Sometimes the quiver had an ornamented rod attached to it, which projected beyond the arrows and terminated in a pomegranate blossom or other similar carving. [PLATE CV. Fig. 1]. To this rod was attached the rings which received the quiver strap, a triple tassel hanging from them at the point of attachment. The strap was probably of leather, and appears to have been twisted or plaited.
It is uncertain whether the material of the quivers was wood or metal. As, however, no remains of quivers have been discovered in any of the ruins, while helmets, shields, diggers, spear-heads, and arrow-heads have been found in tolerable abundance, we may perhaps assume that they were of the more fragile substance, which would account for their destruction. In this case their ornamentation may have been either by carving or painting, the bosses and rosettes being perhaps in some cases of metal, mother-of-pearl, or ivory. Ornaments of this kind were discovered by hundreds at Nimrud in a chamber which contained arms of many descriptions. Quivers have in some cases a curious rounded head, which seems to have been a lid or cap used for covering the arrows. They have also, occasionally, instead of this, a kind of bag at their top, which falls backwards, and is ornamented with tassels. [PLATE CV., Fig. 2.] Both these constructions, however, are exceptional, a very large majority of the quivers being open, and having the feathered ends of the arrows projecting from them.
There is nothing remarkable in the Assyrian arrows except their perfect finish and completeness in all that constitutes the excellence of such a weapon. The shaft was thin and straight, and was probably of reed, or of some light and tough wood. The head was of metal, either of bronze or iron, and was generally diamond-shaped, like a miniature spear-head. [PLATE CV., Fig. 4. ] It was flattish, and for greater strength had commonly a strongly raised line down the centre. The lower end was hollowed, and the shaft was inserted into it. The notching and feathering of the shaft were carefully attended to. It is doubtful whether three feathers were used, as by ourselves and by the Egyptians, or two only as by many nations. The fact that we never see more than two feathers upon the monuments cannot be considered decisive, since the Assyrian artists, from their small knowledge of perspective, would have been unable to represent all three feathers. So far as we can judge from the representations, it would seem that the feathers were glued to the wood exactly as they are with ourselves. The notch was somewhat large, projecting beyond the line of the shaft—a construction rendered necessary by the thickness of the bowstring., which was seldom less than of the arrow it-self. [PLATE CV., Fig. 5.]
The mode of drawing the bow was peculiar. It was drawn neither to the ear, nor to the breast, but to the shoulder. In the older sculptures the hand that draws it is represented in a curiously cramped and unnatural position, which can scarcely be supposed to be true to nature. But in the later bas-reliefs greater accuracy seems to have been attained, and there we probably see the exact mode in which the shooting was actually managed. The arrow was taken below the feathers by the thumb and forefinger of the right hand, the forefinger bent down upon it in the way represented in the accompanying illustration, and the notch being then placed upon the string, the arrow was drawn backwards by the thumb and forefinger only, the remaining three fingers taking no part in the operation. [PLATE CVI., Fig. 1.] The bow was grasped by the left hand between the fingers and the muscle of the thumb, the thumb itself being raised, and the arrow made to pass between it and the bow, by which it was kept in place and prevented from slipping. The arrow was then drawn till the cold metal head touched the forefinger of the left hand, upon which the right hand quitted its hold, and the shaft sped on its way. To save the left arm from being bruised or cut by the bowstring, a guard, often simply yet effectively ornamented, was placed upon it, at one end passing round the thumb and at the other round the arm a little above the elbow. [PLATE CVI., Fig. 2.]
The Assyrians had two kinds of spears, one a comparatively short weapon, varying from five to six feet in length, with which they armed a portion of their foot soldiers, the other a weapon nine or ten feet long, which was carried by most of their cavalry. The shaft seems in both cases to have been of wood, and the head was certainly of metal, either bronze or iron. [PLATE CVI., Fig. 3.] It was most usually diamond-shaped, but sometimes the side angles were rounded off, and the contour became that of an elongated pear. [PLATE CVI., Fig. 4.] In other instances, the jambs of the spear-head were exceedingly short, and the point long and tapering. The upper end of the shaft was sometimes weighted, and it was often carved into some ornamental form, as a fir-cone or a pomegranate blossom, while in the earlier times it was further occasionally adorned with streamers. [PLATE CVI., Fig. 4.] The spear of the Assyrians seems never to have been thrown, like that of the Greeks, but was only used to thrust with, as a pike.
The common sword of the Assyrians was a short straight weapon, like the sword of the Egyptians, or the acinaces of the Persians. It was worn at the left side, generally slung by a belt of its own which was passed over the right shoulder, but sometimes thrust through the girdle or (apparently) through the armor. It had a short rounded handle, more or less ornamented [PLATE CVII.. Fig. 1], but without any cross-bar or guard, and a short blade which tapered gradually from the handle to the point. The swordsman commonly thrust with his weapon, but he could cut with it likewise, for it was with this arm that the Assyrian warrior was wont to decapitate his fallen enemy. The sheath of the sword was almost always tastefully designed, and sometimes possessed artistic excellence of a high order. [PLATE CVII., Fig. 3.] The favorite terminal ornament consisted of two lions clasping one another, with their heads averted and their mouths agape. Above this, patterns in excellent taste usually adorned the scabbard, which moreover exhibited occasionally groups of figures, sacred trees, and other mythological objects.