To sum up in the words of Tiele: From all that has been said it will be seen that the religion of the Babylonians had at an early date attained a comparatively high stage of development. It had not yet crossed the boundary of monotheism but remained a theocratic, monarchical polytheism; nevertheless it came very near that boundary. The gods of mythology were already treated with great freedom, and the disgust which some of their deeds called forth was not disguised. A comparatively pure and lofty conception of the highest divinity had already been developed, even if it was called upon by different names. However much superficiality and formality, however many superstitions and magical customs may have been connected with the divine worship, it was yet not lacking in deep religious feeling and moral earnestness, which is shown particularly in the penitential psalms.[o]
Bas-relief of Workmen and Cart
(After Layard)
CHAPTER IX. BABYLONIAN AND ASSYRIAN CULTURE
Of all the revelations regarding the Mesopotamian civilisation which the researches of Botta and Layard and their followers have brought to light, none perhaps are more interesting than those that showed the position which art had attained in those far-off and forgotten times. It had all along been remembered that powerful political empires had risen and fallen here, however vaguely the details of the history may have been preserved. It was recalled, too, that these peoples possessed religions with the same fundamental elements as the Jewish creeds; but that they had developed an artistic spirit and artistic craftsmanship far beyond that of any other people of their time, had been entirely forgotten. Yet, as we have seen, the most striking and conspicuous of the monuments restored by the explorations were works of art. We have obtained many glimpses of these in the preceding pages, and it will not be necessary here to treat them in very great detail; indeed, it would be quite impossible to do so within the necessary bounds of space. Our concern is with the historic relations of the Mesopotamian art development rather than with the details of the art itself. Nevertheless, something more than incidental references will be made to some features of the subject.[a]
The origin of Babylonian-Assyrian civilisation is lost in the darkness of prehistoric times, like that of the Egyptians and Chinese. We shall see that even their oldest monuments display a high grade of artistic ability and presuppose a long development. The texts on the oldest monuments are already written in cuneiform; the picture writing in which this must have originated was already out of use, which shows a great progress in civilisation. As to the origin of this culture various suppositions have been made. According to the one which has made most headway, it was borrowed by the Babylonians from a non-Semitic race who inhabited the country before them, and then spread gradually from the Persian Gulf, where it originated or whither it was brought from without, towards the north.