are now for the rearing of horses, particularly when so large a supply must have been demanded for the cavalry and chariots of Assyrian armies.

Mounted cavalry formed an important part of the Assyrian army. Horsemen are seen in the earliest sculptures at Nimrud, and disciplined bodies of cavalry appear in the bas-reliefs at Koyunjik. Correspondingly, the apocryphal book of Judith represents the Assyrian general, Holofernes, as having in his army 12,000 archers on horseback; and Ezekiel (xxiii. 6) speaks of "Assyrians clothed in blue, captains and rulers, all of them desirable young men, horsemen riding upon horses." The king himself, however, is never represented on horseback in the sculptures, although a horse richly caparisoned, apparently for his use-perhaps to enable him to flee, should his chariot horses be killed-is frequently seen led by a warrior, and following his chariot. In the earliest sculptures, the horses, except such as follow the king's chariot, are unprovided with clothes or saddles. The rider is seated on the naked back of the animal. At a later period, however, a kind of pad appears to have been introduced; and in a sculpture at Koyunjik, is represented a high saddle, not unlike those still used in the East. Stirrups were not known even to the Romans of the empire, and are not to be looked for in Eastern sculptures.

The prophet Nahum (iii. 3) says-" The horsemen lifteth up both the bright sword and the glittering spear." Accordingly, the horsemen are armed either with the sword and bow, or with the sword and a long spear. They wore short tunics, and their legs and feet were bare. When riding without pads or saddles, they sat with their knees almost on a level with the horse's back; but after the introduction of saddles, their limbs appear to have been more free, and they wore greaves or boots, but were still unprovided with stirrups. An archer requires both his hands to be disengaged for his weapons; and the bow would therefore appear to be the most unsuitable of weapons to be used on horseback. This difficulty was met at certainly a costly expenditure of human and animal power, by providing a second horseman, who in action rode beside the archer, and held and guided his steed, so that, in fact, the efficiency of every bow was at the expense of two men and two horses.

Those armed with the spear, the most suitable weapon for cavalry, had no need of a second horsemen to hold the reins. The riding horses are less profusely ornamented than those in harness, the horsemen being probably of inferior rank to those who fought in chariots. The head-stall was surmounted by an arched crest, and round the neck was an embroidered collar, ending in a rich tassel or bell. It will be called to mind, that bells for the necks of horses are mentioned by the prophet Zechariah (xiv. 20). In at least one of the sculptured examples, the bell very distinctly appears.

Chariots also figured largely in Assyrian warfare. The king and principal officers always appear in chariots, never on horseback, nor, except in sieges, on foot. Each chariot contained two or three persons. The king was always accompanied in the chariot by two attendants-the charioteer, and the warrior who protected the royal person with a shield, the latter being exchanged, in time of peace, for an eunuch with an umbrella.

The Assyrian chariot seems to have been made of wood. It appears to have been open behind, but, unlike those used by Egyptians, to have been completely panelled at the sides. It varied considerably in form at different periods. As represented in the earliest monuments, it is low, with the upper part rounded. To each side were affixed, as in Egypt, two quivers containing arrows, a small crooked bow, a javelin, and a battle-axe. In the Egyptian chariots, there are only two horses; but although the yoke of the Assyrian chariot is only for two, there are generally three in harness. As there is no indication of traces, nor can it be ascertained from the sculptures how the third horse is attached, it is conjectured that it was intended to supply the place of one of the other horses when killed or seriously wounded, and did not actually draw. In these earlier chariots, the wheels have six spokes, but in later examples the number is eight. Other changes, both in the form and size of the chariot, also appear. It is larger, and much higher, the wheel alone being almost as high as a man. The upper part is not rounded, but square, with a projection in front, that may have been a case to receive arrows, quivers being no longer attached to the sides, as in the

older examples. The panels are carved and adorned with rosettes and tassels. The whole chariot is thus brought to a nearer resemblance to the old Persian chariot, with which, as copied from the sculptures at Persepolis, the public have long been acquainted. They seem to have been often completely covered with ornaments. Those represented in the earlier monuments had a very elegant moulding or border around the sides; and Layard thinks they were probably inlaid with gold, silver, and precious woods, and also painted. In one case, the figure of a king drawing a bow is placed as a device on a chariot panel. Chariots armed with scythes do not appear, though the statement of Ctesias might have led us to look for them.

