Discoveries Among the Ruins of Nineveh and Babylon

by Austen Henry Layard

A row of pillars, or of alternate pillars and masonry, would answer the purpose intended, if they opened into a well-lighted hall. Yet inner chambers, such as are found in the ruins of Kouyunjik, must have remained in almost entire darkness. And it is not improbable that such was the case, to judge from modern Eastern houses, in which the absence of light is considered essential to secure a cool temperature. The sculptures and decorations in them could then only be seen by torchlight. The great halls were probably in some cases entirely open to the air, like the court-yards of the modern houses of Mosul, whose walls are still adorned with sculptured alabaster. When they were covered in the roof was borne by enormous pillars of wood or brickwork, and rose so far above the surrounding part of the building, that light was admitted by columns and buttresses immediately beneath the ceiling. It is most probable that there were two or three stories of chambers opening into them, either by columns or by windows. Such appears to have been the case in Solomon’s temple; for Josephus tells us that the great inner sanctuary was surrounded by small rooms, “over these rooms were other rooms, and others above them, equal both in their measure and numbers, and that these reached to a height equal to the lower part of the house, for the upper had no buildings about it.” We have also an illustration of this arrangement of chambers in the modern houses of some parts of Persia, in which a great central hall, called an Iwan, rises to the top of the building, and has small rooms in two or three separate stories, opening by windows into it, whilst the inner chambers, having no windows at all, have no more light than that which reaches them through the door. Sometimes these side chambers open into a centre court, as I have suggested may have been the case in the Nineveh palaces, then a projecting roof of woodwork protects the carved and painted walls from injury by the weather. Curtains and awnings were also suspended above the windows and entrances, to ward off the rays of the sun.

Although no remains or even traces of pillars have hitherto been discovered in the Assyrian ruins, I now think it highly probable, as suggested by Mr. Fergusson, that they were used to support the roof. It is curious, however, that no stone pedestals, upon which wooden columns may have rested, have been found in the ruins, nor are there marks of them on the pavement. I can scarcely account for the entire absence of all such traces. However, unless some support of this kind were resorted to, it is impossible that even the large chambers at Kouyunjik, without including the central halls, could have been covered in. The great hall, or house as it is rendered in the Bible,[287] of the forest of Lebanon was thirty cubits high, upon four rows of cedar pillars with cedar beams upon the pillars. The Assyrian kings, we have seen, cut wood in the same forests as King Solomon; and probably used it for the same purposes, namely, for pillars, beams, and ceilings. The dimensions of this hall, 100 cubits (about 150 feet) by 50 cubits (75 feet), very much resemble those of the centre halls of the palaces of Nineveh. “The porch of pillars” was fifty cubits in length; equal, therefore, to the breadth of the hall, of which I presume it to have been an inclosed space at the upper end, whilst “the porch for the throne where he might judge, even the porch of judgment ... covered with cedar wood from one side of the floor to the other,” was probably a raised place beneath it, corresponding with a similar platform where the host and guests of honor are seated in a modern Eastern house. Supposing the three parts of the building to have been arranged as I have suggested, we should have an exact counterpart of them in the hall of audience of the Persian palaces. The upper part of the room in which I have frequently seen the governor of Isfahan, was divided from the rest of a magnificent hall by columns, and his throne was a raised place of carved woodwork adorned with rich stuffs, ivory, and other precious materials. Suppliants and attendants stood outside the line of pillars, and the officers of the court within. Such also may have been the interior arrangement of the great halls in the Assyrian edifices.

That the Ninevite palaces had more than one story, at least in some parts if not in all, can now no longer be doubted. The inscriptions appear to describe distinctly the upper rooms, and at Kouyunjik, as it has been seen, an inclined way was discovered leading to them. Without there had been an upper structure, it would be impossible to account for the enormous accumulation of rubbish, consisting chiefly of remains of buildings, over the ruins of Kouyunjik and Khorsabad. These upper rooms were probably built of sundried bricks and wood, but principally of the latter material, and may have been connected with the lower by winding staircases, as in the temple of Solomon, as well as by inclined ways. The roofs were flat, as those of all Eastern houses are to this day; and, as suggested by Mr. Fergusson,[288] they may have been crowned by a wooden talar, or platform, and altars upon which sacrifices were offered,—“The houses upon whose roofs they have burned incense unto all the host of heaven, and have poured out drink-offerings to other gods.”[289]

I have already described the internal decorations of the Assyrian palaces,[290] and have little more to add upon the subject. The walls of Kouyunjik were more elaborately decorated than those of Nimroud and Khorsabad. Almost every chamber explored, and they amount to above seventy, was panelled with alabaster slabs carved with numerous figures and with the minutest details. Each room appears to have been dedicated to some particular event, and in each, apparently, was the image of the king himself. In fact, the walls recorded in sculpture what the inscriptions did in writing,—the whole history of Sennacherib’s reign, his great deeds in peace as well as in war. It will be remarked that whilst in other Assyrian edifices the king is frequently represented taking an active part in war, slaying his enemies, and fighting beneath a besieged city, he is never represented at Kouyunjik otherwise than in an attitude of triumph, in his chariot or on his throne, receiving the captives and the spoil. Nor is he ever seen torturing his prisoners, or putting them to death with his own hand.

