In the background is seen the fight raging round the standards. One chief has been killed, and while the infantry are pressing round the body of the rebel leader and his banner on one side, on the other the imperial chariots are thundering along to support the attack, and are driving their enemies before them. In the distance are seen the clouds of dust whirled into the air by the hoofs and wheels, and circling in clouds by the eddies caused by the fierce rush of the vehicles, thus illustrating the passage in Jer. iv. 13: "Behold, he shall come up as clouds, and his chariots shall be as a whirlwind: his horses are swifter than eagles. Woe unto us! for we are spoiled." The reader will see, by reference to the illustration, how wonderfully true and forcible is this statement, the writer evidently having been an eye-witness of the scene which he so powerfully depicts.
CHARIOT OF STATE.
The second scene is intentionally chosen as affording a strong contrast to the former. Here, instead of the furious rush, the galloping Horses, the chariots leaping off the ground, the archers bending their bows, and all imbued with the fierce ardour of battle, we have a scene of quiet grandeur, the Assyrian king making a solemn progress in his chariot after a victory, accompanied by his attendants, and surrounded by his troops, in all the placid splendour of Eastern state.
Chief object in the illustration stands the great king in his chariot, wearing the regal crown, or mitre, and sheltered from the sun by the umbrella, which in ancient Nineveh, as in more modern times, was the emblem of royalty. By his side is his charioteer, evidently a man of high rank, holding the reins in a business-like manner; and in front marches the shield-bearer. In one of the sculptures from which this illustration was composed, the shield-bearer was clearly a man of rank, fat, fussy, full of importance, and evidently a portrait of some well-known individual.
The Horses are harnessed with remarkable lightness, but they bear the gorgeous trappings which befit the rank of the rider, their heads being decorated with the curious successive plumes with which the Assyrian princes distinguished their chariot Horses, and the breast-straps being adorned with tassels, repeated in successive rows like the plumes of the head.
The reader will probably notice the peculiar high action of the Horses. This accomplishment seems to have been even more valued among the ancients than by ourselves, and some of the sculptures show the Horses with their knees almost touching their noses. Of course the artist exaggerrated the effect that he wanted to produce; but the very fact of the exaggeration shows the value that was set on a high and showy action in a Horse that was attached to a chariot of state. The old Assyrian sculptors knew the Horse well, and delineated it in a most spirited and graphic style, though they treated it rather conventionally. The variety of attitude is really wonderful, considering that all the figures are profile views, as indeed seemed to have been a law of the historical sculptures.
Before closing this account of the Horse, it may be as well to remark the singular absence of detail in the Scriptural accounts. Of the other domesticated animals many such details are given, but of the Horse we hear but little, except in connexion with war. There are few exceptions to this rule, and even the oft-quoted passage in Job, which goes deeper into the character of the Horse than any other portion of the Scriptures, only considers the Horse as an auxiliary in battle. We miss the personal interest in the animal which distinguishes the many references to the ox, the sheep, and the goat; and it is remarkable that even in the Book of Proverbs, which is so rich in references to various animals, very little is said of the Horse.