Drawn by Faucher-Gudin, from the sketch by Loftus. Various schemes of decoration succeed each other in progressive sequence, less ornate and at greater distances apart, the further they recede from the central block and the nearer they approach to the extremities of the facade. They stop short at the southern angle, and the two sides of the edifice running from south to west, and again from west to north, are flat, bare surfaces, unbroken by projection or groove to relieve the poverty and monotony of their appearance. The decoration reappears on the north-east front, where the arrangement of the principal facade is partly reproduced. The grooved divisions here start from the angles, and the engaged columns are wanting, or rather they are transferred to the central projection, and from a distance have the effect of a row of gigantic organ-pipes. We may well ask if this squat and heavy mass of building, which must have attracted the eye from all parts of the town, had nothing to relieve the dull and dismal colour of its component bricks. [Illustration: 252.jpg PILASTERS OF THE FACADE OF GUDEA’S PALACE] Drawn by Faucher-Gudin, from Heuzey-Sarzec The idea might not have occurred to us had we not found elsewhere an attempt to lessen the gloomy appearance of the architecture by coloured plastering. At Uruk, the walls of the palace are decorated by means of terra-cotta cones, fixed deep into the solid plaster and painted red, black, or yellow, forming interlaced or diaper patterns of chevrons, spirals, lozenges, and triangles, with a very fair result: this mosaic of coloured plaster covered all the surfaces, both flat and curved, giving to the building a cheerful aspect entirely wanting in that of Lagash.