monuments are followed, as in the case of Egypt and Greece, by other statues and bas-reliefs which, descending a chronological scale across the ages, represent the graduated phases of artistic progress in Chaldæa before the Ninevite supremacy was imposed upon this country. Among the fragments of sculpture at Tello, that which M. Heuzey considers most primitive, and which should be placed at the head of the productions of oriental sculpture, is a bas-relief of greyish limestone, 10 in. broad and 5 in. high. Four figures alone remain of the complicated scene which decorated this stone panel. One of them is seated, with the profile turned to the left; it is a beardless man rather than a woman, and his face is half covered by an exaggerated eye seen from the front as in children’s drawings. His hair consists of two long tresses falling to his shoulders, and almost to be mistaken for the lappets of the high tiara with which he is crowned. This tiara seems to be adorned with two bulls’ horns. The bust is draped with a large shawl which leaves the right shoulder bare. The hand, raised to a level with the face, looks like a simple fork; it holds a cup, as if the scene represented a libation, and in fact we still see a part of the deity to whom the offering is directed. On the right a bearded man with square shoulders, crowned with a low cap, dressed in a large robe without folds, holds in his right hand a sort of club, with which he seems to deliver a blow upon the head of his companion, whom he seizes by the hand. It will be seen that the explanation of this picture is exceedingly doubtful; but looking from the point of view of the history of art, we must recognise in it without hesitation a fragment which comes down from remote antiquity. The relief is low, the outline of the figures is timid and uncertain, the details are disproportioned, as if the rude chisel which carved them had been held in the unskilful hands of a child; the design is full of elementary mistakes, though limestone is soft and easily worked. [Illustration: Fig. 10. Bas-relief from Tello (Louvre).] A more advanced art marks the fragment of a bas-relief which M. Heuzey called “the Eagle and Lion Tablet,” and which is dated by an inscription mentioning the king Ur-Nina (B.C. 2500). An eagle is seen here with outspread wings standing upon a lion. The sculpture is equally flat and without modelling, but the graceful outline of the figures is clearly chiselled, and with a surer hand; the extremities of the wing feathers of the eagle are indented, the body of the lion is remarkably correct in outline, except the head, which still remains barbarous.