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The design of the Ishtar gate also includes linear borders and patterns of rosettes, often seen as symbols of fertility. The bricks of the Ishtar gate were made from finely textured clay pressed into wooden forms.
Each of the animal reliefs were also made from bricks formed by pressing clay into reusable molds. Seams between the bricks were carefully planned not to occur on the eyes of the animals or any other aesthetically unacceptable places.
The bricks were sun-dried and then fired once before glazing. The clay was brownish red in this bisque-fired state. The background glazes are mainly a vivid blue, which imitates the color of the highly-prized lapis lazuli.
Gold and brown glazes are used for the animal images. The borders and rosettes are glazed in black, white, and gold. It is believed that the glaze recipe used plant ash, sandstone conglomerates, and pebbles for silicates.
This combination was repeatedly melted, cooled, and then pulverized. This mixture of silica and fluxes is called a frit.
Color-producing minerals, such as cobalt, were added in the final glaze formulations. This was then painted onto the bisque-fired bricks and fired to a higher temperature in a glaze firing.
After the glaze firing, the bricks were assembled, leaving narrow horizontal seams from one to six millimeters. The seams were then sealed with a naturally occurring black viscous substance called bitumen , like modern asphalt.
The Ishtar Gate is only one small part of the design of ancient Babylon that also included the palace, temples, an inner fortress, walls, gardens, other gates and the Processional Way.
The lavish city was decorated with over 15 million baked bricks, according to estimates. In Babylon, the rituals surrounding this holiday lasted twelve days.
The Processional Way, which has been traced to a length of over half a mile, extended north from the Ishtar Gate and was designed with brick relief images of lions, the symbol of the goddess Ishtar also known as Inanna.
Worshipped as the Mistress of Heaven, Ishtar represented the power of sexual attraction and was thought to be savage and determined.
Symbolized by the star and her sacred animal, the lion, she was also the goddess of war and the protector of ruling dynasties and their armies.
The idea of protection of the city is further incorporated into this gateway design by the use of crenelated buttresses along both sides to this entrance into the city.
Friezes with sixty ferocious lions representing Ishtar decorated each side of the Processional Way, designed with variations in the color of the fur and the manes.
On the east side, they had a left foot forward, and on the west side, they had the right foot forward. Each lion was made of forty-six molded bricks in eleven rows.
On the wall of the Ishtar Gate, the inscription is 15 meters tall by 10 meters wide and includes 60 lines of writing.
Nebuchadnezzar, King of Babylon, the pious prince appointed by the will of Marduk, the highest priestly prince, beloved of Nabu, of prudent deliberation, who has learnt to embrace wisdom, who fathomed Their Marduk and Nabu godly being and pays reverence to their Majesty, the untiring Governor, who always has at heart the care of the cult of Esagila and Ezida and is constantly concerned with the well being of Babylon and Borsippa, the wise, the humble, the caretaker of Esagila and Ezida, the first born son of Nabopolassar, the King of Babylon, am I.
Both gate entrances of the city walls Imgur-Ellil and Nemetti-Ellil following the filling of the street from Babylon had become increasingly lower.
Therefore, I pulled down these gates and laid their foundations at the water table with asphalt and bricks and had them made of bricks with blue stone on which wonderful bulls and dragons were depicted.
I covered their roofs by laying majestic cedars lengthwise over them. I fixed doors of cedar wood adorned with bronze at all the gate openings.
I placed wild bulls and ferocious dragons in the gateways and thus adorned them with luxurious splendor so that Mankind might gaze on them in wonder.
I let the temple of Esiskursiskur, the highest festival house of Marduk, the lord of the gods, a place of joy and jubilation for the major and minor deities, be built firm like a mountain in the precinct of Babylon of asphalt and fired bricks.
A reconstruction of the Ishtar Gate and Processional Way was built at the Pergamon Museum in Berlin out of material excavated by Robert Koldewey and finished in the s.
Claudius James Rich, British resident of Baghdad and a self-taught historian, did personal research on Babylon because it intrigued him.
Acting as a scholar and collecting field data, he was determined to discover the wonders to the ancient world. It was reprinted in England no fewer than three times.
The method that the British were comfortable with was excavating tunnels and deep trenches, which was damaging the mud brick architecture of the foundation.
Instead, it was suggested that the excavation team focus on tablets and other artefacts rather than pick at the crumbling buildings.
Despite the destructive nature of the archaeology used, the recording of data was immensely more thorough than in previous Mesopotamian excavations.
His contribution was documentation and reconstruction of Babylon. Hundreds of crates of glazed brick fragments were carefully desalinated and then pieced together.
Fragments were combined with new bricks baked in a specially designed kiln to re-create the correct color and finish. It was a double gate; the part that is shown in the Pergamon Museum today is the smaller, frontal part.
Parts of the gate and lions from the Processional Way are in various other museums around the world. Only four museums acquired dragons, while lions went to several museums.Friezes with sixty ferocious lions representing Ishtar decorated each side of the Processional Way, designed with variations in the color of the fur and the manes. Thames and Hudson Ltd. The crowd picture is actually from a Rush concert, with gates of babylon wording on the banner the fans were actually holding replaced by the Rainbow album title and the visible Rush T-shirts airbrushed to black. I covered their roofs by laying majestic cedars lengthwise over them. Photo of the in situ remains from the s of the excavation site in Babylon. Gold and brown glazes are used for the animal images. Despite the destructive nature of the archaeology used, the kölner haie lieder of data was immensely more thorough than in previous Fussball ergebnisse dortmund heute excavations. Retrieved 28 May The album, among other Rainbow releases, is often cited as a strong influence on formation of the power metal genre, especially on its tsv bietigheim tennis lyrics and aesthetics. All lyrics neteller casino Dio.