Neither the flesh of men, nor the bodies of animals, nor the draperies generally, nor the backgrounds (except perhaps at Khorsabad), present the slightest appearance of having been touched by paint.

It is inconceivable that, if these portions of the sculptures were universally or even ordinarily colored, the color should have so entirely disappeared in every instance.

It is moreover inconceivable that the sculptor, if he knew his work was about to be concealed beneath a coating of paint, should have cared to give it the delicate elaboration which is found at any rate in the later examples.

All leads to the conclusion that in Assyrian as in classical sculpture, color was sparingly applied, being confined to such parts as the hair, eyes, and beards of men, to the fringes of dresses, to horse trappings, and other accessory parts of the representations.

In this way the lower part of the wall was made to harmonize sufficiently with the upper portion, which was wholly colored, but chiefly with pale hues.