282 A History of Art in Sardinia and Jud.ea. It is much to be regretted that these interesting bas-reUefs have been left behind, and that no good drawings were made. The rough sketches at our disposal do not permit us to judge of the fabrication, except that they seem to belong to the period preceding the downfall of the Hittites, when their art was dependent upon Assyrian art, exemplified in the sculptured stones at Saktchegheuksou (Fig. 279). The remaining sketches are of minor interest. Figure 392 shows that the tell, i<%^ Fig. 393. — Plan of Ruins. Jerabis. with a few huts at the base, occupies the same position as ancient Carchemish on the Balawat bronzes, to record the victories of Shalmanezer III. The city was built on the eastern bank of the Euphrates, and the plan (Fig. 393) reveals the fact that the mountain, where formerly stood the castle, or acropolis, was about the centre of the area, on the very margin of the river, as at Babylon and other ancient cities. Excava- tions have disclosed traces of the wall of enclosure, which ran north and south and Fig. 394. — Plan of Excavations. Jerabis. probably on the east side also; as well as traces of ditches, which followed the direction of the rampart inside, and were connected with the river. Fig. 394 shows three small chambers on the dexter hand, followed by a long passage which gave access to the main section of the structure. Vol. ii. page 120. M. Radet, of the French School at Athens, visited Eflatoun Bounar in the spring of 1885. His critical account was submitted to the Academic des
