Page:A History of Art in Chaldæa & Assyria Vol 1.djvu/48

28 A HISTORY OF ART IN CIIALD.KA AND ASSYRIA. afforded a medium of communication with distant points, and a bond of connection between one generation and another ; by its means the son could profit by the accumulated experience of the father. The slab of terra cotta was the most obvious material for its reception. It cost almost nothing, while such an elaborate sub- stance as the papyrus of Egypt can never have been very cheap. It lent itself kindly to the service demanded of it, and the writer who had confided his thoughts to its surface had only to fire it for an hour or two to secure them a kind of eternity. This latter precaution did not require any very lengthy journey ; brick kilns must have blazed day and night from one end of Chaldsea to another. If we consider for a moment the properties of the material, and examine the remains which have come down to us, we shall understand at once what writing was certain to become under the triple impulse of a desire to write much, to write fast, and to use clay as we moderns use paper. Suppose oneself compelled to trace upon clay figures whose lines necessitated continual changes of direction ; at each angle or curve it would be necessary to turn the hand, and with it the tool, because the clay surface, however tender it might be, would still afford a certain amount of resistance. Such resistance would hardly be an obstacle, but it would in some degree diminish the speed with which the tool could be driven. Now, as soon as writing comes into common use, most of those who employ it in the ordinary matters of life have no time to waste. It is important that all hindrances to rapid work should be avoided. The designs of the old writing with their strokes sometimes broken, sometimes continuous, sometimes thick, and sometimes thin, wearied the writer and took much time, and at last it came about that the clay was attacked in a number of short, clear-cut triangular strokes each similar in form to its fellow. As o these little depressions had all the same depth and the same shape, and as the hand had neither to change its pressure nor to shift its position, it arrived with practice at an extreme rapidity of execution. Some have asserted that the instrument with which these marks were made has been found among the Mesopotamian ruins. It is, we are told, a small style in bone or ivory with a bevelled triangular point. 1 And yet when we look with attention at these 1 OPPERT, Expeditions scientifiques de Mesopotamia, vol. ii. pp. 62, 3.