Uncovering Nineveh - The BAS Library

Footnotes

1.

For more on the 19th-century debate over Layard’s discoveries, see Mogens Trolle Larsen, “Europe Confronts Assyrian Art,” Archaeology Odyssey, January/February 2001.

2.

On the possible relation between Tarshish and Spanish Tartessos, see the following articles in Archaeology Odyssey: Ricardo Olmos, “Warriors, Wolves and Women: The Art of the Iberians,” May/June 2003; and Sebastian Celestino and Carolina Lopez-Ruiz, “Sacred Precincts: A Tartessian Sanctuary in Ancient Spain,” November/December 2003.

3.

See the following articles in Biblical Archaeology Review: Mordechai Cogan, “Sennacherib’s Siege of Jerusalem,” January/February 2001; William H. Shea, “Jerusalem Under Siege: Did Sennacherib Attack Twice?” November/December 1999; Dan Gill, “How They Met: Geology Solves Longstanding Mysteries of Hezekiah’s Tunnelers,” July/August 1994.

4.

On the other hand, according to the late Elie Borowski (“Cherubim: God’s Throne?” Biblical Archaeology Review, July/August 1995), such composite creatures may have inspired the prophet Ezekiel’s vision of cherubim with human, leonine, bovine and avian features (Ezekiel 1:10). Layard similarly mentions “the resemblance of the winged human-headed lions and bulls and other symbolical figures [that he had unearthed] to those seen by Ezekiel in his vision.”

5.

In Our Mutual Friend (1864–65), Charles Dickens satirized this kind of British Victorian smugness in the character of Mr. Podsnap, who “with his favourite right-arm flourish … put the rest of Europe and the whole of Asia, Africa, and America nowhere.”

6.

When Layard first published Nineveh and Its Remains (1849), the Akkadian cuneiform script used by the Babylonians and Assyrians was only partially deciphered. In 1850, Henry Creswicke Rawlinson, an officer with the British East India Company who made a leading contribution to the script’s decipherment, told the Royal Asiatic Society that the Akkadian cuneiform’s phonetic irregularities made it impossible for him “to reduce it to a definite system” (quoted in Maurice Pope, The Story of Decipherment [London: Thames & Hudson, 1975 and 1999], pp. 113–114). In the mid-1850s, however, Rawlinson completed the decipherment, largely by working on texts found by Layard at (the real) Nineveh.

Endnotes

1.

Layard’s sketches were put into final form for Nineveh and Its Remains by George Scharf, Jr. As Frederick N. Bohrer has pointed out, Scharf worked for Layard’s publisher and was “the primary artist for many of the book’s illustrations” (Orientalism and Visual Culture: Imagining Mesopotamia in Nineteenth-Century Europe [Cambridge University Press, 2003], p. 146).

2.

When Charles Darwin’s Origin of Species (1859) appeared, this apparent conflict between science and religion became a crisis. However, earlier writers, including Darwin’s grandfather Erasmus Darwin, had broached some of the evolutionary ideas that Charles Darwin consolidated evidence for and applied to living species in terms of the theory of natural selection. One of Charles Darwin’s younger contemporaries, Alfred Russel Wallace, also independently formulated the theory of natural selection shortly before Darwin published Origin.

3.

Quoted in Gordon Waterfield, Layard of Nineveh (London: John Murray, 1963), p., 171.

4.

Quoted in Waterfield, Layard of Nineveh, p. 182.

5.

According to Shawn Malley, the British “desired to forge deep-rooted cultural associations with the impressive Assyrian world Layard had unearthed.” Layard’s accomplishments were “extolled in the periodical press as a mission to locate Assyria in a cultural continuum crowned by Great Britain” (“Austen Henry Layard and the Periodical Press: Middle Eastern Archaeology and the Excavation of Cultural Identity in Mid-Nineteenth Century Britain,” Victorian Review 22.2 [1996], p. 158).

6.

Quoted in Waterfield, Layard of Nineveh, pp. 135–136.