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
It is likely that the Assyrian process was embroidery in its strictest
sense. In the modern bazaars of Turkey and Persia table-covers of
applied work may be bought, in which hundreds of little pieces of
cloth have been used to make up a pattern of many colours; but in the
sculptured embroideries the surfaces are cut up by numerous lines which
could hardly have been produced, in the original, otherwise than by
the needle. This, however, is a minor question. Our attention must be
directed to the composition of the pictures and to the taste which
inspired and regulated their arrangement.
[Illustration: FIG. 253.--Embroidery on the upper part
of the king’s mantle; from Layard.]
[Illustration: FIG. 254.--Embroidery upon a royal
mantle; from Layard.]
[Illustration: FIG. 255.--Embroidered pectoral; from
Layard.]
The principle of the decoration as a whole is almost identical with
that of the bronze platters. A central motive is surrounded by parallel
bands of ornaments in which groups of figures are symmetrically
disposed. Outside this again are narrow borders composed of forms
borrowed chiefly from the vegetable kingdom, such as conventional
flowers and buds, palmettes, and rosettes. The figures are strongly
religious in character; here we find winged genii, like those about the
palace doors, adoring the sacred tree, floating in space, or playing
with lions (see Fig. 253); in another corner the king himself is
introduced, standing between two monitory genii, or in act of homage to
the winged disk and mystic palm.
All these images are skilfully arranged, in compartments bounded by
gracefully curving lines. The designer has understood how to cover
his surface without crowding or confusion, and has shown a power of
invention and a delicate taste that can hardly be surpassed by any
other product of Mesopotamian art. There is no trace of the heaviness
to which we alluded in our section on jewelry.
[Illustration: FIG. 256.--Detail of embroidery; from
Layard.]
[Illustration: FIG. 257.--Detail of embroidery; from
Layard.]
[Illustration: FIG. 258.--Detail of embroidery; from
Layard.]
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