FLOOK.'J 
KIMROUD GALLERY. 
10] 
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 
bas 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-nazir-pal, both in the chase and in war. 
First come the hunting-scenes — Nos. 3a and 36, a bull-hunt, and the 
successful return ; Nos. ia and 46, a lion-hunt, with similar sequel. 
Afterwards the military scenes, among which maybe distinguished — 
Nos. 76-96. The passage of a river by the king and his army. 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. 13 6. 
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. 11 a- 1 3 a. The return from battle. To the left is seen the 
ground plan of a circular building, divided into tour apartments, in 
each of which are figures preparing food ; adjoining is a tent, with 
horses and grooms ; beyond are soldiers at their games, and musicians ; 
and to the right, the king in a triumphal procession. 
Nos. 136-15 6. Siege of a city by Assur-nazir-pal, a subject presenting 
many curious details of military architecture and engineering, both 
aggressive and defensive; walls with serrated parapets, arched gate- 
ways with ornamental mouldings ; the assailants at once mining, breach- 
ing, and scaling ; a battering-ram plied from the interior of a moveable 
machine, surmounted by a tower, which is filled with archers and 
