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
[Illustration: FIG. 20.--Chaldaean Cylinder.]
[Illustration: FIG. 21.--Chaldaean Cylinder; from the British Museum.[121]]
Assyrian society was different in many respects from that of Chaldaea. The
same gods, no doubt, were adored in both countries, and their worship
involved a highly-placed priesthood; but at Nineveh the royal power rested
on the army, and the initiative and independence of the sovereign were
much greater than in the case of Babylon. Assyria was a military monarchy
in the fullest sense of the word. Almost as often as the spring came round
the king led his invincible legions to the conquest of new subjects for
Assur. He traversed deserts, crossed trackless mountain chains, and plunged
into forests full of hidden dangers. He destroyed the walls and towers of
hostile cities, in spite of the rain of arrows, stones, and boiling pitch
that poured upon himself and his hosts; he was at once the skilful captain
and the valiant soldier, he planned the attack and never spared himself in
the _melee_. First in danger, he was the first in honour. In person he
implored the good will of the god for whom he braved so many dangers, in
person he thanked him for success and presented to him the spoils of the
conquered enemy. If he was not deified, like the Pharaohs, either alive or
after his death, he was the vicar of Assur upon earth, the interpreter of
his decrees and their executor, his lieutenant and pontif, and the
recipient of his confidences.[122]
There was no room by the side of this armed high priest for a sacerdotal
caste at all equal to him in prestige. The power and glory of the king grew
with every successive victory, and in the vast empire of the Sargonids, the
highest places were filled by men whom the monarch associated with himself
in the never-ending work of conquest and repression. First of all came a
kind of grand vizier, the _Tartan_, or commander-in-chief of the royal
armies. This is the personage we so often find in the bas-reliefs facing
the king and standing in an attitude at once dignified and respectful (see
Fig. 22). Next came the great officers of the palace, the _ministers_ as we
should call them in modern parlance, and the governors of conquered
provinces. Eunuchs were charged with the supervision of the harem and, as
in the modern East, occupied high places at court. They may be recognized
in the bas-reliefs, where they are grouped about the king, by their round,
beardless faces (see Figs. 23 and 24). The _Kislar-Aga_ is, in the
Constantinople of to-day what more than one of these personages must have
been in Nineveh. Read the account given by Plutarch, on the authority of
Ctesias, of the murderous and perfidious intrigues that stained the palace
of Susa in the time of Artaxerxes-Mnemon. You will then have some idea of
the part, at once obscure and preponderant, that the more
intelligent among these miserable creatures were able to play in the
households of the great conquerors and unwearied hunters by whom the
Public-domain text, read in full here on John Shaqi.
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