In their recent edition of inscribed material from Fort Shalmaneser at Nimrud, Dalley and Postgate (1984: No. 95, pp. 159 ff., Pl. 22) have published and discussed a text recording the measurements, apparently in preparation for their covering in gold leaf, of statues for a temple of Nabu, probably the Nabu Temple at Kalḫu itself. As extant, “face B” begins with the dimensions for the statue or statues of the uridimmu (UR.ID[IM?]), which is probably to be identified as an upright figure with human head, arms and torso but the lower body and legs of lion, a type known in the Assyrian period on the palace reliefs and among the apotropaic foundation figurines (Wiggermann, in press: § VII C 5; cf. Green 1985: 77, with Fig. 1 and Pls. XIIIb, XIVa, b).
The next section (ll. 10 ff.) concerns statues of the suḫurmāšu, or “Goat-fish” (literally “Carp-goat”), and kulullû, “Fish-man”. As Dr. Dalley points out, these creatures are known among the apotropaic figurines and named in the appropriate rituals (Dalley and Postgate 1984: 162, n. to ll. 15–19; citing Rittig 1977 for the figurines). An example of the Goat-fish omitted from Rittig's catalogue is shown on Plate V; its inscription (er-ba taš-mu u ma-ga-rù), corresponding to the form prescribed in KAR, no. 298, rev. line 5 (Gurney 1935: 70 f.; Rittig 1977: 157, 167) proves the identity as the suḫurmāšu(cf. Rittig 1977: 188 f., § Ib.2; 206; Green 1983: 93, n. 54; Wiggermann, in press: § VII C 10 b). The mention of statues of the type in the Nimrud text is a significant testimony to their original presence in the repertoire of Assyrian monumental art, for which no examples are now known (notice their absence in the review by Kolbe 1981), although an example is to be found on one face of a ninth(?)-century smaller-scale stone altar from Nineveh (Plate VIa), and statues of the creature appear to be depicted on a Middle Assyrian (Fig. 1 ) and post-Assyrian (Plate Xc) seals. This fact further supports the apparent identical, or at least very close, repertoires of apotropaic figures as foundation figurines and in monumental sculpture (Green 1983).