The subjects of the smaller reliefs of Ashur-naṣir-pal are many and various, though they all revolve round one of two themes, the battle-field or the chase. In one, Ashur-naṣir-pal has alighted from his chariot and is receiving the submission of the enemy; in another we see a number of fugitives swimming to a fortress on inflated skins. Here we see tributary chiefs bringing offerings to lay them at the feet of their imperious lord, while further on we see the bowmen of Ashur-naṣir-pal mounted in their chariots and discharging arrows against the enemy. In one relief the king himself is seen erect in his chariot with his bow fully drawn; elsewhere Ashur-naṣir-pal is represented in the act of crossing a river; the king has not however dismounted from his chariot, but is being rowed over, chariot and all. One of the most luminous of these small bas-reliefs is reproduced in Pl. XVI(2). Ashur-naṣir-pal and his army are storming a beleaguered city; the walls of the city are crenelated after the regular Mesopotamian fashion. Immediately before the walls the movable tower resting on six small wheels and containing the battering ram is stationed, the efficacy of which may be judged from the bricks falling from the battered walls. Mounted on the top of the tower is an archer with bow bent, whose person is protected by another warrior bearing a shield. The king is portrayed behind the movable tower in the act of drawing his bow; his head-gear differs from that of the warriors, who wear a conical helmet. In Pl. XVI(3), we see the warriors of Ashur-naṣir-pal returning victorious from the battle-field. On the right of the picture are two three-horse chariots, both of which carry standard-bearers; above them we see a vulture making off with his prey, which in this instance consists in a human head, and in front are the infantry who appear to be gloating over the gory heads of their smitten adversaries, while to add to the ghastliness of the scene two musicians are playing on stringed instruments.