The five great monarchies of the ancient eastern world; or, The history, geography, and antiquites of Chaldaea, Assyria, Babylon, Media, and Persia . this period. The heads on page297, and the figures on page 303, represent the ordi-nary appearance of the men,^ while animal forms ofthe time will be found in the lion on page 278, the ibexon page 279, the gazelle on page 282, the horse on The only exceptions are believedto be a few instances of lions heads,and one human head on the oiiia-mentation of dresses at Nimrud.(See Layards Monumevts, 1st Series, Plates 9 and 50, tig. 7.) ^ The woodcut on
The five great monarchies of the ancient eastern world; or, The history, geography, and antiquites of Chaldaea, Assyria, Babylon, Media, and Persia . this period. The heads on page297, and the figures on page 303, represent the ordi-nary appearance of the men,^ while animal forms ofthe time will be found in the lion on page 278, the ibexon page 279, the gazelle on page 282, the horse on The only exceptions are believedto be a few instances of lions heads,and one human head on the oiiia-mentation of dresses at Nimrud.(See Layards Monumevts, 1st Series, Plates 9 and 50, tig. 7.) ^ The woodcut on page 30^ is alsoa good specimen of the defective per-s[iective of the Assyrian artists. Chap. VI. CHAEACTER OF THE EARLIEST BAS-RELIEFS. 429 page 291, and the horse and wild bull on page will be seen upon reference that the animal arevery much superior to the human forms, a charac-teristic which is not, however, peculiar to the style ofthis period, but belongs to all Assyrian art, from itsearliest to its latest stage. A favourable specimen ofthe style will bo found in the lion hunt which has engraved in his Monuments,^ and of. Lion-hunt, from Nimrud. which he himself observes, that it is one of the finestspecimens hitherto discovered of Assyrian composition is at once simple and effective. Theking forms the principal object nearly in the centre ofthe picture, and by the superior height of his conicalhead-dress, and the position of the two arrows whichhe holds in the hand that draws the bowstring, domi-nates over the entire composition. As he turns roundto shoot down at the lion which assails him from be-hind, his body is naturally and gracefully bent, whilehis charioteer, being engaged in urging his horses for-ward, leans naturally in the opposite direction, thuscontrasting with the main figure and balancing it. Monuments of Nineveh, 1st Series, PI. 10. Ibid. p. 3. 430 THE SECOND MONAECHY. Chap. VI. The lion immediately behind the chariot is outl
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