The Brooklyn Museum houses twelve stone slabs with carved decoration from the Northwest Palace of Ashurnasirpal II. The motif of a stylized tree — the so-called Sacred Tree (see Figs. 1, 4, 6) — appears on seven of those slabs which come from rooms F, I, L, S, T of the ninth century palace at Nimrud. These tree renderings are representative of the sacred tree-type found in ten rooms of the royal residence and the west wing. Approximately 96 sacred trees, in two-register arrangement, appeared on the pictorial decorations in room I; the same motif occurred about 75 times in one-register arrangement on the reliefs of the other rooms. The abundance of the sacred tree motif on the wall decorations of the Northwest Palace attests to the significance of this plant. Its design deserves investigation; in Layard's words, “the tree, evidently a sacred symbol, is elaborately and tastefully formed.”In his study of the Ashurnasirpal II reliefs in American collections, Stearns did not attempt to list the sacred trees, because “variations in the sacred tree occur only in minor details,” and “the tree in itself is rarely useful in identifying the location of the reliefs.” These statements make clear Stearns' belief that the sacred trees were nearly alike. Other scholars, notably Weidner and Reade, have pointed out that on a number of slabs now in American and European museums are carvings of matching half trees, therefore indicating that when paired, these trees belonged to adjoining slabs originally. In trying to match half trees, one finds that individual sacred trees do differ in the rendering of specific details. Bleibtreu, in her analysis of the sacred tree-type, lists three variants of the flower found on the palmette-garland framing the individual tree on three sides. The present author, after examining the sacred trees carved on the slabs in The Brooklyn Museum, concludes that the design of the tree-type is more varied than heretofore presumed, and that its construction is more complex than indicated in previous descriptions of the subjects. An analysis of the Assyrian sacred tree-type may lead to possible conclusions regarding its intended image: a stylized palm tree, a cult object, an emblem of vegetation or “tree of life”, an imperial symbol, or a combination of those forms. In addition, one may consider to what extent the rendering of individual trees was the consequence of artistic inventiveness.