A history of art in Chaldæa & Assyria, Vol. 2 (of 2) — John Shaqi
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
South of the Kasr there is another mound, rising about one
hundred feet above the plain and very irregular in shape. This is
_Tel-Amran-ibn-Ali_, or _Tell-Amran_, (Fig. 183, vol. i.). It
is agreed that this contains all that remains of the hanging gardens,
a conjecture that is confirmed by the numerous tombs dating from the
Seleucid, the Parthian, and the Sassanid periods, which have been
found in its flanks whenever any excavation has been attempted.[38]
Tell-Amram seems to have been a far more popular depository for corpses
than either Babil, the Kasr, or the Birs-Nimroud, a preference which is
easily explained. Whether we believe, with Diodorus, that the gardens
were supported by great stone architraves, or with Strabo, that they
stood upon several stories of vaults, we may understand that in either
case their substructure offered long galleries which, when the gardens
were no longer kept up and the whole building was abandoned to itself,
were readily turned into burial places.[39] The palace and temple
mounds did not offer the same facilities. They were solid, and graves
would have had to be cut in them before a corpse could be buried in
their substance. The Kasr was a ready-made catacomb into which any
number of coffins could be thrust with the smallest expenditure of
trouble.
Excavations in the Kasr and at Tell-Amran might bring many precious
objects to light, but we can hardly think that any room or other
part of a building in such good preservation as many of those in the
Assyrian palaces would be recovered. To the latter, then, we shall
have again to turn to complete our study of the civil architecture of
Mesopotamia.
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