DOI Page / Citation link:
https://doi.org/10.11588/diglit.5253#0117
PORTAL RELIEFS FROM NIMROUD.
85
For this work at Nimroud, large, thin slabs were placed upright against the
walls, first having been inscribed on the back with the name, title, and descent
of the king Assur-nazir-pal. Iron, copper, and sometimes wooden clamps, held
the slabs together; and, after they were securely in place, the sculptor com-
menced his work. In one of the buildings at Ximroud, two slabs were found
in place, although unsculptured.
What principle guided the sculptor in the distribution of his subjects in the
older palaces of Nimroud, we do not know. At the entrance to one of the
small buildings, a composition unique in Assyrian sculpture, but calling to mind
Fig. 43. Portal Lion from Nimroud. British Museum.
scenes on Babylonian cylinders, was repeated on each side of the doorway.
One of these groups is now in the British Museum (Fig. 44), and represents a
colossal bearded being, having four outspread wings, and wearing the horned
cap. He pursues a terrible monster, and brandishes forked lightnings, held in
either hand. The monster, part lion, and part bird of prey with terrible talons,
turns and yawns fiercely on his pursuer, making up a most spirited composition
for a religions scene. Near these groups the large form of the fish-god was
also discovered, but, like the former, points for its origin back to a mythical
genius older than Assyrian art.
In the greater part of these older Nimroud reliefs, the living monarch,
Assur-nazir-pal himself, is the centre of thought and action, always distin-
guished by his more elaborate dress, and pointed tiara bound around with rich
85
For this work at Nimroud, large, thin slabs were placed upright against the
walls, first having been inscribed on the back with the name, title, and descent
of the king Assur-nazir-pal. Iron, copper, and sometimes wooden clamps, held
the slabs together; and, after they were securely in place, the sculptor com-
menced his work. In one of the buildings at Ximroud, two slabs were found
in place, although unsculptured.
What principle guided the sculptor in the distribution of his subjects in the
older palaces of Nimroud, we do not know. At the entrance to one of the
small buildings, a composition unique in Assyrian sculpture, but calling to mind
Fig. 43. Portal Lion from Nimroud. British Museum.
scenes on Babylonian cylinders, was repeated on each side of the doorway.
One of these groups is now in the British Museum (Fig. 44), and represents a
colossal bearded being, having four outspread wings, and wearing the horned
cap. He pursues a terrible monster, and brandishes forked lightnings, held in
either hand. The monster, part lion, and part bird of prey with terrible talons,
turns and yawns fiercely on his pursuer, making up a most spirited composition
for a religions scene. Near these groups the large form of the fish-god was
also discovered, but, like the former, points for its origin back to a mythical
genius older than Assyrian art.
In the greater part of these older Nimroud reliefs, the living monarch,
Assur-nazir-pal himself, is the centre of thought and action, always distin-
guished by his more elaborate dress, and pointed tiara bound around with rich