The character of Asshur-izir-pal’s sculptures has been sufficiently described in an earlier chapter. They have great spirit, boldness, and force; occasionally they show real merit in the design; but they are clumsy in the drawing and somewhat coarse in the execution. What chiefly surprises us in regard to them is the suddenness with which the art they manifest appears to have sprung up, without going through the usual stages of rudeness and imperfection. Setting aside one mutilated statue, of very poor execution, and a single rock tablet, we have no specimens remaining of Assyrian mimetic art more ancient than this monarch. That art almost seems to start in Assyria, like Minerva from the head of Jove, full-grown. Asshur-izir-pal had undoubtedly some constructions of former monarchs to copy from, both in his palatial and in his sacred edifices; the old palaces and temples at Kileh-Sherghat must have had a certain grandeur; and in his architecture this monarch may have merely amplified and improved upon the models left him by his predecessors; but his ornamentation, so far as appears, was his own. The mounds of Kileh-Sherghat have yielded bricks in abundance, but not a single fragment of a sculptured slab. We cannot prove that ornamental bas-reliefs did not exist before the time of Asshur-izir-pal; indeed the rock tablets which earlier monarchs set up were sculptures of this character; but to Asshur-izir-pal seems at any rate to belong the merit of having first adopted bas-reliefs on an extensive scale as an architectural ornament, and of having employed them so as to represent by their means all the public life of the monarch. The other arts employed by this king in the adornment of his buildings were those of enamelling bricks and painting in fresco upon a plaster. Both involve considerable skill in the preparation of colors, and the former especially implies much dexterity in the management of several very delicate processes. The sculptures of Asshur-izir-pal, besides proving directly the high condition of mimetic art in Assyria at this time, furnish indirect evidence of the wonderful progress which had been made in various important manufactures. The metallurgy which produced the swords, sword-sheaths, daggers, earrings, necklaces, armlets, and bracelets of this period, must have been of a very advanced description. The coach-building which constructed the chariots, the saddlery which made the harness of the horses, the embroidery which ornamented the robes, must, similarly, have been of a superior character. The evidence of the sculptures alone is quite sufficient to show that, in the time of Asshur-izir-pal, the Assyrians were already a great and luxurious people, that most of the useful arts not only existed among them, but were cultivated to a high pitch, and that in dress, furniture, jewelry, etc., they were not very much behind the moderns.