The harness and trappings of the chariot horses were extremely rich and elegant-certainly not less so than those of the Egyptians. Plumes waved over the heads of the animals, or fanciful crests rose gracefully in an arch above their ears, and descended in front to their nostrils; and to these ornaments were sometimes appended long ribands or streamers, that floated in the wind. Large tassels of wool or silk, dyed of many colors, fell on the forehead, and were attached to many parts of the harness. The bridle generally consisted of a head stall, a strap divided into three parts connected with the bit and straps over the forehead under the cheeks and behind the ear, all these details were elaborately orna mented, and it is probable that the bit as well as many ornaments of the bridle and strappings, were of gold, and other precious materials. Round the necks of the horses were hung tassels, rosettes, and engraved beads. Three straps, richly embroidered, passed under the fore part of the belly, keeping the harness and chariot pole in their places ; and a breast-band, adorned by tassels, was also supported by these straps. Embroidered clothes, or trappings, were frequently thrown over the backs of the chariot horses, and almost covered the body from the ears to the tail. Such clothes are mentioned by Ezekiel (xxvii. 20), “Dedan was thy merchant in precious clothes for chariots."

The chariot horses of the later Assyrian period differed entirely in their trappings and ornaments from those of the

earlier. High plumes, generally three in number, and rising one above the other, waved over their heads. Frequently an arched crest and clusters of tassels were placed between their ears. Similar tassels fell over their foreheads and hung round their necks. The harness attached to the yoke was more profusely ornamented with rosettes and fringes than that of the earlier Egyptian chariots, but the ornaments showed less variety and taste. The manes of the horses were either allowed to fall loosely on the neck, were platted, or were cut short, and stood erect. In the earlier sculptures, the tails of the horses were simply bound in the centre with ribands; in the later, the end is plaited, as is still the case in Persia and Turkey, and tied up in a bunch.

These particulars will furnish an adequate conception of the nature and appearance of that Assyrian force in horses and chariots, which invaded first Israel and then Judah, and which, from the frequent allusions of the prophets, appear to have been regarded by the people generally with mingled feelings of admiration and alarm.

"As

AMUSING ANECDOTES OF A PARROT.*

you

wished me to write down whatever I could collect about my sister's wonderful parrot, I proceed to do so, only promising that I will tell you nothing but what I can vouch for as having myself heard. Her laugh is quite extraordinary, and it is impossible not to help joining in it oneself, more especially when in the midst of it, she cries out 'Don't make me laugh

* We scarcely know what to say to this narrative, the truth of which must rest entirely on the degree of credit due to the writer, and the well-known and highly respectable author who gives it currency-Mr. Jesse, whose "Gleanings in Natural History," and other works, are favorably known to the public. As far as the mere power of articulating goes, we believe the parrot to be capable of almost anything, from the peculiar conformation of the tongue and larynx, which very strikingly resemble those of our own species; but that a bird should be able to know so well what is passing around it, as to drop in aptly and seasonably its own comments and rejoinders, almost passes our belief. If, however, we cannot add our own testimony to that of two competent witnesses in the matter, we may turn the incident to account by recommending some of our very young friends to give more diligence to their lessons, lest they fall short even of the acquirements displayed by this wonderful bird, which bids fair to redeem the character of its species from the charge of learning only mechanically and by rote.

ED

so, I shall die-I shall die;' and then continues laughing more violently than before. Her crying and sobbing are curious, and if you say 'Poor Poll, what is the matter?' she says, 'So bad, so bad, got such a cold;' and after crying for some time, will gradually cease, and making a noise like drawing a long breath, say, 'Better now,' and begin to laugh.

"The first time I ever heard her speak, was one day when I was talking to the maid at the bottom of the stairs, and heard what I then considered to be a child, call out Payne!' (the maid's name,) 'I am not well-I'm not well:' and on my saying, What is the matter with that child?' she replied, It is only the parrot; she always does so when I leave her alone, to make me come back.' And so it proved, for on her going into the room, the parrot stopped, and then began laughing quite in a jeering way.

6

"It is singular enough, that whenever she is affronted in any way, she begins to cry, and when pleased, to laugh. If any one happen to cough or sneeze, she says, 'What a bad cold!' One day, when the children were playing with her, the maid came into the room, and on their repeating to her several things which the parrot had said, Poll looked up and said quite plainly 'No, I didn't.' Sometimes when she is inclined to be mischievous, the maid threatens to beat her, and she often says, 'No you won't!' She calls the cat very plainly, saying, 'Puss! puss!' and then answers Mew; but the most amusing part is, that whenever I want to make her call it, and to that purpose, say Puss! puss!' myself, she always answers Mew till I begin mewing, and then she begins calling 'Puss' as quick as possible. She imitates every kind of noise, and barks so naturally that I have known her to set all the dogs on the parade at Hampton Court barking; and, I dare say, if the truth were known, wondering what was barking at them; and the consternation I have seen her cause in a party of cocks and hens, by her crowing and clucking, has been the most ludicrous thing possible. She sings just like a child, and I have more than once thought it was a human being; and it is most ridiculous to hear her make what one should call a false note, and then say, 'Oh la!' and burst out laughing at herself, beginning again `quite in another key. She is very fond of singing' Buy a broom,' which