In the Nineveh galleries of the British Museum we also see pictured in stone the employment of the Lion, in the life of Assyria and Babylonia, three thousand years since; in the events of a succession of dynasties, recording the sieges of cities, the combats of warriors, the triumphs of Kings, the processions of victors, the chains and fetters of the vanquished. To the zoological observer these sculptures present drawings _ad naturam_ of tableaux of Lions and Lion-hunts; Lions in combat, as well as in moveable dens and cages, and the ferocity of the chase; and Lions transfixed with arrows or javelins in the arena. One of the finest of these sculptures is in the representation of a Lion-hunt, on a long slab that lined the principal chamber of the most ancient palace at Nimroud. The King is in his chariot, drawn by three horses, which the charioteer is urging forward to escape the attack of an infuriated Lion that has already placed its fore-paws upon the back of the chariot. At this critical moment, the Royal descendant of the mighty hunter aims a deadly shaft at the head of the roaring and wounded Lion, the position of whose tail and limbs is finely indicative of rage and fury. Behind the Lion are two of the King's attendants, fully armed, and holding their daggers and shields, ready to defend themselves in case the prey should escape the arrow of the King. Before the chariot is a wounded Lion, crawling from under the horses' feet. The cringing agony conveyed in its entire action is well contrasted with the undaunted fury of the former. In another slab we have the continuation of the same Lion-hunt, representing the triumphant return of the King from the chase. At his feet lies the Lion subdued, but not dead. Of the pageantry of the Lion, we read, in Bell's "Travels," that the monarch of Persia had, on days of audience, two great Lions chained on each side of the passage to the state-room, led there by keepers in golden chains.