Part 19 (1/2)
[291] LAYARD, _Nineveh_, vol. i. p. 79.
[292] OTTFRIED MuLLER, _Handbuch der Archaologie der Kunst_, -- 107 and 168 (3rd edition).
[293] _Art in Ancient Egypt_, vol. i. p. 112, and vol. ii. chap. ii. -- 4.
[294] _Ibid._ vol. ii. fig. 44.
-- 6.--_Secondary Forms._
(_Doors, windows, steles, altars, obelisks, mouldings._)
We have been obliged to dwell at length on the arch and the column because those two elements of construction are of the greatest importance to all who wish to gain a true idea of Mesopotamian art and of its influence upon neighbouring peoples and over subsequent developments of architecture. On the other hand we shall have very little to say upon what, in speaking of Egyptian art, we called _secondary forms_.[295]
We have already had occasion to speak of some of these, such as windows and doors. We have explained how the nature of his materials and the heat of the climate led the architect to practically suppress the former, while, on the other hand, he gave extravagant dimensions to the latter. It was to the door that the rooms had mainly to look for the light and air, with which they could not entirely dispense. We have now to give a few details as to the fas.h.i.+on in which these large openings were set in the walls that enframed them. As for salient decorative members--or mouldings, to give them their right name--their list is very short. We shall, however, find them in some variety in a series of little monuments that deserve, perhaps, more attention than they have yet received--we mean altars, steles, and those objects to which the name of _obelisks_ has, with some inaccuracy, been given. Some of these objects have no little grace of their own, and serve to prove that what the Chaldaeans and a.s.syrians lacked was neither taste nor invention, but the encouragement that the possession of a kindly material would have given to their genius.
Doorways seem to have been generally crowned with a brick archivolt; round-headed doors occur oftener than any others on the bas-reliefs, but rectangular examples are not wanting (see Fig. 43). In the latter case the lintel must have been of wood, metal, or stone. Naturally the bronze and timber lintels have disappeared, while in but a single instance have the explorers found one of stone, namely that discovered by George Smith at the entrance to a hall in the palace of Sennacherib (Fig. 95). It consists of a block of richly carved limestone. Its sculptures are now much worn, but their motives and firm execution may still be admired. Two winged dragons, with long necks folded like that of a swan, face each other, the narrow s.p.a.ce between them being occupied by a large two-handled vase. Above these there is a band of carved foliage, the details of which are lost in the shadow cast by a projecting cornice along the top of the lintel.[296] The necklace round the throat of the right-hand dragon should be noticed.
It is surprising that stone lintels are so rare, especially as the corresponding piece, if we may call it so, namely, the sill or threshold, was generally of limestone or alabaster, at least in the more important and more richly-decorated rooms.
[Ill.u.s.tration: FIG. 95.--Decorated lintel, 6 feel long and 10 inches high.
British Museum.]
The exploration of the a.s.syrian palaces has brought three systems of flooring to light--beaten earth, brick pavements, and pavements of limestone slabs.[297] In the palace of Sargon nearly every chamber, except those of the harem, had a floor of beaten earth, like that in a modern fellah's house. Even the halls in which the painted and sculptured decoration was most sumptuous were no exceptions to this rule. There is nothing in this, however, to surprise those who have lived in the East; like the Turks, Arabs, and Persians of our own time, the Chaldaeans and a.s.syrians were shod, except when fighting or hunting, with those _babooshes_ or sandals that are so often figured in the bas-reliefs. These must have been taken off, as they are to-day, before entering a temple, a palace, or a harem. Moses was required to take off his shoes before approaching the burning bush, because the place on which he stood was holy ground. In the houses of their G.o.ds, in those of their kings and rich men, the floor would be covered with those rich carpets and mats that from one end of the East to the other conceal from sight the floors of white wood or beaten earth. In summer the mats are fresh and grateful to the bare feet, in the winter the carpets are soft and warm. The floors themselves are hardly ever seen, so that we need feel no surprise at their being left without ornament. So, too, was it in all probability in the palaces of Sargon and of other kings, and in the sacred buildings.
Elsewhere, however, we find a pavement constructed with the most scrupulous care, and consisting of three distinct parts,--two layers of large bricks with a thick bed of sand interposed between them. The lower course of bricks is set in a bed of bitumen which separates it from the earth and prevents any dampness pa.s.sing either up or down. This system of paving was used in most of the harem chambers at Khorsabad as well as in the open courts and upon the terraces. Lastly, in certain rooms of the seraglio and harem, in a few of the courts, in the vestibules, before the gates of the city, and in paths across wide open s.p.a.ces, a limestone pavement has been found. Wherever this pavement exists, the stones are of the same kind and placed in the same manner. The limestone is exactly similar to that in the retaining walls described on page 147. The stones are often more than three feet square, and from two feet six inches to two feet ten inches thick.
