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7 (B, 3) Text no. 8 (B, 4) Text no. 9 (C, 1) Text no. 10 (C, 2) Text no. 11 (C, 3) Text no. 12 (C, 4) Text no. 13 (C, 5) Text no. 14 (B, 5) Text no. 15 (B, 6) Text no. 16 (B, 7) Text no. 17 (B, 8) Text no. 18 (A, 8) Text no. 19 (A, 9) Text no. 20 (C, 9) Text no. 21 (C, 10) Text no. 22 (C, 11) Text no. 23 (A, 10) Text no. 24 (A, 11) Text no. 25 (C, 12) Text no. 26 (A, 5) Text no. 27 (A, 6) Text no. 28 (A, 7) Text no. 29 (A, 7x) Text no. 30 (C, 6) Text no. 31 (C, 7) Text no. 32 (C, 8) Text no. 33 (C, x) Text no.

The first type divides the surface of the orthostat into three registers, with the top and bottom registers sculpted (mostly with scenes of battle) and with a blank or inscribed middle register (Layard, Nineveh 2 p. 24). The second type utilizes the entire surface of the slab to depict images of “gigantic figures of the King and his attendant eunuchs and of the winged priests or divinities” (ibid. p. 21) and has the inscription written over the reliefs, except over “a naked limb” (Layard, Nineveh 1 p.

One slab, however, is in the British Museum (text no. 30) and two other slabs were photographed after their rediscovery by Polish excavators in 1976 (text nos. 33–34). The width of the bands of text on these slabs appears to have been often considerably more than 2 m. 4 The fragmentary condition of the texts, the many lacunae, and the fact that most of the originals are no longer available for study, make such a distinction rather conjectural. Thus, for the sake of simplification, all of these are categorized as Series C.

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