Till within the last century, traces of a third story to this temple might have been distinguished; unlike the lower ones, it was not of solid brickwork, but contained at least one chamber: this was the Holy of Holies, the sanctuary of Nannar. The external walls were covered with pale blue enamelled tiles, having a polished surface. The interior was panelled with cedar or cypress—rare woods procured as articles of commerce from the peoples of the North and West; this woodwork was inlaid in parts with thin leaves of gold, alternating with panels of mosaics composed of small pieces of white marble, alabaster, onyx, and agate, cut and polished.
In Its Present State, According To Loftus. Drawn by
Bouchier, from Loftus.
Here stood the statue of Nannar, one of those stiff and conventionalized figures in the traditional pose handed down from generation to generation, and which lingered even in the Chaldæan statues of Greek times. The spirit of the god dwelt within it in the same way as the double resided in the Egyptian idols, and from thence he watched over the restless movements of the people below, the noise of whose turmoil scarcely reached him at that elevation. The gods of the Euphrates, like those of the Nile, constituted a countless multitude of visible and invisible beings, distributed into tribes and empires throughout all the regions of the universe. A particular function or occupation formed, so to speak, the principality of each one, in which he worked with an indefatigable zeal, under the orders of his respective prince or king; but, whereas in Egypt they were on the whole friendly to man, or at the best indifferent in regard to him, in Chaldæa they for the most part pursued him with an implacable hatred, and only seemed to exist in order to destroy him. These monsters of alarming aspect, armed with knives and lances, whom the theologians of Heliopolis and Thebes confined within the caverns of Hades in the depths of eternal darkness, were believed by the Chaldæans to be let loose in broad daylight over the earth,—such were the “gallu” and the “mas-kim,” the “âlu” and the “utukku,” besides a score of other demoniacal tribes bearing curious and mysterious names.
Drawn by Faucher-Gudin, from a small terra-cotta figure of
the Assyrian period, and now in the Louvre. It was one of
the figures buried under the threshold of one of the gates
of the town at Khorsabad, to keep off baleful influences.
Some floated in the air and presided over the unhealthy winds. The South-West Wind, the most cruel of them all, stalked over the solitudes of Arabia, whence he suddenly issued during the most oppressive months of the year: he collected round him as he passed the malarial vapours given off by the marshes under the heat of the sun, and he spread them over the country, striking down in his violence not only man and beast, but destroying harvests, pasturage, and even trees.