f the general design. The highest state of
this art was reached about 650 B.C. At this period the various forms
seem to be more varied and less arranged according to some rule. The
human faces and figures are more delicately finished, and there is an
air of freedom and a spirit in the handling of the subjects that is far
better than that of any other time. The plants and trees are far more
beautiful than before.

The figures of animals, too, are full of life and action in this period.
I shall only give one illustration, and shall choose the head of a lion,
probably the best specimen of animal drawing which is yet known in
Assyrian art. It represents the head of a wounded lion, who, in his
agony, rushes upon a chariot and seizes the wheel with his teeth. The
drawing of this head, as a portrayal of agony and fierceness, compares
favorably with anything of the same kind belonging to any age of art,
either classic or modern (Fig. 12).

There is a question which has not yet been decided as to the amount of
color used on the Assyrian bas-reliefs. From the traces of color
remaining on those that are found in the excavations, and from what we
know of the use of colors on the buildings to which the bas-reliefs
belonged, we may be sure that colors were used on them; but to what
extent cannot be told. It may have been applied with the freedom of the
Egyptians, or it may have been sparingly used, as was the manner of the
ancient Greeks. The colors that have been found in the ruins of Assyria
are white, black, red and blue.

Next to the sculpture, the metal work of the Assyrians was the most
important of their arts. This work was done in three ways: I. Whole
figures or parts of figures cast in a solid shape. II. Castings of low
bas-reliefs. III. Embossed designs made chiefly with the hammer, but
finished with the graver. In the solid castings there are only animal
forms, and lions are far more numerous than any other creature. Many of
them have a ring fastened to the back, which indicates that they were
used for weights. These castings are all small and their form good; but
we have no reason to think that the Assyrians could make large metal
castings.

[Illustration: FIG. 12.--WOUNDED LION BITING A CHARIOT-WHEEL. _From the
North Palace, Koyunjik._]

[Illustration: FIG. 13.--ARM-CHAIR OR THRONE.
_Khorsabad._]

The castings in relief were used to ornament thrones, furniture, and
perhaps chariots. They were fastened in their pl