142 
ASSYRIAN GALLERIES. 
tier only the feet of some Assyrian soldiers are preserved. In the 
second, to the left, are the remains of a group, collecting heads of the 
slain; behind them, several figures are approaching, amongst whom is 
one of smaller proportions and marked Hebrew physiognomy, wearing 
a cap and pointed shoes, which appear to have been the national 
costume of the Israelites; behind these again are nine other figures, 
marching in the opposite direction. In the tier below is another 
group of victors, with captives; one of the latter, wearing a cap, 
and fettered at the ancles, appears to have a human head slung 
round his neck, and to be expostulating with an Assyrian, who 
is spitting in his face and striking him : the latter is followed by 
five figures similar to those immediately above them : then appears 
a procession advancing in the opposite direction, preceded by two 
bowmen, two captives in the Israelitish costume, and two attend¬ 
ant eunuchs. The fourth tier presents two lines of light-armed 
figures meeting in a grove of firs. The fifth and sixth exhibit the 
submission of the Elamites. Above, six figures prostrate their faces 
to the ground, whilst ten others kneel, with their hands raised in 
obeisance or supplication. Below 7 , in the sixth tier, stands an eunuch 
chieftain, or Tartan, grasping by the wrist a captive who follows him. 
Over their heads is an inscription, recording (as interpreted by Mr. 
Layard) that the prisoner was a son of the King of Susiana, who fell 
in battle near the city of Shushan, or Susa, and that an Assyrian 
general had been nominated by the conqueror to succeed him. Before 
the chieftain is a crowd of figures, making obeisance, like those above ; 
behind these is a car drawn by a mule, and a led horse. The seventh 
or lowest tier, represents a warrior leading a horse, and heading the 
procession represented on No. 48: before him are eight of the 
vanquished, making obeisance. These are followed by a band of 
musicians, the three foremost of whom, harpers, are dancing as they 
play, whilst a fourth blows the double pipe. 
50. The last slab of the series is much mutilated on the right side. 
In the highest tier are trees: immediately below is the king, Ashur- 
banipal, receiving the prisoners represented on the preceding slab-: the 
royal chariot, which w r as richly decorated, is preceded by two guards, 
and two eunuchs bearing whips, and one of them a small box, or 
perhaps an inscribed tablet. The figure of the king seems to have 
been purposely mutilated, perhaps by the subsequent captors of 
Nineveh : he is accompanied by a charioteer, and an attendant, who 
holds the parasol, both also much defaced. Above the chariot is an 
inscription. In the third tier is a continuation of the light-armed men, 
and led horses, marching through a wood. Beneath is the representa¬ 
tion of a city, standing at the confluence of a large and small river, 
perhaps Susa, between the Eulaeus and Shahpur. A continuous wall 
encircles several detached flat-roofed houses, with square doors, but no 
windows : without the wall are fortified towers, and trees : in the middle 
is inscribed a name not yet satisfactorily deciphered. Below the city 
is a continuation of the band of musicians, who are here all females ; 
the majority are performing on the harp, but one on a double pipe, and 
another on a species of small drum ; they are followed by other women 
and children, clapping their hands to the measure. To the extreme 
right appears a wood, in which is a piece of water. Along the bottom 
