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In some cases the gullies cut in their flanks by the rain discover broken walls and fragments of sculpture whose style is that of the Ninevitish monuments. In the course of their victorious career the Assyrians annexed several other states, such as Syria and Chaldæa, Cappadocia and Armenia, but those countries were never more than external dependencies, than conquered provinces.

It seems indeed an atavism, a return to modes of feeling that created the monuments of other ages, of barbarous and forgotten times. Well did Berlioz term his work "Babylonian and Ninevitish"! Certainly it is like nothing so much as the cruel and ponderous bulks, the sheer, vast tombs and ramparts and terraces of Khorsabad and Nimroud, bare and oppressive under the sun of Assyria.

The palace called the South-western Palace, in consequence of its position in the mound, was commenced by him. It was never finished, but in plan it was more grandiose than any other of the royal dwellings. Had it been complete it would have included the largest hall ever provided by an Assyrian architect for the pomps of the Ninevitish court.

He omits to say whether the Arabs would want compensation for loss of territory. The French consul at Mosul has been making further researches in the Ninevitish ruins, and has discovered, among other curiosities, the wine-cellar of the Assyrian kings, with large jars, in which the royal beverage was once contained, ranged along the sides.

And with his understanding of material effects and sonorous matter, he built edifices, as he says, that were "Babylonian and Ninevitish," "music after Michelangelo," "on an immense scale." But Berlioz forgot one of Beethoven's models Händel. Berlioz thus describes the Tibiomnes and the Judex of his Te Deum.