The modern historian will feel more pity for Assyria than the Jewish poet, the sincere interpreter of a national hatred which was fostered by frequent and cruel wounds to the national pride. We can forgive Nineveh much, because she wrote so much and built so much, because she covered so much clay with her arrow-heads, and so many walls with her carved reliefs. We forgive her because to the ruins of her palaces and the broken fragments of her sculpture we owe most of our present knowledge of the great civilization which once filled the basin of the Tigris and Euphrates. The kings of Assyria went on building palaces up to the last moment. Each reign added to the series of royal dwellings in which every chamber was filled with inscriptions and living figures. Some of these structures were raised in Nineveh itself, some in the neighbouring cities. At the south-east angle of the mound at Nimroud, the remains of a palace begun by Assuredilani have been excavated. Its construction had been interrupted by the Medes and Scythians, for it was left unfinished. Its proposed area was very small. The rooms were narrow and ill arranged, and their walls were decorated at foot with slabs of bare limestone instead of sculptured alabaster. Above the plinth thus formed they were covered with roughly executed paintings upon plaster, instead of with enamelled bricks. Both plan and decoration show evidence of haste and disquiet. The act of sovereignty had to be done, but all certainty of the morrow had vanished. From the moment in which Assyrian sculpture touched its highest point in the reign of Assurbanipal, the material resources of the kingdom and the supply of skilled workmen had slowly but constantly diminished.[79] Nineveh destroyed, the empire of which it was the capital vanished with it. The new Babylonian empire, the Empires of the Medes and of the Persians followed each other with such rapidity that the Assyrian heroes and their prowess might well have been forgotten. The feeble recollections they left in men's minds became tinged with the colours of romance. The Greeks took pleasure in the fable of Sardanapalus: they developed it into a moral tale with elaborate conceits and telling contrasts, but they did not invent it from the foundation. The first hint of it must have been given by legends of the fall and destruction of Nineveh current in the cities of Ecbatana, Susa, and Babylon when Ctesias was within their walls. * * * * *