Page:A History of Art in Chaldæa & Assyria Vol 1.djvu/311

DECORATION. 289 from the frontiers of Syria to the eastern boundaries of the plateau of Iran. New peoples, new religions, and new territorial divisions have been introduced, but industrial habits have remained ; in spite of political revolutions the workman has transmitted the secrets of his trade to his sons and grandsons. Oriental art is now threatened with death at the hands of Western competition. Thanks to its machines Europe floods the most distant markets with productions cheaper than those turned out by the native workman, and the native workman, discouraged and doubtful of himself, turns to the clumsy imitation of the West, and loses his hold of the art he understood so well. Traditions have become greatly weakened during the last half century, but in the few places where they still preserve their old vitality they may surely be taken as representative of the arts and industries of many centuries ago, and as the lineal descendants of those early products of civilization on which we are attempting to cast new light. If, as everything leads us to believe, the colours and patterns worked by the women of Khorassan and Kurdistan on their rugs and carpets are identical with those on the hangings in the palaces of Sargon, of Nebuchadnezzar, and of Darius, why should we not allow that the tints that now delight us on the mosques of Teheran and Ispahan, of Niceea and Broussa, are identical with those employed by the Chaldsean potter ? There is no doubt that both had a strong predilection for blue for the marvellous colour that dyed the most beautiful flower of their fields, that glowed on their distant mountains, in their lakes, in the sea, and in the profound azure of an almost cloudless sky. Nature seems to have chosen blue for the background of her changing pictures, and like the artists of modern Persia those of antique Mesopotamia understood the value of the hint thus given. In the fragments of Babylonian tiles brought home by travellers blue is the dominant colour ; and blue furnishes the background for those two compositions in enamelled brick that have been found in situ. The blue of Babylon seems however to have had more body and to have been darker in shade than that of the Khorsabad tiles. We have already referred to this inferiority in the Assyrian enamel. It may be explained by the fact that the Assyrian architect looked to sculpture for his most sumptuous effects ; he used polychromatic decoration only for subordinate parts of his p P