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of the legs of a winged bull, in yellow limestone, were next found. These remains, imperfect as they were, promised better things. The trench was carried on in the same direction for several days; but nothing more appeared. It had reached about fifty feet in length, and still without any new discovery. I had business in Mosul, and was giving directions to the workmen to guide them during my absence. Standing on the edge of the hitherto unprofitable trench, I doubted whether I should carry it any farther; but made up my mind at last, not to abandon it until my return, which would be on the following day. I mounted my horse, but had scarcely left the mound when a corner of black marble was uncovered, lying on the very edge of the trench. This attracted the notice of the superintendent of the party digging, who ordered the place to be further examined. The corner was part of an obelisk, about seven feet high, lying on its side, ten feet below the surface.

      “An Arab was sent after me without delay, to announce the discovery, and on my return I found the obelisk completely exposed to view. I descended eagerly into the trench, and was immediately struck by the singular appearance, and evident antiquity, of the remarkable monument before me. We raised it from its recumbent position, and, with the aid of ropes, speedily dragged it out of the ruins. Although its shape was that of an obelisk, yet it was flat at the top and cut into three gradines. It was sculptured on the four sides; there were in all twenty small bas-reliefs, and above, below, and between them was carved an inscription 210 lines in length. The whole was in the best preservation; scarcely a character of the inscription was wanting; and the figures were as sharp and well defined as if they had been carved but a few days before. The king is twice represented, followed by his attendants; a prisoner is at his feet, and his vizir and eunuchs are introducing men leading various animals, and carrying vases and other objects of tribute on their shoulders, or in their hands. The animals are the elephant, the rhinoceros, the Bactrian, or two-humped camel, the wild bull, the lion, a stag, and various kinds of monkeys. Amongst the objects carried by the tribute-bearers, may perhaps be distinguished the tusks of the elephant, shawls, and some bundles of precious wood. From the nature, therefore, of the bas-reliefs, it is natural to conjecture that the monument was erected to commemorate the conquest of India, or of some country far to the east of Assyria, and on the confines of the Indian peninsula. The name of the king, whose deeds it appears to record, is the same as that on the centre bulls; and it is introduced by a genealogical list containing many other royal names.

      “I lost no time in copying the inscriptions, and drawing the bas-reliefs, upon this precious relic. It was then carefully packed, to be transported at once to Baghdad. A party of trustworthy Arabs were chosen to sleep near it at night; and I took every precaution that the superstitions and prejudices of the natives of the country, and the jealousy of rival antiquaries, could suggest.”

      Among the numerous other sculptures which Mr. Layard, with great trouble and expense, succeeded in forwarding to England, was the figure of a king, one of the most carefully executed and best preserved in the palace. He is represented with one hand on the hilt of his sword, the other being supported by a long wand or sword. It was found in the north-west palace at Nimroud.

      When Mr. Layard had expended the funds appropriated by the Trustees of the British Museum for the excavations, and sent a large number of sculptures down the Tigris to Busrah, to be shipped to England, he caused the excavations to be carefully filled up, and leaving for a season the scene of his labors, returned to England. Another expedition has since been sent to Nimroud, further excavations have been made, and Mr. Putnam will ere long publish their results. In the meantime, we feel that we cannot too cordially commend to the reading public, the first work of Mr. Layard, as affording the most interesting and important revelations concerning the actual state of the ancient world, which have been made public since the Egyptian discoveries of Champollion.

      FRAGMENT OF A POEM

BY WM. ALBERT SUTLIFFE

        It was the twilight, and we sat alone.

        We sat alone beside the winter fire —

        My friend and I – a fire that crackled well,

        And sounded through the stillness as a flame

        Shoots through the dark. The embers of the sun

        Had died to ashes. While it sunk we talked

        Of Love, of Beauty, Poetry and Hope,

        Which are religion. For, is Beauty loved,

        Then God is loved, and in our loving we

        Do emulate his noblest attribute.

        But all our words had failed to silentness,

        And memories clustered in the heart’s twilight,

        As shadows in a wood; and all was still.

        But in the quietness there seemed to grow

        A sympathetic mood, and we to look,

        As through glass, into each other’s mind,

        Calm reading, while our thoughts and feelings verged

        In a soft sadness to one common point.

        Then low I spoke: – “Were it not sweet and well

        To die from out this chaos of a life

        Into the waiting dark, and leave our toil

        To stronger minds and hands? To spurn the clay,

        And mount the crystal air in spiral gyre,

        Glad-voiced, and angel-winged, like bird uncaged?

        I think it sweet! or so it seemeth now,

        When I look back, as down a charnel-vault,

        Into the retrospect, and see it all; —

        See every should-be that was never done,

        And every would-be that has died its death,

        And my hot dreams, and my distempered hopes,

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      1

      It may not probably be known to ordinary readers that while a copperplate-engraving begins to fail after two or three thousand copies have been taken from it, and is worthless after six or eight thousand, fifty or sixty thousand can be taken from wood-blocks, and yet more from steel, without detriment.

      2

      History Wood Engraving. Jackson. London.

      3

      As an exemplication of the above statement, two wood-cuts are here submitted, with the view of proving the absolute necessity of a good artist-like drawing to enable the engraver to produce a handsome or even creditable wood-cut. Both the following cuts are from one sketch, by the great landscape-painter Morland – the one meagre, tame, unfilled, and presenting nothing beyond a bare, cold outline; the other a remarkably spirited and flowing sketch, not one of the extra

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