To the right of this entrance, and apparently outside the walls of the temple, was discovered one of the finest specimens of Assyrian sculpture brought to this country. It represents the early Nimroud king in high relief, carved on a solid block of limestone, cut into the shape of an arched frame, in the form of the rock tablets of Bavian and the Nahr-el-Kelb. The monarch wears his sacrificial robes, and carries the sacred mace in his left hand. Round his neck are hung the four sacred signs, the crescent, the star or sun, the trident, and the cross. His waist is encircled by the knotted cord, and in his girdle are three daggers. Above his head are the mythic symbols of Assyrian worship, the winged globe, the crescent, the star, the bident, and the horned cap. The entire slab, 8 ft. 8 in. high, by 4 ft. 6 in. broad, and 1 ft. 3 in. thick, is covered, behind and before, except where the sculpture intervenes, with an inscription, in small and admirably formed arrow-headed characters. Unfortunately, the heat of the fire which had consumed the building, had also broken this monument into two pieces. From the carelessness shown in its transport to England, this fine specimen of Assyrian sculpture sustained still further injury, and the lower part is now almost destroyed. The inscription must have contained when entire several hundred lines, and is divided on the back of the slabs into two columns. It commences with an invocation to the god Ashur, the supreme lord, the king of the circle of the twelve great gods. Then follow the names of these deities. The first-named is _Anu_ (?), the last Ishtar, probably Astarte, or the moon, and not Venus, as some have believed.[149] After this invocation occurs the name of the founder of the north-west palace, read by Dr. Hincks, Assaracbal, and by Colonel Rawlinson, Sardanapalus, with a long exordium, apparently of a religious nature, which has not yet been satisfactorily deciphered. Then follows a full account of his various campaigns and wars.