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were exposed to constant losses, in the way of donkeys or tent furniture, as the country was infested by petty thieves, who issued from their hiding-places, and wandered to and fro, like jackals, after dark. Nothing was too small or worthless to escape their notice. I was roused almost nightly by shoutings and the discharge of fire-arms, when the whole encampment was thrown into commotion at the disappearance of a copper pot or an old grain sack. I was fortunate enough to escape their depredations. The fears of my Jebours increased with the number of the plundering parties, and at last, when a small Arab settlement, within sight of Nimroud, was attacked by a band of Aneyza horsemen, who murdered several of the inhabitants, and drove away the sheep and cattle, the workmen protested in a body against any further residence in so dangerous a vicinity. I found that it would not be much longer possible to keep them together, and I determined, therefore, to bring the excavations to an end. I therefore commenced covering with earth those parts of the ruins which still remained exposed, according to the instructions I had received from the Trustees of the British Museum. Had the numerous sculptures been left, without any precaution having been taken to preserve them, they would have suffered, not only from the effects of the atmosphere, but from the spears and clubs of the Arabs, who are always ready to knock out the eyes, and to otherwise disfigure, the idols of the unbelievers. The rubbish and earth removed on opening the building, was accordingly brought back in baskets, thrown into the chambers, and heaped over the slabs until the whole was again covered OWer. But before leaving Nimroud and reburying its palaces, I would wish to lead the reader once more through the ruins of the principal edifice, and to convey as distinct an idea as I am able of the excavated halls and chambers. Let us imagine ourselves issuing from my tent near the village in the plain. X

On approaching the mound, not a trace of building can be perceived, except a small mud hut covered with reeds, erected for the accommodation of my Chaldaean workmen. We ascend this artificial hill, but still see no ruins, not a stone protruding from the soil. There is only a broad level platform before us, perhaps covered with a luxuriant crop of barley, or may be yellow and parched, without a blade of vegetation, except a scanty tuft of camel-thorn. Low black heaps, surrounded by brushwood and dried grass, a thin column of smoke rising from the midst of them, are scattered here and there. These are the tents of the Arabs; and a few miserable old women are groping about them, picking up camel's-dung or dry twigs. One or two girls, with firm step and erect carriage, are just reaching the top of the mound, with the water-jar on their shoulders, or a bundle of brushwood on their heads. On all sides of us, issuing from underground, are long lines of wildlooking beings, with dishevelled hair, their limbs only half concealed by a short loose shirt, some jumping and capering, and all hurrying to and fro shouting like madmen. Each one carries a basket, and as he reaches the edge of the mound, or some convenient spot near, empties its contents, raising a cloud of dust. He then returns at the top of his speed, dancing and yelling as before, and flourishing his basket over his head; again he suddenly disappears in the bowels of the earth, from whence he emerged. These are the workmen employed in removing the rubbish from the ruins. We will descend into the principal trench, by a flight of steps rudely cut in the earth, near the western face of the mound. As we approach it, we find a party of Arabs bending on their knees, and intently gazing at something beneath them. Each holds his long spear, tufted with ostrich feathers, in one hand; and in the other the halter of his mare, which stands patiently behind him. The party consists of a Bedouin Sheikh from the desert, and his followers; who, having heard strange reports of the wonders of Nimroud, have made several days' journey to remove their doubts and satisfy their curiosity. He

rises as he hears us approach, and if we wish to escape the embrace of a very dirty stranger we had better at once hurry into the trenches. We descend about twenty feet, and suddenly find ourselves between a pair of colossal lions, winged and human-headed, forming a portal. I have already described my feelings when gazing for the first time on these majestic figures. Those of the reader would probably be the same, particularly if caused by the reflection, that before those wonderful forms Ezekiel, Jonah, and others of the prophets stood, and Sennacherib bowed; that even the patriarch Abraham himself may possibly have looked upon them. In the subterraneous labyrinth which we have reached, all is bustle and confusion. Arabs are running to and fro; some bearing baskets filled with earth, others carrying water-jars to their companions. The Chaldaeans or Tiyari, in their striped dresses and conical felt caps, are digging with picks into the tenacious earth, raising a dense cloud of fine dust at every stroke. The wild strains of Kurdish music may be occasionally heard issuing from some distant part of the ruins, and if they are caught by the parties at work, the Arabs join their voices in chorus, raise the war-cry, and labor with renewed energy. Leaving behind us a small chamber, in which the sculptures are distinguished by a want of finish in the execution, and considerable rudeness in the design of the ornaments, we issue from between the winged lions, and enter the remains of the principal hall. On both sides of us are colossal winged figures: some with the heads of eagles, others entirely human, and carrying mysterious symbols in their hands. To the left is another portal, also formed by winged lions. One of them has, however, fallen across the entrance, and there is just room to creep beneath it. Beyond this portal is a winged figure, and two slabs with bas-reliefs; but they have been so much injured that we can scarcely trace the subject upon them. Further on there are no traces of wall, although a deep trench