Their shape is not that of a regular solid; it is more like a reversed cone, the base forming the pavement and the narrow end being buried in the ground. These stones are simply placed side by side without the use of mortar or cement of any kind, but their weight and peculiar shape gave a singular durability to the pavement for which they were used.
Most of the sills belong to this cla.s.s. And in a.s.syria where doorways were several yards deep and two or three wide, these sills were in reality the pavements of pa.s.sages or even chambers.[298]
The materials for these pavements were always different from those of the floors on each side of them. In the entrances to the brick-paved courts large stones were used; in the pa.s.sages between rooms floored with beaten earth bricks were introduced. The stone thresholds were mostly alabaster like the sculptured slabs upon the chamber walls. As a rule they were of a single piece, the great extent of surface, sometimes as much as ten or eleven square yards, notwithstanding. In the entries flanked by the winged bulls the sills were carved with inscriptions, which were comparatively rare elsewhere. Sometimes we find a rich and elaborate ornamentation in place of the wedges; it is made up of geometrical forms and conventional foliage and flowers; the figures of men and animals are never introduced.
Such an arrangement was in better taste than the mosaic thresholds of the Romans where men were shown in pictures destined to be trodden under foot.
The a.s.syrian carver doubtless took his designs from the carpets in the adjoining chambers.
[Ill.u.s.tration: FIG. 96.--Sill of a door, from Khorsabad. Louvre. Length 40 inches. Drawn by Bourgoin.[299]]
A good idea of these designs may be formed from the slab figured below. The centre is occupied by a number of interlacing circles, betraying no little skill on the part of the ornamentist. The ”knop and flower” border of alternately closed and shut lotus flowers is separated from the centre by a band of rosettes. The whole is distinguished by thought and a severe taste.
The indented corners, where the pivots of the doors were placed, and the slot for the lower bolt of the door near the centre, should be noticed.
These details prove that in this instance the door was a double one. In other cases the absence of the slot and the presence of only one pivot hole show that single doors were also used.[300] The doors always opened inwards, being folded back either against the sides of the entry itself or against the walls of the chamber.
Many of these sills or thresholds show no sign of a pivot at either corner, whence we may conclude that many of the openings were left without doors, and could only have been closed by those suspended carpets or mats of which such ready use is made in hot countries.
In very magnificent buildings metal thresholds sometimes replaced those of stone or brick. In the British Museum there is a huge bronze sill that was found in a ruined temple at Borsippa, by Mr. Ra.s.sam. Its extreme length is sixty inches, its width twenty, and its thickness about three and a half inches. It bears an inscription of Nebuchadnezzar the arrangement of which proves that the sill when complete had double its present length, or about ten feet. Its upper surface is decorated with large rosettes within square borders. We need hardly say that it is a solid casting, and that its weight is, therefore, by no means trifling. The workmen who put in place and those who cast it must both have thoroughly understood what they were about. Even now, we are told, the latter operation would be attended by some difficulty.[301]
The founders who produced this casting could have no difficulty over the other parts of the door-case, and we have no reason to doubt the statement of Herodotus, who thus ends his account of how the walls of Babylon were built: ”The walls had a hundred gates, all of bronze; their jambs and lintels were of the same material.”[302]
These lintels and jambs must have been, like the Borsippa threshold, of ma.s.sive bronze, or they would soon have been crushed by the weight they had to support. On the other hand, had doors themselves been entirely of that metal it would have been very difficult if not impossible to swing them upon their hinges, especially in the case of city gates like those just referred to. It is probable, then, that they were of timber, covered and concealed by plates of bronze. Herodotus indeed narrates what he saw, like a truthful and intelligent witness, but he was not an archaeologist, and it did not occur to him when he entered the famous city which formed the goal of his travels, to feel the s.h.i.+ning metal and find out how much of it was solid and how much a mere armour for a softer substance behind.
From fragments found at Khorsabad, M. Place had already divined that the a.s.syrians covered the planks of their doors with bronze plates, but all doubts on the point have been removed by a recent discovery, which has proved once for all that art profited in the end by what at first was nothing more than a protection against weather and other causes of deterioration. In 1878 Mr. Hormuzd Ra.s.sam, the fellow traveller of Sir Henry Layard, found in the course of his excavations in a.s.syria for the British Museum, some metallic bands covered with _repousse_ reliefs and bearing the name of Shalmaneser III. (895-825). The site of this discovery was Balawat, an artificial mound about fifteen miles to the east of Mossoul.[303] As soon as these bands had been examined in London by competent archaeologists, they were recognized as having belonged to the leaves of a wooden door, which must have been nearly twenty-seven feet high and about three inches thick. This latter dimension has been deduced from the length of the nails used to keep the bands in place. At one end these bands were bent with the hammer round the pivot to which each half of the door was attached. These pivots, judging from the bronze feet into which they were ”stepped,” were about twelve inches in diameter.