difference is made between the outer and the inner view of the
leg, the former being treated in the same style as the arms in
Fig. 17. The arms are here better, because less exaggerated. The
junction of human shoulders and animal necks is managed with no
sort of verisimilitude. But the heads, conventionalized though
they are, are full of vigor. One can almost hear the angry snarl
and see the lightning flash from the eyes.

It is, in fact, in the rendering of animals that Assyrian art
attains to its highest level. In Asshur-bam-pal's palace extensive
hunting scenes give occasion for introducing horses, dogs, wild
asses, lions, and lionesses, and these are portrayed with a keen
eye for characteristic forms and movements. One of the most famous
of these animal figures is the lioness shown in Fig. 21. The
creature has been shot through with three great arrows. Blood
gushes from her wounds. Her hind legs are paralyzed and drag
helplessly behind her. Yet she still moves forward on her fore-
feet and howls with rage and agony. Praise of this admirable
figure can hardly be too strong. This and others, of equal merit
redeem Assyrian art.

As has been already intimated, these bas-reliefs were always
colored, though, it would seem, only partially, whereas Egyptian
bas-reliefs were completely covered with color.

Of Assyrian stone sculpture in the round nothing has yet been
said. A few pieces exist, but their style is so essentially like
that of the bas-reliefs that they call for no separate discussion.
More interesting is the Assyrian work in bronze. The most
important specimens of this are some hammered reliefs, now in the