has been opened. The opposite side of the hall has also dis

appeared, and we only see a high wall of earth. On examining it attentively, we can detect the marks of masonry; and we soon find that it is a solid structure built of bricks of unbaked clay, now of the same color as the surrounding soil, and scarcely to be distinguished from it. The slabs of alabaster, fallen from their original position, have, however, been raised; and we tread in the midst of a maze of small bas-reliefs, representing chariots, horsemen, battles, and sieges. Perhaps the workmen are about to raise a slab for the first time; and we watch, with eager curiosity, what new event of Assyrian history, or what unknown custom or religious ceremony, may be illustrated by the sculpture beneath. Having walked about one hundred feet amongst these scattered monuments of ancient history and art, we reach another door-way, formed by colossal winged bulls in yellow limestone. One is still entire ; but its companion has fallen, and is broken into several pieces—the great human head is at our feet. We pass on without turning into the part of the building to which this portal leads. Beyond it we see another winged figure, holding a graceful flower in its hand, and apparently presenting it as an offering to the winged bull. Adjoining this sculpture we find a perfect series of highly-finished basreliefs. There is the king, slaying the lion and wild bull, engaged in battles and in sieges, and receiving as captives the chiefs of the conquered people. We have now reached the end of the hall, and find before us an elaborate and beautiful sculpture, representing two kings, standing beneath the emblem of the supreme deity, and attended by winged figures. Between them is the sacred tree. In front of this bas-relief is the great stone platform, upon which, in days of old, may have been placed the throne of the Assyrian monarch, when he received his captive enemies, or his courtiers. As we gaze upon these singular sculptures the description of Ezekiel is brought vividly to our minds. The prophet, in typifying the corruptions which had crept into the religious system of the Jews, and the idolatrous practices they had borrowed from the strange nations with which they had been brought into contact, thus illustrates the influence of the Assyrians. “She saw men portrayed upon the wall, the images of the Chaldaeans portrayed with vermilion, girded with girdles upon their loins, exceeding in dyed attire upon their heads, all of them princes to look to, after the manner of the Babylonians of Chaldaea, the land of their nativity.” The prophet is prophesying on the banks of the Chebar, or Khabour, in the immediate vicinity of Nineveh, previous to the destruction of the Assyrian capital, an event which he most probably witnessed. He points out the rich and highly ornamented head-dress of the sculptured kings, and evidently alludes to the prevalence of that red color, remains of which are so frequent in the ruins of Nimroud and Khorsabad. Nor can the resemblance between the symbolical figures pictured on the walls and those seen by Ezekiel in his vision fail to strike us. As the prophet had beheld the Assyrian palaces, with their mysterious images and gorgeous decorations, it is highly probable that, when seeking to typify certain divine attributes, and to describe the divine glory, he chose forms that were not only familiar to him, but to the people whom he addressed, captives like himself in the land of Assyria. He chose the four living creatures, with four faces, four wings, and the hands of a man under their wings on the four sides, the faces being those of a man, a lion, an ox, and an eagle, the four creatures continually introduced on the sculptured walls, — and by them was a wheel, the appearance of which “was as a wheel in the middle of a wheel.”f May not this wheel have been the winged circle, or globe, which, hovering above the

* Ch. xxiii. 14, 15. The literal translation of this remarkable passage is “she saw men of sculptured (or painted) workmanship upon the wall, likenesses of the Chaldaeans, pictured (or sculptured) in shashar (red ochre or vermilion); girded with girdles on their loins, with colored flowing headdresses upon their heads, with the aspect of princes all of them, the likeness of the sons of Babel-Chaldaea, the land of their nativity.”

f Ezekiel, i. 16.

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