Thus the colossal bulls and lions have five legs, but in order that they may be seen from every point of view with four; the ladders are placed edgewise against the walls of besieged towns, but it is to show that they are ladders, and not mere poles; walls of cities are made disproportionately small, but it is done, like Raphael's boat, to bring them within the picture, which would otherwise be a less complete representation of the actual fact.

The careful finish, the minute detail, the elaboration of every hair in a beard, and every stitch in the embroidery of a dress, reminds us of the Dutch school of painting, and illustrates strongly the spirit of faithfulness and honesty which pervades the sculptures, and gives them so great a portion of their value.

In conception, in grace, in freedom and correctness of outline, they fall undoubtedly far behind the inimitable productions of the Greeks; but they have a grandeur and a dignity, a boldness, a strength, and an appearance of life, which render them even intrinsically valuable as works of art, and, considering the time at which they were produced, must excite our surprise and admiration.

Art, so far as we know, had existed previously only in the stiff and lifeless conventionalism of the Egyptians.

It belonged to Assyria to confine the conventional to religion, and to apply art to the vivid representation of the highest scenes of human life.