These glazed bricks were chiefly used by the Assyrian architect upon doorways and in their immediate neighbourhood.[374] M. Place found the decoration of one of the city gates at Khorsabad almost intact.[375] The enamel is laid upon one edge of the bricks, which are on the average three inches and a half thick. Figures are relieved in yellow, and rosettes in white against the blue ground. A band of green marks the lower edge of the tiara.[376] The same motives and the same figures were repeated for the whole length of the band. The figures are winged genii in different postures of worship and sacrifice. They bear in their hands those metal seals and pine cones that we so often encounter in the bas-reliefs. Distributed about the entrance these genii seem to be the protectors of the city, they are beneficent images, their gesture is a prayer, a promise, a benediction. On each side of the arch, at its springing, there is one of greater stature than his companions (Fig. 123). His face is turned towards the vaulted passage. Upon the curve of the archivolt smaller figures face one another in couples; each couple is divided from its neighbours by rosettes (Fig. 124). [Illustration: FIG. 123.--Detail of enamelled archivolt. Khorsabad. From Place.] The other composition is to be found on a plinth in the doorway of the harem at Khorsabad. This plinth was about twenty-three feet long, and rather more than three feet high. Its ornament was repeated on both sides of the doorway.[377] It consisted of a lion, an eagle, a bull, and a plough (Plate XV). Upon the returning angles the king appears, standing, on the one side with his head bare, on the other covered with a tiara. The background is blue, as in the city gates; green was only used for the leaves of the tree, in which some have recognized a fig-tree. [Illustration: FIG. 124.--Detail from enamelled archivolt. Khorsabad. From Place.]