much injured to be re-moved, of which a representation is given. [PLATE LXXIII.] From what appears to have remained of the four figures towards the prow of the boat, we may conclude that there was a good deal of animation here.  The drawing must certainly have been less stiff than usual; and if there is not much variety in the attitudes of the three spearmen in front, at any rate those attitudes contrast well, both with the stillness of the unengaged attendants in the rear, and with the animated but very different attitude of the king.

Before the subject of Assyrian sculpture is dismissed, it is necessary to touch the question whether the Assyrians applied color to statuary, and, if so, in what way and to what extent.  Did they, like the Egyptians, cover the whole surface of the stone with a layer of stucco, and then paint the sculptured parts with strong colors—­red, blue, yellow, white, and black?  Or did they, like the Greeks, apply paint to certain portions of their sculptures only, as the hair, eyes, beard and draperies?  Or finally, did they simply leave the stone in its natural condition, like the Italians and the modern sculptors generally?

The present appearance of the sculptures is most in accordance with the last of these three theories, or at any rate with that theory very slightly modified by the second.  The slabs now offer only the faintest and most occasional traces of color.  The evidence, however, of the original explorers is distinct, that at the time of discovery these traces were very much more abundant.  Mr. Layard observed color at Nimrud on the hair, beard, and eyes of the figures, on the sandals and the bows, on the tongues of the eagle-headed mythological emblems, on a garland round the head of a winged priest(?), and on the representation of fire in the bas-relief of a siege.  At Khorsabad, MM.  Botta and Flandin found paint on the fringes of draperies, on fillets, on the mitre of the king, on the flowers carried by the winged figures, on bows and spearshafts, on the harness of the horses, on the chariots, on the sandals, on the birds, and sometimes on the trees.  The torches used to fire cities, and the flames of the cities themselves, were invariably colored red.  M. Flandin also believed that he could detect, in some instances, a faint trace of yellow ochre on the flesh and on the background of bas-reliefs, whence he concluded that this tint was spread over every part not otherwise colored.

It is evident, therefore, that the theory of an absence of color, or of a very rare use of it, must be set aside.  Indeed, as it is certain that the upper portions of the palace walls, both inside and outside, were patterned with colored bricks, covering the whole space above the slabs, it must be allowed to be extremely improbable that at a particular line color would suddenly and totally cease.  The laws of decorative harmony forbid such abrupt transitions; and to these laws all nations with any taste instinctively and unwittingly conform.  The Assyrian reliefs were therefore, we may be sure, to some extent colored.  The real question is, to what extent in the Egyptian or in the classical style?