The Louvre possesses the figure of a monster with four wings which represents the demon of the south-west wind, as the cuneiform inscription upon it teaches us (fig. 103). Nothing can be imagined more hideous and more expressive than the head with its glaring eyes, roaring throat, horned brows, crooked fingers and fleshless body with lion’s claws. It leads us naturally to cite a bronze plaque from the collection of M. de Clercq, in which M. Clermont-Ganneau has recognised a representation of the Assyrian hell. One [Illustration: Fig. 106.--Standard in a bas-relief from Khorsabad (Louvre).] [Illustration: Fig. 107.--Foot of a piece of furniture. De Vogüé collection.] side (fig. 104) is occupied by a monster with four wings and eagle’s claws, looking over the top of the plaque; on the other side (fig. 105) the monster’s head is seen, and under it scenes arranged in four rows: first the symbolical figures of the stars, then a procession of seven creatures dressed in long robes and having the heads of various animals: these are the heavenly genii called Igigis. Below this we witness a funeral scene: two creatures with human bodies combined with the head and body of a fish, like the god Oannes, stand by a bed on which a corpse is laid out, swathed in its mummy-clothes; near them stand two monsters like the demons which appear in a battle scene belonging to the campaigns of Assur-nasir-pal, and, of larger size, on the walls of Assurbanipal’s palace; they face one another in the same attitude here as there, and seem to be disputing or quarrelling. The lowest row shows a stream of water in which are fish. In a boat is a kneeling horse; on his back is a monster holding serpents in his hands; lion-cubs are springing forwards towards him; another monster stands on the brink of the water; in the background are trees and fragments of different kinds, looking like the remains of a banquet. There is some artistic merit in several portions of this curious scene. The monster on the other side is boldly designed, and his form is vigorous and supple. In the chiselling of a royal standard (fig. 106), the artist really attained to the highest technical skill: the bulls’ heads and the lions’ heads arranged along the pole are masterpieces of taste, and might be proposed as models at the present day. In the palaces fragments of thrones have been found formed of bronze plating. One of the most remarkable pieces, found at Van, belongs to M. de Vogüé (fig. 107); the deep sculpture in the claws of the crouching lion reminds the spectator of a bronze statuette from Tello (fig. 26). § III. WOOD AND IVORY.