Chapter IX: Babylonian and Assyrian Culture (1)

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.

It is pure supposition to say that civilisation in Babylonia started out from the shores of the Persian Gulf and spread from there towards the north, but it is a supposition which has a high degree of probability. In this direction points the old legend of the Babylonians, as Berossus relates it, which describes the origin of civilisation--the legend of the divine fish-man Oannes, who came up in the morning from the Erythræan Sea, instructed the inhabitants of Chaldea, who were still living like animals, in the arts and sciences, and then in the evening disappeared again under the waves. This fish-god has long since been recognised as the god who is so frequently depicted on Babylonian and Assyrian monuments, and it can now hardly be longer doubted that he, the god of the waters, or rather the source of light and fire in the waters, is the god Ea. This god with his circle is without doubt indigenous to southern Chaldea. The oldest and most important centre of his cult is Eridu, situated close to the sea. His son Marduk, and the god connected with him whom the Semites call Nabu, is especially honoured on the islands and coast of the Persian Gulf. Thus if legend traces the culture of the Chaldeans from the instruction of this god, this is the origin of the tradition that his worshippers, who must have been mariners and dwellers on the sea coast, introduced this civilisation into Chaldea.

In agreement with this is the fact that the decrees of Ea and the magic formulæ of Eridu, his chief city situated near the sea, are repeatedly designated as being very holy and powerful, and as very ancient; also that the oldest sayings and traditions which are known to us in the Gisdubas (Gilgamesh) epic, are located precisely in places on the sea coast or not far distant from it. These were also the centres of powerful states, as also of the kingdom of Ur, and the oldest monuments of Chaldean civilisation which have yet become known to us were found in southern Babylonia at Telloh.

However, wherever its origin may have been, the great age of Babylonian culture, of which the Assyrian is only a later branch, stands beyond doubt. The cylinders of Sargon I as well as the statues found at Telloh show a high grade of development and presuppose an art which already has a long past behind it. That the Egyptian culture is younger and even derived from the Babylonian, and that the latter is thus the oldest in the world, and at the same time was the mother of all other civilisations of antiquity, as has been claimed (Hommel), can naturally not be proved and is still doubtful; but it is not impossible. And the most remarkable fact is, that at least the plastic art could never again reach the heights it had already attained in such a gray antiquity.

This does not mean to imply that the Babylonians did not further develop the civilisation, the elements of which they had received from their predecessors. They assimilated it and developed it independently; it may even be assumed that they improved on it in more than one respect, and applied it to higher ends. They also introduced into it much that was peculiar to them. How far this was the case--what with them was borrowed and what original, cannot yet be determined in detail. At any rate we are not justified in attributing to their non-Semitic teachers, as often happens, everything barbaric, cruel, and repulsive that still characterises their customs, nor all the superstitions still connected with their religion.

The original inhabitants excelled the Semites in artistic spirit and ability, perhaps also as traders and mariners, and the latter probably imitated the former, but seldom reached them and never surpassed them. The Semites, on the other hand, put more depth and earnestness into their religious life; energetically carried out the monarchic principle in this, as also in the life of the state; simplified the writing; enriched the literature, which was thus rendered more practical, by highly remarkable epic narrations, especially with epic poems, and even made an attempt to write history. Furthermore, by the organisation of a capable army, by the warlike talents of their kings and generals, as also by their unbending character and persevering will, they established states which endured the most violent upheavals and changes, and ruled all their neighbours for centuries. If they were behind their predecessors in some points, they far surpassed them in others. The conception that one people takes on the culture of another, quite as one puts on a borrowed dress, is just as foolish as the conception that a nation relinquishes its own individuality and originality as soon as it learns something from another. The Greeks of whom it has now been proved that they owed much to oriental peoples, the Persians of whom everyone knows that they borrowed most of their civilisation from Babylon, prove the contrary. The people who brought its culture to the southern coasts of Babylonia and probably also to the coasts of Elan and communicated it to the still uncultured races living there, seems to have belonged to that peaceful, commercial race which the Hebrews designated as the “sons of Kush,” which was not unlike the Phœnicians and was placed in the same category; a race which, while jealous of its independence, was not aggressive, although inclined to colonisation and to making distant journeys. These dwellers on the coasts, together with the inland tribes, were then conquered by the Semites, perhaps after long battles. If, however, they became in this way, as always, the teachers of their conquerors, the culture which grew under their influence was none the less a creation, and thus the inalienable property of the Babylonians.

LITERATURE AND SCIENCE

How high a state of civilisation the Babylonians had reached is shown by the fact that the invention of writing was a long-accomplished fact with them. The oldest inscriptions known to us, and which certainly date as far back as 4000 B.C., are already written in a species of character which from similarity to the second Egyptian style of writing has been called hieratic, and it has been proved that this hieratic style of writing has been evolved from older hieroglyphics, long since fallen into disuse.

