As is well known, “a fundamental element in the Mesopotamian ideology regarding cities was the concept that each was the dwelling of a particular god or goddess” (van de Mieroop 2007: 45). Thus we may suggest that the wording of the Prologue and most of the Epilogue commemorating the triad “Marduk—Esagil—Babylon” was meant to be quite standard and unified for different cities throughout the kingdom. On the other hand, each copy erected in a given city was probably dedicated to its own patron deity mentioned in the Prologue, where Sippar and Larsa in particular are named side by side as patronized by the same god Šamaš. In any case, it is clear that the monument aimed to praise the king Hammurapi—gratefully and eternally—for establishing his mīšarum, ‘the righteous world order’, with the city of Babylon in the centre, which was an achievement the ruler himself thought to be his exceptional merit.