The author aged 9, in Exeter Museum, talking for the first time about becoming a British Museum curator.

(picture acknowledgement i1)

The Arched Room library in the Middle East Department of the British Museum, where 130,000 cuneiform tablets are housed.

(picture acknowledgement i2)

Professor W. G. Lambert, as encountered by the author in September 1969.

(picture acknowledgement i3)

Leonard Simmons in Egypt, at the time he was collecting curios, among which this Christmas card can be included.

(picture acknowledgement i4)

Douglas Simmonds as a boy with the cast of Here Come the Double Deckers.

(picture acknowledgement i5)

Douglas Simmonds with a Mesopotamian hero in the Louvre.

(picture acknowledgement i6)

The Ark Tablet, front view.

(picture acknowledgement i7)

The Ark Tablet, back view.

(picture acknowledgement i8)

A Sumerian reed hut, or mudhif, as depicted on a stone trough of about 3000 BC.

(picture acknowledgement i9)

The characteristic and timeless landscape of the southern marshes in modern Iraq.

(picture acknowledgement i10)

Reeds, water, man and livestock in harmony in a 1974 photograph taken in the southern Iraqi marshes.

(picture acknowledgement i11)

Coracles in use, Iraq, 1920s.

(picture acknowledgement i12)

The coracle to capture the imagination of boys as part of the Churchman cigarette card set entitled Story of Navigation.

(picture acknowledgement i13)

An artist’s impression of ancient Assyrian riverside life.

(picture acknowledgement i14)

A model of a traditional coracle from Iraq; the bead and shells are to promote good luck and are also found on full-size coracles.

(picture acknowledgement i15)

A seventeenth-century view of the animals waiting patiently to embark, by the Flemish painter Jacob Savery.

(picture acknowledgement i16)

This sixteenth-century drawing by Hermann tom Ring gives a good idea of the practicalities involved when it actually came to boarding.

(picture acknowledgement i17)

The flood as depicted by Frances Danby, first exhibited in 1840, and a striking canvas.

(picture acknowledgement i18)

An Ottoman Turkish miniature with the prophet Nuh in his Ark.

(picture acknowledgement i19)

Noah sends out his raven and his first dove in a mosaic from St Mark’s Basilica, Venice, eleventh-century.

(picture acknowledgement i20)

The Tower of Nebuchadnezzar’s Babylon, as visualised by an unknown sixteenth-century Flemish painter.

(picture acknowledgement i21)

The Babylonian mušhuššu dragon, sacred to the God Marduk, that bedecked King Nebuchadnezzar’s royal walls at Babylon, probably modelled on a giant and carnivorous monitor lizard.

The traditional view of the Judaeans grieving at Babylon, as described in Psalm 137. But, as shown in this book, much happened after the first tears dried …

(picture acknowledgement i23)

The Babylonian Map of the World, front view: the world’s oldest usable map.

(picture acknowledgement i24)

The Babylonian Map of the World, back view: an old photograph of the hard-to-read triangle descriptions.

The profile of Mount Pir Omar Gudrun, near Kirkuk, northern Iraq.

(picture acknowledgement i26)

An eternal icon: a rainbow over Mt. Ararat hidden by storm clouds; seen from Dogubeyazit, Turkey.

(picture acknowledgement i27)

Gertrude Bell’s view from Mt. Cudi Dagh.

(picture acknowledgement i28)

The twin peaks of Mt. Ararat, irresistible to romantic painters.

(picture acknowledgement i29)

(picture acknowledgement i30)

The author battling with broken Ark Tablet signs in the British Museum.

(picture acknowledgement i31)