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Fig. 32.—The demon of the South-West Wind.
Louvre. Actual size.
Drawn by Saint-Elme Gautier.
Nothing could be clearer than the governing idea of this
conception. The artist has wished to unite in a single being the
highest powers of life and nature—the bull, the lion, the eagle: these
are types of physical force differently applied. Patient and tenacious
in the bull, who drags the plough and transports the heaviest
burdens; violent and impetuous in the lion, while in the king of birds
the formidable strength of beak and talons add to the fear inspired by
his lightning flight. Finally, the head and countenance are those of a
man, the impersonation of intelligent force, of will governed by
reflection, before which every living thing has to bow.
The root of this conception is the same as that by which the
Egyptian sphinx was suggested. The chief differences lie in the
greater complexity of the winged bull and in its less quiescent
attitude. The sphinx combines but two elements, the man and the
lion; its pose is easier and perhaps more natural than that of the
Assyrian animal. It is extended on the ground, its paws stretched idly
before it, an attitude that could be preserved without fatigue for an
indefinite time, and therefore in complete accordance with its
governing idea, and with the function it had to fill at the gates of a
palace or temple. That idea, for the bull as well as the sphinx, was
force in repose. But the bull stands upright, and, when looked at from
one side, seems to walk. We feel that if he did complete his stride he
would bring the structure that stands on his loins down about our
ears.
Here, as in most cases where comparison is possible, the
advantage remains with Egypt. But yet the Assyrian type is by no
means without a certain nobility and beauty of its own. In spite of
their colossal dimensions, in spite of the supernatural vigour of their
limbs and the exaggerated energy and salience of their muscles,
there is a kind of robust grace in the leading lines and proportions of
these figures to which we cannot be indifferent, and their effect is
increased by the wings that lie along their backs and furnish so
happily the upper part of the huge alabaster slabs, above which
nothing rises but the horned tiara. Finally, the face with its strongly
marked features, with its frame of closely curled hair and beard
arranged in the strictest symmetry, is still more remarkable than all
the rest (Fig. 33). The expression is grave and proud, and
sometimes almost smiling. It is in fine harmony with the general idea
that led the Chaldæans to create these mysterious but kindly beings,
and to endow them with their mighty frames of stone.[101]
Fig. 33.—Head of a winged bull of
Assurbanipal. British Museum. Height 38
inches.
Drawn by Saint-Elme Gautier.
These bulls have only been actually found in Assyria, but
numerous and precise texts have been deciphered by which their
existence at the gateways of Chaldæan temples and palaces has
been proved.[102] They are not now to be met with in the country of
their origin, because their material was too rare in the lower part of
the great basin to escape the attacks of spoilers. Soft or hard,
volcanic or calcareous, stone was there precious and difficult to find.
Sooner or later such objects as these would be dragged from their
ancient sites and broken up to be used anew. If chance had not so
willed that the Assyrian palaces were preserved for us by
entombment in their own ruins, we should now have known nothing
of a type that played a great part in the decoration of Mesopotamian
buildings, and, by its originality, made a great impression upon
neighbouring peoples; or at least we should only know it by
reproductions on a very small scale, like those we meet with on the
cylinders, or by imitations vastly inferior to the originals, like those of
the palaces at Persepolis.