materials will go far towards creating for us a vivid and authentic picture. [Illustration: 17.--VIEW OF KOYUNJIK. (Hommel.)] 12. On entering such a hall the first thing to strike us would probably be the pavement, either of large alabaster slabs delicately carved in graceful patterns, as also the arched doorways leading into the adjacent rooms (see Figs. 24 and 25, pp. 69 and 71), or else covered with rows of inscriptions, the characters being deeply engraven and afterwards filled with a molten metallic substance, like brass or bronze, which would give the entire floor the appearance of being covered with inscriptions in gilt characters, the strange forms of cuneiform writing making the whole look like an intricate and fanciful design. [Illustration: 18.--STONE LION AT THE ENTRANCE OF A TEMPLE. NIMRUD. (Perrot and Chipiez.)] 13. Our gaze would next be fascinated by the colossal human-headed winged bulls and lions keeping their silent watch in pairs at each of the portals, and we should notice with astonishment that the artists had allowed them each an extra leg, making the entire number five instead of four. This was not done at random, but with a very well-calculated artistic object--that of giving the monster the right number of legs, whether the spectator beheld it in front or in profile, as in both cases one of the three front legs is concealed by the others. The front view shows the animal standing, while it appears to be striding when viewed from the side. (See Figures 18 and 27, pp. 59 and 75.) The walls were worthy of these majestic door-keepers. The crude brick masonry disappeared up to a height of twelve to fifteen feet from the ground under the sculptured slabs of soft grayish alabaster which were solidly applied to the wall, and held together by strong iron cramps. Sometimes one subject or one gigantic figure of king or deity was represented on one slab; often the same subject occupied several slabs, and not unfrequently was carried on along an entire wall. In this case the lines begun on one slab were continued on the next with such perfect smoothness, so absolutely without a break, as to warrant the conclusion that the slabs were sculptured _after_ they had been put in their places, not before. Traces of paint show that color was to a certain extent employed to enliven these representations, probably not over plentifully and with some discrimination. Thus color is found in many places on the eyes, brows, hair, sandals, the draperies, the mitre or high headdress of the kings, on the harness of horses and portions of the chariots, on the flowers carried by attendants, and sometimes on trees. Where a siege is portrayed, the flames which issue out of windows and roofs seem always to have been painted red. There is reason to believe, however, that color was but sparingly bestowed on the sculptures, and therefore they must have presented a pleasing contrast with the richness of the ornamentation which ran along the walls