--the first being that to the left on entering. Here he
will begin his inspection of

ANCIENT ASSYRIAN SCULPTURE.

The first slabs to which the visitor will direct his attention in the
compartment (1), are from the north-west edifice, excavated from the
Nimroud Mound, which Mr. Layard conjectures to be the most ancient of
all the Assyrian ruins, dating, as we have stated, so far back as
nineteen centuries before our era. On one slab the visitor will notice
two standing draped figures, divided by the sacred tree, or tree of
life, generally worshipped in the East, and adhered to in the
religious systems of the Persians, here more like trellice-work than a
tree, holding chaplets in their hands; on two other slabs figures with
the sacred tree; and on a fourth we recognise the symbol of royalty
among the ancient nations of Asia Minor, the umbrella borne by an
eunuch over a monarch, who is represented returning from the chase, to
the airs played by two musicians. Five figures are respectfully
meeting him, and a dead animal lies at his feet. These specimens of
the state of art in Asia, twenty-seven centuries ago, may well excite
the curiosity of all classes of spectators. Proceeding to the second
compartment, the visitor will find eight more slabs, the first of
which from the north-west edifice, represents a battle-piece. Here
warriors are discharging their arrows, the king with the winged symbol
of divinity in a circle above him is proceeding at full gallop, and a
dead figure lies near him pierced with arrows. This scene is continued
on the second slab, where there are two chariots, each containing two
figures, and one decorated with the ferouher, or divine symbol. A
siege is represented upon the third slab. Here the besiegers are
applying the battering ram; figures are falling from the walls, while
from the three tiers of battlements the besieged are vigorously
discharging arrows. The visitor will notice the figures of two bow-men
on the fourth slab, before a lake, with part of a tower in the
distance, and the next three slabs have representations of the fall of
the city, picturesquely indicated. The deserted battering rams stand
near the walls; female prisoners are leaving the town, drawn by three
oxen; eunuchs are driving away the cattle of the vanquished, and
conducting prisoners with their hands bound.

The third compartment is occupied with slabs, the sculptured subjects
of which closely resemble those just described