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Explorations in Bible lands during the 19th century - H. V. Hilprecht

Explorations in Bible lands during the 19th century - H. V. Hilprecht

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DURING 19 CENTURY: ASSYRIA AND BABYLONIA 527<br />

<strong>in</strong> form<strong>in</strong>g entire sentences, <strong>in</strong> translat<strong>in</strong>g from <strong>the</strong> Sumerian<br />

<strong>in</strong>to <strong>the</strong> Semitic dialect of Babylonia and vice versa. His<br />

preparations look pretty much like those of <strong>the</strong> modern<br />

student who excerpts all <strong>the</strong> words unknown to him from<br />

Caesar's "Gallic Wars" or Xenophon's Anabasis for his<br />

work <strong>in</strong> <strong>the</strong> class room.<br />

Special attention was paid to count<strong>in</strong>g and calculat<strong>in</strong>g, as<br />

will be illustrated below by a few examples. Even <strong>in</strong>struction<br />

<strong>in</strong> draw<strong>in</strong>g, and survey<strong>in</strong>g lessons were offered. There<br />

are a few tablets which conta<strong>in</strong> exercises <strong>in</strong> draw<strong>in</strong>g horizontal<br />

and <strong>in</strong>cl<strong>in</strong>ed parallel l<strong>in</strong>es, zigzag l<strong>in</strong>es, l<strong>in</strong>es arranged<br />

<strong>in</strong> squares, lozenge forms, latticework and o<strong>the</strong>r geometrical<br />

figures.<br />

The course <strong>in</strong> art led gradually up to free-hand draw<strong>in</strong>g<br />

from nature, and probably <strong>in</strong>cluded also lessons <strong>in</strong> clay modell<strong>in</strong>g<br />

and <strong>in</strong> glyptics and sculpture (seal cyl<strong>in</strong>ders, bas-reliefs<br />

and statues). Several fragments of unbaked tablets<br />

exhibited portions of animals and trees more or less skilfully<br />

<strong>in</strong>cised <strong>in</strong> clay. One bird was executed very poorly.<br />

A lioness, two harnessed horses and a chariot— <strong>the</strong> latter<br />

two pieces doubtless from <strong>the</strong> upper strata — showed decided<br />

talents on <strong>the</strong> part of those who drew <strong>the</strong>m. Ground plans<br />

of fields, gardens, canals, houses, etc., were found more commonly.<br />

As accord<strong>in</strong>g to my knowledge <strong>the</strong> horse appears <strong>in</strong><br />

Babylonia first<br />

shortly before <strong>the</strong> middle of <strong>the</strong> second millennium,<br />

without hesitation we can fix<br />

<strong>the</strong> date of <strong>the</strong> draw<strong>in</strong>g<br />

of those harnessed horses as be<strong>in</strong>g about a thousand years<br />

later than <strong>the</strong> school exercises previously treated. That art<br />

<strong>in</strong> general was greatly esteemed and cultivated by <strong>the</strong> priests<br />

of Nippur may be <strong>in</strong>ferred from <strong>the</strong> considerable number<br />

of clay figur<strong>in</strong>es, terra-cotta reliefs and even fragments of<br />

sculpture (<strong>the</strong> head of a negro, etc.)<br />

of <strong>the</strong> temple library.<br />

discovered <strong>in</strong> <strong>the</strong> ru<strong>in</strong>s<br />

Apart from several new mythological<br />

representations of <strong>the</strong> earlier time which need a fuller discussion<br />

<strong>in</strong> ano<strong>the</strong>r place, I refer briefly to two f<strong>in</strong>e identical

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