One of a pair of divine attendant statues from the Temple of Nabu, Nimrud,  northern Iraq. Neo-Assyrian, about 811-783 BCE. British Museum. Image source: X i

Today is International Day for Monuments and Sites, established in 1983 by UNESCO to raise public awareness about the diversity and vulnerability of the world’s built monuments and heritage sites and the efforts required to protect and conserve them. 

This day is less formally being recognized as a Global Day of Mourning for the antiquities and sacred sites that have been destroyed and looted by Daesh. Part of the purpose of this day is to raise awareness of the intentional destruction of archaeological sites that have been destroyed and are under threat of destruction. Daesh has destroyed artifacts and bulldozed the archaeological site of Nimrud. It is also active in selling looted artifacts, and uses the profits to finance its illegitimate regime and acts of terrorism. Just yesterday, I noticed Roman coins on Ebay selling at conspicuously low prices from the United Arab Emirates. Please be careful about purchasing antiquities, and make sure the seller uses only respected sources. 

The second purpose of this Global Day of Mourning is to come together as Pagans, Heathens, and Polytheists of every denomination with the shared focused will that this terrorist group be stopped, and to pray that the indigenous Gods of these lands - the Gods of Sumer, Assyria, and Babylon—rise up to inspire the hearts and minds of the descendants of those who once worshipped them. This is an opportunity for us to help restore what was broken. Please offer prayer for today for these intentions to the deities of your choosing.   

The situation in Syria and Iraq is a dire, one and I have shamelessly appropriated phrases from ancient prayers to compose an invocation to Nabu, so that He might find the words I familiar and pleasing. I think it is particularly important to point out that the epithet applied to the god Ellil, which is found in a prayer of 8th century BCE, “the merciful and compassionate”,  is still used as an epithet for the God worshiped by Muslims, Jews and Christians.

To Nabu, wise and splendid, mighty prince whose command is supreme, skilled in the arts, trustee of all heaven and underworld, expert in everything, wise, the holder of the tablet stylus, learned in the scribal art, merciful and judicious, who has the power to depopulate and repopulate a country, beloved of the god Ellil, lord of lords, whose might has no rival, without whom there can be no order in heaven, the merciful and compassionate, whose benevolence is good:

Preserve the well-being of the peoples descended from your worshipers in  Assyria and Babylon. Direct your just face toward those who seek to erase the heritage of the Land Between the Two Rivers. O Nabu, scribe of the universe, controller of harmony, let the evil ones be overthrown! You speak truth and justice: let just rulers be raised up, and let them in wisdom shepherd the lands! Let the peoples obtain justice, let them uphold truth and rightness!

اول قصيد حب في العالم

النص الكامل لأول قصيدة حب تتغنى بها أمرأة بالملك السومري شو - سين و الذي حكم 4000 سنة قبل الآن،

الصورة من رسم علي طالب مقتبسة من لوحة للفنان بول باتو

أيها العريس الحبيب الى قلبي
جمالك باهر، حلو كالشهد
أيها الأسد الحبيب الى قلبي
جمالك باهر، حلو كالشهد

لقد أسرت قلبي فدعني أقف بحضرتك، و انا خائفة مرتعشة
أيها العريس سيأخذوني أليك, الى غرفة النوم
لقد أسرت قلبي فدعني أقف بحضرتك، و انا خائفة مرتعشة
أيها الأسد ستأخذ بي الى غرفة نومك

أيها العريس دعني ادللك
فأن تدليلي أطعم و أشهى من الشهد
و في حجرة النوم الأشهى من الشهد
دعنا نستمتع بجمالك الفاتن

أيها الأسد دعني ادللك
فأن تدليلي أطعم و أشهى من الشهد

أيها العريس لقد قضيت وطر لذتك مني
فأبلغ أمي و ستعطيك الأطايب
أما ابي فسيغدق عليك الهبات
وروحك أنا اعرف كيف ابهج روحك

