tions and monuments of
Bar-rekub, a later king of the district. Internal strife had brought
disaster upon Ya'di and the throne had been secured by Panammu II, son
of Bar-sur, whose claims received Assyrian support. In the words of
his son Bar-rekub, "he laid hold of the skirt of his lord, the king of
Assyria", who was gracious to him; and it was probably at this time, and
as a reward for his loyalty, that Ya'di was united with the neighbouring
district of Sam'al. But Panammu's devotion to his foreign master led to
his death, for he died at the siege of Damascus, in 733 or 732 B.C., "in
the camp, while following his lord, Tiglath-pileser, king of Assyria".
His kinsfolk and the whole camp bewailed him, and his body was sent
back to Ya'di, where it was interred by his son, who set up an inscribed
statue to his memory. Bar-rekub followed in his father's footsteps, as
he leads us to infer in his palace-inscription found at Zenjirli: "I
ran at the wheel of my lord, the king of Assyria, in the midst of mighty
kings, possessors of silver and possessors of gold." It is not strange
therefore that his art should reflect Assyrian influence far more
strikingly than that of Panammu I. The figure of himself which he caused
to be carved in relief on the left side of the palace-inscription is
in the Assyrian style,(1) and so too is another of his reliefs from
Zenjirli. On the latter Bar-rekub is represented seated upon his throne
with eunuch and scribe in attendance, while in the field is the emblem
of full moon and crescent, here ascribed to "Ba'al of Harran", the
famous centre of moon-worship in Northern Mesopotamia.(2)

(1) _Sendschirli_, IV (1911), pl. lxvii. Attitude and
treatment of robes are both Assyrian, and so is the
arrangement of divine symbols in the upper field, though
some of the latter are given under unfamiliar forms. The
king's close-fitting peaked cap was evidently the royal
headdress of Sam'al; see the royal figure on a smaller stele
of inferior design, op. cit., pl. lxvi.

(2) Op. cit. pp. 257, 346 ff., and pl. lx. The general style
of the sculpture and much of the detail are obviously
Assyrian. Assyrian influence is particularly noticeable in
Bar-rekub's throne; the details of its decoration are
precisely similar to those of an Assyrian bronze throne in
the British Museum. The full moon and crescent are not of
the familiar form, but are mounted