This article records tradition as it has been passed down and reported. Its sources are not yet part of the atlas's verified catalogue.
Walk the reconstructed Ishtar Gate in Berlin's Pergamon Museum and no god looks back at you. There is no face of Marduk, no image of Ishtar with her weapons, no Adad riding a storm. Instead there are animals, row after row of them in glazed brick: a horned, snake headed dragon called the mushhushshu, a heavy bull called an auroch, and further along the processional street beyond the gate itself, striding lions. Each one stood in Babylonian belief for a specific god without showing that god directly, a visual grammar as deliberate as any portrait.
The mushhushshu belonged to Marduk, Babylon's chief god, whose cult statue was carried out through this very gate each year during the Akitu festival, the Babylonian New Year. The auroch, a now extinct wild ox far larger and more dangerous than a modern bull, belonged to Adad, the storm god whose violence the animal's own strength was meant to evoke. The lions belonged to Ishtar, goddess of love and war, for whom the whole gate was named, and dozens of them lined the ceremonial road leading up to it.
Clare Fitzgerald's scholarly essay for New York University's Institute for the Study of the Ancient World goes further than simple symbolism. She describes a Mesopotamian belief that the artisans who built such reliefs, called ummanu, were themselves capable of manifesting divine protective power through their craft, and that the clay itself carried a connection to creation and to the gods. The gate was not decoration. It was religious technology, built to work.