FLOOR.] 
NIMROUD GALLERY. 
101 
and much decomposed by fire, these slabs still display considerable 
merit in design. 
No. 29*. A restoration of the slab which originally occupied the 
position corresponding to this, and the same in subject as the next. 
No. 30. Slab from the opposite side of the doorway, forming the com- 
panion to No. 29*. It presents a figure of the Fish-god, or Dagon. 
The remaining bas-reliefs in this room are all from the 
North-west edifice. 
No. 33 represents an eagle-headed figure, evidently a deity, sup- 
posed by some to be Nisroch, in whose temple Sennacherib was slain. 
No. 36. A lion-hunt, which, though originally belonging to the 
North-west edifice, had been removed in ancient times, and was found 
in an isolated situation. It is here placed, for the purpose of comparison, 
opposite to some slabs of similar subject. 
Nos. 37-40. A collection of bas-reliefs, representing what are believed 
to be religious rites. In each group two figures are seen, standing or 
kneeling before a species of tree, whose foliage is sculptured similarly to 
that known as the " honeysuckle ornament " of Greek architecture and 
vase-painting; one hand of each figure is raised, and generally holds 
some mystic offering or symbol, such as a fir-cone, a pomegranate- 
branch, a necklace, &c. 
Upon the West side of the room is a similar subject (No. 2), on a 
has relief within a boldly -projected border ; two kings are here intro- 
duced in the conventional attitude of sacrifice or adoration, and each 
attended by a winged and triple-horned figure ; above the mystic tree 
is the symbol of Divinity, sometimes described under the Persian name 
of Ferouher, being a small figure within a winged circle, holding a ring. 
The same symbol reappears, under a modified form, in some of the 
battle-scenes, where the Divinity seems to watch over the person of the 
king, and sometimes draws a bow at his enemies. 
The double frieze, which next succeeds, may be regarded as illus- 
trating the prowess of Assur-natsir-abla, both in the chase and in war. 
First come the hunting-scenes — Nos. 3a and 36, a bull-hunt, and the 
successful return ; Nos. 4 a and 46, a lion-hunt, with similar sequel. 
Afterwards the military scenes, among which may be distinguished — 
Nos. 76-96. The passage of a river by the king and his array. The 
chariots are embarked in boats; the horses swim behind, guided by 
halters ; many of the soldiers are likewise swimming, supported by 
skins inflated with air; others on shore are inflating skins previously 
to entering the stream. 
Nos. 106-126. The capitulation of a city, and the king receiving the 
prisoners and spoil, a subject extending over a part of slab No. 136. 
The original of No. 126 was so shattered, that Mr. Layard did not 
attempt to remove it, but made a careful drawing, from which has been 
executed the painting which here fills the vacant space. A portion of 
this slab subsequently obtained is opposite. 
Nos. lla-13a. The return from battle. To the left is seen the 