It is not known whether any other material than stone or clay was used to write upon, and whether in such case syllabic writing was used or not. It has been surmised that the Babylonians and Assyrians also used, and perhaps exclusively at first, papyrus, leather, and other soft materials to write upon, and engraved upon stone or clay only such matter as they wished to preserve. This is not improbable, even though we do not possess any such manuscripts. For as a matter of course the first named materials could not withstand the Babylonian climate as well as the Egyptian, and only the last named are proof against fire and water. It is a fact, however, that the bas-reliefs show the scribes recording the number of the slain on soft material, probably leather, as well as upon hard tablets. Whether they also wrote books or letters on papyrus or leather has not been definitely established.

However much the writing of the Babylonians and Assyrians may have been an inheritance from very ancient times, and how much they may be indebted to the early Chaldeans for the single form and the structure of the whole system, the cuneiform writing in which they represented their language was their own invention in more than one respect, since they did not thoughtlessly use what was ready to hand, but modified and altered it with deliberation.

Writing was also used by the Babylonians and Assyrians for purely literary purposes. The narratives, legends, or poems were inscribed on tablets of clay, and if in case of a work of greater size, the two sides covered with microscopic characters did not suffice, a series of such was used, which were clearly designated and numbered, so that they were in fact leaves of a book. Generally the title of the whole, as usual with the Hebrews, the first words and the first words of the following tablet were inscribed on every tablet. This literature even if limited to the productions of the imagination, is comparatively abundant. Although in this respect it may not equal the literature of some races still living, such as the Chinese, Arabian, Persian, and Indian, nor that of the ancient times of Greece and India, which in the last named country grows as luxuriantly as its vegetation, yet on the other hand, it excels in this respect that of the other Semitic races, the Hebrews not excepted. This is proved not only by the writings so far discovered but also by the catalogues of books in Babylonian libraries or of similar works elsewhere. However, enough has been brought to light, and in a fair state of preservation, to enable us to form an opinion of the literary talent of the Babylonians, and to prove to us what great varieties of it they cultivated.

The Assyrians stand, in a literary sense, in about the same relation to the Babylonians as the Romans to the Greeks, disciples who never equalled their masters, although as far as can be seen, even relatively considered, Roman literature stands higher in relation to Greek than Assyrian stands in relation to Babylonian. The tendency of the Assyrians was warlike, and directed to practical ideas: to found a mighty empire, and to maintain their supremacy was the end for which they strove. Therefore they were more interested in history than in creations of the imagination; purely literary work had little charm for them. Only much later, a desire is awakened in them to become acquainted with the productions of the Babylonians in this field, and to acquire as much as possible of it for themselves. And perhaps even here interest in the ancient religions and national traditions played a greater rôle than love for poetry.

The Assyrians seem to have had more taste for what may be designated the science of the period, than for literature. Here also, they were following the lead of the Babylonians, and accomplished little beyond taking possession of the treasures of the Babylonian libraries. The prestige which attached to the Babylonians in antiquity as the earliest cultivators of science is well known, although some thought that they had borrowed it from the Egyptians. Without doubt they reached the greatest eminence in antiquity in the knowledge of astronomy. Kalisthenes sent Aristotle astronomical observations from Babylon, which, according to the most moderate statement, reach back to 1903 before Alexander, _i.e._, 2324 B.C.; and there is nothing improbable in this. The number of eclipses mentioned on the astronomical tablets would lead to a conclusion that there was an even longer period of recorded calculations. It may be that the Ziggurat of the temples, which originally had a religious significance, might, in Assyria at least, have been used as observatories. It has even been surmised that the Babylonians had some sort of a telescope, and this surmise rests upon the finding of a lens in the ruins, and upon the fact that they were acquainted with the planet Saturn, which is invisible to the naked eye; but this doss not seem probable. One thing is certain, they gave names to the constellations, especially to the signs of the Zodiac, which have in part remained in use. They were acquainted with five planets, and distinguished them very exactly from the other heavenly bodies. They observed, and with great accuracy, the eclipses of the sun and moon, perhaps also the sun spots, the comets, the orbit of Venus, and the position of the Polar star; but they had some very childish ideas about the causes of eclipses and the character of the other heavenly phenomena. Naturally the Milky Way did not escape their observation. They even calculated the regular recurrence of eclipses of the moon as well as its phases.

A few of the mathematical tablets extant prove that they had made great progress in arithmetic and higher mathematics, so indispensable to the study of astronomy. The prevalent system was the sexagesimal, with the 60 as the unit, but the decimal system seems to have been known and used. However in spite of the recognition of the high value of these researches, they hardly deserve the name of science. These researches were certainly not undertaken from a love of science. The prime object, no doubt, was to discover the will of the gods in regard to the future. The science of mathematics itself was made subservient to the art of divination. Astronomy was a secondary object, astrology the principal one. Knowledge was sought of what must happen when there should be a recurrence of certain phases of stars and heavenly bodies. All observations of planets, comets, and other stars, of eclipses and other phenomena, were immediately connected with occurrences on earth, which at some former time had fallen in conjunction with them and consequently must be expected again.

