As the workmen could no longer, without some danger, excavate in this part of the ruins, they had returned to the chamber already described as containing a series of bas-reliefs representing the capture and sack of a large city in the mountains, and as opening into the broad gallery on whose walls were depictured the various processes employed by the Assyrians in moving their colossal figures. From this chamber branched to the south a narrow passage, whose sculptured panels had been purposely destroyed. It led into a great hall, which the workmen did not then explore. They continued for a few feet along its western side, and then turning through a doorway, discovered a chamber, from which again, always following the line of wall, they entered a spacious apartment, completely surrounded with bas-reliefs, representing one continuous subject. The Assyrian army was seen fording a broad river amidst wooded mountains. The king in his chariot was followed by a long retinue of warriors on foot and on horses richly caparisoned, by led horses with even gayer trappings, and by men bearing on their shoulders his second chariot, which had a yoke ornamented with bosses and carvings. After crossing the river they attacked the enemy's strongholds, which they captured one by one, putting to death or carrying into captivity their inhabitants. The captives wore a kind of turban wrapped in several folds round the head, and a short tunic confined at the waist by a broad belt. From the nature of the country it may be conjectured that the sculptures represented a campaign in some part of Armenia, and I am inclined to identify the river with the Euphrates, near whose head-waters, as we learn from the bull inscriptions, Sennacherib waged one of his most important wars. The slabs at the western end of this chamber were actually _curved backwards_, showing the enormous pressure that must have taken place from the falling in of the upper part of the building, by which not only the alabaster was bent, but driven into the wall of sundried bricks. On the north side of the chamber were two doorways leading into separate apartments. Each entrance was formed by two colossal bas-reliefs of Dagon, or the fish-god. Unfortunately the upper part of all these figures had been destroyed, but as the lower remained from above the waist we can have no difficulty in restoring the whole, especially as the same image is seen entire on a fine Assyrian cylinder of agate in my possession. It combined the human shape with that of the fish. The head of the fish formed a mitre above that of the man, whilst its scaly back and fanlike tail fell as a cloak behind, leaving the human limbs and feet exposed. The figure wore a fringed tunic, and bore the two sacred emblems, the basket and the cone.