it with shields nor cast a bank against it.” All the means of attack here mentioned are represented in our bas-relief. The warriors have their bows bent, and doubtless have already dispatched many an arrow with deadly effect: their persons are protected by large wicker shields which cover the whole of their bodies. The “bank” in this case has clearly been “cast against” the besieged city, and the purpose that the “bank” was destined to serve is at once manifest. It consisted in an artificial mound up which the movable tower containing the battering-ram was advanced. On the top of the wall of the besieged city, a man is seen with hands outstretched suing for mercy. The defeat of the enemy and the reduction of their city is signalized in a highly realistic fashion; beneath the “bank” some of the vanquished are seen prostrate and naked, while above, on a level with the top of the wall a number of captives, also naked, are impaled on stakes. The inscription refers to the various articles of tribute brought by conquered peoples, but is not possessed of any especial interest. [Illustration: FIG. 29.—Bas-relief from Khorsabad. (After Botta.)] Tiglath-Pileser III was succeeded by Shalmaneser IV, the most noteworthy event of whose reign was the siege of Samaria; the city held out two years, and fell in 722 B.C., after Shalmaneser had been dethroned by Sargon the usurper. Sargon reigned some eighteen years and achieved many victories, the most momentous of which was that gained over the united Egyptians and Philistines at Raphia, near the Egyptian frontier. His sculptural bequests are many, and they comprise the gigantic winged human-headed bulls and lions which are in some ways the most impressive and the most characteristic specimens of oriental art. These winged monsters are neither bas-reliefs, nor are they perfect round sculptures, but a mixture of the two, and will accordingly receive consideration in the second half of this chapter.