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
Several of these amulets were not without value either for their material
or their workmanship, but the great majority were of the roughest kind,
some being merely shells or stones with a hole through them, which must
have belonged to the poorest class of the community. In many cases their
proper use could be easily divined; the holes with which they were pierced
and other marks of wear showed them to be personal amulets.[409] Those
present at the ceremony of consecrating the foundations must have detached
them from the cords by which they were suspended, and thrown them, upon the
utterance of some propitiatory formula by the priests, into the sand about
to be covered with the first large slabs of alabaster.
The terra-cotta cylinders were in no less frequent use in Assyria than in
Chaldaea. M. Place found no less than fourteen still in place in niches of
the harem walls at Khorsabad. The long inscription they bore contained
circumstantial details of the construction of both town and palace. Like
that on the metal tablets, it ended with a malediction on all who should
dare to raise their hands against the work of Sargon.[410]
As for the cylinders hidden in each angle of a building, none, we believe,
have as yet been found in Assyria; perhaps because no search or an
inefficient search has been made for them.
We have dwelt at some length upon the orientation of buildings, upon the
importance attached to their angle stones, and upon the precautions taken
to place an edifice under the protection of the gods, and to preserve the
name of its founder from oblivion. We can point to no stronger evidence
than that furnished by these proceedings as a whole, of the high
civilization to which the people of Chaldaea and Assyria had attained at a
very early date. The temple and palace did not spread themselves out upon
the soil at the word of a capricious and individual fancy; a constant will
governed the arrangement of its plan, solemn rites inaugurated its
construction and recommended its welfare to the gods. The texts tell us
nothing about the architects, who raised so many noble monuments; we know
neither their names, nor their social condition, but we can divine from
their works that they had strongly established traditions, and that they
could look back upon a solid and careful education for their profession. As
to whether they formed one of those close corporations in which the secrets
of a trade are handed down from generation to generation of their members,
or whether they belonged to the sacerdotal caste, we do not know. We are
inclined to the latter supposition in some degree by the profoundly
religious character of the ceremonies that accompanied the inception of a
building, and by the accounts left by the ancients of those priests whom
they called _the Chaldaeans_. It was to these Chaldaeans that Mesopotamian
society owed all it knew of scientific methods and modes of thought, and
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