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Updated: May 31, 2025
Phoenician opaque glass is comparatively rare, and possesses but little beauty. It was rendered opaque in various ways. Messrs. Perrot and Chipiez found that in a statue of Serapis, which they analysed, the glass was mixed with bronze in the proportions of ten to three. An opaque material of a handsome red colour was thus produced, which was heavy and exceedingly hard.
Perrot and Chipiez regard this form of ornamentation as the earliest; but the beauty and finish of several vases on which it occurs is against the supposition. There is scarcely to be found, even in the range of Greek art, a more elegant form than that of the jug in black clay brought by General Di Cesnola from Alambra and figured both in his "Cyprus" and in the "Histoire de l'Art."
Menhirs, too, are not wanting in Syria. Perrot and Chipiez figure an example from Gebel-Mousa in Moab which is quite unworked, except for a shallow furrow across the centre of the face. In many cases the menhir is surrounded by one or more rows of stones. Thus at Der Ghuzaleh a menhir about 3 feet in height is set in the centre of what when complete must have been a rectangle.
The principal elements for this restoration have been taken from the staged tower at Khorsabad known as the Observatory, but M. Chipiez has expanded its dimensions until they almost reach those ascribed to the temple of Bel by Strabo.
They are abstract types, each representing, in its general features, one of the varieties into which Assyro-Chaldæan temples may be divided. The arrangements in which the originality of each type consists were only fixed by M. Chipiez after long researches.
Such an assertion puts the matter beyond a doubt, and enables us to point to the staged tower as the form chosen by these people and made use of throughout their civilization for the buildings raised in honour of their gods. And having dismissed this fundamental question we have now to give a rapid description of the principal varieties of the type as they have been established by M. Chipiez.
Bryant: System of Mythology. DeGubernatis, Angelo: Zoological Mythology. Judson: Myths and Legends of the Mississippi Valley and the Great Lakes. Langdon, S.: Tammuz and Ishtar. Perrot, and Chipiez: History of Art in Phrygia, Lidia, Caria and Lycia; History of Art in Persia. Prescott: Conquest of Peru. Rousselet, Louis: India and Its Native Princes.
The picture in question is no doubt very much abridged and far from true to the proportions of the original, but yet it has furnished M. Chipiez with the elements of a restoration in which conjecture has had very little to say. Restored by Ch. According to the relief the tower itself rises upon a dome-shaped mound in front of which there are a large doorway and two curved ramps.
The graphic processes of the Assyrian sculptor were so imperfect that at first we have some difficulty in picturing to ourselves the originals of these representations; in spite of the care devoted to many of their details, the real constitution of these little buildings is not easily grasped. M. Chipiez has placed his pavilion upon a salient bastion forming part of a wide esplanade.
In spite of the words of Herodotus M. Chipiez has only given his tower seven stages, because that number seems to have been sacred and traditional, and Herodotus may very well have counted the plinth or the terminal chapel in the eight mentioned in his description.
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