Page:A History of Art in Chaldæa & Assyria Vol 2.djvu/408

J/ A History of Art in Ciiald.ea and Assyria. The impression made by these compositions as a whole is intensified when we examine their separate details. The variety ot the combinations employed is very striking. Sometimes the ornament is entirely linear and vegetable in its origin. Look, for instance, at the kind of square brooch worn on his breast by one mi* Fig. 256. — Detail of embroidery ; from Layard. of the winged genii at Nimroud (Fig. 255). The sacred tree surrounded by a square frame of rosettes and wavy lines occupies the centre, the palmette throws out its wide fronds at one end. In another example we find a human-headed lion, mitred and '/<-■ S ^ ^^^^mm^mm^mm mm^mm^^m^ mm FlG. 257. — Detail of embroidery ; from Layard. bearded, struggling with an eagle-headed genius. On the right of our wood-cut (Fig. 256) a bud or flower like that of the silène inflata, hangs over the band of embroidery ; it is a pendent from the necklace. Sometimes we find real combined with fictitious