[Illustration: FIG. 186.--JEZÎRET IBN ’UMAR, BRIDGE.] [Illustration: FIG. 187.--JEZÎRET IBN ’UMAR, FOUNTAIN OF MOSQUE.] [Illustration: FIG. 188.--JEZÎRET IBN ’UMAR, RELIEFS ON BRIDGE.] castle of which the masonry is mostly of alternate bands of black basalt and white limestone. Over one of the doors are carved a couple of rudely executed lions (Fig. 185). The town walls still exist in part and belong to the same date as the castle; so too does the fragment of a masonry bridge which spanned the Tigris about half-an-hour’s ride below the town (Fig. 186). On our way to it we forded the moat which was at that time quite shallow. One of the bridge piers is decorated with a key pattern of black and white stone, and with some curious reliefs representing the signs of the zodiac, of which the work is similar in character to that of the lions upon the castle gate (Fig. 188). Each relief bears an inscription in Arabic naming the zodiacal sign which it depicts.[180] As we came back through the town we stopped at the principal mosque, which has a pair of fine bronze doors, with bronze knockers worked in a design of intertwined dragons. A small dome, set upon columns that may have been taken from an earlier building, covers the fountain in the courtyard (Fig. 187).[181] Jezîret ibn ’Umar has a bad reputation for the fever which is bred in its marshy moat; moreover it was stifling hot. I hurried through a cursory sight-seeing and ferried back to the opposite bank, where I found the baggage animals loaded and ready to start. Having followed the Tigris bank for half-an-hour, I left the caravan to pursue its way to Finik and turned up the valley of the Risür Chai. In less than two hours from Jezîreh we came to a ruined Kurdish fort, standing on either side of the stream and blocking effectually the passage of the gorge; and carved upon the rocks of the left bank there is a more ancient guardian of the pass, a warrior armed, and mounted upon a bounding horse (Fig. 189). His companion, who went on foot, has fallen into the stream, and I know no other record of him than Layard’s woodcut.[182] The figure of the horseman is much defaced by time. The winter rains have worn thin his armour, the spring floods have undermined the rock on which he stands, but shadowy though his image may be, it marks the triumph of a European civilization, and its prototypes are to be sought not among the bearded divinities and winged monsters of Assyria, but in the work of Western sculptors. The Parthian, who was the bitter enemy of the Roman empire, carved it upon the rocks of Ḳaṣr Ghellî, and bore witness with his own hand to the overmastery of Roman culture.