166 ANCIENT AND MODERN METHODS 



ample, where Rameses II. is depicted in his chariot fighting 

 the Arabs, the enemy is represented as practicing a differ- 

 ent release. While in many cases the Assyrians are on 

 the left of the picture, in other cases they are on the 

 right, and shooting towards the left. It is therefore diffi- 

 cult to decide which release was practiced by them ; and 

 all the more so, since, with very few exceptions, the re- 

 leases are perfect representations of forms practiced to- 

 day, which have already been described. I have suspected 

 that in one or two cases the Mongolian release might have 



O O 



been intended, though in no case is the thumb-ring repre- 

 sented, though other details of arm-guards, bracelets, etc., 

 are shown with great minuteness. 



Taking the releases as they are represented in the sculpt- 



Fig. 21. Assyrian. 



ures without regard to the discrepancies above noted, it 

 is an extremely interesting fact that all the earlier Assy- 

 rian archers, that is, of the time of Assurnazirpal, or 884 

 B. C., the release represented is the primary one, as shown 

 in Fig. 21 ; while in the archers of the reign of Assurbar- 

 nipal, or 650 B. C., the secondary release is shown, or a 

 variety of it, in which the tips of all three fingers are on 

 the string, as shown in Fig. 22. Between these two epochs 

 the sculptures ranging from 745-705 B. C., notably a 

 slab representing the campaign of Sennacherib showing 

 assault on the Kouyunjik Palace, both the primary and 

 secondary releases are represented. If any reliance can 



