CONCLUSIONSThe Early Syrian culture of Ebla certainly drew inspiration from models of southern
Mesopotamian origin, particularly those of the Uruk period, as regards the image of
power. These models reached Syria in a direct way, by means of the Uruk colonies
located along the Euphrates. Later on, commercial contacts, quite strong and long
lasting, with towns in the lands of Sumer and Akkad, are documented by archaeology,
and by written evidence. These contacts contributed to spreading, and developing
knowledge and technical skills from south to north and vice versa. For instance, the
presence of locks of beards made of lapis lazuli, and of elements of lions’ manes of
bitumen and lapis lazuli, must be considered proof for the presence at Ebla of pieces
of furniture, and of fittings quite similar to those on the musical instruments, and
perhaps to Puabi’s sledge from the Royal Cemetery at Ur (Pinnock 1984 , 1985 a, 1985 b,
1986 , 1988 ). On the other hand, the cuneiform documents reveal the presence of
cultural exchanges with Kish, the town which was also allied with Ebla in military
campaigns. However, in the Early Syrian period, northern Syria as a whole was
remarkable for a strong originality in the creation of autonomous models for cult
architecture, and in the elaboration of a non-Mesopotamian palace architecture. In
–– E b l a ––Figure 28.12Fragment of a wooden piece of
furniture, from the Royal Palace G, Early
Bronze IVA (© Missione Archeologica Italiana
in Siria)
Figure 28.13Fragment of a carved limestone
plaque, from the Royal Palace G, Early Bronze
IVA (© Missione Archeologica Italiana in Siria)