submitted; and Hoshea, having entered into
negotiations, agreed to receive investiture into his kingdom at the
hands of the Assyrians, and to hold it as an Assyrian territory. On
these terns peace was re-established, and the army of Tiglath-Pileser
retired and recrossed the Euphrates.

Besides conducting these various campaigns, Tiglath-Pileser employed
himself in the construction of some important works at Calah, which was
his usual and favorite residence. He repaired and adorned the palace of
Shalmaneser II., in the centre of the Nimrud mound; and he built a new
edifice at the south-eastern corner of the platform, which seems to have
been the most magnificent of his erections. Unfortunately, in neither
case were his works allowed to remain as he left them. The sculptures
with which he adorned Shalmaneser's palace were violently torn from
their places by Esar-haddon, and, after barbarous ill-usage, were
applied to the embellishment of his own residence by that monarch. The
palace which he built at the south-eastern corner of the Nimrud mound
was first ruined by some invader, and then built upon by the last
Assyrian king. Thus the monuments of Tiglath-Pileser II., come to us in
a defaced and unsatisfactory condition, rendering it difficult for us to
do full justice either to his architectural conceptions or to his taste
in ornamentation. We can see, however, by the ground plan of the
building which Mr. Loftus uncovered beneath the ruins of Mr. Layard's
south-east palaces that the great edifice of Tiglath-Pileser was on a
scale of grandeur little inferior to that of the ancient palaces, and on
a plan very nearly similar. The same arrangement of courts and halls and
chambers, the same absence of curved lines or angles other than right
angles, the same narrowness of rooms in comparison with their length,
which have been noted in the earlier buildings, prevailed also in those
of this king. With regard to the sculptures with which, after the
example of the former monarchs, he ornamented their walls, we can only
say they seem to have been characterized by simplicity of treatment--the
absence of all ornamentation, except fringes, from the dresses, the
total omission of backgrounds, and (with few exceptions) the limitation
of the markings to the mere outlines of forms. The drawing is rather
freer and more spirited than that of the sculptures of Asshur-izir-pal;
animal forms, as camels, oxen, sheep, and goats, are more largely