No more were other branches of science besides astronomy cultivated for their own sakes. Their science of medicine was based almost entirely upon magic, and appears to have stood on a lower plane than that of the Egyptians, at least in so far as the still existing inscriptions will permit us to judge. They indeed used as did the Vedic Indians external and internal remedies, but they probably regarded them as charms; whatever progress they may have made in the science of medicine, the records of it in the ancient inscriptions prove that it was somewhat less than what we know of the Vedic physicians and their cures. Thus it is rather an exaggeration to speak of physical, geographical, grammatical, and mythological writings of the Babylonians and Assyrians, unless the myths and legends belonging to literature already discussed are meant.

There are various reasons for the supposition that each of the Babylonian libraries according to the studies of the several religious and scientific schools had a distinctive character. The Assyrian libraries, on the other hand, being all of later date, had more general and more varied contents.

The idea that these libraries were for the use of the general public, is not well founded, and rather improbable. They were probably designed in the first place, for the learned men and scribes of the king, as well as for his own use, for the instruction of his sons, and future officials, as well as for archives of the state. They do not in the least prove that culture, learning, and erudition were the property of all classes in Assyria.[h]

_Epistolary Literature_

At the same time the large number of written private documents which have been unearthed--the letters and contract tablets--show that writing was not an unusual thing among the people as a whole.

From one point of view these old letters are the most interesting form of Babylonian literature because they show better than anything else the real life of the nation. At first thought it may seem that a correspondence on clay must have been cumbersome, but most of these little letters were not so large as an ordinary envelope and some of them were only two or three inches long, and could easily be carried in the pocket. Some of them were enclosed in an outer envelope of clay which frequently contained a copy of the real document within.

In connection with the code of Khammurabi, his correspondence with one of his officials, Sin-idinnam, is particularly interesting because in these letters we find references to the same subjects which are treated of in the laws. In them all, we see Khammurabi attending to the minutest affairs of his kingdom, taking a personal interest in everything. It seems to have been a comparatively easy matter to get the king’s ear. He received letters complaining of things we should perhaps consider beneath the notice of a powerful king, and he seems to have devoted careful thought to all.

The letters of Khammurabi have been edited and translated by Mr. L. W. King, of the British Museum. They have been also translated by Dr. G. Nagel[i] for a doctor’s dissertation, at Berlin, and published in the _Beiträge zur Assyriologie_, vol. IV. Some of the latter’s translations are given below.[a]

_To Sin-idinnam say: Thus saith Khammurabi._ Naram-Sin the keeper
of flocks hath said: “To the leaders of the troops have our
shepherd lads been given.” Thus did he say. The shepherd lads of
Apil-Shamash and of Naram-Sin must not be given to the troopers.
Now send to Etil-hi-Marduk and his fellows that they give back the
shepherd lads of Apil-Shamash and of Naram-Sin which they have
taken.

_To Sin-idinnam say: Thus saith Khammurabi._ The whole canal was
dug, but it was not dug clear into Erech, so that water does not
come into the city. Also … on the bank of the Duru canal has fallen
in. This labour is not too much for the people at thy command to do
in three days. Directly upon receipt of this writing dig the canal
with all the people at thy command, clear into the city of Erech,
within three days. As soon as thou hast dug the canal, do the work
which I have commanded thee.

_To Sin-idinnam say: Thus saith Khammurabi._ Tummumu of Nippur has
announced to me as follows: “In the place Unaburu (?) I deposited
seventy tons of grain in a granary (?). Avel-ilu has opened the
granary and taken the grain.” Thus did he tell me. See, I am
sending Tummumu to thee with this. Let Avel-ilu be brought before
thee. Examine their dispute. The grain belonging to Tummumu which
Avel-ilu took, he shall give back to Tummumu.

_To Sin-idinnam say: Thus saith Khammurabi._ See, I have ordered
and sent Sin-aiaba-iddina, Guzalu and Shatammu to the war. They
will reach thee on the 12th day of Marshewan. When they have
reached thee, do thou proceed with them. The cows and flocks of
thy province, put into safe keeping. Also Nabu-malik, Ilu-naditum,
Shamash-mushalim, Sin-usili, Taribum, and Idin-Ninshah shall go
with thee and take part in the war.

_To Sin-idinnam say: Thus saith Khammurabi._ Immediately upon
receipt of this letter, have all the keepers of thy temple and
Ardi-Shamash, the son of Eriban, the shepherd of the Shamash temple
come before thee, together with their complete account. Send them
to Babylon to give their account. Let them ride day and night.
Within two days they should be in Babylon.[i]

We also have examples of the private correspondence of the same period, showing the style of letter one Babylonian wrote to another. The following remarks and translations of letters are taken from a dissertation giving letters from the time of Khammurabi.[a]

The insignificant contents of some of these letters show that letter writing at that time was a general custom and the theory again and again thrusts itself forward that a comparatively regular postal service was already in existence. These letters also show how far Babylonian commerce extended in the second half of the third century before Christ. Every letter throws new light upon that far distant past and helps us to form an ever surer picture of the daily life of the old Babylonian people. Following are a few examples to give an idea of the epistolary style.

