to cultivate it.  Sculpture was at a very low ebb when Tiglath-pileser III. desired to emulate the royal builders of days gone by, and the awkwardness of composition noticeable in some of his bas-reliefs, and the almost barbaric style of the stelae erected by persons of even so high a rank as Belharran-beluzur, prove the lamentable deficiency of good artists at that epoch, and show that the king had no choice but to employ all the surviving members of the ancient guilds, whether good, bad, or indifferent workmen.  The increased demand, however, soon produced an adequate supply of workers, and when Sargon ascended the throne, the royal guild of sculptors had been thoroughly reconstituted; the inefficient workmen on whom Tiglath-pileser and Shalmaneser had been obliged to rely had been eliminated in course of time, and many of the sculptures which adorned the palace at Khorsabad display a purity of design and boldness of execution comparable to that of the best Egyptian art.  The composition still shows traces of Chaldaean stiffness, and the exaggerated drawing of the muscles produces an occasionally unpleasing-heaviness of outline, but none the less the work as a whole constitutes one of the richest and most ingenious schemes of decoration ever devised, which, while its colouring was still perfect, must have equalled in splendour the great triumphal battle-scenes at Ibsambul or Medinet-Habu.  Sennacherib found ready to his hand a body of well-trained artists, whose number had considerably increased during the reign of Sargon, and he profited by the experience which they had acquired and the talent that many of them had developed.  What immediately strikes the spectator in the series of pictures produced under his auspices, is the great skill with which his artists covered the whole surface at their disposal without overcrowding it.  They no longer treated their subject, whether it were a warlike expedition, a hunting excursion, a sacrificial scene, or an episode of domestic life, as a simple juxtaposition of groups of almost equal importance ranged at the same elevation along the walls, the subject of each bas-relief being complete in itself and without any necessary connection with its neighbour.  They now selected two or three principal incidents from the subjects proposed to them for representation, and round these they grouped such of the less important episodes as lent themselves best to picturesque treatment, and scattered sparingly over the rest of the field the minor accessories which seemed suitable to indicate more precisely the scene of the action.  Under the auspices of this later school, Assyrian foot-soldiers are no longer depicted attacking the barbarians of Media or Elam on backgrounds of smooth stone, where no line marks the various levels, and where the remoter figures appear to be walking in the air without anything to support them.  If the battle represented took place on a wooded slope crowned by a stronghold on the summit of the hill,