أيها العريس نم في بيتنا حتى انبلاج الفجر
و قلبك اعرف اين ادخل السرور الى قلبك
أيها الاسد نم في بيتنا حتى انبلاج الفجر
و قلبك.. اعرف اين ادخل السرور الى قلبك

و أنت، لأنك تهواني
هبني بحقك شيئا من تدليلك و ملاطفاتك
يا مولاي الإله، يا سيدي الحامي
يا شو – سين الذي يفرح قلب أنليل
ألا هبني من ملاطفاتك

موضعك حلو كالشهد فضع يديك عليه
قرب يدك اليه كرداء الجشبان؟
ضم كفك عليه كرداء الجشبان؟
انها قصيدة غناء من قصائد انانا


The sickle sword of Assyrian king Adad-nirari I.

Dates to ca. 1307–1275 B.C., northern Mesopotamia, 54.3 cm long, and made of bronze.

This curved sword bears the cuneiform inscription “Palace of Adad-nirari, king of the universe, son of Arik-den-ili, king of Assyria, son of Enlil-nirari, king of Assyria,” indicating that it was the property of the Middle Assyrian king Adad-nirari I (r. 1307–1275 B.C.).

The inscription appears in three places on the sword: on both sides of the blade and along its (noncutting) edge. Also on both sides of the blade is an engraving of an antelope reclining on some sort of platform.

Courtesy of & currently located at the Metropolitan Museum of Art, New York, via their online collections.


Artistic reconstructions of Mesopotamia


Gate of Ishtar, Babylon

Eridu processional boat of God Enki


Mari from above

Palace of Mari

Ur from above

Ur harbor

Uruk, procession at Inanna temple

Uruk from above


Literature from Mesopotamia: The Epic of Gilgamesh, Tablet 6

This Neo-Assyrian tablet preserves parts of the sixth tablet of the Epic of Gilgamesh. In this tablet, the goddess of love and war, Ishtar, attempts to seduce Gilgamesh who rejects her. When Ishtar’s father, the god Anu, sends the Bull of Heaven down to punish Gilgamesh for spurning her, Enkidu kills the creature. One of the most significant works of Akkadian literature, the story grapples with the themes of friendship, mortality, and the origins of man. (Source)

Nineveh, 7th century BCE.

British Museum.


Sumerian Silver Lyre, from Ur, southern Iraq, c. 2600-2400 BC

This lyre was found in the ‘Great Death-Pit’, one of the graves in the Royal Cemetery at Ur. The burial in the Great Death-Pit was accompanied by seventy-four bodies - six men and sixty-eight women -laid down in rows on the floor of the pit. Three lyres were piled one on top of another. They were all made from wood which had decayed by the time they were excavated, but two of them, of which this is one, were entirely covered in sheet silver attached by small silver nails. The plaques down the front of the sounding box are made of shell. The silver cow’s head decorating the front has inlaid eyes of shell and lapis lazuli. The edges of the sound box have a narrow border of shell and lapis lazuli inlay.

When found, the lyre lay in the soil. The metal was very brittle and the uprights were squashed flat. First it was photographed, and then covered in wax and waxed cloth to hold it together for lifting. The silver on the top and back edge of the sounding box had been destroyed. Some of the silver preserved the impression of matting on which it must have originally lain. Eleven silver tubes acted as the tuning pegs.

Such instruments were probably important parts of rituals at court and temple. There are representations of lyre players and their instruments on cylinder seals, and on the Standard of Ur being played alongside a possible singer.


The Ishtar Gate And The Animals It Holds

The Ishtar Gate is a part of the fortified walls that surrounded the ancient city of Babylon. The Ishtar Gate was actually the eighth and final gate into the city and served as the city’s main entrance. Pictured is a reconstruction of the Ishtar Gate from Berlin’s Pergamon Museum. They were built by King Nebuchadnezzar in 575 BCE as part of his plan to beautify his capital city. Just like any modern-day city beautification project, the Ishtar Gate was just a part of a series of construction projects that included restoration to the Temple of Marduk and the world famous Hanging Gardens of Babylon.

