148 
ASSYRIAN GALLERIES. 
entrance to the Phigaleian Saloon, the lowest slabs bear representa¬ 
tions of two sieges. 
That to the left, which has an inscription underneath, has pourtrayed 
upon it the walls of a city, against which a battering engine is brought 
to work upon an artificial mound. Two archers behind screens are 
discharging arrows at the besieged, one of whom appears on the walls, 
begging quarter; in the distance are three impaled persons, and at the 
foot of the mound lie two of the slain. 
The right-hand slab represents a similar attack of a city on the banks 
of some water, beside which are trees. 
Above this bas-relief is a third siege. The city is defended by a 
triple tier of walls, with battlements, from which archers are shooting; 
the besiegers are working a battering engine, with three archers on 
the top, running upon an inclined plane; in the field are several 
warriors fighting, falling from the walls, or lying wounded: a date palm- 
tree is introduced, torn up by the roots. 
To the left of this bas-relief is another, representing a female leading 
three camels, and carrying a vase, originally belonging to the same 
frieze as the corresponding slab on the other side (with the flock of 
sheep), but separated, as here, by an intervening space. 
Over these is the head of a human-headed and winged bull in bas- 
relief, with double horns, and a richly-decorated tiara. 
In the centre of the room stands the most important historical monu¬ 
ment as yet recovered from Assyria. It is an Obelisk of black marble, 
with the top truncated, and divided into three gradines. Each of its sides 
has five oblong panels, sculptured in bas-relief, separated horizontally 
by single lines of cuneiform inscription; and the remaining surface,, 
both above and below the bas-reliefs, is covered with similar inscription* 
On the eastern, or principal face, the highest panel represents a king 
holding two arrows and a bow, attended by two armour-bearers, and re¬ 
ceiving homage from a captive or tributary, who prostrates himself at his 
feet; behind the latter figure are two royal attendants, standing with 
clasped hands; above are representations of the sun and of a ferouher. 
The side-panels on the same level show the tribute brought to the 
king ; that on the northern face has a horse, with three Assyrian 
figures; the remaining two exhibit foreigners, attired like the two 
large figures on slab No. 19, in the Side-Gallery, and leading camels, 
or bearing miscellaneous offerings on their shoulders. The four panels 
next below these are similar in subject; upon the principal one the 
king is represented standing with a cup in his hand, and attended by 
four eunuchs, one of whom screens him with a parasol, another fans 
him with a fly-flapper; above appear the ferouher , and the sun. On 
the return panels are two royal attendants, followed by tributaries 
bearing wine-skins, vessels, &c. The third row of panels has men in 
Assyrian costume leading or driving animals, two camels, an elephant, 
three monkeys, and two large apes. In the fourth row are two lion& 
and a stag, and Assyrians bearing vestures, tusks, &c. in the fifth, 
foreigners and Assyrians intermixed, with wine-skins, fruits, vessels, 
&c. The inscription on this monument records the conquests 
of Divanubara, son of Sardanapalus the Great, who is thought 
to have reigned about 902-860 b. c. Amongst those who brought 
