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They're in shallow relief, and they'd have run like a continuous frieze pretty well from floor to ceiling all around the walls of Sennacherib's palace at Nineveh - near modern Mosul in Iraq. They would once have been brightly painted but, even without any colour today, they are astonishing historical documents.
Like any good propaganda war film, the sculptor has shown us the Lachish campaign as a perfectly executed military exercise. He sets the city among trees and vineyards, while below, the Assyrian soldiers, archers and spearmen, are marching. As you look across the frieze, wave after wave of Assyrians scale the city walls, and eventually overwhelm the resident Judeans.
The next scene shows the aftermath. Survivors flee the burning city, carrying what they can. These lines of people, carrying their worldly goods and heading for deportation, must be one of the earliest depictions of refugees that exists, and they are almost unbearably poignant. It's impossible, looking at them close up, not to think of the millions of refugees and displaced people that this same region has seen over the centuries ... and is still seeing.
We showed the Lachish Reliefs to Paddy Ashdown, soldier, politician and international diplomat, who's had long experience of the human cost of military conflict, especially during his work in the Balkans:
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