Graham's Magazine, Vol. XLI, No. 6, December 1852. Various

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        To my realms of life,

      Where with joy transcendent

        All the scenes are rife,

      In that glorious dream-land,

        On that magic sea,

      It were nearer heaven

        Were I but with thee!

      SONNET. – IRON

      NINEVEH, AND ASSYRIAN ART

      Among the recent developments of the remains of ancient art, by far the most important and interesting are those of Mr. Layard at the site of Nineveh, a full account of which is given in the volumes recently published by George P. Putnam, of New York, entitled “Nineveh and its Remains; with an account of a visit to the Chaldean Christians of Kurdiston, and the Yezidis, or Devil-Worshipers; and an inquiry into the Manners and Arts of the Ancient Assyrians.”

      Mr. Layard’s work contains an account of the labors carried on by him at Nimroud, from November 1845 until April 1847; and also of the less extensive excavations which he caused to be made at Kalah Sherghat and Kouyunjik. The narrative has all the liveliness and glow of a romance; the incidents are highly characteristic of oriental life; and many of them are of tragic and thrilling interest. His account of the difficulties which he had to overcome with the Arabs, Turks and Chaldeans, in securing their aid toward the accomplishment of his grand design, is very curious, and evinces a wonderful amount of coolness, ability and tact. Not less remarkable are the energy and perseverence which he exerted in conducting his noble enterprise to a successful termination.

      Toward the close of his book, Mr. Layard gives a summary of the result of his investigations and of their bearing on the history of the Assyrians. They add an immense amount of information, to that which was already in possession of the learned world, respecting the progress of art and civilization among this ancient people and dissipate many errors. The discovery of the arch, of glass, and of the pulley, among the mines, evince the high antiquity of these inventions, which have been supposed to be of comparatively modern origin; and the very remarkable fact that the most ancient among the Assyrian works of art are by far the best executed, lead to the conviction that there is an unwritten ancient history of far greater extent and interest than that which has been preserved. All that portion of history which relates to the origin and rise of Assyrian art of course remains unknown. This is probably the case, too, with reference to Babylon and the other ancient empires of Asia.

      We proceed to give some extracts from Mr. Layard’s work, which, by the courtesy of the publisher, we are permitted to illustrate with engravings. We commence where he records some of his earliest operations at the great mound of Nimroud:

      “No sculptures had hitherto been discovered in a perfect state of preservation, and only one or two could bear removal. I determined, therefore, to abandon this corner, and to resume excavations near the chamber first opened, where the slabs had in no way been injured. The workmen were directed to dig behind the small lions, which appeared to form an entrance, and to be connected with other walls. After removing much earth, a few unsculptured slabs were discovered, fallen from their places, and broken in many pieces. The sides of the room of which they had originally formed a part could not be traced.

      “As these ruins occurred on the edge of the mound, it was probable that they had been more exposed than the rest, and consequently had sustained more injury than other parts of the building. As there was a ravine running far into the mound, apparently formed by the winter rains, I determined to open a trench in the centre of it. In two days the workmen reached the top of a slab, which appeared to be both well preserved, and to be still standing in its original position. On the south side I discovered, to my great satisfaction, two human figures, considerably above the natural size, sculptured in low relief, and still exhibiting all the freshness of a recent work. This was No. 30 of chamber B in the third plan. In a few hours the earth and rubbish had been completely removed from the face of the slab, no part of which had been injured. The ornaments delicately graven on the robes, the tassels and fringes, the bracelets and armlets, the elaborate curls of the hair and beard, were all entire. The figures were back to back, and furnished with wings. They appeared to represent divinities, presiding over the seasons, or over particular religious ceremonies. The one, whose face was turned to the East, carried a fallow deer on his right arm, and in his left hand a branch bearing five flowers. Around his temples was a fillet, adorned in front with a rosette. The other held a square vessel, or basket, in the left hand, and an object resembling a fir cone in the right. On his head he wore a rounded cap, at the base of which was a horn. The garments of both, consisting of a stole falling from the shoulders to the ankles, and a short tunic underneath, descending to the knee, were richly and tastefully decorated with embroideries and fringes, whilst the hair and beard were arranged with study and art. Although the relief was lower, yet the outline was perhaps more careful, and true, than that of the Assyrian sculptures of Khorsabad. The limbs were delineated with peculiar accuracy, and the muscles and bones faithfully, though somewhat too strongly, marked. An inscription ran across the sculpture.

      “To the west of this slab, and fitting to it, was a corner-stone ornamented with flowers and scrollwork, tastefully arranged, and resembling in detail those graven on the injured tablet, near entrance d of the S. W. building. I recognized at once from whence many of the sculptures, employed in the construction of that edifice, had been brought; and it was evident that I had at length discovered the earliest palace of Nimroud.

      “The corner-stone led me to a figure of singular form. A human body, clothed in robes similar to those of the winged men on the previous slab, was surmounted by the head of an eagle or of a vulture. The curved beak, of considerable length, was half open, and displayed a narrow, pointed tongue, which was still covered with red paint. On the shoulders fell the usual curled and bushy hair of the Assyrian mages, and a comb of feathers rose on the top of the head. Two wings sprang from the back, and in either hand was the square vessel and fir cone.

      “On all these figures paint could be faintly distinguished, particularly on the hair, beard, eyes, and sandals. The slabs on which they were sculptured had sustained no injury, and could be without difficulty packed and moved to any distance. There could no longer be any doubt that they formed part of a chamber, and that, to explore it completely, I had only to continue along the wall, now partly uncovered.

      “On the morning following these discoveries, I rode to the encampment of Sheikh Abd-ur-rahman, and was returning to the mound, when I saw two Arabs of his tribe urging their mares to the top of their speed. On approaching me they stopped. ‘Hasten, O Bey,’ exclaimed one of them – ‘hasten to the diggers, for they have found Nimrod himself. Wallah, it is wonderful, but it is true! СКАЧАТЬ