_To my father say: Thus speaks Elmeshu. May Shamash and Marduk keep
my father alive forever. Mayest thou, my father, be in health,
mayest thou live. May the protecting deity of my father lift up the
head of my father in favour. To greet my father have I written.
May the prosperity of my father before Shamash and Marduk endure
forever._ After Sin and Ramman had spoken thy name, my father,[33]
thou, my father, didst speak as follows: “As soon as I come to
Der-Ammizadaduga on the Sharku canal, I will send thee, within a
short space, a lamb with five mina of silver.” This didst thou say,
my father. My father made me expectant, but thou hast sent nothing.
Now after thou, my father, hadst started out to Taribu, the
queen, I sent a letter to my father. Thou, my father, hast never
voluntarily sent anyone who brought (even) a silver shekel. In
accordance with the … of Sin and Ramman who have blessed my father,
may my father send me that for which I am eager, so will my heart
not be grieved, and I will pray for my father to Shamash and Marduk.

_To my lord, say: Thus speaketh Belshunu, thy slave._ Since I have
been confined in prison thou, my lord, hast kept me alive. What is
the reason that for five months my lord has neglected me? The house
in which I am confined is a house of want. Now I have sent the
Mar-abulli (gate-keeper[?]) to you with a letter. I am also ill.
May my lord have pity on me, send me corn and vegetables so that
I may not die. Send me also a dress to cover my nakedness. Either
a half shekel of silver or two mina of wool let him (Mar-abulli)
bring, for my service let him bring it. Let not Mar-abulli be sent
empty away. If he cometh empty, the dogs will devour me. As thou,
my lord, so also every inhabitant of Sippar and Babylon knows that
I am confined without guilt; not because of a _bilshu_, I have
been imprisoned. Thou, my lord, didst send me beyond the river to
carry oil, but the Sutu people met me and took me captive. Speak
a favourable word to the servant of the king’s grand vizir. Send,
that I die not in the house of need. Send one _ka_ of oil and
five _ka_ of salt. What thou didst send a short time ago was not
delivered. Whatever thou sendest, send it well guarded.

_To my father say: Thus saith Zimri-erah. May Shamash and Marduk
give my father everlasting life._ Ibi-Ninshah the younger brother
of Nur-ilishu has fallen upon Nabu-atpalam and beaten him; he has
also spoken insults concerning me which are not to be endured. I
shall beat the young man! Wherefore has he cursed me? I have as yet
said nothing to the person. I thought to myself: “I will send to my
father, let him send his decision about the matter, and then I will
speak to the person.” Now I have sent a tablet to Nabu-atpalam, for
information in this matter. Up! make a decision in this matter,
send your judgment, give (?) a word.

_To the secretary of the merchants of Sippar, Iahruru speak: Thus
saith Ammidatitana._ The wool dealer has informed me as follows:
“I have written to the secretary of the merchants of Sippar,
Iahruru to send his spun wool to Babylon, but he has not sent
his spun wool.” Thus has he informed me. Why hast thou not sent
thy spun wool to Babylon? Since thou hast not feared to do this
thing, so send--as soon as thou seest this tablet--thy spun wool to
Babylon.[34]

_To Appa speak: Thus saith Gimil-Marduk. May Shamash keep thee
alive._ I have spoken in thy behalf to the person in question and
he said; “Let him come so that he may speak.” And the tablets which
thou didst take to examine, take them according to thy examination
and come quickly.

_To Etil-Shamash-iddina speak: Thus saith Avel-Ruhati. May Shamash
and Ishtar keep thee alive; I am well._ Humtani has given for
Amti-Shamash 8⅚ _kat_ and 15 _she_ of silver. To Musalimma, I will
give the money wherever he commands. I am going into the service of
the king’s daughter. I will quickly send thy desire. Send an answer
to my tablet.[j]

Among the large number of letters which have been preserved it has been possible to find more than one written by the same person, and, by putting these together, to get some idea of the life and character of the writer. The letters of a certain Bel-Ibni are prominent among these. They contain allusions to historical events mentioned on the monuments, thus contributing valuable details to these rather barren records of events. Bel-Ibni himself was a general in the army of Ashurbanapal. Below is a translation of one of these letters made by Dr. C. Johnston,[k] in the _Epistolary literature of the Assyrians and Babylonians_ in the _Journal of the American Oriental Society_, vol. XVIII.[a]

_To the lord of kings, my lord, thy servant Bel-Ibni! May Ashur,
Shamash and Marduk decree length of days, health of mind and body
for the lord of kings, my lord!_ Shuma, the son of Sham-iddina, son
of Gakhal, son of Tammaritu’s sister, fleeing from Elam, reached
the (country of the) Dakkha. I took him under my protection and
transferred him from Dakkha (hither). He is ill. As soon as he
completely recovers his health, I shall send him to the king, my
lord.

