in the figured architecture of the bas-reliefs and in the glazed tiles by anything but an artistic caprice. In some cases the rosette and the palmette are introduced in a single picture (142).
We have ventured to supplement the scanty remains of architectural decoration by these illustrations from another art, because all Babylonian ornament, whether for carpets, hangings, or draperies, for works in beaten metal, in paint or enamelled faience, is governed by the same spirit and marked by the same taste. In every form impressed upon matter by the ancient inhabitants of Mesopotamia the same symbols, the same types, and the same motives are repeated to infinity. The examples we have brought together suffice to show the principal characteristics of that decoration. It had doubtless one great
Fig. 139.—Winged bulls and palmette; from Layard.
defect, it was too easily separated from the building to which it belonged; it was fragile, apt to fall, and therefore unlikely to have any very long duration. But the architect was not to blame for that. The defect in question was consequent on the poverty of the material with which he had to work. Given the conditions under which he laboured, and we cannot deny that he showed great skill in making the best of them. He understood how to contrast wide unbroken surfaces with certain important parts of his ensemble, such as cornices, plinths, and especially doorways. Upon these he concentrated the efforts of the painter and sculptor; upon these he lavished all the hues of the Assyrian palette, and embellished them with the carved figures of men and gods, of kings and genii, of all
