Discoveries Among the Ruins of Nineveh and Babylon

by Austen Henry Layard

Such are the principal historical facts recorded on the bulls placed by Sennacherib in his palace at Nineveh. I have given them fully, in order that we may endeavour to identify the sculptured representations of these events on the walls of the chambers and halls of that magnificent building, described in the course of this work.

As the name of Sennacherib, as well as those of many kings, countries and cities, are not written phonetically, that is, by letters having a certain alphabetic value, but by monograms, and the deciphering of them is a peculiar process, which may sometimes appear suspicious to those not acquainted with the subject, a few words of explanation may be acceptable to my readers. The greater number of Assyrian proper names with which we are acquainted, whether royal or not, appear to have been made up of the name, epithet, or title, of one of the national deities, and of a second word, such as “slave of,” “servant of,” “beloved of,” “protected by;” like the “Theodosius,” “Theodorus,” &c. of the Greeks, and the “Abdullah,” and “Abd-ur-Rahman,” of Mohammedan nations. The names of the gods being commonly written with a monogram, the first step in deciphering is to know which god this particular sign denotes. Thus, in the name of Sennacherib, we have first the determinative of “god,” to which no phonetic value is attached; whilst the second character denotes an Assyrian god, whose name was San. The first component part of the name of Essarhaddon, is the monogram for the god Assur. It is this fact which renders it so difficult to determine, with any degree of confidence, most of the Assyrian names, and which leads me to warn my readers that, with the exception of such as can with certainty be identified with well-known historic kings, as Sargon, Sennacherib, and Essarhaddon, the interpretation of all those which are found on the monuments of Nineveh, is liable to very considerable doubt. In speaking of them I shall, therefore, not use any of the readings which have been suggested by different writers.

Although no question can reasonably exist as to the identification of the king who built the palace of Kouyunjik with the Sennacherib of Scripture, it may still be desirable to place before my readers all the corroborative evidence connected with the subject. In so doing, however, I shall have to refer to the discoveries made at a subsequent period, and which ought consequently to be described, if the order of the narrative be strictly preserved, in a subsequent part of this work. In the first place, it must be remembered that the Kouyunjik king was undoubtedly the son of the founder of the palace at Khorsabad. He is so called in the inscriptions behind the bulls in the S. W. palace at Nimroud, and in numerous detached inscriptions on bricks, and on other remains from those ruins and from Kouyunjik. Now the name of the Khorsabad king was generally admitted to be Sargon, even before his relationship to the Kouyunjik king was known; although here again we are obliged to attach phonetic powers to characters used as monograms, which, when occurring as simple letters, appear to have totally different values. Colonel Rawlinson states, that this king bears in other inscriptions the name of Shalmaneser, by which he was better known to the Jews.[58] Dr. Hincks denies that the two names belong to the same person.

Unfortunately the upper parts of nearly all the bas-reliefs at Kouyunjik having been destroyed the epigraphs are wanting; and we are unable, as yet, to identify with certainty the subject represented with any known event in the reign of Sennacherib. There is, however, one remarkable exception.

During the latter part of my residence at Mosul a chamber was discovered in which the sculptures were in better preservation than any before found at Kouyunjik. Some of the slabs, indeed, were almost entire, though cracked and otherwise injured by fire; and the epigraph, which fortunately explained the event portrayed, was complete. These bas-reliefs represented the siege and capture by the Assyrians, of a city evidently of great extent and importance. It appears to have been defended by double walls, with battlements and towers, and by fortified outworks. The country around it was hilly and wooded, producing the fig and the vine. The whole power of the great king seems to have been called forth to take this stronghold. In no other sculptures were so many armed warriors seen drawn up in array before a besieged city. The besieged defended themselves with great determination. Spearmen, archers, and slingers thronged the battlements and towers, showering arrows, javelins, stones, and blazing torches upon the assailants. Part of the city had, however, been taken. Beneath its walls were seen Assyrian warriors impaling their prisoners, and from the gateway of an advanced tower, or fort, issued a procession of captives, reaching to the presence of the king, who, gorgeously arrayed, received them seated on his throne. The vanquished people were distinguished from the conquerors by their dress, those who defended the battlements wore a pointed helmet, differing from that of the Assyrian warriors in having a fringed lappet falling over the ears. Some of the captives had a kind of turban with one end hanging down to the shoulder, not unlike that worn by the modern Arabs of the Hedjaz. Others had no head-dress, and short hair and beards. Their garments consisted either of a robe reaching to the ankles, or of a tunic scarcely falling lower than the thigh, and confined at the waist by a girdle. The women wore long shirts, with an outer cloak thrown, like the veil of modern Eastern ladies, over the back of the head and falling to the feet.

Several prisoners were already in the hands of the torturers. Two were stretched naked upon the ground to be flayed alive, others were being slain by the sword before the throne of the king. The haughty monarch was receiving the chiefs of the conquered nation, who crouched and knelt humbly before him. They were brought into the royal presence by the Tartan of the Assyrian forces, probably the Rabshakeh himself, followed by his principal officers. The general was clothed in embroidered robes, and wore on his head a fillet adorned with rosettes and long tasseled bands.

The throne of the king stood upon an elevated platform, probably an artificial mound, in the hill country. Its arms and sides were supported by three rows of figures one above the other. The wood was richly carved, or encased in embossed metal, and the legs ended in pine-shaped ornaments, probably of bronze. The throne, indeed, appears to have resembled, in every respect, one discovered in the north-west palace at Nimroud, which I shall hereafter describe.[59] Over the high back was thrown an embroidered cloth, doubtless of some rare and beautiful material.

Sennacherib on his Throne
before Lachish.

The royal feet rested upon a high footstool of elegant form, fashioned like the throne, and cased with embossed metal; the legs ended in lions’ paws. Behind the king were two attendant eunuchs raising fans above his head, and holding the embroidered napkins.