A messenger has come to him (with the news) that Nadan and the
Pukudeans of Til … had a meeting with Nabu-bel-shumate at the
city of Targibati, and they took a neutral oath to this effect:
“According to agreement we shall send you whatever news we may
hear.” To bind the bargain (?) they purchased from him fifty head
of cattle, and also said to him: “Our sheep shall come and graze
in the pasture (?) among the Ubanateans, in order that you may
have confidence in us.” Now (I should advise that) a messenger of
my lord, the king, come, and give Nadan plainly to understand as
follows: “If thou sendest anything to Elam for sale, or if a single
sheep gets over to the Elamite pasture (?) I will not let thee
live.” The king, my lord, may thoroughly rely upon my report.[k]

Professor Delitzsch in an article in the _Beiträge zur Assyriologie_, vol. I. entitled _Beiträge zur Erklärung der babylonisch-assyrischen Brieflitteratur_, has given a translation of a letter from the king to this same Bel-Ibni:

_The word of the king to Bel-Ibni: May my greeting make glad thy
heart!_ Concerning thy communication about the Pukudeans on the
river Charru--In the future, whoever loves the house of his lords,
shall communicate whatever he sees and hears to his lords. See!
whilst thou inform me concerning the cause of thy communication.[l]

Some of the letters throw light on religious ceremonies, others are communications from astrologers telling whether or not the signs of the heavens are propitious for certain undertakings. There are still others from physicians telling of patients under their care. The following is translated by Dr. Johnston:[a]

_To the king, my lord, thy servant, Arad-Nana! Greeting most
heartily to my lord, the king! May Adar and Gula grant health of
mind and body to my lord, the king. A hearty greeting to the son of
the king.…_ With regard to the patient who has a bleeding from his
nose, the Rab-mugi reports: “Yesterday, towards evening, there was
much hemorrhage.” Those dressings are not scientifically applied.
They are placed on the alæ of the nose, oppress the breathing, and
come off when there is hemorrhage. Let them be placed within the
nostrils, and then the air will be kept away and the hemorrhage
restrained. If it is agreeable to my lord, the king, I will go
to-morrow and give instructions; (meantime) let me hear how he
does.[k]

Several letters have been preserved of a certain Ishtar-duri, who appears to have lived during the reign of Sargon (722-705 B.C.), and was perhaps identical with the eponym of the same name in the year 714. Dr. Johnston has translated a communication of his to the king:[a]

_To the king, my lord, thy servant Ishtar-duri! Greeting to the
king, my lord!_ I send forthwith to my lord, the king, in company
with my messenger, the physicians Nabu-shum-iddina and Nabu-erba,
of whom I spoke to the king, my lord. Let them be admitted to the
presence of the king, my lord, and let the king, my lord, converse
with them. I have not disclosed (to them) the true facts, but have
told them nothing. As the king, my lord, commands, (so) has it been
done.

Shamash-bel-uçur sends word from Der: “We have no inscriptions
to place upon the temple walls.” I send therefore to the king,
my lord, (to ask) that one inscription be written out and sent
immediately, (and that) the rest be speedily written, so that they
may place them upon the temple walls.

There has been a great deal of rain, (but) the harvest is gathered.
May the heart of the king, my lord, be of good cheer![k]

ART

Art occupies too prominent a position in the life of the Babylonians and Assyrians, and they have produced too much that is original and peculiar to them, for this history to pass over the question in silence. Even a mere sketch of their culture would be incomplete without it. At the same time great precaution is necessary. In the determination of the chronological succession of undated monuments so much depends on subjective valuation and æsthetic judgment that, without a long and conscientious study of the history of art, one is liable to serious error. And the determination of dates largely influences one’s conception of the progress of Babylonian-Assyrian art; æsthetic judgment, one’s decision concerning the character, independence, and value of this artistic effort.

Here again, as in the language, religion, and in the whole civilisation of this people the unity of the Babylonian-Assyrian race comes clearly to light. Whatever differences may exist between Babylonian and Assyrian art in the conception of detail, in certain peculiarities of technique, in the choice of subjects, at bottom they are one. It has ever been characterised as a national school in which one and the same character prevails, so that a work of art, be it from Telloh, Babylon, Nineveh, or Kalah, at once shows its connection with it. All the differences are merely shades, changes caused by time. This is especially noticeable when one considers what material for example was used for building. In Babylonia it is difficult to obtain stone; there are no rocks there. Consequently this material, which had to be brought from a distance, and was therefore expensive, was kept like precious and other metals for the decoration of the whole, for pillars, bas-reliefs, dedicatory inscriptions, etc., or for making a firm foundation, while dried and burnt bricks were used for the buildings themselves. Among the Assyrians this difficulty did not exist. Excellent stone, which was easily worked, was found in close proximity, and the Assyrians understood how to hew and shape it. In spite of this, they imitated the Babylonian custom and used mainly bricks for their buildings. They preferred continually to repair these temples and palaces, which soon fell into ruin, or else to replace them by others, rather than to depart from the traditional mode of building of their ancestors.

The question has been raised as to whether Babylonian-Assyrian art may not perhaps have been a daughter of the Egyptian. Without doubt Assyrian art was at least influenced by it. All the ivory objects which have yet been found are plainly imitations of Egyptian motives, although they were certainly not made by Egyptians, and some of them date from the time of Asshurnazirpal. The lotus ornament also, which is so often used as a temple decoration, points to an Egyptian origin. Perhaps, however, the models were not borrowed directly from the Egyptians. Certain dishes and cups for drink-offering, which occur in Mesopotamia, as well as in western Asia and southern Europe, are plainly ornamented with Egyptian cartouches, hieroglyphics, and symbols, but in such a divergent form that no Egyptian could have made them; and these objects have the name of the artificer in Aramaic characters on the border or back. It is thus plainly to be seen that this Egyptian fashion wandered into Assyria through the influence of Aramäen artists.

