[125] Art in Ancient Egypt, vol. ii. pp. 302–314.
[126] At Nimroud, in the palace of Esarhaddon, the lions and bulls of the gateways are of a grey and rather coarse limestone, while the bas-reliefs are of alabaster (Layard, Nineveh, vol. ii. pp. 26 and 163). The same mixture occurs in the palace of Assurnazirpal. Several of the bulls in that building are of a fine yellow limestone which must have been brought from the hills of Kurdistan (Layard, Nineveh, vol. ii. p. 315).
[127] Layard, Nineveh, vol. ii. p. 316; Discoveries, pp. 307, 308, 309, &c.
[128] Each side of the original has five reliefs. We have been compelled to suppress one in order to give our figures sufficient scale.
[129] The obelisk reliefs should be studied in horizontal bands, and not by taking the whole of a face at a time. A translation of the accompanying texts will be found in Oppert’s Expédition, vol. i; and reproductions of all the four faces in Layard’s Monuments, 1st series, plates 53–56.
[130] Place, Ninive, vol. i, p. 150, and vol. iii. plate 48, fig. 3.
[131] Heuzey, Catalogue des figurines en terre cuite du musée du Louvre, vol. i. p. 26.
[132] Heuzey, Catalogue, &c., p. 18.
[133] Art in Ancient Egypt, vol. ii. pp. 375.
[134] Both the British Museum and the Louvre possess examples of this kind of work in which the handling shows the greatest freedom.