Discoveries Among the Ruins of Nineveh and Babylon

by Austen Henry Layard

Above the Assyrian warriors were the captives and their torturers. The former differed in costume from the Susianian fighting-men represented in the adjoining bas-reliefs. They were distinguished by the smallness of their stature, and by a very marked Jewish countenance—a sharp, hooked nose, short bushy beard, and long narrow eyes. Could they have belonged to the Hebrew tribes which were carried away from Samaria and Jerusalem, and placed by Shalmaneser, Sennacherib, or Essarhaddon, as colonists in the distant regions of Elam, and who, having become powerful in their new settlements, had revolted against their Assyrian rulers, and were once again subdued? Some in iron fetters were being led before the king, for judgment or pardon. Others had been condemned to the torture, and were already in the hands of the executioners. Two were stretched naked at full length on the ground, and whilst their limbs were held apart by pegs and cords they were being flayed alive. Beneath them were other unfortunate victims, undergoing abominable punishments. The brains of one were apparently being beaten out with an iron mace, whilst an officer held him by the beard. A torturer was wrenching the tongue out of the mouth of a second wretch who had been pinioned to the ground. The bleeding heads of the slain were tied round the necks of the living, who seemed reserved for still more barbarous tortures.

Above these groups was a short epigraph, commencing by two determinative signs of proper names, each followed by a blank space, which the sculptor probably left to be filled up with the names of the principal victims. It then declares that these men, having spoken blasphemies (?) against Asshur, the great god of the Assyrians, their tongues had been pulled out (Lishaneshunu eshlup, both words being almost purely Hebrew), and that they had afterwards been put to death (or tortured). The inscription, therefore, corresponds with the sculpture beneath. It is by such confirmatory evidence that the accuracy of the translations of the cuneiform characters may be tested.

These highly interesting bas-reliefs had been exposed, like all the other sculptures of Kouyunjik, to the fire which had destroyed the palace. Although each slab was cracked into many pieces, the sculptures themselves had suffered less injury than any others discovered in the same ruins, the hard fossiliferous limestone not having become calcined by the heat like the alabaster. The outline was still sharp, and the details perfectly preserved. Considerable care was required to move them. But the pieces were at length packed, and since their arrival in England have been admirably restored.

Some bas-reliefs sculptured by order of the son and successor of Essarhaddon, have been discovered at Kouyunjik and Nebbi Yunus. These bas-reliefs prove that many changes had taken place in the arts and dress of the people of Assyria between the reign of Sennacherib and that of his grandson. The later sculptures are principally distinguished by their minute finish, the sharpness of the outline, and the very correct delineation of the animals, and especially of the horses. We now approach the period of the fall of the Assyrian empire and of the rise of the kingdoms of Babylon and Persia. The arts passed from Assyria to the sister nations and to Ionia. There is much in the bas-reliefs I have just described to remind us of the early works of the Greeks immediately after the Persian war, and to illustrate a remark of the illustrious Niebuhr, that “a critical history of Greek art would show how late the Greeks commenced to practise the arts. After the Persian war a new world opens at once, and from that time they advanced with great strides. But everything that was produced before the Persian war—a few of those works are still extant—was, if we judge of it without prejudice, altogether barbarous.”[186]

The chamber containing these sculptures had an entrance opening upon the edge of the mound. Of this doorway there only remained, on each side, a block of plain limestone, which may, however, have been the base of a sphinx or other figure. The outer walls to which it led had been panelled with the usual alabaster slabs, with bas-reliefs of a campaign in a country already represented in another part of the palace, and distinguished by the same deep valley watered by a river, the vineyards and wooded mountains. Over one of the castles captured and destroyed by the Assyrians was written, “Sennacherib, King of Assyria. The city of Bit-Kubitalmi I took, the spoil I carried away, (the city) I burned.”

Whether these walls belonged to a chamber or formed part of the southern face of the palace could not now be determined, as they were on the very brink of the platform. At right angles to them, to the west, a pair of winged bulls opened upon another wall, of which there were scarcely any remains, and midway between the two entrances was a deep doorway, flanked on both sides by four colossal mythic figures, amongst which were the fish god and the deity with the lion’s head and eagle’s feet. It led to an inclined or ascending passage, nine feet wide in the narrowest part and ten in the broadest, and forty-four feet in length to where it turned at right angles to the left. It was paved with hard lime or plaster about an inch and a half thick. The walls were built of the finest sundried bricks, admirably fitted together, and still perfectly preserved.

This inclined way probably led to the upper chambers of the palace, or to the galleries which may have been carried round the principal chambers and halls.

I have only to describe two more rooms discovered in this part of the ruins during the summer. They opened into the chamber parallel with that containing the sculptured records of the son of Essarhaddon. The entrances to both were formed by two pairs of colossal figures, each pair consisting of a man wearing the horned cap surmounted by a fleur-de-lis, and a lion-headed and eagle-footed human figure raising a dagger in one hand, and holding a mace in the other. These sculptures were remarkable for the boldness of the relief and their high finish.

The bas-reliefs on the walls of the two chambers recorded the same campaign against a nation dwelling amidst a wooded and mountainous country, and in strongly fortified cities, which the Assyrians took by assault, using battering rams to make breaches in the walls and scaling ladders to mount to the assault. The besieged defended themselves with arrows and stones, but their strongholds were captured, and a vast amount of spoil and captives fell into the hands of the conquerors. The men had short, bushy hair and beards, and wore an inner garment reaching to the knee, an outer cloak of skins or fur, and gaiters laced in front. The robes of the women were short; their hair hung low down their backs, and was then gathered up into one large curl.

Such were the discoveries made at Kouyunjik during the summer. At Nimroud the excavations had been almost suspended. I have already described those parts of the high mound or tower, and of the adjoining small temples which were explored by the few workmen who still remained amongst the ruins, rather to retain possession of the place than to carry on extensive operations.