When it is acknowledged, however, that Egyptian patterns were imitated by the Assyrians at a comparatively late date, and that Egyptian motives were borrowed from her artists, it does not by any means follow that Babylonian-Assyrian art as a whole was of Egyptian origin. This could be proved only from the oldest monuments to be found in Babylonia. It was in fact believed, when the art works of Telloh first became known, that they showed a great similarity to the products of Egyptian art. They displayed the same simplicity and naïveness, the same clean-shorn heads and faces, and many other coincidences. The connoisseurs of art, however, believe differently. The similarity is great; nevertheless a careful examination shows the independence of Babylonian art in respect to Egyptian. Thus in the oldest monuments the same peculiarities, truth and strength, appear, which in the later development of art among the Assyrians were so greatly exaggerated, whereas they are wholly lacking in Egyptian figures.

A further similarity is found between the oldest pyramids in the Nile valley and the Babylonian-Assyrian Ziggurat. In the first place, however, the pyramids had a wholly different object from the Ziggurat, and, in the second place, it must not be forgotten that the Babylonian temple architecture varies greatly from the Egyptian. If there is any dependence it is not on the side of the Chaldeans; they did not borrow their art from the Egyptians. At the same time the similarities are so remarkable, especially between the old Chaldaic statues and the oldest productions of Egyptian sculpture, such as the statues of Shafra, Chufu, and Ra-em-ke, that we are compelled here, as in the case of the writing, to suppose a common stock out of which both branches grew independently and in a way peculiar to each.

The important discoveries made by the French consul, De Sarsac, at Telloh have first thrown some light on the old Chaldean art in which the whole Babylonian-Assyrian art has taken its origin. The question as to whether the works of art found there are Semitic or non-Semitic does not concern us here. It is more probably the latter. At any rate we are here confronted with a civilisation preceding the flourishing period of the known Semitic dominion in Babylonia.[35] A temple was found there 53 by 31 metres square which shows the same fundamental plan as the later Chaldean architecture, that is, a structure of burnt on a foundation of dried brick, the corners exactly facing the points of the compass (not the side as in Egypt), a Ziggurat in the centre, the whole, as is seen from stamps on the stones, dating from the time of the priest-prince Gudra, who is known from other sources, and who rebuilt or founded this temple. Besides, a large number of larger and smaller works of art were discovered, cylinders, reliefs, bronze objects, especially statues, which had been collected either by the ruler already mentioned or by other priestly princes or kings.[h]

Before building a temple or palace, a religious ceremony took place corresponding to what we call to-day laying the corner-stone. Nabuna’id relates that in the ruins of the oldest Chaldean temples he looked for the foundation stone, the _temen_ which the original kings had placed there, and that he had the good fortune to find this corner-stone, whereas several of his predecessors had excavated only in vain. In our days such cylindrical tubes have been found covered with close writing difficult to decipher, which had been placed in little niches at the corners of the foundation facing the four points of the compass. Thus at Nimrod, Rawlinson caused excavations to be carried on in one of the corners of the tower, feeling sure that he would find objects similar to those which had been met with elsewhere. He relates his discovery as follows: “At the end of half an hour a small cavity was found. ‘Bring me,’” said Rawlinson to the man in charge of the digging, “‘bring me the dedicatory cylinder.’ The workman put his hand into the hole and showed the cylinder; those present could not believe their eyes and looked at each other in amazement. The cylinder, covered with inscriptions, then came out of the hiding-place where it had been placed probably by the hands of Nebuchadrezzar himself, and where it had lain for twenty-nine centuries.” In the fruitful excavations which he undertook at Telloh, De Sarsac made similar discoveries. “I found,” said he, “at a depth of scarcely thirty centimeters under the original soil, four cubes of masonry of large bricks and bitumen, measuring eighty centimeters on each side. In the centre of these cubes was a cavity of twenty-seven centimeters by twelve and by thirty-five of depth. This cavity filled with yellow sand enclosed a statuette of bronze, representing now a man kneeling, again a woman standing, sometimes also a bull. At the foot of each statue, usually embedded in the bitumen which lined the cavity, were found two stone tablets, one white, the other black. It was the black one which usually bore an inscription in cuneiform characters, like or almost like the one carved on the figure of bronze.” Moreover De Sarsac in place of statuettes found cones of clay in the shape of large nails with hemispherical heads, and having an inscription around the stem.[m]

It has been believed that three stages of development may be detected in this ancient art. To the first belong the reliefs, which represent scenes of war and burial which have not yet been satisfactorily explained, drawn very awkwardly and comparatively rough and primitive. This stage represents the infancy of art. To the second stage are counted the eight statues of Gudea and the one of Ur-ba-’u which are carved with great skill and fine artistic feeling out of hard stone, as it appears of diorite.

