The monuments of Assyria furnish us with very important data, as to the origin of many branches of art, subsequently brought to the highest perfection in Asia Minor and Greece. I conceive the Assyrian influence on Asia Minor to have been twofold. In the first place, direct, during the time of the greatest prosperity of the Assyrian monarchy or empire, when, as it has been shown, the power of its kings extended over that country; in the second, indirect, through Persia, after the destruction of Nineveh. Of the influence exercised upon the arts of western Asia, during the early occupation of the Assyrians, few traces have hitherto been discovered, unless the remarkable monuments on the site of ancient Pteria, or Pterium, belong to this period. The evident connection between the divinities and sacred emblems worshipped in various parts of Asia Minor, and those of Assyria will be hereafter particularly pointed out. The Assyrian origin of these monuments, and of these religious symbols, once admitted, we shall have no difficulty in recognising the influence of Assyria on the arts and customs of Asia Minor. The antiquities of that country, prior to a well-known period, the Persian occupation, have been but little investigated. Few remains of an earlier epoch have yet been discovered. That such remains do exist, perhaps buried under ground, I have little doubt. It is most probable that, as we have additional materials for inquiry, we shall be still more convinced of this Assyrian influence, pointed out by Herodotus, when he declares the founder of the kingdom of Lydia to have been a descendant of Ninus, and by other authors, who mention the Syrian, or Assyrian, descent of many nations of Asia Minor.
But the second, or indirect, period of this influence is very fully and completely illustrated by the monuments of Asia Minor, of the time of the Persian domination. The known connection between these monuments and the archaic forms of Greek art renders this part of the inquiry both important and interesting. The Xanthian marbles, acquired for England by Sir Charles Fellows, and now in the British Museum, are remarkable illustrations of the threefold connection between Assyria and Persia, Persia and Asia Minor, and Asia Minor and Greece. Were those marbles properly arranged, and placed in chronological order, they would afford a most useful lesson, and would enable even a superficial observer to trace the gradual progress of art from its primitive rudeness to the most classic conceptions of the Greek sculptor. Not that he would find either style, the pure Assyrian or the Greek, in its greatest perfection; but he would be able to see how a closer imitation of nature, a gradual refinement of taste and additional study, had converted the hard and rigid lines of the Assyrians into the flowing draperies and classic forms of the highest order of art.
I have termed this second period that of indirect influence, because the arts did not then penetrate directly into Asia Minor from Assyria, but were conveyed thither through the Persians. The Assyrian Empire had already existed for centuries, and had exercised the supreme power over Asia, before it was disputed by the kingdoms of Persia and Media, united under one monarch. The Persians were probably a rude people, possessing neither a literature nor arts of their own, but deriving what they had from their civilised neighbours. We have no earlier specimen of Persian writing than the inscription containing the name of Cyrus, on the ruins supposed to be those of his tomb, at Murghaub [Pasargarda]; nor any earlier remains of Persian art than the buildings and sculptures of Persepolis, and other monuments to be attributed beyond a question to the kings of the Achæmenian dynasty. It has already been shown that the writing of the Persians was imitated from the Assyrians, and it can as easily be proved that their sculptures were derived from the same source. The monuments of Persepolis establish this beyond a doubt. They exhibit precisely the same mode of treatment, the same forms, the same peculiarities in the arrangement of the bas-reliefs against the walls, the same entrances formed by gigantic winged animals with human heads, and, finally, the same religious emblems. Had this identity been displayed in one instance alone, we might have attributed it to chance, or to mere casual intercourse; but when it pervades the whole system, we can scarcely doubt that one was a close copy, an imitation, of the other. That the peculiar characteristics of the Persepolitan sculptures were derived from the monuments of the second Assyrian dynasty—that is, from those of the latest Assyrian period—can be proved by the similarity of shape in the ornaments and in the costume of many of the figures. Thus, the head-dress of the winged monsters forming the portals is lofty, squared, and richly ornamented at the top, resembling those of Khorsabad and Kuyunjik, and differing from the round, unornamented cap of the older figures at Nimrud.
The processions of warriors, captives, and tribute-bearers at Persepolis are in every respect similar to those on the walls of Nimrud and Khorsabad; we have the same mode of treatment in the figures, the same way of portraying the eyes and hair. The Persian artist introduced folds into the draperies; but, with this exception, he certainly did not improve upon his Assyrian model. On the contrary, his work is greatly inferior to it in the general arrangement of the groups and in the elegance of the details.
From whence the Persians obtained the column and other architectural ornaments used at Persepolis, it may be more difficult to determine. We have seen that the column was not unknown to the later Assyrians, although it does not appear to have been employed in the construction of their palaces. The Persians, therefore, may have partly derived their knowledge from them; and partly, perhaps principally, from the Egyptians, whom, before the foundation of Persepolis, they had already conquered. It will be observed that the capitals of their columns frequently assume the shape of Assyrian religious types, the bull for instance; whilst other portions of them nearly resemble in the form of their ornaments, though not in their proportions, those of Egypt.
The Persians introduced into Asia Minor the arts and religion which they received from the Assyrians. Thus the Harpy Tomb and the monument usually attributed to Harpagus at Xanthus, and other still earlier remains, show all the peculiarities of the sculpture of Persepolis, and at the same time that gradual progress in the mode of treatment—the introduction of action and sentiment, and a knowledge of anatomy—which marks the distinction between Asiatic and Greek art. Whilst there was a manifest improvement in the disposition of the draperies and in the delineation of the human form, we still remark, even in the latest works of the Persian period in Asia Minor, the absence of all attempt to impart sentiment to the features, or even to give more than the side view of the human face.
Many architectural ornaments, known to the Assyrians, passed from them, directly or indirectly, into Greece. The Ionic column is an instance. We have, moreover, in the earliest monuments of Nineveh that graceful ornament, commonly called the honeysuckle, which was so extensively used in Greece, and is to this day more generally employed than any other moulding. In Assyria, as I have pointed out, it was invested with sacred properties, and was either a symbol or an object of worship. That the similarity between the Assyrian and Greek ornament is not accidental, seems to be proved, beyond a question, by the alternation of the lotus or tulip, whichever this flower may be, with the honeysuckle, by the number of leaves or petals of the flower, and by their proceeding in both from a semicircle, supported by two tendrils or scrolls. The same ornament occurs, even in India, on a lath erected by Asoka at Allahabad (about B.C. 250); but whether introduced by the Greeks—which, from the date of the erection of the monument, shortly after the Macedonian invasion, is not improbable—or whether derived directly from another source, I cannot venture to decide.
Assyrian Harness