Mesopotamian Archaeology: An introduction to the archaeology of Mesopotamia and AssyriaHandcock, Percy S. P. (Percy Stuart Peache)
History
Mesopotamian Archaeology: An introduction to the archaeology of Mesopotamia and Assyria
Handcock, Percy S. P. (Percy Stuart Peache)
Iraq -- Antiquities
Many other weapons, implements, dishes, bowls and rings of bronze were
discovered at Nineveh, Nimrûd and elsewhere. In Plate XXVIII, we have a
bronze ox-hoof, which apparently formed the leg of a throne,—and two
other bronze fittings of a throne. Below are two of the bronze
lion-weights from Nimrûd. Many of these weights are inscribed in
cuneiform with the names of the kings in whose reigns they were made,
e.g. Tiglath-Pileser, Shalmaneser IV and Sennacherib, the amounts they
weighed being inscribed in Phœnician. They were possibly made by
Phœnician immigrants. The specific gravity required in the case of each
weight was normally arrived at by chiselling pieces off the base, but in
one case, the gravity had to be increased and not diminished, and this
was effected by filling the hollow body of the lion with lead, until it
weighed the necessary amount. Immediately above the head of the larger
of the two lions here represented, we see the bronze head of a
Babylonian demon.
Assyrian bronze generally contains one part of tin to ten of copper, but
in the case of the bronze bells found by Layard at Nimrûd (one of which
is reproduced in Plate XXVIII), it was found by analysis that the
percentage of tin was about fourteen. This was doubtless to make their
ring more resonant. The bells in question vary in size, the largest
being about three and a quarter inches in height and two and a quarter
in diameter,[113] while the smallest is one and three-quarter inches
high and one and a quarter inches in diameter. The clappers of these
bells are made of iron.
But the bronze dishes from Nimrûd show the Assyrian metal-engravers’
work perhaps at its highest, and offer more material for the study of
that branch of Assyrian metallurgy than any other class of objects. The
general style of decoration to which they conform is that determined by
concentric circles cutting up the upper surface of the dish into so many
registers, though sometimes nearly the whole of the field is occupied
with one scene. The figures portrayed frequently exhibit a very strong
Egyptian influence, and are sometimes entirely Egyptian in design.
Public-domain text, read in full here on John Shaqi.
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