The Gate stood as high as 11.5 metres in some places and was decorated all over with glazed brick tile reliefs. The mosaics that these bricks formed depicted creatures of importance to the Mesopotamian world, whether these animals were real or mythical.


The ‘striding lion’ wall relief in the ROM’s collection is just one example of the many animal mosaics that decorated this palace. On display in the ROM’s Mesopotamia Exhibition, this panel was just one of many that covered the walls of the Ishtar Gate and Processional Way. The lion was of particular importance since it was the animal commonly associated with Ishtar, the Mesopotamian goddess of love and war.


Another animal that graced the walls of the Ishtar Gate was the aurochs. This is a now-extinct type of large cattle that inhabited Europe, Asia and North Africa. As with the lion, the aurochs had an association with a god that made it especially significant to the Mesopotamian world. The aurochs was commonly associated with Adad, the Mesopotamian god of weather and storms, who was commonly seen riding atop a bull.


The third and final creature that could be found on the Ishtar Gate was the mušḫuššu (also known as sirrusu or sirrush), an animal out of Mesopotamian mythology. Just as with creatures like the gryphon or the sphinx, the sirrush was a combination of many different features rolled into one animal. It combined the scaly body of a dragon with feline front paws and eagle’s talons for hind legs. As if this wasn’t intimidating enough, the creature also had a snake’s tongue as well as a horn and crest atop its head.

Interestingly enough, when the sirrush was first seen on the Ishtar Gate in 1902 by German archaeologist Robert Koldewey, he believed it to be the portrayal of a once-real animal. This was due in part to the fact that the depiction of this creature remained consistent throughout many years of Mesopotamian art but more importantly because the sirrush was depicted alongside the aurochs and lions, two existing animals. While it was eventually correctly identified as a mythological creature, it serves as an interesting case of cryptozoological speculation. 

The Processional Way

Through the actual Ishtar Gate was the Processional Way, which was a vast corridor stretching roughly 800 metres long and walls about 15 metres high. The walls of the Processional Way were similarly adorned with glazed tile reliefs of lions, flowers and other decorative elements.

In Dedication

On the Ishtar Gate, there was a dedication plaque attributed to King Nebuchadnezzar II outlining the reasons why he built it:

Both gate entrances of 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 length-wise over them. I hung doors of cedar 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 people 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 celebration for the major and minor gods) be built firm like a mountain in the precinct of Babylon of asphalt and fired bricks.

A Wonder Of The World

One of the coolest things I learned in reading about the Ishtar Gate is that when it was first built, it made the original list of the Seven Wonders of the Ancient World. While it was later bumped from its spot by the Lighthouse of Alexandria, it was still recognized as one of the most spectacular and awe-inspiring objects in the world at its time. After the gates were replaced on the list by the Lighthouse of Alexandria, there were still some figures (notably Callimachus of Cyrene and Antipater of Sidon) who felt the Ishtar Gate deserved the recognition which had been taken away.

I just find it fascinating that thousands of years ago, in a time before social media and award shows, there were still people arguing over top 10 lists.

More information

Image credits

  1. Marco Marini, “Door n. 2” March 17, 2007 via Flickr, Creative Commons Attribution.
  2. JoeLosFeliz, “Ishtar Gate (detail)” April 29, 2013 via Flickr, Creative Commons Attribution.
  3. Badly Drawn DadAurochs” via Flickr, Creative Commons Attribution.
  4. Allie Caulfield, “Berlin 313 Pergamon Museum, Ischtar Tor, Detail” October 14, 2012 via Flickr, Creative Commons Attribution.

Post by Chris Miller, ROMKids Studio Assistant. Last updated: September 27, 2013.

