ateway, guarded by one
pair of the larger bulls, fronting the spectator, and standing each in a
sort of recess, the character of which will be best understood by the
ground-plan in the illustration. Just inside the bulls was the great
door of the palace, a single door made of wood-apparently of
mulberry,--opening inwards, and fastened on the inside by a bolt at
bottom, and also by an enormous lock. This door gave entrance into a
passage, 70 feet long and about 10 feet wide, paved with large slabs of
stone, and adorned on either side with inscriptions, and with a double
row of sculptures, representing the arrival of tribute and gifts for the
monarch. All the figures here faced one way, towards the inner palace
court into which the passage led. M. Botta believes that the passage was
uncovered; while Mx. Fergusson imagines that it was vaulted throughout.
It must in any case have been lighted from above; for it would have been
impossible to read the inscriptions, or even to see the sculptures,
merely by the light admitted at the two ends.

[Illustration: PLATE 45]

From the passage in question--one of the few in the edifice--no doorway
opened out either on the right hand or on the left. The visitor
necessarily proceeded along its whole extent, as he saw the figures
proceeding in sculptures, and, passing through a second portal, found
himself in the great inner court of the palace, a square of about 100 or
160 feet, enclosed on two sides--the south-east and the south-west-by
buildings, on the other two sides reaching to the edge of the terrace,
which here gave upon, the open country. The buildings on the
south-eastside, looking towards the north-west, and and joining the
gateway by which the had entered, were of comparatively minor
importance. They consisted of a few chambers suitable for officers of
the court, and were approached from the court by two doorways, one on
either side of the passage through which he had come. To his left,
looking towards the north-east, were the great state apartments, the
principal part of the palace, forming a facade, of which some idea may
perhaps be formed from the representation. [PLATE XLVI.] The upper part
of this representation is indeed purely conjectural; and when we come to
consider the mode in which the Assyrian palaces were roofed and lighted,
we shall perhaps find reason to regard it as not very near the truth;
but the lower part, up to the top of the sculptures, the court itself,