There were chambers, however, in the palace of Sennacherib, as well as in those of Nimroud and Khorsabad, whose walls were simply coated with plaster, like the walls of Belshazzar’s palace at Babylon.[291] They may have been richly ornamented in color with figures of men and animals, as well as with elegant designs; or they may have been panelled with cedar wainscoting, as the chambers in the temple and palaces of Solomon, and in the great edifices of Babylon. Gilding, too, appears to have been extensively used in decoration, and some of the great sphinxes may have been overlaid with gold, like the cherubim in Solomon’s temple.[292]

At Kouyunjik, the pavement slabs were not inscribed as at Nimroud; but those between the winged bulls at some of the entrances, were carved with an elaborate and very elegant pattern. The doors were probably of wood, gilt and adorned with precious materials, like the gates of the temple of Jerusalem, and they appear to have turned in stone sockets, for amongst the ruins were found many black stones hollowed in the centre, and bearing an inscription in these words: “Sennacherib, the great king, king of Assyria, brought this stone from the distant mountains, and used it for the sockets of the pillars of the doors of his palace.”

To ward off the glare of an Eastern sun hangings or curtains of gay colors and of rich materials were probably suspended to the pillars supporting the ceiling, or to wooden poles raised for the purpose, as in the palaces of Babylon and Shushan. Such hangings, as we have seen, appear to be described in the tablets of king Nebuchadnezzar. The frontispiece to this volume will enable the reader to understand how they were used. This engraving from a beautiful water-color drawing, made by Mr. Baynes under the superintendence of Mr. Fergusson, represents the Eastern façade and the great entrance to the palace of Sennacherib, as they are supposed originally to have been. The lower part of the building actually exists, and is drawn to scale; the upper part of course is mainly founded upon conjecture; but the preceding remarks may show that we are not altogether without materials to authorise some such restoration. The edifice represented in the bas-relief discovered at Kouyunjik has furnished some of the architectural details, the battlemented finish to the walls is still seen at Kouyunjik and Nimroud, and the various decorations introduced in other places are all taken from Assyrian monuments. The two poles with streamers in the foreground, are from a bas-relief at Khorsabad. The sculptures at the sides of the steps are those from the descending passage at Kouyunjik. The stone facing of the platform is that of the basement of the tower at Nimroud. The lions, Assyrian in character, are placed on the steps conjecturally, and the steps themselves are restored. The design upon the pavement is found on slabs at the entrances at Kouyunjik.

The excavations carried on at Nimroud during the last expedition have enabled me to restore, to a certain extent, the several buildings on the platform, and to obtain some idea of their original appearance. On the artificial platform, built of regular layers of sundried bricks in some parts, and entirely of rubbish in others, but cased on all sides with solid stone masonry, stood at one time at least nine distinct buildings. Between each was a terrace, paved with stone, or with large kiln-burnt bricks, from one and a half to two feet square. At the north-western corner rose the great tower, the tomb of the founder of the principal palace. Its basement was encased with massive masonry of stone, relieved by recesses and other architectural ornaments. The upper part built of brick, was most probably painted, like the palaces of Babylon, with figures and mythic emblems. Its summit, I conjecture, to have consisted of several receding gradines like the top of the black obelisk, and I would venture to crown it with an altar on which may have burnt the eternal fire. Adjoining this tower were, two small temples, dedicated to Assyrian gods. One actually abutted on it, although there was no communication whatever, as far as I could discover, between the interior of the two buildings; the other was about 100 feet to the east. They were both adorned with sculptures, and had evidently been more than one story high, and their beams and ceilings were of cedar wood. They contained statues of the gods, and the fullest records of the reign of the king their founder, engraved on immense monoliths. Between them was a way up to the platform from the north.

Between the small temples and the north-west palace were two great flights of steps, or inclined ways, leading up from the margin of the river. Their sites are still marked by deep ravines. They opened upon a broad paved terrace. The north-west palace having been so fully described in my former work, I need only add that I have now been able to ascertain the position of its principal façade and entrance. It was to the north, facing the tower, and nearly resembled the grand approaches to Kouyunjik and Khorsabad. The two gateways formed by the sphinxes with the human form to the waist, appear to have flanked a grand centre portal to which they were united on both sides, as in Sennacherib’s palace, by colossal figures of human-headed bulls and lions and winged priests. The remains of no other great entrance to the palace have yet been discovered, but I have little doubt from several indications in the ruins, that there was a similar façade on the river side, and that a terrace, ascended by broad flights of steps, overlooked the Tigris.

To the south of the north-west palace was a third ascent to the summit of the platform, also marked by a ravine in the side of the mound. Beyond it were the upper chambers, built by the fourth king in succession from Sardanapalus, probably over the remains of an earlier edifice. Excavations made in different parts of the small mound covering their ruins, show that they consisted of three distinct groups, built round a solid central mass of sundried bricks. The great accumulation of earth above them, proves that this building must have had more than one story.