Weapons and tactics change, but PTSD goes back millennia

“A new study of ancient Assyrian medical texts from Mesopotamia, in what is now Iraq, shows that Assyrian doctors were diagnosing and treating psychological conditions related to war. One assumption ancient Assyrians made was that the gods allowed dead people’s spirits to punish living people. So warriors who experienced mental trauma were thought to be under attack by the ghosts of people they killed in battle. Today we call this mental trauma from war and other difficult experiences Post-Traumatic Stress Disorder, often shortened to PTSD.” - See more here

The figure could be an aspect of the goddess Ishtar, Mesopotamian goddess of sexual love and war, or Ishtar’s sister and rival, the goddess Ereshkigal who ruled over the Underworld, or the demoness Lilitu, known in the Bible as Lilith. The plaque probably stood in a shrine. 

Old Babylonian era, 1800-1750 BCE, from southern Iraq (place of excavation is unknown), Mesopotamia, Iraq. (The British Museum, London).

One of the earliest examples of writing known. And it is used here to record the allocation of beer.

Late Prehistoric (3100- 3000 BCE), and probably from southern Iraq.

Beer was issued as rations for workers, and was the most popular drink in Mesopotamia. The symbol for beer appears 3 times on this particular tablet (note the depicted upright jars with pointed bases).

At this early date, the signs in their grouped boxes are usually read right to left, and top to bottom. 5 differently shaped impressions, representing numerical symbols, are a next to these pictographs. Eventually these signs will become more wedge-like and abstract: ‘cuneiform.' 

Also: look to the bottom left segment of this tablet. Here is the sign for rations, a schematic human head with a bowl tipped towards it.

The historical context, and significance, of this tablet is such an interesting topic, which deserves a far more in-depth discussion than what is given here. I would strongly recommend listening to Neil MacGregor’s episode he did on BBC Radio 4 (part of the series 'A History of the World in 100 Objects’), where he discusses this tablet in relation to the development of writing, and the world’s first cities and states.

Courtesy of & currently located at The British Museum, London: ME 140855. Photo taken by BabelStone.

The Oldest Cookbooks in the World“ This tablet includes 25 recipes for stews, 21 are meat stews and 4 are vegetable stews. The recipes list the ingredients and the order in which they should be added, but does not give measures or cooking time - they were clearly meant only for experienced chefs.

YBC 4644 from the Old Babylonian Period, ca. 1750 BC”


Ancient Worlds - BBC Two

Episode 1 “Come Together”

Uruk - “the mother of all cities”

Uruk was one of the most important cities in ancient Mesopotamia; an ancient city of Sumer -and later Babylonia, situated east of the present bed of the Euphrates river.  According to the Sumerian King List, it was founded by King Enmerkar sometime around 4500 BCE.

Uruk is considered the first true city in the world. It was home to 40.000 or perhaps 50.000 people, a population density unprecedented in human history.

In myth and literature, Uruk was famous as the capital city of Gilgamesh. The great epic poem The Legend of Gilgamesh contains a proud description of his city:

Go up, pace out the walls of Uruk.
Study the foundation terrace and examine the brickwork.
Is not its masonry of kiln - fired brick?
And did not seven masters lay its foundations?
One square mile of city, one square mile of gardens,
One square mile of clay pits, a half square mile of Ishtar’s dwelling,
Three and a half square miles is the measure of Uruk


Uruk, Iraq


[Mythological Female Figures 1/?]

Mesopotamian Dragon Goddess of Primordial Chaos and the Sea

In the Enûma Elish, the Babylonian epic of creation, she gives birth to the first generation of deities; she later makes war upon them and is killed by the storm-god Marduk. The heavens and the earth are formed from her divided body.

Ummu-Hubur [Tiamat], who formed all things,
Hath made in addition weapons invincible;
she hath spawned monster-serpents,
Sharp of tooth, and merciless of fang.
With poison, instead of blood, she hath filled their bodies.
Fierce monster-vipers she hath clothed with terror,
With splendor she hath decked them; she hath made them of lofty stature.
Whoever beholdeth them is overcome by terror,
Their bodies rear up and none can withstand their attack.
She hath set up vipers, and dragons, and the monster Lahamu,
And hurricanes and raging hounds, and scorpion-men,
And mighty tempests, and fish-men and rams;
They bear cruel weapons, without fear of the fight.