Discoveries Among the Ruins of Nineveh and Babylon

by Austen Henry Layard

The Kouyunjik workmen were usually paid in the subterraneous galleries, some convenient space where several passages met being chosen for the purpose; those of Nimroud generally in the village. A scene of wild confusion ensued on these occasions, from which an inexperienced observer might argue a sad want of order and method. This was, however, but the way of doing business usual in the country. When there was a difference of opinion, he who cried the loudest gained the day, and after a desperate struggle of voices matters relapsed into their usual state, every one being perfectly satisfied. Screaming and gesticulation with Easterns by no means signify ill will, or even serious disagreement. Without them, except of course amongst the Turks, who are staid and dignified to a proverb, the most ordinary transactions cannot be carried on, and they are frequently rather symptoms of friendship than of hostility.

By the end of November several entire chambers had been excavated at Kouyunjik, and many bas-reliefs of great interest had been discovered. The four sides of the hall, part of which has already been described,[32] had now been explored.[33] In the centre of each side was a grand entrance, guarded by colossal human-headed bulls.[34] This magnificent hall was no less than 124 feet in length by 90 feet in breadth, the longest sides being those to the north and south. It appears to have formed a centre, around which the principal chambers in this part of the palace were grouped. Its walls had been completely covered with the most elaborate and highly-finished sculptures. Unfortunately all the bas-reliefs, as well as the gigantic monsters at the entrances, had suffered more or less from the fire which had destroyed the edifice; but enough of them still remained to show the subject, and even to enable me in many places to restore it entirely.

The narrow passage leading from the great hall at the south-west corner had been completely explored. Its sculptures have already been described.[35] It opened into a chamber 24 feet by 19, from which branched two other passages. The one to the west was entered by a wide doorway, in which stood two plain spherical stones about three feet high, having the appearance of the bases of columns, although no traces of any such architectural ornament could be found. This was the entrance into a broad and spacious gallery, about 218 feet long and 25 wide. A tunnel at its western end, cut through the solid wall, as there was no doorway on this side of the gallery, led into the chambers excavated by Mr. Ross, thus connecting them with the rest of the building.

I have already described the bas-reliefs representing the conquest of a mountainous country on the southern side of the great hall.[36] The same subject was continued on the western wall, without much variety in the details. But on the northern, the sculptures differed from any others yet discovered, and from their interest and novelty merit a particular notice. But before giving a description of them, I must return to the long gallery to the west of the great hall, as the sculptures still preserved in it form part of and complete this important series.

The slabs on one side of this gallery had been entirely destroyed, except at the eastern end; and from the few which still remained, every trace of sculpture had been carefully removed by some sharp instrument. Along the opposite wall (that to the right on leaving the great hall) only eight bas-reliefs still stood in their original position, and even of these only the lower part was preserved. Detached fragments of others were found in the rubbish, and from them I ascertained that the whole gallery had been occupied by one continuous series, representing the different processes adopted by the Assyrians in moving and placing various objects used in their buildings, and especially the human-headed bulls, from the first transport of the huge stone in the rough from the quarry, to the raising of these gigantic sculptures in the gateways of the palace-temples. On these fragments were seen the king in his chariot, superintending the operations, and workmen carrying cables, or dragging carts loaded with coils of ropes, and various implements for moving the colossi.

I will commence, then, by a description of the sculptures still standing in their original position in the gallery. A huge block of stone (probably of the alabaster used in the Assyrian edifices), somewhat elongated in form so as to resemble an obelisk in the rough, is lying on a low flat-bottomed boat floating on a river. It has probably been towed down the Tigris from some quarry, and is to be landed near the site of the intended palace, to be carved by the sculptor into the form of a colossal bull. It exceeds the boat considerably in length, projecting beyond both the head and stern, and is held by upright beams fastened to the sides of the vessel, and kept firm in their places by wooden wedges. Two cables are passed through holes cut in the stone itself, and a third is tied to a strong pin projecting from the head of the boat. Each cable is held by a large body of men, who pull by means of small ropes fastened to it and passed round their shoulders. Some of these trackers walk in the water, others on dry land. The number altogether represented must have been nearly 300, about 100 to each cable, and they appear to be divided into distinct bands, each distinguished by a peculiar costume. Some wear a kind of embroidered turban, through which their long hair is gathered behind; the heads of others are encircled by a fringed shawl, whose ends hang over the ears and neck, leaving the hair to fall in long curls upon the shoulders. Many are represented naked, but the greater number are dressed in short chequered tunics, with a long fringe attached to the girdle. They are urged on by taskmasters armed with swords and staves. The boat is also pushed by men wading through the stream. An overseer, who regulates the whole proceedings, is seated astride on the fore-part of the stone. His hands are stretched out in the act of giving commands.

Head-dress of Captives employed by Assyrians in moving Bull (Kouyunjik).

The huge stone having been landed, and carved by the Assyrian sculptor into the form of a colossal human-headed bull, is to be moved from the bank of the river to the site it is meant to occupy permanently in the palace-temple. This process is represented on the walls of the great hall. From these bas-reliefs, as well as from discoveries to be hereafter mentioned, it is therefore evident that the Assyrians sculptured their gigantic figures before, and not after, the slabs had been raised in the edifice, although all the details and the finishing touches were not put in, as it will be seen, until they had been finally placed.[37] I am still, however, of opinion, that the smaller bas-reliefs were entirely executed after the slabs had been attached to the walls.

In the first bas-relief I shall describe, the colossal bull rests horizontally on a sledge similar in form to the boat containing the rough block from the quarry, but either in the carving the stone has been greatly reduced in size, or the sledge is much larger than the boat, as it considerably exceeds the sculpture in length. The bull faces the spectator, and the human head rests on the fore-part of the sledge, which is curved upwards and strengthened by a thick beam, apparently running completely through from side to side. The upper part, or deck, is otherwise nearly horizontal; the under, or keel, being slightly curved throughout. Props, probably of wood, are placed under different parts of the sculpture to secure an equal pressure. The sledge was dragged by cables, and impelled by levers. The cables are four in number; two fastened to strong projecting pins in front, and two to similar pins behind. They are pulled by small ropes passing over the shoulders of the men, as in the bas-reliefs already described.