Titel: First English reading book: Engelsch leesboek voor instituten, gymnasiën en hoogere burgerscholen: met Nederlandsche woordenlijst
Auteur: Herrig, Ludwig
Uitgave: Arnhem: J. Voltelen, 1869 *
Auteursrechten: Zie auteursrechten
Citeerinstructie: Bijzondere Collecties van de Universiteit van Amsterdam, UBM: IWO 513 H 21
Onderwerp: Taal- en letterkunde naar afzonderlijke talen: Engelse taalkunde
Trefwoord: Leesvaardigheid, Engels, Leermiddelen (vorm)
* jaar van uitgave niet op de gebruikelijke wijze verkregen, mogelijk betreft het een schatting
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over Europe. He found that the excava-
tions had been carried on as at Nimroud;
that the general plan of the building cor-
responded, only the passages were more
narrow, and the chambers inferior in size;
that the sculptured slabs exceeded in height,
and that the relief of the larger figures had
a bolder and more impressive character. It
appears that, since the time M. IJotta had
left the interesting spot, the sides of the
trenches had fallen in, and filled up the
greater part of the chambers; that the in-
fluence of external agencies had become vi-
sible in the perishing sculptures; and that
shortly nothing could be left of this re-
markable monument. At the foot of the
mound lay the ruins of a sacred shrine —
a tripod or altar — corresponding to that
now in the Louvre. In fact, the rehgious
idea seems to have been embodied by the
Assyrians in all their works of art. It comes
out in the representations of their sieges,
battles, conquests, festivals, sports, and so-
cial customs. We may, therefore, suppose
that they were an eminently religious
people, though their religion took on the
character of superstition and idolatry. Sa-
cred rites were connected with all which
they did or achieved.
The upper part of the slab in M. Botta's col-
lection shows you four soldiers, perhaps tri-
bxitaries or prisoners, leading some beautiful
and spirited horses. The one at the head of
the procession has a long beard, and his
dress consists of a short tunic fastened by
a girdle, from which hangs a sort of little
pocket or sachel; his shoulders are covered
with a lion's skin; his legs are enveloped
in spatter-dashes, laced in the front, and
his feet in a kind of curved clog. He holds
in his left hand a model of a town, with
its walls indented. Rather, is it not a mu-
ral crown, or some symbol corresponding
with the modern usage of carrying the keys
of a place to the besieger? With his right
hand he makes a motion or gesture in
token of his submission. The other three
are attired in the sanse manner, only the
last has a leopard's skin falling from his
shoulders. He assumes the same attitude
as the first, and also carries in his hand
the model of a town, or symbol of surren-
der. The plume which surmounts the heads
of the horses, the four rows of tassels with
which their chest is ornamented, the bridles,
and the handle of the lances, are all of a
rouge or red colour. Beneath the rehefis
an inscription in the cuneiform character,
which is believed to be nothing more than
the name of Medea, with the loyal legend:
— 'Sargon, the great king — the king all-
powerful — the king of kings of the coun-
try of Asshur.'
The lower division of the design repre-
sents a priest in basalt. In addition to his
long beard, his hair is curled, and flows in
ringlets. The short tunic with which he
is invested is ornamented with lace and tas-
sels, and concealed in part under a stola,
or sort of trailing or sweeping robe, which
passes under the left shoulder, crosses the
chest in a diagonal form, leaving the right
shoulder uncovered, and opens in the front.
The feet are fitted with sandals. His right
hand is uplifted in token of invocation, and
from his left hand hangs a branch of pop-
py with three capsules. Before him is a
plant which resembles a kind of agave.
From the stalk there come out several
branches in flower, and the root is adorned
with large leaves, which turn over and pre-
sent the appearance of a fleur-de-lis. It is
a beautiful specimen of art, and shows how
impressively the idea of the mind can be
conveyed to inanimate matter, and that mat-
ter become a testimony to the latest ages
of the truth of history.
Subsequent to the arrival of Mr. Layard's
collection in England, the British Museum
obtained a grant of money to carry on the
researches which had been commenced at
Nimroud and elsewhere. The grant was
wholly inadequate to the magnitude of the
undertaking. But that the nation might
possess as extensive and complete a collec-
tion of Assyrian antiquities as it was pos-
sible to collect, our disinterested country-
man accepted the charge of superintending
the excavations. Having made aU neces-
sary preparations, he resumed his labours
at Nimroud. Sculptures of the highest in-
terest came into view. One represented
the king, with his warriors, engaged in
battle under the walls of a hostile castle,
with the emblem of the supreme divinity
hovering over the head of the monarch.
Another exhibited the triumphal procession,
with the castle and pavilion of the victori-
ous king. In a third, the eagles hovered
above the victims, and were feeding on the
slain. The horses, for which Assyria was
celebrated, were of the noblest breed, while
their harness and trappings were remark-
able for their richness and their elegance,
their graceful plumes and fanciful crests,
ornamented with long ribands or streamers,
as may be inferred from the bas-relief, in
which a man is seen leading four of these
noble animals. In a fourth slab, the king
was in the act of receiving prisoners, and
then crossing the river with his army.