CHAPTER XX.
DISCOVERIES AT KOUYUNJIK DURING THE SUMMER.—DESCRIPTION OF THE SCULPTURES.—CAPTURE OF CITIES ON A GREAT RIVER.—POMP OF ASSYRIAN KING.—ALABASTER PAVEMENT.—CONQUEST OF TRIBES INHABITING A MARSH.—THEIR WEALTH.—CHAMBERS WITH SCULPTURES BELONGING TO A NEW KING.—DESCRIPTION OF THE SCULPTURES.—CONQUEST OF THE PEOPLE OF SUSIANA.—PORTRAIT OF THE KING.—HIS GUARDS AND ATTENDANTS.—THE CITY OF SHUSHAN.—CAPTIVE PRINCE.—MUSICIANS.—CAPTIVES PUT TO THE TORTURE.—ARTISTIC CHARACTER OF THE SCULPTURES.—AN INCLINED PASSAGE.—TWO SMALL CHAMBERS.—COLOSSAL FIGURES.—MORE SCULPTURES.
Whilst I had been absent in the mountains the excavations had been continued at Kouyunjik, notwithstanding the summer heats. Nearly all the Arabs employed in the spring at Nimroud had been removed to these ruins, and considerable progress had consequently been made in clearing the earth from them. Several chambers, discovered before I left Mosul, had been emptied, and new rooms with interesting sculptures had been explored.
It has been seen that the narrow passage leading out of the south-west corner of the great hall containing the bas-reliefs representing the moving of the winged bulls turned to the left, and by another gallery connected this part of the edifice with a second hall of even larger proportions than that first discovered.
The sculptures panelling the western wall were for the most part still entire. They recorded, as usual, a campaign and a victory, and were probably but a portion of one continuous subject carried round the entire hall. The conquered country appeared to have been traversed by a great river, the representation of which took up a third of the bas-relief.
Next came the siege and capture of a city standing on the opposite bank of the same great river, and surrounded by a ditch edged with lofty reeds. The Assyrian footmen and cavalry had already crossed this dike, and were closely pressing the besieged, who, no longer seeking to defend themselves, were asking for quarter. On the other side of the river, Sennacherib in his gorgeous war chariot, and surrounded by his guards, received the captives and the spoil. It is remarkable that this was almost the only figure of the king which had not been wantonly mutilated, probably by those who overthrew the Assyrian empire, burned its palaces, and levelled its cities with the dust.[177]
In this bas-relief the furniture of the horses was particularly rich and elaborate. Above the yoke rose a semicircular ornament, set round with stars, and containing the image of a deity. The chariot of the Assyrian monarch, his retinue, and his attire, accurately corresponded with the descriptions given by Xenophon of those of Cyrus, when he marched out of his palace in procession, and by Quintus Curtius of those of Darius, when he went to battle in the midst of his army. The Greek general had seen the pomp of the Persian kings, and could describe it as an eye-witness.[178] The description of Quintus Curtius is no less illustrative of the Assyrian monuments. “The doryphori (a chosen body of spearmen) preceded the chariot, on either side of which were the effigies of the gods in gold and silver. The yoke was inlaid with the rarest jewels. From it projected two golden figures of Ninus and Belus, each a cubit in length.... The king was distinguished from all those who surrounded him, by the magnificence of his robes, and by the cidaris or mitre upon his head. By his side walked two hundred of his relations. Ten thousand warriors bearing spears, whose staffs were of silver and heads of gold, followed the royal chariot. The king’s led horses, forty in number, concluded the procession.”[179] Allowing for a little exaggeration on the part of the historian, and for the conventional numbers used by the Assyrian sculptor to represent large bodies of footmen and cavalry, we might suppose that Quintus Curtius had seen the very bas-reliefs I am describing, so completely do they tally with his description of the appearance and retinue of the Persian king.
The captives, bearing skins probably containing water and flour to nourish them during a long and harassing march, were fettered in pairs, and urged onwards by their guards. The women were partly on foot, and partly with their children on mules and in carts drawn by oxen. Mothers were represented holding the water-skins for their young ones to quench their thirst, whilst in some instances fathers had placed their weary children on their shoulders, for they were marching during the heat of a Mesopotamian summer, as the sculptor had shown by introducing large clusters of dates on the palms. Thus were driven the inhabitants of Samaria through the Desert to Halah and Habor, by the river of Gozan and the cities of the Medes,[180] and we may see in these bas-reliefs a picture of the hardships and sufferings to which the captive people of Israel were exposed when their cities fell into the hands of the Assyrian king, and their inhabitants were sent to colonise the distant provinces of his empire.
On the south side of the hall, parts of four slabs only had been preserved; the sculpture upon the others had been so completely destroyed, that even the subject could no longer be ascertained. The fragments still remaining, graphically depicted the passage of the river by the great king. The bas-reliefs represented very accurately a scene that may be daily witnessed, without the royal warrior, on the banks of the Tigris and Euphrates.