A HISTORY OF ART IN CHALD/EA AND ASSYRIA. had been rendered almost unrecognizable by a curious habit, or caprice, which is unique in history. Writing had not yet become entirely cuneiform, it had not yet adopted those triangular strokes which are called sometimes nails, sometimes arrow-heads, and sometimes w-'edges, as the exclusive constituents of its character. If we examine the tablets recovered by Mr. Loftus from the ruins of Warka, the ancient Erech (Fig. i), or the inscriptions upon the diorite statues found at Tello by M. de Sarzec (Fig. 2), we shall find that in the distant period from which those writings date, most of the characters had what we may call an unbroken trace. 1 This trace, like that of the hieroglyphs, would have been well fitted for the succinct imitation of natural objects but for a rigid llllll^l FIG. i. Brick from Erech. exclusion of those curves of which nature is so fond. This exclusion is complete, all the lines are straight, and cut one another at various angles. The horror of a curve is pushed so far that even the sun, which is represented by a circle in Egyptian and other ideographic systems, is here a lozenge. It is very unlikely that even the oldest of these texts show us Chaldaean writing in its earliest stage. Analogy would lead us to think that these figures must at one time have been more directly imitative. However that may have been, the image must have been very imperfect from the day that the rectilinear trace came into general use. Figures must then have rapidly degenerated into conventional signs. Those who used them could no longer 1 This peculiarity is still more conspicuous in the engraved limestone pavement which was discovered in the same place, but the fragments are so mutilated as to be unfit for reproduction here.
