A history of art in Chaldæa & Assyria, Vol. 2 (of 2)Perrot, Georges
History
A history of art in Chaldæa & Assyria, Vol. 2 (of 2)
Perrot, Georges
Art -- Assyria -- History; Art -- Iraq -- Babylonia; Assyria -- Antiquities; Babylonia -- Antiquities
When Chaldæan civilization became sufficiently advanced for writing to
be in widespread use and for every man to provide himself with his own
personal seal, no great search for convenient materials was necessary.
The rounded pebbles of the river beds gave all that was wanted. The
instinct for personal adornment is one of the earliest felt by mankind,
and just as the children of to-day search in the shingle of a beach for
stones more attractive than the rest, either by their bright colours,
or vivid markings or transparency of paste, so also did the fathers of
civilization. And when they had found such stones they drilled holes
through them and made them into earrings, necklaces and bracelets.
More than one set of pebble ornaments has been preserved for us in the
Chaldæan tombs. In many instances forms sketched out by the accidents
of nature have been carried to completion by the hand of man (Fig.
129). They were not long contented with thus turning a pebble into a
jewel. The fancy took them to engrave designs or figures upon them so
as to give a peculiar value to the single stone or to sets strung into
a necklace, which thus became a kind of amulet (Fig. 130).
In the first instance this engraving was nothing more than an ornament.
But one day it occurred to some possessor of such a stone to take an
impression upon plastic clay. Those who saw the image thus obtained
were struck by its precision, and were soon led to make use of it for
authenticating acts and transactions of every kind. The presence of
such an impression upon a document would perpetuate the memory of the
man who put it there, and would be equivalent to what we call a sign
manual.
But even when it developed into a seal the engraved stone did not lose
its talismanic value. In order to preserve its quasi-magic character,
nothing more was required than the presence of a god among the figures
engraved upon it. By carrying upon his person the image of the deity in
which he placed his confidence, the Chaldæan covered himself with his
protection as with a shield, and something of the same virtue passed
into the impressions which the seal could produce in such infinite
numbers.
[Illustration: FIG. 129.--River pebble which has formed
part of a necklace.]
[Illustration: FIG. 130.--River pebble engraved; from De
Gobineau.]
No subject occurs more often on the cylinders than the celestial gods
triumphing over demons. Such an image when impressed upon the soft
clay would preserve sealed-up treasures from attempts inspired by the
infernal powers, and would interest the gods in the maintenance of any
contract to which it might be appended.[295]
To all this we must add that superstitions, of which traces subsist in
the East to this day, ascribed magic power to certain stones. Hematite,
for instance, as its name suggests, was supposed to stop bleeding,
while even the Greeks believed that a carnelian gave courage to any one
who wore it on his finger.
Public-domain text, read in full here on John Shaqi.
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