The Historians' History of the World 01

The monuments of Assyria furnish us with very important data, as to the origin of many branches of art, subsequently brought to the highest perfection in Asia Minor and Greece. I conceive the Assyrian influence on Asia Minor to have been twofold. In the first place, direct, during the time of the greatest prosperity of the Assyrian monarchy or empire, when, as it has been shown, the power of its kings extended over that country; in the second, indirect, through Persia, after the destruction of Nineveh. Of the influence exercised upon the arts of western Asia, during the early occupation of the Assyrians, few traces have hitherto been discovered, unless the remarkable monuments on the site of ancient Pteria, or Pterium, belong to this period. The evident connection between the divinities and sacred emblems worshipped in various parts of Asia Minor, and those of Assyria will be hereafter particularly pointed out. The Assyrian origin of these monuments, and of these religious symbols, once admitted, we shall have no difficulty in recognising the influence of Assyria on the arts and customs of Asia Minor. The antiquities of that country, prior to a well-known period, the Persian occupation, have been but little investigated. Few remains of an earlier epoch have yet been discovered. That such remains do exist, perhaps buried under ground, I have little doubt. It is most probable that, as we have additional materials for inquiry, we shall be still more convinced of this Assyrian influence, pointed out by Herodotus, when he declares the founder of the kingdom of Lydia to have been a descendant of Ninus, and by other authors, who mention the Syrian, or Assyrian, descent of many nations of Asia Minor.

But the second, or indirect, period of this influence is very fully and completely illustrated by the monuments of Asia Minor, of the time of the Persian domination. The known connection between these monuments and the archaic forms of Greek art renders this part of the inquiry both important and interesting. The Xanthian marbles, acquired for England by Sir Charles Fellows, and now in the British Museum, are remarkable illustrations of the threefold connection between Assyria and Persia, Persia and Asia Minor, and Asia Minor and Greece. Were those marbles properly arranged, and placed in chronological order, they would afford a most useful lesson, and would enable even a superficial observer to trace the gradual progress of art from its primitive rudeness to the most classic conceptions of the Greek sculptor. Not that he would find either style, the pure Assyrian or the Greek, in its greatest perfection; but he would be able to see how a closer imitation of nature, a gradual refinement of taste and additional study, had converted the hard and rigid lines of the Assyrians into the flowing draperies and classic forms of the highest order of art.