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Only four on the Zurghul duplicate. For the interpretation of these symbols, see Luschan, Ausgrabungen in Sendschirli, pp. 17-27, and Scheil's article. On the Zurghul tablet there are eight symbols, while the other contains nine. See pp. 263, 264. A text IVR. 5, col. i. compares each of the seven spirits to some animal.
Differences, and striking differences, there are between men and groups of men, but they fade into each other so insensibly that we can only indicate the main divisions of men in broad outlines. As Von Luschan says, "The question of the number of human races has quite lost its raison d'être and has become a subject rather of philosophic speculation than of scientific research.
Despite constant statements to the effect that the members of this tribe are light-colored and the assertion of one writer that at least one division is white, observations made with the V. Luschan color table on more than fifty individuals showed that while certain persons are somewhat lighter than their fellows, as was also the case in other tribes, there is not an appreciable difference in color between this tribe and the others of the Gulf region.
Not far west of here is a kampong, Nahamerang, where the Bato-Pola live, said to be Kayan. The Long-Glats appear to be powerful, but their measurements are very irregular. They seem darker in colour than the other Bahau people, most of them showing twenty-six on the von Luschan colour scale.
But the influence of Assyria may be traced in Hadad's beard and in his horned head-dress, modelled on that worn by Babylonian and Assyrian gods as the symbol of divine power. See F. von Luschan, Sendschirli, I. , pp. 49 ff., pl. vi; and cf. Cooke, North Sem. Inscr., pp. 159 ff.
Von Luschan: Verhandlungen der berliner Gesellschaft für Anthropologie, etc., 1898. Frobenius: Voice of Africa, Vol. Cf. p. 58. Keane: Africa, II, 117-118. The Congo, I, Chap. Harris: Dawn in Africa. We have already seen how a branch of the conquering Bantus turned eastward by the Great Lakes and thus reached the sea and eventually both the Nile and South Africa.
Benin art has been practiced without interruption for centuries, and Von Luschan says that it is "of extraordinary significance that by the sixteenth and seventeenth centuries a local and monumental art had been learned in Benin which in many respects equaled European art and developed a technique of the very highest accomplishment."
Some would, therefore, argue that the Negro learned it from other folk, but Andree declares that the Negro developed his own "Iron Kingdom." Schweinfurth, Von Luschan, Boaz, and others incline to the belief that the Negroes invented the smelting of iron and passed it on to the Egyptians and to modern Europe.
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