As a small contribution to the volume of Iraq in honour of Professor Sidney Smith, I offer for publication a curious cylinder seal in the Kuiltepe style. This contribution, although inadequate, is at least fitting, because Professor Smith is well known for his contributions in this field. The seal illustrated on Plate III is in a private collection and was bought in Beirut; it is i.9 cms in length, and is made of haematite; glistening particles show in some places where the stone is engraved. The central scene depicts a bearded figure seated on a stool, clad in a flounced robe of striped multicoloured stuff, with a round cap or turban.' The projecting point seems to me fortuitous, and to be caused by a slip of the engraver's tool rather than with the intention of depicting the horned cap of divinity. Approaching this enthroned figure is a worshipper, beardless, wearing a round cap and a fringed garment which hangs open in the Syrian manner. He holds a staff in front of him like a sceptre. At the knee of the enthroned figure sits a monkey, above his hand is a star, crescent and sun disc. Beside this scene there seems to have been originally a four-line inscription. Two lines of the inscription were subsequently partly defaced; this is demonstrated by the very faint sign in the middle of the third line KI. I am unable to make out any other traces of partly obliterated signs. The cuneiform is to be read directly from the stone, as on the majority of Kuiltepe seals. The photographic print has been reversed in the illustration for ease of reference. Over the original inscription has been engraved the figure of a bull and an eagle. There is a rectangular object in front of the eagle, which I cannot explain. In front of the bull is some object which might represent cult furniture. I have wondered whether a cuneiform sign has been re-worked but I cannot detect the lines of re-working. It is difficult to say whether the six globes were part of the original design or notin any case there can have been no great lapse of time between the original engraving and the alteration. Both the central scene and the later additions are typical of the seal impressions from Level II (c. I9ioI i840 B.C.) of the Assyrian. merchants quarter Kartim of Kuiltepe Kane!, in particular the style which Nimet Ozgue calls Syrianizing.2 The most unsatisfactory feature is the inscription, although Ktiltepe style seals with garbled cuneiform inscriptions