Historic Ornament. James M Ward
be obtained (Fig. 175).
Fig. 174.—The Royal Palace of Dur-Sarginu (Sargon’s Palace); restored by Chipiez. (M.)
Fig. 175.—A Bedroom in the Harem at Dur-Sarginu (Sargon’s Palace). (M.)
The use of the column in Chaldea is proved by the bas-reliefs before it developed itself in Assyria; but in either country it was not an important feature in the architecture, being mostly used for awnings supporting light tents or tabernacles; sometimes, indeed, used in a disengaged way, as proved by the views of small temples on the bas-reliefs (Figs. 176, 177, 178). The use of the column was not in accord with the principles of their architecture, and was only to be found in small porches, or in an engaged way against outer walls and piers (Fig. 179). The only capital found in a fragment, and restored by Place, is shown at Fig. 181, and two bases (Figs. 180 and 182). From these remains it is assumed that the shaft was smooth and cylindrical.
Fig. 176.—Temple on the bank of a river, Khorsabad, from Batta. (P. & C.)
Fig. 177.—Capital of Temple at Fig. 176. (P. & C.)
Fig. 178.—Capital. (P. & C.)
An incipient form of the Ionic volute is seen at Fig. 177 in the capital of the small columns to the little temple (Fig. 176).
The kings of Assyria had in their palaces a great deal of luxurious furniture. The couches, chairs, and tables were made of wood, with bronze fittings, and decorated with ivory, gold, and lapis lazuli. The bas-relief in the British Museum representing Assurbanipal and his queen at a banquet (Figs. 183 and 184) will give a good idea of the extreme richness in design and decoration of these sumptuous articles of furniture (Fig. 185).
Bronze sockets (Fig. 186) and all kinds of fragments in metal and ivory fittings, and decorations corresponding to the designs on the bas-reliefs, all indicate that the anathemas of the prophet Nahum (Nahum ii. 9) gave a good picture of Nineveh’s richness in the sumptuary arts. “Take ye the spoil of silver,” he exclaims, “take the spoil of gold; for there is none end of the store and glory out of all the pleasant furniture.”
Fig. 179.—Fragment of an Assyrian Building from a bas-relief, B.M. (P. & C.)
Fig. 180.—Ornamented Base of Limestone. (P. & C.)
Animals have been represented with such faithfulness, especially in their most vigorous and ferocious aspects, by the sculptors of Assyria, that in any notice of Assyrian art they must have a place. Lions especially were rendered in all their ferociousness, and were the favourite game for kingly sport (Figs. 187, 188, 189). Lions were kept in cages, and let out when the monarch decided to have a day’s hunting (Fig. 187). Dogs were specially trained for lion-hunting (Fig. 190).
Fig. 181.—Assyrian Capital compiled from Place. (P. & C.)
Fig. 182.—Winged Sphinx carrying Base of Capital. Layard. (P. & C.)
Fig. 183.—Assurbanipal and his Queen feasting in the gardens of the Harem after the battle. The head of Teuman, the Elamite King, hangs on the left on the sacred tree. (M.)
Fig. 184.—The Feast of Assurbanipal. (B.M.) (P. & C.) Enlarged detail of Fig. 183, showing the Assyrian Furniture. Drawn by Gautier.
Fig. 185.—Assyrian Stool; from Layard. (P. & C.)
We add two illustrations of the sphinx variety of fantastic animals; one is the most remarkable creation of all the fantastic animals of Assyria (Fig. 192). It has the horns of a ram, a bull’s head, a bird’s beak; body, tail, and fore-legs of a lion; and the hind-legs and wings of the eagle. The Andro-Sphinx (Fig. 193) from the robe of Assurbanipal foreshadows the fabulous centaurs of Grecian art. Other bi-form creations have been found in Assyrian art bearing a close resemblance to the Greek centaur.
Fig. 186.—Bronze Foot of a Piece of Furniture.
Fig. 187.—Lion coming out of his Cage. (B.M.) (P. & C.)
The purely ornamental forms from the vegetable world that have been used in Assyrian and Chaldean art are limited in number. The daisy or rosette is the commonest (Figs. 194 and 198). In the illustration of the “Lion and Lioness in a Park” (Fig. 188) the daisy is beautifully though conventionally rendered; the large leaves at the bottom are typically the common daisy leaves; the vine is no less well executed, and the lioness on the same bas-relief is treated with consummate skill. The vine is also seen to great advantage in its conventional treatment at Figs. 184 and 188.
Fig. 188.—Lion and Lioness in a Park. (B.M.) (P. & C.)
Fig. 189.—Combat between a Lion and a Unicorn; from Layard. (P. & C.)
Fig. 190.—Dog used for Lion Hunting. (M.)
Fig. 191.—Chariot Horses; from Layard. (P. & C.)
Fig. 192.—Fantastic Animal, drawn by Gautier. (P. & C.)
There is an Assyrian ornament called the “knop and flower” ornament, which occurs in various forms and in endless profusion in Egyptian, Assyrian, Persian, and Greek, and even is copied down to Indian and Roman ornament. It may be native, or some forms of it at least, to Assyrian ornament, but is undoubtedly Egyptian in its earliest source; we have spoken of it before in our notice of Egyptian ornament as being derived from the lotus (page 90). It appears on the rich border of the carved threshold (Fig. 167); the flower there is undoubtedly a lotus, and the bud or “knop” may be a representation of a “fir-cone,” or may be meant for the closed lotus-bud. Another form of the same elements occurs at Fig. 195, in a beautiful design enclosed in a square, forming one of the central patterns of a similar sill or threshold, and this form of it would doubtless also be used for a ceiling decoration of the palaces. A bouquet of similar flowers is seen at Fig. 196 of the date of Assurbanipal (885-860 B.C.). It is very difficult to say whether this bouquet represents the lotus or not, as, according to the testimony of Layard, the lotus flower is only to be found on the most recent of Assyrian monuments dating