The strength which characterises the sculptural efforts of the Babylonians and especially of the Assyrians, is already manifest, although without that exaggeration of the muscles and joints which is so pronounced with the latter. Hands and feet in particular are most carefully executed. The heads are totally different from the hairy and bearded Assyrian, or even early Babylonian heads. They are perfectly clean shaven, but sometimes seemingly decked with an artificial hair arrangement or something of that sort; all just as in Egypt. In addition, an attempt to suggest the folds of draperies is seen, which we do not find among the Babylonians and Assyrians nor the Egyptians, but only later among the Persians and Greeks. In the third so-called classic period are placed works of art of most finished execution, which show a decided advance, among which are pictures, in which beard and hair are worked out with the greatest care.

It would be exaggerated scepticism to deny that these art productions exceed in antiquity, nearly everything found in Babylonia until now. The only exception could be the beautiful cylinder of the time of Sargon I, if we assume that this monarch reigned about 3800 B.C., and that this work of art is of his time. But this is by no means established as a fact.

It can also not be denied that these creations of early Chaldaic art, although in some instances only feeble attempts, in others, however, are of such finished perfection, that in succeeding periods they were never excelled and seldom equalled.

We have here a similar case to one in Egypt, where, for instance, under the kings of the fourth dynasty, sculpture reached an eminence, which nothing of later date ever approached, and where the oldest works of art have a value which none of the Egyptian sculptures of the following centuries can claim. In both these countries therefore there is an early, surprisingly rapid development, followed by a speedy decline; where even in succeeding brilliant epochs no successful attempts to equal the results of the first florescence were ever made. Such a phenomenon is all the more striking when it is considered that these later epochs, whether in Egypt, in Babel, or in Asshur, were by no means periods of degeneration, but show, although with continual fluctuations, marked progress in literature, science, government, and general culture. It seems probable that the cause lies in the difference of race. The artists who carved the statues of King Schafra, were no more Semites than, judging from all appearances and from the facial types of the monarchs, pictured, were the sculptors who immortalised King Gudea. Later on the Egyptian population became more and more affected by Semitic elements, and under the increasing influence of the Semites, art declined.

Not until under the Saits, who certainly were not descended from a race intermixed with Semitic blood, did art rise again to a height which recalled the palmy days of the ancient realm. Thus early Chaldaic art was the mother of that of Babylonia and Assyria, and the Semites of Babylon and Asshur proved themselves diligent students, gifted imitators, who gave to their works also the stamp of their own genius; but they were never more than students and imitators, they never produced anything original which might stand in equality by the side of early Chaldaic art. The Semitic race occupies one of the foremost positions in the history of civilisation, and is highly talented. But in architecture and sculpture it has always worked in close connection with foreign masters, and never produced anything really great by itself.[36] The further it goes from the ancient centres, where the great tradition of the former so highly developed art still lived on, the more unskilful become its productions in this field. Assyria where the Semitic blood was purer than in Babylonia, and which was certainly surpassed in art by the latter, Phœnicia, Palestine, and Arabia, are proofs of this. Only when the Semites have handed down the old tradition which they have at least preserved, to the Aryans, the Persians, and Greeks, is there an independent higher development of plastic art. Be that as it may, considered as artists, the Babylonians and Assyrians stand foremost among the Semites, but they are indebted for this to the early Chaldeans.

The character of the Babylonian-Assyrian building has remained in general about the same, from the earliest times, until the destruction of the nation. The architect, more than any other artist, is dependent upon the nature of the material at his disposal; and this in Babylonia was almost exclusively in the form of tiles of clay, either dried in the sun, or baked in the fire. The former, which were made most skilfully in Babylonia, were generally used for foundations, either by simply placing them in layers, or cementing them with wet clay or pitch, or, as in the substructures of the Assyrian palaces, by using them while still in a moist condition, in order that under the pressure of the superstructure they might be united in one solid mass. For the covering of the walls, baked tiles were used. Enamelled or glazed bricks were used in those parts of the building which were most exposed to moisture or the changes of the weather. In Assyria where stone was not expensive this was also used as the outer coating of walls. This, however, is the only important variation which the Assyrian architects allowed themselves. Although it would have been easier for them to erect more beautiful, more pleasing, and certainly more durable buildings of stone, they were not able to rise to the attempt, although they had only to carry out and use in larger measure what had already been found in Chaldea. A short step was indeed taken in this direction.

The Babylonians already knew how to make wooden pillars or columns, probably covered with metal, and made use of them in lighter architecture, as for instance the _Naos_, or canopy over the figures of the gods. The Assyrians not only copied this, but built columns of stone, and a certain originality and gracefulness in the capitals and bases of their pillars is not to be denied. However, the column never played the same important rôle in their architecture as it does, for instance, in the Græco-Roman and even in the Egyptian. In their great buildings they clung almost servilely to the designs handed down during centuries. The question as to whether the buildings had more than one story, was formerly almost generally admitted as a fact, but it is generally denied now, and can really hardly be determined. The ruins give no positive support to either theory; but a few reliefs give representations of two-storied buildings.

