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Updated: June 5, 2025
There was no outer sign of the young Ferdinand's inward disturbance. "I am afraid," he said, resolute to draw her into talk with himself if he could, though it were only for a moment, "I am afraid that I have made Mr. Eld very angry." Ruth's brown eyes took a half-smiling charge of Sennacherib's surly figure.
In Sennacherib's reign there is found in conjunction with it another costume, which is unknown to the earlier sculptures. The former carry a long weapon, which has generally a rather small head, and is grasped low down the shaft.
That siege of Jerusalem was indeed as a duel between faith and unbelief on the one hand, and between Jehovah and the gods who were 'no gods' on the other. Sennacherib's letter was a defiant challenge to Jehovah to do His best for this people, and when faith repeated in prayer the insolence of unbelief only one result was possible. It came.
The other fact is also to be remembered, that Sennacherib tried no more conclusions with Jerusalem and Jehovah, and though he lived for some twenty years afterwards, never again ventured on to the soil where that mighty God fought for His people. The appended notice of Sennacherib's death has been added by some narrator, since it probably occurred after Isaiah's martyrdom.
One special peculiarity will not escape the attentive observer. Like all his kind, except in Sennacherib's palace, this bull has five legs. He was designed to be looked at from directly in front or from the side, not from an intermediate point of view. Assyrian art was not wholly without capacity for improvement.
Simon and John had a disastrous quarrel and during the interval, when the sentries and the fighting-men were killing each other, the Romans possessed the first fortification around Jerusalem, the Wall of Agrippa. The following day Titus pitched his camp within the limits of the Holy City, upon the site of Sennacherib's Assyrian bivouac.
This summons eliciting no response, she repeated it; but by-and-by the opening of a door within the house let out upon her the sound of Sennacherib's voice, hitherto audible only as an undefined and surly buzz. "Who's master i' this house?" Sennacherib was asking "thee or me?"
Sennacherib appears to have been the first to institute a corps of slingers, who at any rate make their earliest appearance in his sculptures. They were kind of soldier well-known to the Egyptians and Sennacherib's acquaintance with the Egyptian warfare may have led to their introduction among the troops of Assyria.
The species of trees is distinguished, in Sennacherib's bas-reliefs; gardens, fields, ponds, reeds, are carefully represented; wild animals are introduced, as stags, boars, and antelopes; birds fly from tree to tree, or stand over their nests feeding the young who stretch up to them; fish disport themselves in the waters; fishermen ply their craft; boatmen and agricultural laborers pursue their avocations; the scene is, as it were, photographed, with all its features the least and the most important equally marked, and without any attempt at selection, or any effort after artistic unity.
Ships of this kind, which the Greeks called "biremes," are represented in Sennacherib's sculptures as employed by the inhabitants of a Phoenician city, who fly in them at the moment when their town is captured, and so escape their enemy. The ships are of two kinds.
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