Some bas-reliefs sculptured by order of the son and successor of Essarhaddon, have been discovered at Kouyunjik and Nebbi Yunus. These bas-reliefs prove that many changes had taken place in the arts and dress of the people of Assyria between the reign of Sennacherib and that of his grandson. The later sculptures are principally distinguished by their minute finish, the sharpness of the outline, and the very correct delineation of the animals, and especially of the horses. We now approach the period of the fall of the Assyrian empire and of the rise of the kingdoms of Babylon and Persia. The arts passed from Assyria to the sister nations and to Ionia. There is much in the bas-reliefs I have just described to remind us of the early works of the Greeks immediately after the Persian war, and to illustrate a remark of the illustrious Niebuhr, that "a critical history of Greek art would show how late the Greeks commenced to practise the arts. After the Persian war a new world opens at once, and from that time they advanced with great strides. But everything that was produced before the Persian war--a few of those works are still extant--was, if we judge of it without prejudice, altogether barbarous."[186] The chamber containing these sculptures had an entrance opening upon the edge of the mound. Of this doorway there only remained, on each side, a block of plain limestone, which may, however, have been the base of a sphinx or other figure. The outer walls to which it led had been panelled with the usual alabaster slabs, with bas-reliefs of a campaign in a country already represented in another part of the palace, and distinguished by the same deep valley watered by a river, the vineyards and wooded mountains. Over one of the castles captured and destroyed by the Assyrians was written, "Sennacherib, King of Assyria. The city of Bit-Kubitalmi I took, the spoil I carried away, (the city) I burned." Whether these walls belonged to a chamber or formed part of the southern face of the palace could not now be determined, as they were on the very brink of the platform. At right angles to them, to the west, a pair of winged bulls opened upon another wall, of which there were scarcely any remains, and midway between the two entrances was a deep doorway, flanked on both sides by four colossal mythic figures, amongst which were the fish god and the deity with the lion's head and eagle's feet. It led to an inclined or ascending passage, nine feet wide in the narrowest part and ten in the broadest, and forty-four feet in length to where it turned at right angles to the left. It was paved with hard lime or plaster about an inch and a half thick. The walls were built of the finest sundried bricks, admirably fitted together, and still perfectly preserved. This inclined way probably led to the upper chambers of the palace, or to the galleries which may have been carried round the principal chambers and halls.