Reproduced by Faucher-Gudin, from the restoration by
Dieulafoy.
A moat of great width, with banks of masonry, communicating with the Euphrates, washed the foot of the outer wall, which retained the traditional name of Imgur-bel: behind this wall rose Nimitti-bel, the true city wall, to a height of more than ninety feet above the level of the plain, appearing from a distance, with its battlements and towers, more like a mountain chain than a rampart built by the hand of man; finally, behind Nimitti-bel ran a platform on the same level as the curtain of Imgur-bel, forming a last barrier behind which the garrison could rally before finally owning itself defeated and surrendering the city. Large square towers rose at intervals along the face of the walls, to the height of some eighteen feet above the battlements: a hundred gates fitted with bronze-plated doors, which could be securely shut at need, gave access to the city.*
* The description of the fortifications of the city is
furnished by Herodotus, who himself saw them still partially
standing; the account of their construction has been given
by Nebuchadrezzar himself, in the East India Company’s
Inscription.
The space within the walls was by no means completely covered by houses, but contained gardens, farms, fields, and, here and there, the ruins of deserted buildings. As in older Babylon, the city proper clustered round the temple of Merodach, with its narrow winding streets, its crowded bazaars, its noisy and dirty squares, its hostelries and warehouses of foreign merchandise.
The pyramid of Esarhad-don and Assur-bani-pal, too hastily built, had fallen into ruins: Nebuchadrezzar reconstructed its seven stages, and erected on the topmost platform a shrine furnished with a table of massive gold, and a couch on which the priestess chosen to be the spouse of the god might sleep at night. Other small temples were erected here and there on both banks of the river, and the royal palace, built in the marvellously short space of fifteen days, was celebrated for its hanging gardens, where the ladies of the harem might walk unveiled, secure from vulgar observation. No trace of all these extensive works remains at the present day.
Drawn by Faucher-Gudin, from a sketch in Layard.
