he actual
employment by the Assyrians of rounded pillar-bases. Mr. Layard
discovered at Koyunjik a set of "circular pedestals," whereof he gives
the representation which is figured. [PLATE LI., Fig. 1.] They appeared
to form part of a double line of similar objects, extending from the
edge of the platform to an entrance of the palace, and probably (as Mr.
Layard suggests) supported the wooden pillars of a covered way by which
the palace was approached on this side. Above the pillars the temple
(No. V.) exhibits a heavy cornice or entablature projecting
considerably, and finished at the top with a row of gradines. (Compare
No. II.) At one side of this main building is a small chapel or oratory,
also finished with gradines, against the wall of which is a
representation of a king, standing in a species of frame arched at the
top. A road leads straight up to this royal tablet, and in this road
within a little distance of the king stands an altar. The temple
occupies the top of a mound, which is covered with trees of two
different kinds, and watered by rivulets. On the right is a "hanging
garden," artificially elevated to the level of the temple by means of
masonry supported on an arcade, the arch here used being not the round
arch but a pointed one. No. VI. [PLATE L.] is unfortunately very
imperfect, the entire upper portion having been lost. Even, however, in
its present mutilated state it represents by far the most magnificent
building that has yet been found upon the bas-reliefs. The facade, as it
now stands, exhibits four broad pilasters and four pillars, alternating
in pairs, excepting that, as in the smaller temples, pilasters occupy
both corners. In two cases, the base of the pilaster is carved into the
figure of a winged bull, closely resembling the bulls which commonly
guarded the outer gates of palaces. In the other two the base is
plain--a piece of negligence, probably, on the part of the artist. The
four pillars all exhibit a rounded base, nearly though not quite similar
to that of the pillars in No. V.; and this rounded base in every case
rests upon the back of a walking lion. We might perhaps have imagined
that this was a mere fanciful or mythological device of the artist's, on
a par with the representations at Bavian, where figures, supposed to be
Assyrian deities, stand upon the backs of animals resembling dogs. But
one of M. Place's architectural discoveries seems to make it possible,
or even probable, that