This analysis of what we have called secondary forms has shown how great was the loss of the Chaldaean architect and of his too docile Assyrian pupil, in being deprived--by circumstances on the one hand and want of inclination on the other--of such a material as stone. Without it they could make use of none of those variations of plan and other contrivances of the same kind by which the skilful architect suggests the internal arrangement of his structures on their facades. For such purposes he had to turn to those constituents of his art to which we shall devote our next section. NOTES: [295] _Art in Ancient Egypt_, vol. ii. ch. ii. [296] GEORGE SMITH, _Assyrian Discoveries_, pp. 146, 308, 429. This lintel has been fixed over the south doorway into the Kouyundjik Gallery of the British Museum. When examined in place, the running ornament in the hollow of the cornice will be easily recognized--in spite of the mutilation of its upper edge--as made up of a modified form of the palmette motive, which had its origin in the fan-shaped head of the date palm. The eight plumes of which the ornament consists are each formed of three large leaves or loops and two small pendant ones, the latter affording a means of connecting each plume with those next to it.--ED. [297] PLACE, _Ninive_, vol. i. pp. 295-302. [298] PLACE, _Ninive_, vol. i. pp. 302, 303. [299] Two much better examples of this same work may be seen in the Assyrian basement-room of the British Museum.--ED. [300] PLACE, _Ninive_, vol. i. p. 314. [301] We here quote the opinion of Mr. Ready, the well-known director of the museum workshops. In April, 1882, he had examined this curious monument, which is now placed in the public galleries close to the Balawat gates. [302] HERODOTUS, ii. 179: Pylai de enestasi perix tou teicheos hekaton, chalkeai pasa kai stathmoi te kai huperthuma hosautos.