Some more from G. D. Hornblower's Early Dragon Forms.
It does seem that elongated necks (and possibly bodies) were merely an artistic function, rather than accurate depictions.
So perhaps this is how the dragon got its giraffe like neck...
I've also left in the depiction of Gilgamesh. Perhaps the inclusion of bulls and lions is the artist's way of describing the hero as a truly great king, rather than concocting a more suitable dragon slaying hybrid...
QUOTE
Among the strange features of dragon-like animals, the elongated neck is prominent, especially
in archaic Egypt, a good-example being on the votive palette of King Narmer (C., p. 237, fig. 168),
on which are carved the figures of two men holding by a rope a pair of feline animals with much-
elongated necks intertwined round the circular depression which held the eye-paint; this group,
but with one man only between the animals, was adopted as the nome-sign of Cusm in Upper Egypt,
and survived in that function till the end of Ancient Egypt (see Alan Gardiner's ' Grammar,' p. 439,
nos. 38 and 39; cp. also the ivory fragment from Hierakonpolis, C., fig. 98) ; it seems to have
originated, as far as present evidence shows, in Egypt, and to have been the offspring of =sthetic
imagination. The pair of feline animals with snake-like heads is also found on the other side of the
palette previously mentioned, on which was carved the figure of a griffin (C., p. 224, fig. 155) ; on
another the long-necked antelopes standing antithetically beside a palm-tree (C., figs. 162 and 164)
have been identified as specimens of the gerenuk, a gazelle of Somaliland (Brit. Mus., N.H., ' Guide
to the Great Game Animals,' p. 39) ; these creatures, and more especially the giraffe, which also
figures on the palette, may have inspired the Egyptian artist with the idea of neck-elongation as an
expression of strange, uncanny animal-life. The snake-necked felines appear, like the griffin, on
the magic wands of the Twelfth Dynasty and in the hunting scenes of the contemporary tombs of
Beni Hassan; it seems evident that the painters of these scenes worked from traditional models,
with little knowledge of the actual fauna of the desert among which they included these monsters,
while their renderings of real beasts, often vivacious, may have been based on observations of actual
specimens in captivity. The elongated neck, though known in Proto-Elamite art (D., pl. 30, nos. 5
and 8), figures but little in Mesopotamian designs ; a well-known example in the Louvre consists of
two animals, whose bodies appear from the hoofs to be those of bulls, standing opposite each other
with giraffe-like necks doubly intertwined, while their long tails cross once, the whole forming a
notable continuous pattern; the necks end in dragon-heads (M., vol. ii, p. 631, fig. 435). It is to
be inferred from the catalogue (D., pl. 64, no. 9), that its exact origin is not known, as it is an
' acquisition,' but it is classed as ' archaic,' that is, of the third millennium B.c., undoubtedly later
than the Egyptian example. The pattern of pairs of elongated animal-necks intercrossed is found
also in archaic Assyria, and is illustrated by a cylinder in fig. 70 of Contenau's ' Tablettes de Kerkouk,'
where it is applied, oddly, to both animals of the conventional group of a lion attacking a wild goat,
the faces' of which accordingly confront each other most amicably. In two cylinders in the Louvre
collection (D., pl. 68, no. 13, and pl. 70, no. 7), the general effect is that of the Cusm nome-sign,
but the elements are different, for here the central figure is that of a Gilgamesh-hero holding a
snake-necked lion from each upraised arm, but his legs resolve themselves into the hindquarters
of a pair of bulls, the tails of which, in their turn, form the lions' necks, a truly monstrous
combination.
On all the earliest cylinders animal figures predominate, principally bulls, lions and mountaingoats;
being treated as decorative elements, they are, of course, liable to a good deal of distortion;
in many the bodies are twisted, or intertwined with others, usually simply but occasionally in a
complicated pattern, after that of the guilloche so common in Syro,Hittite cylinders. This feature
is specially noticeable in the specimens from Shurrupak which are largely illustrated by Otto Weber
in ' Altorientalische Siegelbilder ' (see also M., vol. ii, pp. 616-17) : the simple elongated neck is rare
and seems to have been originally a native Egyptian feature. With the arrival of Semitic dominance,
Mesopotamian art lost its freshness and the animal style ceased, to be replaced by the conventional
religious pattern of the Semitic cylinder. The animal style in ancient Egypt seems to be derived from
the Palaeolithic through the Epipalaeolithic, which has left so many traces in North Africa, from
Morocco to Egypt, and, across the Straits, in Spain. In Egypt, with its naturalistic art, it held its
ground, as it did in North Syria, apparently under Egyptian influence through Byblos. We find it
again in Assyrian art, probably under Syro-Hittite inspiration but taking a form of its own, with
Babylonian influences. (For Egyptian dominance in North Syria, see M., vol. i, pp. 133 and 136,
and vol. ii, pp. 653-5; for Syro-Hittite style, Contenau, ' La Glyptique Syro-Hittite,' nos. 81-87;
the griffin in nos. 15 and 22 and the elongated neck in no. 13 afford further evidence of the connections
above mentioned.) Egyptian influence in Assyria was probably exercised also more directly ; striking
examples of it are the symbol of the national god, imitating the Egyptian winged sun-disk and the
famous Nineveh ivories in the British Museum (' Guide to the Babylonian and Assyrian Antiquities,'
~ 1 sx.l i and xlii).