^{page 2 note 1} This is no disparagement of the work done by Koldewey, Dombart, and others; but those writers had insufficient data and their restorations therefore were necessarily conjectural.

^{page 8 note 1} The inscriptions do not help us much. The brick-stamps either give the name of E-temen-ni-gur, which is the Temenos generally (Ur-Nammuand Warad-Sin), or that of E-giš-šir-gal, which is presumably that of the great Nannar-temple complex (Kuri-Galzu, Sin-balaṭsu-iḳbi, Nebuchadrezzar, Nabonidus).

^{page 11 note 1} To make the following account clear it should be remarked that the lowest or first platform existed only at the SE. end of the ziggurat: the second platform only at the NW. end and along the NE. and SW. sides: consequently the third platform was the first to run all round the building; it never has more than one platform-level below it but is really the third in its relation to the general scheme of the ziggurat.

^{page 12 note 1} We could prove modern destruction at precisely this point; the wall on the south side of the presumed stairs has lost nine or ten courses of its brickwork in the last few years, as is shown by contrasting its present condition with older photographs. A whole staircase may well have vanished in sixty years.

^{page 14 note 1} ‘The ascertained colours applied to the stages of the ziggurat at Ur are a welcome contribution to the settling of a much discussed question. While the blue of the topmost shrine is not only attested archaeologically, but confirmed by the inscriptions of Nebuchadrezzar, much doubt has been expressed whether the other parts of the building were also coloured. Victor Place reported that he had found traces of colour upon the ziggurat at Khorsabad, and, in spite of sceptics, it now appears that he was probably quite right. But from the fact that some of the most famous ziggurats (e. g. that of Borsippa) bore names which suggested that they were of seven stories, the theory was developed that the normal type was a building of seven stories, each coloured the hue that was conjectured to symbolize the Sun and Moon, and the five planets (Jupiter, Saturn, Mars, Mercury, Venus) known to the Babylonians. It was even supposed that these colours may have corresponded with those of the seven concentric walls of Ecbatana which according to Hdt. i, 98 were respectively white, black, purple, dark blue, scarlet, silver, and gold. But, even if these colours could be proved to have left traces, or to be identified with the heavenly bodies named, it is quite certain that seven was only one of the numbers of stages which a ziggurat might have, three or four being at least equally common. It is therefore impossible to maintain this theory of the planets, but, as the ziggurat seems to represent an artificial mountain, with the abode of the god upon the (blue) summit of it, there is every reason to see in the arrangement and the colouring of the stages a cosmological significance, even if its precise import is uncertain.’—C. J. Gadd.

^{page 19 note 1} A number of these, found last year, were illustrated in Ant. Journ., iii, 332.