254 A HISTORY OF ART IN CIIALD.EA AND ASSYRIA. The architect was not content with the mere play of light and shade afforded by these battlements. He gave them a slight salience over the facade and a polychromatic decoration. About three feet below the. base of the crenelations the face of the wall was brought forward an inch or two, so that the battlements themselves, and some eight or ten courses of bricks below them, overhung the facade by that distance, forming a kind of rudimen- tary cornice (see Fig. 106). In very elaborate buildings enamelled bricks were inserted between the battlements and this cornice. These were decorated with white rosettes of different sizes upon a blue ground. The explorers of Khorsabad encountered number- less fragments of these bricks and some whole ones in the heaps of rubbish at the foot of the external walls. Their situation proved that the}' had come from the top of the walls, and on the whole we may accept the restoration of M. Thomas, which we borrow from the work of M. Place, as sufficiently justified (Fig. I06). 1 This method of crowning a wall may seem poor when compared to the Greek cornice, or even to that of Egypt, but in view of the materials with which he had to work, it does honour to the archi- tect. The long band of shadow near the summit of the facade, the bands of brilliantly coloured ornament above it, and the rich play of light and shade among the battlements, the whole relieved against the brilliant blue of an Eastern sky, must have had a fine effect. The uniformity from which it suffered was a defect common to Mesopotamian architecture as a whole, and one inseparable from the absence or comparative disuse of stone. But in the details we have been studying we find yet another illustration of the skill with which these people corrected, if we may so phrase it, the vices of matter, and by a frank use of their materials and insistance upon those horizontal and perpendicular lines which they were best fitted to give, evolved from it an architecture that proved them to have possessed a real genius for art. the materials thrown down from its summit, among them a great number of planks or beams, which seem to suggest that timber was freely employed in the upper works of an Assyrian wall. If this was so, the pointed battlements in the reliefs may very well represent those in which timber was used, and the stepped ones their brick imitations. Both forms were used as decorations in places where no real battlements could have existed, as, for instance, on the tent of Sennacherib, in the well-known bas-relief of the siege of Lachish (see fig. 56). ED. 1 PLACF, Ninivc* vol. ii. p. 85.
