A history of art in Chaldæa & Assyria, Vol. 1 (of 2)Perrot, Georges
History
A history of art in Chaldæa & Assyria, Vol. 1 (of 2)
Perrot, Georges
Art -- Assyria -- History; Art -- Iraq -- Babylonia; Assyria -- Antiquities; Babylonia -- Antiquities
The varied arrangements of the portico suggested the _hypostyle hall_, with
all the picturesque developments it has undergone at the hands of the
Egyptians, the Greeks, the Romans, and the people of modern Europe. In
their ignorance of the pier and column, the Chaldaeans were unable to give
their buildings those spacious galleries and chambers which delight the eye
while they diminish the actual mass of a building. Their towers were
artificial mountains, almost as solid and massive from base to summit as
the natural hills from which their lines were taken.[153] A few small
apartments were contrived within them, near their outer edges, that might
fairly be compared to caves hollowed in the face of a cliff. The weight
upon the lower stories and the substructure was therefore enormous, even to
the point of threatening destruction by sheer pulverisation. The whole
interior was composed of crude brick, and if, as is generally supposed,
those bricks were put in place before the process of desiccation was
complete, the shrinkage resulting from its continuance must have had a bad
effect upon the structure as a whole, especially as the position of the
courses and the more or less favourable aspects of the different external
faces must have caused a certain inequality in the rate at which that
operation went on. The resistance would not be the same at all points, and
settlements would occur by which the equilibrium of the upper stages might
be compromised and the destruction of the whole building prepared.
Public-domain text, read in full here on John Shaqi.
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