Above the Assyrian warriors were the captives and their torturers. The former differed in costume from the Susianian fighting-men represented in the adjoining bas-reliefs. They were distinguished by the smallness of their stature, and by a very marked Jewish countenance--a sharp, hooked nose, short bushy beard, and long narrow eyes. Could they have belonged to the Hebrew tribes which were carried away from Samaria and Jerusalem, and placed by Shalmaneser, Sennacherib, or Essarhaddon, as colonists in the distant regions of Elam, and who, having become powerful in their new settlements, had revolted against their Assyrian rulers, and were once again subdued? Some in iron fetters were being led before the king, for judgment or pardon. Others had been condemned to the torture, and were already in the hands of the executioners. Two were stretched naked at full length on the ground, and whilst their limbs were held apart by pegs and cords they were being flayed alive. Beneath them were other unfortunate victims, undergoing abominable punishments. The brains of one were apparently being beaten out with an iron mace, whilst an officer held him by the beard. A torturer was wrenching the tongue out of the mouth of a second wretch who had been pinioned to the ground. The bleeding heads of the slain were tied round the necks of the living, who seemed reserved for still more barbarous tortures. Above these groups was a short epigraph, commencing by two determinative signs of proper names, each followed by a blank space, which the sculptor probably left to be filled up with the names of the principal victims. It then declares that these men, having spoken blasphemies (?) against Asshur, the great god of the Assyrians, their tongues had been pulled out (_Lishaneshunu eshlup_, both words being almost purely Hebrew), and that they had afterwards been put to death (or tortured). The inscription, therefore, corresponds with the sculpture beneath. It is by such confirmatory evidence that the accuracy of the translations of the cuneiform characters may be tested. These highly interesting bas-reliefs had been exposed, like all the other sculptures of Kouyunjik, to the fire which had destroyed the palace. Although each slab was cracked into many pieces, the sculptures themselves had suffered less injury than any others discovered in the same ruins, the hard fossiliferous limestone not having become calcined by the heat like the alabaster. The outline was still sharp, and the details perfectly preserved. Considerable care was required to move them. But the pieces were at length packed, and since their arrival in England have been admirably restored.