A long time may elapse before a mythological gallery for Chaldaea, in which all the important members of the Mesopotamian pantheon shall take their places and be known by the names they bore in their own day, can be formed, but even now the principles upon which they were represented by art may be stated. The images of the various gods were built up in great part by the aid of combinations similar to those made use of in realizing the minor demons. A natural bent towards such a method of interpretation was perhaps inherited from the days in which the _naive_ adoration of all those animals which help or hurt mankind formed a part of the national worship; again, certain animals were, by their shapes and constitution, better fitted than others to personify this or that quality which, in its fulness, was considered divine. It was natural, therefore, that the artist should, in those early days, have indicated the powers of a deity by forms borrowed from the strongest, the most beautiful, or the most formidable of animals. Nothing could suggest the instantaneous swiftness of a god better than the spreading wings of an eagle or vulture, or his destructive and irresistible power better than their beaks and talons, the horns and dewlap of the bull, or the mane and claws of the lion. The sculptor had, therefore, a good reason for employing these forms and many others offered to him by the fauna of the regions he inhabited. He introduced them into his work with skill and decision, and obtained composite types by their aid which we may compare to those of Egypt. But there were some differences which deserve to be remembered. The human face received more consideration from the Mesopotamian sculptors than from those of Egypt. Except in the sphinxes and in two or three less important types the Egyptians, as our readers will remember, crowned a human body with the head of a snake, a lion, or a crocodile, an ibis or a hawk, and sometimes of a clumsy beast like the hippopotamus,[108] and their figures are dominated and characterized by the heads thus given to them. At Babylon and Nineveh the case is reversed. Animals' heads are only found, as a rule, upon the shoulders of those figures which are looked upon by common consent as genii rather than gods. In the latter a contrary arrangement prevails. They may have, like Dagon, a fish's tail hanging down their backs, or, like the colossal guardians of the king's palace, the body and limbs of a lion or bull with the wings of an eagle, but the head is that of a man and the sculptor has given it all the beauty he could compass. To this, we believe, there is but one exception--the eagle-headed god to whom Assyriologists have assigned the name of Nisroch. He seems to have occupied a high place among the Mesopotamian divinities (Fig. 8).