It would appear that the men employed in building the artificial mound were captives and malefactors, for many of them are in chains, some singly, others bound together by an iron rod attached to rings in their girdles. The fetters, like those of modern criminals, confine the legs, and are supported by a bar fastened to the waist, or consist of simple shackles round the ankles. They wear a short tunic, and a conical cap, somewhat resembling the Phrygian bonnet, with the curved crest turned backwards, a costume very similar to that of the tribute bearers on the Nimroud obelisk. Each band of workmen is followed and urged on by task-masters armed with staves. The mound, or artificial platform, having been thus built, not always, as it has been seen, with regular layers of sun-dried bricks, but frequently in parts with mere heaped-up earth and rubbish, the next step was to drag to its summit the colossal figures prepared for the palace. As some of the largest of these sculptures were full twenty feet square, and must have weighed between forty and fifty tons, this was no easy task with such means as the Assyrians possessed. The only aid to mere manual strength was derived from the rollers and levers. Behind the monarch, on an adjoining slab, are carts bearing the cables, wedges, and implements required in moving the sculpture. A long beam or lever is slung by ropes from the shoulders of three men, and one of the great wedges is carried in the same way. In the upper compartment of this slab is a stream issuing from the foot of hills wooded with vines, fig-trees, and pomegranates. Beneath stands a town or village, the houses of which have domes and high conical roofs, probably built of mud, as in parts of northern Syria. The domes have the appearance of dish-covers with a handle, the upper part being topped by a small circular projection, perhaps intended as an aperture to admit light and air. [Illustration: Village with the conical Roofs, near Aleppo.] This interesting series is completed by a bas-relief, showing, it would seem, the final placing of the colossal bull. The figure no longer lies horizontally on the sledge, but is raised by men with ropes and forked wooden props. It is kept in its erect position by beams, held together by cross bars and wedges,[39] and is further supported by blocks of stone, or wood, piled up under the body. Cables, ropes, rollers, and levers are also employed on this occasion to move the gigantic sculpture. The captives are distinguished by the peculiar turbans before described.[40]