Tile construction presents necessarily a certain monotony which is here accentuated by the absence of windows. To relieve this monotony, glazing, colouring, or woodwork were resorted to, in case the use of columns was excluded; sometimes more artistic measures were used, such as projecting pilasters, which in Chaldea were somewhat crude, but richly ornamented in Assyria; also mosaics of conical form, or decorations of vases on the walls. The upper stones of the walls were decorated with battlements. The inner, as well as the outer walls, had a stone covering up to a certain height, and higher up a polychromatic layer of stucco. Ivory, and particularly bronze decorations, were much employed. In spite of all this, the impression given by Babylonian and Assyrian buildings is one of massiveness, almost clumsiness, and the decorations seem childish, paltry, and commonplace. Hence also the disproportion of length and breadth, in other words the elongated form of the rooms, whose roof not being supported by columns, had to rest on the side walls, and whose breadth depended on the length of the roof beams.

On the other hand, the almost exclusive use of tiles had this advantageous result, that it was almost imperative to make prodigal use of arch and vault construction. That the Chaldaic architects were the inventors of these constructions, with which the Etruscans were formerly erroneously credited, cannot be positively affirmed, for they are also found in Egypt, although seldom made use of there. Without doubt, however, the Babylonians and Assyrians developed them greatly and knew how to make use of them with great skill. From the false arch, which is formed by allowing each succeeding layer of stone to project over the foregoing one, to the finished arch, all kinds are represented by them. Not only were all underground canals and sewers, vaults of masonry, but all gateways ended in arches, and even the ceilings of some apartments, particularly those in the part of the palaces which seems to have been the harem were wholly or partially vaulted.

The Babylonians and Assyrians have built extensively many and great cities enclosed within mighty walls, extended palaces and peculiar temples. They cannot be enumerated here or even described in general terms.

A few important points, however, may be touched upon. In the first place it must be noticed that, while in Egypt the monumental buildings were tombs and temples, in Babylon and Asshur they were mainly palaces. Although no pains nor expense were spared in the erection of the temples, they were smaller than the palaces, of which they were in some cases certainly annexes.

The tombs were constructed with great care, in order to guard against the rapid decay of the corpses, yet the inhabitants of Mesopotamia never reached the same degree of perfection in the embalming of bodies as the Egyptians: they were also fitted out with everything that, according to their faith, was necessary for the dead, but they were piled upon each other, and thus excluded from view. Art was not expended upon them; on the other hand, however, all known means of art were used to decorate the residences of the kings and the earthly habitations of the gods in the most splendid and sumptuous manner. Their size increased continually. The early Chaldaic palace discovered at Telloh, had an area of only 53 meters long by 31 broad; the so-called Wasevas at Warka (Erech) was 200 meters long by 150 broad; the palace of Sargon II at Dur-Sharrukin covered an area of about 10 hectares, and contained 30 open courts and more than 200 apartments. Under the Sargonids the rooms also became larger. One in the palace of Sennacherib was almost as long as the entire palace at Telloh, _i.e._, 46 meters long by 12 wide. Another in the palace of Esarhaddon, which was intended to be 15 meters by 12 meters, remained unfinished, probably on account of the difficulty of construction. The palace of Asshurbanapal was of somewhat smaller, though still magnificent proportions. The great palace of Nebuchadrezzar II, consisting of the old palace of his father and a new one constructed by him and joined to the old, has not yet been sufficiently explored, but according to the descriptions, must have surpassed in splendour, if not in size, all those of his predecessors. All palaces were constructed on the same plan, and contained separate living apartments for the king and his court, for his wives, for the lower court officials, and, as it appears, also a temple with various sanctuaries and a tower.

Too little is as yet known of the Babylonian-Assyrian temples to judge with any certainty of their style of architecture. Here and there, remains of temples have been found, but it has not yet been proved that the buildings designated as temples were really devoted to religious purposes. Most of the temples seem to have been small, at any rate not intended for large assemblages. The altar stood outside and consequently the religious services must usually have taken place there.

Every large town had many temples but always only one Ziggurat. This constituted only one part of the principal temple, albeit the most prominent one. There were various kinds of such towers, of three or more, sometimes seven stories, which were attainable by a single inclined plane encircling the whole building, or a double one rising on two sides of it. The ground plan was a perfect square in some, in others a parallelogram; all rested, however, on a massive substructure, and seem to have been crowned with a small sanctuary.

Although these principal temples, including the Ziggurat, were not of equal extent with the royal palaces, they were nevertheless imposing buildings, and the towers in particular were erected with much care and at great expense. It would be wrong to conclude from this ratio of temples and palaces that the Assyrians were less religious and more servile than the Egyptians, who, entirely dominated as they were by the dogma of immortality, lavished more care on the tombs of the dead kings than on the habitations of the living ones. The valuable decorations and sculptures which the Assyrians and Babylonians gave to their gods prove their pious tendency. In reality the whole palace was a sacred edifice in which the representative of the deity lived on earth with and beside his god.

The aid which architecture received from other arts has already been briefly mentioned. There are still a few particulars to be noticed in regard to this point. The Assyrians as well as the Babylonians were skilful workers in bronze. Proofs of this are the bronze door-sill 1½ meters long, found at Borsippa, whose decorations of rosettes and squares are in very good taste, and particularly the bronze gates at Balawat, belonging to the 9th century B.C., which are masterpieces of their kind, and a great number of other remains.