Recent discoveries enable us to call up before the mind Nineveh, that “exceeding great city,” where the arts of life attained their utmost elevation. Passing a ponderous and richly-sculptured gate, we see, at certain distances within the walls, other gates flanked by towers adorned by sculptures, or gigantic figures, as winged bulls or lions. Lofty pyramidal structures arise, which served as watch-towers. Tents, often visible within the walls of Oriental cities, occupy open spaces. Other spaces, without the great public edifices, are covered by private houses, standing in the midst of gardens, and built at a distance from each other, or forming streets, which inclose gardens and even arable land, and stretch out to a vast extent.
Distinguished from all other residences is a palatial edifice: its doorways are formed by gigantic winged lions or bulls, or by figures of guardian deities, and lead into apartments which again open into more distant halls. The pavement of these rooms is of sunburnt bricks, or alabaster slabs, of a color agreeable to the eye; and the ceilings are divided into square compartments, inlaid with ivory, adorned with gold, and richly painted with flowers. The tables, seats, and couches are made of metal and wood, some being inlaid with ivory; the legs of the chairs are tastefully carved, and terminate in the feet of a lion or the hoofs of a bull, made of gold, silver, or bronze.
In the walls of the chambers, as in those of the hall, are alabaster slabs, used as panels, with various scenes depicted upon them, and painted in gorgeous colors. _Here_ appears the colossal figure of a king, in the act of adoring his chief divinity, or of receiving from his eunuch the holy cup; the robes of the sovereign and his attendants being painted with brilliant colors, and adorned with groups of animals, figures and flowers. _There_ is a scene of a different character: the king, attended by his eunuchs and warriors, is entering into alliance with other monarchs, or receiving the homage of his captives. And beneath this range there is still a different spectacle: the siege—the battle—the triumph, are all sculptured by the artist’s hand, and decorated with rich and glowing tints, while under each picture are engraved in characters filled up with bright copper, the descriptions of the various objects that are portrayed.