FREE BOOKS

Author's List




PREV.   NEXT  
|<   106   107   108   109   110   111   112   113   114   115   116   117   118   119   120   121   122   123   124   125   126   127   128   129   130  
131   132   133   134   135   136   137   138   139   140   141   142   143   144   145   146   147   148   149   150   151   152   153   154   155   >>   >|  
ally, however, they were obliged to follow their prey into places where horses could not easily penetrate; then a hand-to-hand conflict was inevitable. The lion would rise on its hind quarters and endeavour to lay its pursuer low with a stroke of its mighty paw, but only to fall pierced to the heart by his lance or sword. [Illustration: 179.jpg LION TRANSFIXED BY AN ARROW] Drawn by Boudier, from a bas-relief in the British Museum. This kind of encounter demanded great presence of mind and steadiness of hand; the Assyrians were, therefore, trained to it from their youth up, and no hunter was permitted to engage in these terrible encounters without long preliminary practice. Seeing the lion as they did so frequently, and at such close quarters, they came to know it quite as well as the Egyptians, and their sculptors reproduce it with a realism and technical skill which have been rarely equalled in modern times. But while the Theban artist generally represents it in an attitude of repose, the Assyrians prefer to show it in violent action in all the various attitudes which it assumes during a struggle, either crouching as it prepares to spring, or fully extended in the act of leaping; sometimes it rears into an upright position, with arched back, gaping jaws, and claws protruded, ready to bite or strike its foe; at others it writhes under a spear-thrust, or rolls over and over in its dying agonies. In one instance, an arrow has pierced the skull of a male lion, crashing through the frontal bone a little above the left eyebrow, and protrudes obliquely to the right between his teeth: under the shock of the blow he has risen on his hind legs, with contorted spine, and beats the air with his fore paws, his head thrown back as though to free himself of the fatal shaft. Not far from him the lioness lies stretched out upon its back in the rigidity of death. [Illustration: 180.jpg PAINTINGS OF CHAIRS] The "rimu," or urus, was, perhaps, even a more formidable animal to encounter than any of the _felido_, owing to the irresistible fury of his attack. No one would dare, except in a case of dire necessity, to meet him on foot. The loose flowing robes which the king and the nobles never put aside--not even in such perilous pastimes as these--were ill fitted for the quick movements required to avoid the attack of such an animal, and those who were unlucky enough to quit their chariot ran a terrible risk of being gored or tr
PREV.   NEXT  
|<   106   107   108   109   110   111   112   113   114   115   116   117   118   119   120   121   122   123   124   125   126   127   128   129   130  
131   132   133   134   135   136   137   138   139   140   141   142   143   144   145   146   147   148   149   150   151   152   153   154   155   >>   >|  



Top keywords:

attack

 
Illustration
 

animal

 

terrible

 

Assyrians

 

pierced

 

encounter

 

quarters

 
eyebrow
 

protrudes


obliquely

 

contorted

 

thrown

 

chariot

 

thrust

 
writhes
 

strike

 

agonies

 
crashing
 

frontal


instance

 

necessity

 

felido

 

irresistible

 
nobles
 

perilous

 

pastimes

 

fitted

 

flowing

 

movements


rigidity

 

stretched

 
unlucky
 
lioness
 

required

 

protruded

 

formidable

 

PAINTINGS

 

CHAIRS

 

attitudes


relief

 
British
 

Museum

 

Boudier

 

TRANSFIXED

 

demanded

 

hunter

 

permitted

 
engage
 
encounters