sacred emblem, the horned cap. It is observable that in the sculptures the winged circle is seldom found except in immediate connection with the monarch. The great King wears it embroidered upon his robes, carries it engraved upon his cylinder, represents it above his head in the rock-tablets on which he carves his image a stands or kneels in adoration before it, fights under its shadow, under its protection returns victorious, places it conspicuously in the scenes where he himself is represented on his obelisks. And in these various representations he makes the emblem in a great measure conform to the circumstances in which he himself is engaged at the time. Where he is fighting, Asshur too has his arrow on the string, and points it against the king’s adversaries. Where he is returning from victory, with the disused bow in the left hand and the right hand outstretched and elevated, Asshur takes the same attitude. In peaceful scenes the bow disappears altogether. If the king worships, the god holds out his hand to aid; if he is engaged in secular arts, the divine presence is thought to be sufficiently marked by the circle and wings without the human figure. An emblem found in such frequent connection with the symbol of Asshur as to warrant the belief that it was attached in a special way to his worship, is the sacred or symbolical tree. Like the winged circle, this emblem has various forms. The simplest consists of a short pillar springing from a single pair of rams’ horns, and surmounted by a capital composed of two pairs of rams’ horns separated by one, two, or three horizontal bands; above which there is, first, a scroll resembling that which commonly surmounts the winged circle, and then a flower, very much like the “honeysuckle ornament” of the Greeks. More advanced specimens show the pillar elongated with a capital in the middle in addition to the capital at the top, while the blossom above the upper capital, and generally the stem likewise, throw out a number of similar smaller blossoms, which are sometimes replaced by fir-cones or pomegranates. [PLATE CXLI., Fig. 4. ] Where the tree is most elaborately portrayed, we see, besides the stem and the blossoms, a complicated network of branches, which after interlacing with one another form a sort of arch surrounding the tree itself as with a frame. [PLATE CXLII., Fig.1.] [Illustration: PLATE 142]