Another very characteristic ornament of the Assyrian decorations is the double-interlacing meander, or guilloche (Figs. 200 and 201). It is generally found in combination with the other ornaments just spoken of, both on tiles and in ivory engraving. It is sometimes called “cable ornament” or “snare-work,” from the appearance it has to a rope or cable twisted around the eyes of posts. It has been used very much by the Greeks and Romans.
Fig. 202.—Ivory Plaque found at Nimroud. (B.M.) (P. & C.)
The art of ivory carving and engraving was practised in Assyria, judging from some plaques and carvings that have been found that are distinctly Assyrian in motive and design (Fig. 201), and from many elephants’ tusks that have come to light from the ruins of the buried palaces; but it has been clearly established that the art was first introduced into Assyria by the importation of the Egyptian plaques and other carvings, and also by the imitations of Egyptian articles made by Phœnician artists, and probably sold to the Assyrians as the product of Egypt.
Fig. 202, a small plaque, is quite likely to be one of these imitations of Egyptian design with the lotus-tree of life which rests on a support or top of a capital. This form of lotus capital is found everywhere in Cyprus, and in all countries where Phœnician trade extended. It is distinctly Egyptian in origin, and more than likely is the origin of the Ionic volute capital of the Greeks. The small and beautifully carved sphinx (Fig. 203) is one of the many Egyptian ivories that had found its way to Assyria, and is immeasurably superior in workmanship to any of the Assyrian carvings.
Fig. 203.—Ivory Fragment in British Museum; Actual Size. Drawn by Gautier. (P. & C.)
It may be remarked here that the Assyrian artist excelled in the flat or engraved treatment of his designs in nearly every branch of art, but was inferior in workmanship to the Egyptian in carved work in the round; though in expressing intense life, virility, and movement, especially in the representation of animals, he was superior to the Egyptian artist.
Fig. 204.—Bronze Platter, 9 ins. diameter. (B.M.) Drawn by Wallet. (P. & C.)