“The composition of the bas-relief of Susa is clever in its simplicity. Only eight armed men are figured, to represent the army of Agade, which is led by Naram-Sin in person. Two act as scouts in the forest, while six represent the body of the troops. Three men are falling dead and one wounded under the blows of the king, to express the carnage wrought on the foe by the conqueror, and four fugitives are holding up their hands to figure the submission of the conquered. Two trees remind us by their shape, of the sparsely wooded forests which cover the mountains of Kurdistan.” Such is the summary synthesis of the victories of Naram-Sin, the sight of which must have struck the imagination of the Chaldæans, reminding them of the mountainous and wooded country which had been the theatre of so terrible a slaughter. The country which forms a setting for this scene is depicted with the same simplicity we find later in the Chaldæan and Ninevite sculptures, and may be compared more especially with the Chaldæan work on the _Vulture Stela_ found by M. de Sarzec at Tello (see pp. 25, 26, figs. 11, 12, 13). An enormous cone, with various undulations surrounding it, represents the mountainous country that is pervaded by the army of Naram-Sin. A few trees suggest the forest, superposed registers take the place of perspective. The figure of the king is colossal, to assert his superiority--a convention possessed by Chaldæan art, in common with the art of Egypt and Assyria. His calm attitude indicates that he has gained the victory without the slightest difficulty. On him, thus figured after the manner of a Greek hero as a demi-god, the artist has concentrated his principal efforts; it is he on whom attention must be centred. His body is well proportioned and well drawn, although stiffened into a conventional attitude, the eye is large, the nose short, the beard silky and flowing long over the breast, and the working of the muscles is powerful and remarkably realistic. It may be objected that the figure is too narrow, and we should consider it altogether too slender, were it not that the same defect appears in the other figures. “The only defensive armour worn by Naram-Sin,” remarks M. de Morgan, is a casque. This is a pointed cap, ogive in form, which rests on a band surrounding the forehead. This band has two pointed pads reaching to the top of the cap--one in front, the other behind--and is adorned with two horns, whose curves harmonise with the outline of the head-dress. A metal screen falls over the nape of the neck, protecting the neck and shoulders. With his left arm the king is clasping to his breast his bow and battle-axe, in the right hand he holds an arrow, hesitating as the suppliants kneel before him, whether to deal one more blow with his weapons.... “Naram-Sin fought half naked, wearing only one tight narrow garment, which affords full value to all the parts of his body.