Sometimes the winged human-headed monster is flanked by a mythical creature with wings, holding a basket in his left hand, and a cone in his right (cf. Pl. XXV), at other times he stands in isolated glory alone. The head is of the familiar type to which one-half of the Assyrian representations of men so rigidly conform, the type characterized by a beard, the other type being beardless: all the royalty and nobility seem to have worn beards, and, according to the Assyrian sculptors, to have had precisely the same features, the numerous beardless figures portrayed on the bas-reliefs representing the humbler classes, and no doubt in some instances eunuchs. The head of this winged colossus is surmounted by a lofty head-dress richly decorated with rosettes, and furnished with two pairs of horns, the ever-present mark of sacro-sanctity. The hair and beard are profuse in their luxuriance, and elaborate in their dressing, while the tail is treated with the like punctilious care. Two enormous wings cover the back, extending their overshadowing protection some way beyond it. The relief in which the body and specifically the legs are raised is very high, and they stand out almost in the round. Many of these gigantic stone animals have been found at Nimrûd, Khorsabad, the capital of Sargon, and Nineveh. But although the Assyrians show a marked predilection for mythical monsters in their large sculptural achievements in the round or semi-round, they showed themselves capable of conceiving and admirably realizing animals of the normal order; one of the best examples of an Assyrian carved animal is the colossal lion of Ashur-naṣir-pal (cf. Pl. XXVI), which is now in the British Museum and once formed part of an entrance to a building. This lion is about eight feet high and thirteen feet long, and bears an inscription like many of the winged human-headed bulls and lions. The lion also has five legs like so many of the latter. The head is carved with great boldness and vigour, although it is a little conventional. The jaws are extended, the upper lip and nostrils being drawn up, and even an unimaginative person may well fancy he can hear a deep roar proceeding from that fierce, wide-opened mouth. His neck is covered with a thick mane and ruffles of stiff hair. To obtain the best view of the sculpture, the view, that is to say, in which the spectator will accord the full measure, or even an over-measure, of justice to the skill of the artist, one must make one’s point of observation on the side. The front aspect is disappointing, as the lion is too thin for its length and height, and is consequently deficient not only in artistic merit, but also in the dignified majesty of which he has ever been the symbolic incarnation. But in spite of these obvious drawbacks, the work as a whole compels admiration and inevitably arrests the attention, for it possesses the “one thing needful”—life. A comparison between the lion’s head, and that of any of the winged