Discoveries Among the Ruins of Nineveh and Babylon

by Austen Henry Layard

Amongst the captives were men clothed in fringed robes and a short under-tunic: these were probably the lords of the land. The women wore their hair in curls, falling on their shoulders, and bound above the temples by a band or fillet. Some had one long ringlet on each side of the face. Their children were either naked or clothed in simple shirts.

The Assyrian troops were divided into cavalry and foot. The horsemen carried the bow and spear, and wore coats of mail, high greaves, and the pointed helmet, that characteristic part of the Assyrian military costume from the earliest period. Their horses were covered with clothes, and even, it would seem, with a kind of leather armour, reaching from the head to the tail, to protect them from the arrows of the enemy.[181] The costumes of the footmen, as in the bas-reliefs of Sennacherib, varied according to their arms. The archers, probably auxiliaries from different tribes in alliance with the Assyrians, were dressed in very short tunics scarcely covering the thigh. A broad belt, with the fringed ornament peculiar to the later Assyrian period, encircled their waist, and over their shoulders they wore a cross belt, of chequered cloth, resembling a Scottish plaid, to support the quiver. Their hair, confined by a plain fillet, was rolled up behind in one large curl. All the spearmen had the pointed helmet; but some wore coats of mail and metal greaves, and others a simple tunic, without any covering to their legs. Their shields protected nearly the whole person, and were rounded at the top and straight at the bottom. Some appear to have been faced with small square pieces of leather, others to have been made entirely of metal, with embossed edges. For the first time we see in these bas-reliefs, the Assyrians using the battle-axe and the mace in battle.

On the opposite side of the lion-entrance were also three slabs, but better preserved than those I have just described. They formed part of the same subject, which had evidently been carried round the four walls of the chamber. They represented the triumph of the Assyrian king, and, like the battle scenes, were divided by horizontal lines into several bands or friezes. The monarch stood in his chariot, surrounded by his body-guard. Unfortunately his face, with those of the charioteer and the eunuch bearing the parasol, had been purposely defaced, like that of Sennacherib on his monuments, probably when the united armies of the Medes and Babylonians destroyed the palace. The royal robes were profusely adorned with rosettes and fringes.

In front of the chariot were two warriors or guards in embroidered robes and greaves. Their long hair was bound by a fillet, whose tasselled ends fell loose behind. They were preceded by two remarkable figures, both eunuchs, and probably intended for portraits of some well-known officers of the royal household. One was old and corpulent; his forehead was high and ample; his nose curved and small, and his chin round and double. The wrinkles of the brow, the shaggy eyebrows, and the bloated cheeks, with the stubble beard peculiar to beings of his class, were very faithfully represented. His short hair was tied with a fillet. His companion was younger, and had not the same marked features. He carried before him a square object resembling a closed box or book, perhaps a clay tablet containing some decree or register, such as were discovered in the ruins. Both wore long plain shirts, and round their waists a simple cord, in which was fixed a whip, probably a sign of their office.

Above this remarkable group was an inscription in eight lines fortunately almost entire. From it we learn the name of the king, whose deeds were thus recorded. He was the son of Essarhaddon, and the grandson of Sennacherib, and the conqueror of Susiana. He was the Assordanes of the chronological tables, and his name begins with the monogram for the Assyrian deity, Asshur.

These bas-reliefs record his conquest of the country of (Nuvaki ?), a name by which Susiana or Elymais was anciently known; as we also find from the inscriptions at Khorsabad, as well as from those of Bisutun.

It is highly probable that we have, in the bas-relief, a representation of the city of Susa or Shusan. Its position between two rivers well agrees with that of existing ruins generally believed to mark its site. The smaller stream would be the Shapour, and the larger the Eulœus or river of Dizful. The city was surrounded by a wall, with equidistant towers and gateways. The houses were flat roofed, and some had one tower or upper chamber, and others two. They had no windows, and their doors were square. Thus, in general form, and probably in the interior arrangements, they closely resembled the common dwellings of the Egyptians, of which a very interesting model is now in the British Museum.[182] Nor were they unlike the meaner houses of the modern town of Shushter, the representative of ancient Susa.

The adjoining slab was divided into eight bands or friezes, by parallel lines, and the next slab into seven. On both were represented the Assyrian army returning from its victorious campaign, and bringing to the king the captives and the spoil. The prisoners, who were probably considered rather rebels to his authority than enemies, were being cruelly tortured in his presence. The principal group was that of the eunuch general, or Tartan, leading a chief or prince of the conquered people. Above him was an inscription unfortunately much mutilated. It appears to have declared that he was one of the sons or chiefs of the Susianian monarch, defeated and slain in battle near the district of Madaktu (the name over the city on the adjoining slab), and near the city of Shushan; and that the Assyrian king had placed one of his own generals on the conquered throne.[183]

Before the captive prince were gathered a number of the Susianians, probably the subjects of the slaughtered king, who had come to surrender to the Assyrian general, for they still carried their arms, and were not led by the victorious warriors. Some of them knelt, some bowed to the ground, and others, stretched at full length, rubbed their heads in the dust, all signs of grief and submission still practised in the East. The Assyrian generals were welcomed by bands of men and women, dancing, singing, and playing on instruments of music. Thus, “when David was returned from the slaughter of the Philistines, the women came out of all the cities of Israel, singing and dancing to meet Saul, with tabrets, with joy, and with instruments of music.”[184] We find from various passages in the Scriptures, that the instruments of music chiefly used on such triumphant occasions were the harp, one with ten strings (rendered viol or lyre in some versions, but probably a kind of dulcimer), the tabor and the pipe[185], precisely those represented in the bas-reliefs.

The whole scene was curiously illustrative of modern Eastern customs. The musicians portrayed in the bas-reliefs were probably of that class of public performers who appear in Turkey and Egypt at marriages, and on other occasions of rejoicing.