2] turns his head piteously towards the cruel shaft, while he totters to his fall, his limbs failing him, and his eyes beginning to close.

The more slightly stricken king of beasts in the second [PLATE LXXI.], urged to fury by the smart of his wound, rushes at the chariot whence the shaft was sped, and in his mad agony springs upon a wheel, clutches it with his two fore-paws, and frantically grinds it between his teeth.
Assyrian art, so far as is yet known, has no finer specimen of animal drawing than this head, which may challenge comparison with anything of the kind that either classic or modern art has produced.
[Illustration: PLATE 71] [Illustration: PLATE 72] As a specimen at once of animal vigor and of the delicacy and finish of the workmanship in the human forms of the time, a bas-relief of the king receiving the spring of a lion, and shooting an arrow into his mouth, while a second lion advances at a rapid pace a little behind the first, may be adduced.

(See [PLATE LXXII.]) The boldness of the composition, which represents the first lion actually in mid-air, is remarkable; the drawing of the brute's fore-paws, expanded to seize his intended prey, is lifelike and very spirited, while the head is massive and full of vigor.

There is something noble in the calmness of the monarch contrasted with the comparative eagerness of the attendant, who stretches forward with shield and spear to protect has master from destruction, if the arrow fails.

The head of the king is, unfortunately, injured; but the remainder of the figure is perfect and here, in the elaborate ornamentation of the whole dress, we have an example of the careful finish of the time--a finish, which is so light and delicate that it does not interfere with the general effect, being scarcely visible at a few yards' distance.
[Illustration: PLATE 73] The faults which still remain in this best period of Assyrian art are heaviness and stiffness of outline in the human forms; a want of expression in the faces, and of variety and animation in the attitudes; and an almost complete disregard of perspective.