A worshipper in a fringed gown is led by a suppliant goddess Lama into the presence of the storm deity, Adad, or Ishkur, who stands in the "ascending position" with one leg bare and rests his foot upon a symbolic mountain. The god holds a lion-headed scepter. This lion motif is further emphasized in the decoration of the cultic stand separating the god from his visitors; the creatures at the base of the stand are winged lion-dragons, totems of the god, and symbolic forms of the storm. A rectangular frame, enclosing an inscription too faint to be read, is positioned behind the storm god. Above the goddess Lama hangs a crescent moon. The popularity of the latter deity, in her role as mediator between the gods and human-kind, is attested by her frequent manifestation in the visual arts.
During the Ur III period, after Sumerian rulers had regained control of southern Mesopotamia from the mountain tribes of the east, artistic themes became exceedingly pious. The presentation scene, in which a worshipper is led before a deity (or perhaps its cult statue) by a goddess (or a priestess in the guise of a goddess), developed in the Akkadian period, became dominant in the Neo-Sumerian period, and survived to succeeding ages. In this particular seal, the worshipper's hatched headgear and beard betray his non-Sumerian character. Likewise, the weather god's pose and attributes are not traditional in the Ur III repertoire. The fact that the goddess still stands before the mortal, instead of behind him with arms raised, however, is evidence that the Ur III kingdom is not long fallen. This seal appears to date to the early Isin-Larsa period of competing, often Amorite, dynasties.
Hematite first became popular as a material for seals in the Ur III period and later became almost ubiquitous. According to an Assyrian dream book, "a man shall lose what he has acquired" if he dreams of a hematite seal.