Discoveries Among the Ruins of Nineveh and Babylon

by Austen Henry Layard

The monarch himself was attired in long loose robes richly ornamented, and edged with tassels and fringes. In his right hand he raised two arrows, and his left rested upon a bow; an attitude, probably denoting triumph over his enemies, and in which he is usually portrayed when receiving prisoners after a victory.

Behind the king was the royal tent or pavilion: and beneath him were his led horses, and an attendant on foot carrying the parasol, the emblem of royalty. His two chariots with their charioteers, were waiting for him. The trappings of the horses were handsomely decorated, and an embroidered cloth, hung with tassels, fell on their chests. Two quivers, holding a bow, a hatchet, and arrows, were fixed to the side of the chariot.

This fine series of bas-reliefs, occupying thirteen slabs, was finished by the ground-plan of a castle, or of a fortified camp containing tents and houses. Within the walls was also seen a fire-altar with two beardless priests, wearing high conical caps, standing before it. In front of the altar, on which burned the sacred flame, was a table bearing various sacrificial objects, and beyond it two sacred chariots, such as accompanied the Persian kings in their wars.[60] The horses had been taken out, and the yokes rested upon stands. Each chariot carried a lofty pole surmounted by a globe, and long tassels or streamers; similar standards were introduced into scenes representing sacrifices[61] in the sculptures of Khorsabad.

Above the head of the king was an inscription, which may be translated, “Sennacherib, the mighty king, king of the country of Assyria, sitting on the throne of judgment, before (or at the entrance of) the city of Lachish (Lakhisha). I give permission for its slaughter.”

Here, therefore, was the actual picture of the taking of Lachish, the city, as we know from the Bible, besieged by Sennacherib, when he sent his generals to demand tribute of Hezekiah, and which he had captured before their return[62]; evidence of the most remarkable character to confirm the interpretation of the inscriptions, and to identify the king who caused them to be engraved with the Sennacherib of Scripture. This highly interesting series of bas-reliefs contained, moreover, an undoubted representation of a king, a city, and a people, with whose names we are acquainted, and of an event described in Holy Writ. They furnish us, therefore, with illustrations of the Bible of very great importance. The captives were undoubtedly Jews, their physiognomy was strikingly indicated in the sculptures, but they had been stripped of their ornaments and their fine raiment, and were left bare-footed and half-clothed. From the women, too, had been removed “the splendor of the foot ornaments and the caps of network, and the crescents; the ear-pendants, and the bracelets, and the thin veils; the head-dress, and the ornaments of the legs and the girdles, and the perfume-boxes and the amulets; the rings and the jewels of the nose; the embroidered robes and the tunics, and the cloaks and the satchels; the transparent garments, and the fine linen vests, and the turbans and the mantles, for they wore instead of a girdle, a rope; and instead of a stomacher, a girdling of sackcloth.”[63]

Other corroborative evidence as to the identity of the king who built the palace of Kouyunjik with Sennacherib, is scarcely less remarkable. In a chamber, or passage, in the south-west corner of this edifice, were found a large number of pieces of fine clay bearing the impressions of seals, which, there is no doubt, had been affixed, like modern official seals of wax, to documents written on leather, papyrus, or parchment. Such documents, with seals in clay still attached, have been discovered in Egypt, and specimens are preserved in the British Museum. The writings themselves had been consumed by the fire which destroyed the building or had perished from decay. In the stamped clay, however, may still be seen the holes for the string, or strips of skin, by which the seal was fastened; in some instances the ashes of the string itself remain,[64] with the marks of the fingers and thumb.

The greater part of these seals are Assyrian, but with them are others bearing Egyptian, Phœnician, and doubtful symbols and characters. Sometimes the same seal is impressed more than once on the same piece of clay. The Assyrian devices are of various kinds; the most common is that of a king plunging a dagger into the body of a rampant lion. This appears to have been the royal, and, indeed, the national, seal or signet. It is frequently encircled by a short inscription, which has not yet been deciphered, or by a simple guilloche border. The same group, emblematic of the superior power and wisdom of the king, as well as of his sacred character, is found on Assyrian cylinders, gems, and monuments.

Other devices found among these impressions of seals are:—1. A king, attended by a priest, in act of adoration before a deity standing on a lion, and surrounded by seven stars: above the god’s head, on one seal, is a scorpion. 2. The king, followed by an attendant bearing a parasol, and preceded by a rampant horse. 3. A god, or the king, probably the former, rising from a crescent. There appears to be a fish in front of the figure. 4. The king, with an eunuch or priest before him; a flower, or ornamented staff, between them. 5. A scorpion, surrounded by a guilloche border (a device of very frequent occurrence, and probably astronomical). 6. A priest worshipping before a god. Behind him are a bull, and the sacred astronomical emblems. 8. An ear of corn, surrounded by a fancy border. 9. An object resembling a dagger, with flowers attached to the handle; perhaps a sacrificial knife. 10. The head of a bull and a trident, two sacred symbols of frequent occurrence on Assyrian monuments. 11. A crescent in the midst of a many-rayed star. 12. Several rudely cut seals, representing priests and various sacred animals, stars, &c.

The seals most remarkable for beauty of design and skilful execution represent horsemen, one at full speed raising a spear, the other hunting a stag. The impressions show that they were little inferior to Greek intaglios. No Assyrian or Babylonian relics yet discovered, equal them in delicacy of workmanship, and the best examples of the art of engraving on gems,—an art which appears to have reached great perfection amongst the Assyrians,—are unknown to us, except through these impressions.

There are three seals apparently Phœnician; two of them bearing Phœnician characters, for which I cannot suggest any interpretation. A few have doubtful symbols upon them, which I will not attempt to explain; perhaps hieroglyphical signs.