[21] truly says, the dolerite statues of Gudea “will always remain the principal discovery connected with De