The foundation trenches still exist, containing some scanty remains of good brickwork, which permit us to recognise a ground-plan of the type of an apadana, as it appears in the well-known palaces of Persepolis (Fig. [77]), a pillared hall with a pillared fore-hall, flanked, in front, by two towers. It is remarkable that the distinctive character of this beautiful type of building should always have been mistaken in a most unaccountable manner. The reconstructions which have been so widely circulated even in the most recent handbooks show only the pillars, while the whole of the surrounding walls and the fronting towers are omitted. When confronted with such a representation the scholar receives much the same impression that a naturalist would experience if a boned turkey were offered him for serious study.
The pavements in the chambers as well as on the square to the north of the building consist of a flooring of lime mortar and pebbles in three layers: a coarse thick bottom layer—the festucatio of Vitruvius,—a fine shallow layer, and lastly a thin overlay of a fine red colour. This is entirely Greek, and it is a pleasure to meet with this fine coating we know so well in Athens, in Babylon of the fifth century. There are remains of a pavement made in exactly the same fashion in the ruins of Babil, where, according to the parallel inscription to the great Steinplatten inscription (K.B. iii. 2, p. 31), Nebuchadnezzar also built an appa danna.
Among the scanty but varied remains of this building, fragments of a plinth of black limestone found on the ruins show sufficient cuneiform signs to enable us to recognise without difficulty the remains of the name of King Darius (Fig. [78]), and bases of columns of the same material reproduce precisely the forms of the bases of Persepolis (Fig. [79]). Bricks, which like those of Persepolis are not made of clay, but of an artificial mass of lime mixed with sand, bear representations in coloured enamels (Fig. 80). Here, as in the enamelled bricks of the Ishtar Gate, the fields are separated by lines of black glaze. There are ornaments and figures both flat and in relief, the figures with rich garments decorated with the woven patterns of the Persian guard of Persepolis. A woman’s face in white enamel is the only piece of the sort that we possess up to the present time.
Fig. 78.—Inscription from the Persian building.
Fig. 79.—Base of column from Persian building.
We can here recall what Diodorus, whose description was derived from Ctesias, the body surgeon of King Artaxerxes Mnemon, reports of the polychrome decorations of the royal castle of Babylon. To begin with, he quotes (ii. 8) that there were two castles, one on the eastern bank of the Euphrates, on the modern mound “Babil,” and the other on the western bank, the modern “Kasr.” He continues:
τοῦ μὲν γὰρ [εἰς τὸ] πρὸς ἑσπέραν κειμένου μέρους ἐποίησε τὸν πρῶτον περίβολον ἑξήκοντα σταδίων, ὑψηλοῖς καὶ πολυτελέσι τείχεσιν ὠχυρωμένον, ἐξ ὀπτῆς πλίνθου· ἕτερον δ’ ἐντὸς τούτου κυκλοτερῆ κατεσκεύασε, καθ’ ὃν ἐν ὠμαῖς ἔτι ταῖς πλίνθοις διετετύπωτο θηρία παντοδαπὰ τῇ τῶν χρωμάτων φιλοτεχνίᾳ τὴν ἀλήθειαν ἀπομιμούμενα. οὗτος δ’ ὁ περίβολος ἦν τὸ μὲν μῆκος σταδίων τετταράκοντα, τὸ δὲ πλάτος ἐπὶ τριακοσίας πλίνθους, τὸ δ’ ὕψος, ὡς Κτησίας φησίν, ὀργυιῶν πεντήκοντα· τῶν δὲ πύργων ὑπῆρχε τὸ ὕψος ὀργυιῶν ἑβδομήκοντα. κατεσκεύασε δὲ καὶ τρίτον ἐνδοτέρω περίβολον, ὃς περιεῖχεν ἀκρόπολιν, ἧς ἡ μὲν περίμετρος ἦν σταδίων εἴκοσι, τὸ δὲ μῆκος καὶ πλάτος τῆς οἰκοδομίας ὑπεραῖρον τοῦ μέσου τείχους τὴν κατασκευήν. ἐνῆσαν δ’ ἔν τε τοῖς πύργοις καὶ τείχεσι ζῷα παντοδαπὰ φιλοτέχνως τοῖς τε χρώμασι καὶ τοῖς τῶν τύπων ἀπομιμήμασι κατεσκευασμένα. τὸ δ’ ὅλον ἐπεποίητο κυνήγιον παντοίων θηρίων ὑπάρχον πλῆρες, ὦν ἦσαν τὰ μεγέθη πλέον ἢ πηχῶν τεττάρων. κατεσκεύαστο δ’ ἐν αὐτοῖς καὶ ἡ Σεμίραμις ἀφ’ ἵππου πάρδαλιν ἀκοντίζουσα, καὶ πλησίον αὐτῆς ὁ ἀνὴρ Νίνος παίων ἐκ χειρὸς λέοντα λόγχῃ.
The length of the walls are exaggerated about fourfold, and the other measurements yet more, but the three periboli are easily recognisable, as we shall see later. The middle one was laid out κυκλοτερῆ, which may certainly be rendered “annular, enclosed in itself, not open on one side, like the outer peribolos.” In any case it must not be translated “circular,” for a circular peribolos is found nowhere in Babylon. In the central peribolos there were representations of wild animals in naturalistic colours, which were applied to the bricks while they were still moist. These are obviously the lions, bulls, and dragons of the Procession Street and the Ishtar Gate. The central peribolos of Diodorus enclosed both the Southern and the Principal Citadel. On the walls and towers in the third peribolos, which can be no other than the Southern Citadel, there were also representations, coloured to life, of a chase of wild beasts, in which Ninus and Semiramis themselves took an active part. On no other site have we found human figures on the brick enamels, and had there been any, they could hardly have escaped us. We can scarcely doubt, therefore, that Diodorus was describing the enamels of the Persian building, and that the white face of a woman is the same that Ctesias recognised as a portrait of Semiramis. Whether Diodorus included among the wild animals those on the sides of the gateways of the other courts of the third peribolos—or, as we now call it, the Southern Citadel—may remain uncertain; it is a matter of no consequence. It is, however, a most unusual incident in the history of art, that we should have been able to recover by excavation at the present day such works of art described by a celebrated historian of antiquity, and in the very place where he beheld them.