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Excerpt from The Ninevah Court in the Crystal Palace This entire disappearance of Nineveh, whilst the other great capitals of the ancient world had left some visible traces of their principal monuments, by which their site could be determined, is chiefly to be attributed to the materials of which it was constructed. The Assyrians did not, like the Egyptians, Greeks, and Romans, build their palaces and temples either of granite, precious marbles, or durable stone, but even their public edifices, as well as their humblest habitations, were of bricks made of clay mixed with chopmd straw, and merely dried in the sun. Without the chopped straw the clay would not have been bound together, or have had sufficient consistency for use hence the meaning of the passage in the book of Exodus (chap. V. Which describes the hardships of the Jews when the Egyptians refused to supply them with straw to make their bricks. Other materials, such as marble, alabaster, stone, and kiln-burnt bricks, generally painted or glazed, were used by the Assyrians in their principal edifices, but to a com putatively limited extent, and only by way of ornament. Hence, when the buildings were once deserted, the upper walls and stories soon fell in and buried the lower. The bricks of clay became earth again, and the ruins would assume the appearance of more natural heaps and mounds rising in the plain, upon which the grass grew and corn might be sown. And such have been the ruins of Nineveh for more than two thousand years. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This lavishly illustrated volume contains more than 65 chapters by international specialists, providing a detailed and thorough study of the Ancient city of Nineveh, the once-flourishing capital of the Assyrian Empire in present-day Iraq.
Geoffrey Turner's definitive study of the mid-19th century excavations by the British Museum at the Assyrian site of Nineveh documents the complete history of these excavations and provides detailed reconstructions of the architecture and sculpture in the palace of Sennacherib.
Influence from Mesopotamia on adjacent civilizations has often been proposed on the basis of scattered similarities. For the first time a wide-ranging assessment from 3000 BC to the Middle Ages investigates how similarities arose in Egypt, Palestine, Anatolia, and Greece. The development of writing for accountancy, astronomy, devination, and belles lettres emanated from Mesopotamians who took their academic traditions into countries beyond their political control. Each country soon transformed what it received into its own, individual culture. When cuneiform writing disappeared, Babylonian cults and literature, now in Aramaic and Greek, flourished during the Roman Empire. The Manichaeans adapted the old traditions which then perished under persecution, but traces persist in Hermetic works, court narratives and romances, and in the Arabian Nights. When ancient Mesopotamia was rediscovered in the last century, British scholars were at the forefront of international research. Public excitement has been reflected in pictures and poems, films and fashion.
The present boom in popular history is not unprecedented. The contributions to this volume investigate peaks of historical interest which favour popular approaches from around 1800 to the present. They analyse the media, genres and institutions through which historical knowledge has been disseminated - from artefacts to the archive, from poetry to photography, from music to murals, and from periodicals to popular TV series. They ask how major traditions in the popular imagery of the past have evolved and changed over time. Cultural contexts covered in the book include Western and Southern Europe, the United States and West Africa. Contributors come from a range of disciplines, including history, literary and cultural studies, musicology as well as social and cultural anthropology.
Tallis' book, published in 1852, gives a vibrant account of the Great Exhibition, a key event of the Victorian period.