Another good genius would seem to be represented by the hawk-headed figure, which is likewise found in attendance upon the monarch, attentively watching his proceedings. This figure has been called that of a god, and has been supposed to represent the Nisroch of Holy Scripture; but the only ground for such an identification is the conjectural derivation of Nisroch from a root nisr, which in some Semitic languages signifies a “hawk” or “falcon.” As nisr, however, has not been found with any such meaning in Assyrian, and as the word “Nisroch” nowhere appears in the Inscriptions, it must be regarded as in the highest degree doubtful whether there is any real connection between the hawk-headed figure and the god in whose temple Sennacherib was assassinated. The various readings of the Septuagint version make it extremely uncertain what was the name actually written in the original Hebrew text. Nisroch, which is utterly unlike any divine name hitherto found in the Assyrian records, is most probable a corruption. At any rate there are no sufficient grounds for identifying the god mentioned, whatever the true reading of his name may be, with the hawk-headed figure, which has the appearance of an attendant genius rather than that of a god, and which was certainly not included among the main deities of Assyria.
Representations of evil genii are comparatively infrequent; but we can scarcely be mistaken in regarding as either an evil genius, or a representation of the evil principle, the monster—half lion, half eagle—which in the Nimrud sculptures retreats from the attacks of a god, probably Vul, who assails him with thunderbolts. [PLATE CXLIII., Fig. I.] Again, in the case of certain grotesque statuettes found at Khorsabad, one of which has already been represented, where a human figure has the head of a lion with the ears of an ass, the most natural explanation seems to be that an evil genius is intended. In another instance, where we see two monsters with heads like the statuette just mentioned, placed on human bodies, the legs of which terminate in eagles’ claws—both of them armed with daggers and maces, and engaged in a struggle with one another—we seem to have a symbolical representation of the tendency of evil to turn upon itself, and reduce itself to feebleness by internal quarrel and disorder. A considerable number of instances occur in which a human figure, with the head of a hawk or eagle, threatens a winged human-headed lion—the emblem of Nergal—with a strap or mace. In these we may have a spirit of evil assailing a god, or possibly one god opposing another—the hawk-headed god or genius driving Nergal (i.e., War) beyond the Assyrian borders.
If we pass from the objects to the mode of worship in Assyria, we must notice at the outset the strongly idolatrous character of the religion. Not only were images of the gods worshipped set up, as a matter of course, in every temple dedicated to their honor, but the gods were sometimes so identified with their images as to be multiplied in popular estimation when they had several famous temples, in each of which was a famous image. Thus we hear of the Ishtar of Arbela, the Ishtar of Nineveh, and the Ishtar of Babylon, and find these goddesses invoked separately, as distinct divinities, by one and the same king in one and the same Inscription. In other cases, without this multiplication, we observe expressions which imply a similar identification of the actual god with the mere image. Tiglath-Pileser I., boasts that he has set Anu and Vul (i.e., their images) up in their places. He identifies repeatedly the images which he carries off from foreign countries with the gods of those countries. In a similar spirit Sennacherib asks, by the mouth of Rabshakeh, “Where are the gods of Hamath and of Arpad? Where are the gods of Sepharvaim, Hena, and Ivah?”—and again unable to rise to the conception of a purely spiritual deity, supposes that, because Hezekiah has destroyed all the images throughout Judaea, he has left his people without any divine protection. The carrying off of the idols from conquered countries, which we find universally practised, was not perhaps intended as a mere sign of the power of the conqueror, and of the superiority of his gods to those of his enemies; it was probably designed further to weaken those enemies by depriving them of their celestial protectors; and it may even have been viewed as strengthening of the conqueror by multiplying his divine guardians. It was certainly usual to remove the images in a reverential manner; and it was the custom to deposit them in some of the principal temples of Assyria. We may presume that there lay at the root of this practice a real belief in the super-natural power of the in images themselves, and a notion that, with the possession of the images, this power likewise changed sides and passed over from the conquered to the conquerors.
Assyrian idols were in stone, baked clay, or metal. Some images of Nebo and of Ishtar have been obtained from the ruins. Those of Nebo are standing figures, of a larger size than the human, though not greatly exceeding it. They have been much injured by time, and it is difficult to pronounce decidedly on their original workmanship: but, judging by what appears, it would seem to have been of a ruder and coarser character than that of the slabs or of the royal statues. The Nebo images are heavy, formal, inexpressive, and not over well-proportioned; but they are not wanting in a certain quiet dignity which impresses the beholder. They are unfortunately disfigured, like so many of the lions and bulls, by several lines of cuneiform writing inscribed round their bodies; but this artistic defect is pardoned by the antiquarian, who learns from the inscribed lines the fact that the statues represent Nebo, and the time and circumstances of their dedication.
Clay idols are very frequent. They are generally in a good material, and are of various sizes, yet never approaching to the full stature of humanity. Generally they are mere statuettes, less than a foot in height. Specimens have been selected for representation in the preceding volume, from which a general idea of their character is obtainable. They are, like the stone idols, formal and inexpressive in style, while they are even ruder and coarser than those figures in workmanship. We must regard them as intended chiefly for private use among the mass of the population, while we must view the stone idols as the objects of public worship in the shrines and temples.
Idols in metal have not hitherto appeared among the objects recovered from the Assyrian cities. We may conclude, however, from the passage of Nahum prefixed to this chapter, as well as from general probability, that they were known and used by the Assyrians, who seem to have even admitted them—no less than stone statues—into their temples. The ordinary metal used was no doubt bronze; but in Assyria, as in Babylonia, silver, and perhaps in some few instances gold, may have been employed for idols, in cases where they were intended as proofs to the world at large of the wealth and magnificence of a monarch.
The Assyrians worshipped their gods chiefly with sacrifices and offerings, Tiglath-Pileser I., relates that he offered sacrifice to Anu and Vul on completing the repairs of their temple. Asshur-izir-pal says that he sacrificed to the gods after embarking on the Mediterranean. Vul-lush IV, sacrificed to Bel-Merodach, Nebo, and Nergal, in their respective high seats at Babylon, Borsippa, and Cutha. Sennacherib offered sacrifices to Hoa on the sea-shore after an expedition in the Persian Gulf. Esarhaddon “slew great and costly sacrifices” at Nineveh upon completing his great palace in that capital. Sacrifice was clearly regarded as a duty by the kings generally, and was the ordinary mode by which they propitiated the favor of the national deities.