It has been observed that both the inscriptions of this king, and his architecture, are of a rude and primitive type. Still in neither case do we seem to be brought to the earliest dawn of civilization or of art. The writing of Urukh has passed out of the first or hieroglyphic stage, and entered the second or transition one, when pictures are no longer attempted, but the lines or wedges follow roughly the old outline of the objects in his architecture, again, though there is much that is rude and simple, there is also a good deal which indicates knowledge and experience. The use of the buttress is understood; and the buttress is varied according to the material. The importance of sloping the walls of buildings inwards to resist interior pressure is thoroughly recognized. Drains are introduced to carry off moisture, which must otherwise have been very destructive to buildings composed mainly, or entirely, of crude brick. It is evident that the builders whom the king employs, though they do not possess much genius, have still such a knowledge of the most important principles of their art as is only obtained gradually by a good deal of practice. Indeed, the very fact of the continued existence of their works at the distance of forty centuries is sufficient evidence that they possessed a considerable amount of architectural skill and knowledge. We are further, perhaps, justified in concluding, from the careful emplacement of Urukh’s temples, that the science of astronomy was already cultivated in his reign, and was regarded as having a certain connection with religion. We have seen that the early worship of the Chaldaeans was to a great extent astral--a fact which naturally made the heavenly bodies special objects of attention. If the series of observations which Callisthenes sent to Aristotle, dating from B.C. 2234, was in reality a record, and not a mere calculation backwards of the dates at which certain celestial phenomena must have taken place, astronomical studies must have been pretty well advanced at a period not long subsequent to Urukh.
Nor must we omit to notice, if we would estimate aright the condition of Chaldaean art under this king, the indications furnished by his signet-cylinder. So far as we can judge from the representation, which is all that we possess of this relic, the drawing on the cylinder was as good and the engraving as well executed as any work of the kind, either of the Assyrian or of the later Babylonian period. Apart from the inscription this work of art has nothing about it that is rude or primitive. The elaboration of the dresses and headgear of the figures has been already noticed. It is also worthy of remark, that the principal figure sits on an ornamental throne or chair, of particularly tasteful construction, two legs of which appear to have been modelled after those of the bull or ox. We may conclude, without much danger of mistake, that in the time of the monarch who owned this seal, dresses of delicate fabric and elaborate pattern, and furniture of a recherche and elegant shape, were in use among the people over whom he exercised dominion.