SIR LEONARD WOOLLEY found last year at Al Mina in the surface soil an interesting cylinder seal. It is published, but without comment, in J.JS. I938, pl. xv. It is now in the British Museum, numbered I26064(Plate I, 2). It is of whitish chalcedony, il inches high. The design, which is marred by a chip in the middle, falls into three parts and represents a scene of worship. In the left of the impression is a large figure of a worshipper; in the centre, a kneeling man upholding a winged deity; and on the right, a shrine before which the other two actions are imagined happening. Above are various divine symbols. In most respects the style and the details are those of Assyrian art of the ninth or eighth century B.C. The shrine, flanked by protecting towers, conforms to the presumed exterior of some Assyrian temples.I The two symbols on each battlement are divine standards which often appear in Assyrian scenes of worship.2 The winged eagle-headed figures on either side are easily matched at Nimrud. The god inside standing on a monster occurs in a somewhat similar scene on a seal A 686 in the Louvre.3 So, too, with the divine symbols and figures above: the god in the fringed circle, probably Ea, the seven dots or sibitti, the wedge of Nabu, the winged central figure of Ashur,4 with flowing 'streamers', the spear of Marduk, the ninepointed star, and on the left, below, the goat standing on the palmette,5 and the worshippers are all quite normal in Assyrian art, with one exception: the nine-pointed star here contains the figure of a male god, yet recalls that of Ishtar in Assyria. Again, there seem to be few parallels in Assyrian art to the winged deity upheld by a kneeling man, though it occurs on seals.6 The type is related to that on a sculpture from Tell Halaf in North Syria, where there is a similar 'kneeling' man with hands raised between two other men standing upright.7 A cylinder in the Louvre, A 95I,8 probably from the same area, has the subject in the same form. The ankh and the bucranium in the background of the shrine make it clear that we have to do with a provincial work from Syria or Phoenicia. These symbols are current in Syrian seals from the second millennium, if not before. And the bird, apparently a hawk, which perches on a papyrus flower with the