At Babylon as at Nineveh the palette of the enameller was very restricted. Figures were as a rule yellow and white relieved against a blue ground. Touches of black were used to give accent to certain details, such as the hair and beard, or to define a contour. The surface of the brick was not always left smooth; in some cases it shows hollow lines in which certain colours were placed when required to mark distinctive or complementary features. As a rule motives were modelled in relief upon the ground, so that they were distinguished by a gentle salience as well as by colour, a contrivance that increased their solidity and effect.[362] This may be observed on the Babylonian bricks brought to Europe by M. Delaporte, consul-general for France at Bagdad. They are now in the Louvre. On one we see the three white petals belonging to one of those Marguerite-shaped flowers that artists have used in such profusion in painted and sculptured decoration (Figs. 22, 25, 96, 116, 117). Another is the fragment of a wing, and must have entered into the composition of one of those winged genii that are hardly less numerous in Assyrian decoration (Figs. 4, 8, and 29). Upon a third you may recognize the trunk of a palm-tree and on a fourth the sinuous lines that edge a drapery.[363] M. de Longperier calculated from the dimensions of this latter fragment that the figure to which it belonged must have been four cubits high, exactly the height assigned by Ctesias to the figures in the groups seen by him when he visited the palace of the ancient kings.[364] M. Oppert also mentions fragments which had formed part of similar important compositions. Yellow scales separated from one another by black lines, reminded him of the conventional figure under which the Assyrians represented hills or mountains; on others he found fragments of trees, on others blue undulations, significant, no doubt, of water; on others, again, parts of animals--the foot of a horse, the mane and tail of a lion. A thick, black line upon a blue ground may have stood for the lance of a hunter. Upon one fragment a human eye, looking full to the front, might be recognized.[365] We might be tempted to think that in these remains M. Oppert saw all that was left of the pictures which excited the admiration of Ctesias. Inscriptions in big letters obtained by the same process accompanied and explained the pictures. The characters were white on a blue ground. M. Oppert brought together some fifteen of these monumental texts, but he did not find a single fragment upon which there was more than one letter. The inscriptions were meant to be legible at a considerable distance, for the letters were from two to three inches high. In later days Arab architects followed the example thus set and pressed the elegant forms of the cufic alphabet into their service with the happiest skill.[366]