The Seven Great Monarchies Of The Ancient Eastern World, Vol 2. (of 7): Assyria eBook

George Rawlinson
This eBook from the Gutenberg Project consists of approximately 577 pages of information about The Seven Great Monarchies Of The Ancient Eastern World, Vol 2. (of 7).

The Seven Great Monarchies Of The Ancient Eastern World, Vol 2. (of 7): Assyria eBook

George Rawlinson
This eBook from the Gutenberg Project consists of approximately 577 pages of information about The Seven Great Monarchies Of The Ancient Eastern World, Vol 2. (of 7).
For the present it may suffice to draw attention to the spirit of the two falling asses in the illustration [PLATE LXIX., Fig. 3], and of the crouching lion in the illustration [PLATE LXIX., Fig. 2]; to the lifelike force of both ass and hounds in the representation [PLATE LXX., Fig. 1], and here particularly to the bold drawing of one of the dogs’ heads in full, instead of in profile—­a novelty now first occurring in the bas-reliefs.  As instances of still bolder attempts at unusual attitudes, and at the same time of a certain amount of foreshortening, two further illustrations are appended.  The sorely wounded lion in the first [PLATE LXX., Fig. 2] turns his head piteously towards the cruel shaft, while he totters to his fall, his limbs failing him, and his eyes beginning to close.  The more slightly stricken king of beasts in the second [PLATE LXXI.], urged to fury by the smart of his wound, rushes at the chariot whence the shaft was sped, and in his mad agony springs upon a wheel, clutches it with his two fore-paws, and frantically grinds it between his teeth.  Assyrian art, so far as is yet known, has no finer specimen of animal drawing than this head, which may challenge comparison with anything of the kind that either classic or modern art has produced.

[Illustration:  PLATE 71]

[Illustration:  PLATE 72]

As a specimen at once of animal vigor and of the delicacy and finish of the workmanship in the human forms of the time, a bas-relief of the king receiving the spring of a lion, and shooting an arrow into his mouth, while a second lion advances at a rapid pace a little behind the first, may be adduced. (See [PLATE LXXII.]) The boldness of the composition, which represents the first lion actually in mid-air, is remarkable; the drawing of the brute’s fore-paws, expanded to seize his intended prey, is lifelike and very spirited, while the head is massive and full of vigor.  There is something noble in the calmness of the monarch contrasted with the comparative eagerness of the attendant, who stretches forward with shield and spear to protect has master from destruction, if the arrow fails.  The head of the king is, unfortunately, injured; but the remainder of the figure is perfect and here, in the elaborate ornamentation of the whole dress, we have an example of the careful finish of the time—­a finish, which is so light and delicate that it does not interfere with the general effect, being scarcely visible at a few yards’ distance.

[Illustration:  PLATE 73]

The faults which still remain in this best period of Assyrian art are heaviness and stiffness of outline in the human forms; a want of expression in the faces, and of variety and animation in the attitudes; and an almost complete disregard of perspective.  If the worst of these faults are anywhere overcome, it would seem to be in the land lion-hunt, from which the noble head represented below is taken; and in the river-hunt of the same, beast, found on a slab too

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The Seven Great Monarchies Of The Ancient Eastern World, Vol 2. (of 7): Assyria from Project Gutenberg. Public domain.