ges follow roughly the old outline of the
objects in his architecture, again, though there is much that is rude
and simple, there is also a good deal which indicates knowledge and
experience. The use of the buttress is understood; and the buttress is
varied according to the material. The importance of sloping the walls of
buildings inwards to resist interior pressure is thoroughly recognized.
Drains are introduced to carry off moisture, which must otherwise have
been very destructive to buildings composed mainly, or entirely, of crude
brick. It is evident that the builders whom the king employs, though
they do not possess much genius, have still such a knowledge of the most
important principles of their art as is only obtained gradually by a good
deal of practice. Indeed, the very fact of the continued existence of
their works at the distance of forty centuries is sufficient evidence
that they possessed a considerable amount of architectural skill and
knowledge. We are further, perhaps, justified in concluding, from the
careful emplacement of Urukh's temples, that the science of astronomy was
already cultivated in his reign, and was regarded as having a certain
connection with religion. We have seen that the early worship of the
Chaldaeans was to a great extent astral--a fact which naturally made the
heavenly bodies special objects of attention. If the series of
observations which Callisthenes sent to Aristotle, dating from B.C.
2234, was in reality a record, and not a mere calculation backwards of
the dates at which certain celestial phenomena must have taken place,
astronomical studies must have been pretty well advanced at a period not
long subsequent to Urukh.

Nor must we omit to notice, if we would estimate aright the condition of
Chaldaean art under this king, the indications furnished by his
signet-cylinder. So far as we can judge from the representation, which
is all that we possess of this relic, the drawing on the cylinder was as
good and the engraving as well executed as any work of the kind, either
of the Assyrian or of the later Babylonian period. Apart from the
inscription this work of art has nothing about it that is rude or
primitive. The elaboration of the dresses and headgear of the figures
has been already noticed. It is also worthy of remark, that the
principal figure sits on an ornamental throne or chair, of particularly
tasteful construction, two legs of which appear to have been modelle