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Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. 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. The creation of the gate out of wood and clay glazed to look like lapis lazuli could possibly be a reference to the goddess Inanna , who became syncretized with the goddess Ishtar during the reign of Sargon of Akkad.
In the myth of Inanna's descent to the underworld, Inanna is described as donning seven accoutrements of lapis lazuli   symbolizing her divine power.
Once captured by the queen of the underworld, Inanna is described as being lapis lazuli, silver, and wood,  two of these materials being key components in the construction of the Ishtar Gate.
The creation of the gate out of wood and "lapis lazuli" linking the gate to being part of the Goddess herself. 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. The main gate led to the Southern Citadel, the gate itself seeming to be a part of Imgur-Bel and Nimitti-Bel, two of the most prominent defensive walls of Babylon.
There were three primary entrances to the Ishtar Gate: the central entrance which contained the double gate structure two sets of double doors, for a fourfold door structure , and doors flanking the main entrance to the left and right, both containing the signature double door structure.
Once per year, the Ishtar Gate and connecting Processional Way were used for a New Year's procession, which was part of a religious festival celebrating the beginning of the agricultural year.
In Babylon, the rituals surrounding this holiday lasted twelve days. The New Year's celebrations started immediately after the barley harvest, at the time of the vernal equinox.
This was the first day of the ancient month of Nisan, equivalent to today's date of March 20 or 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 the war goddess, the dragon of Marduk, the lord of the gods, and the bull of Adad, the storm god.
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.
Having a white body and yellow mane, the lion of Ishtar was an embodiment of vivid naturalism that further enhanced the glory of Babylon's Procession Street.
The purpose of the New Year's holiday was to affirm the supremacy of Marduk and his representative on Earth, the king, and to offer thanks for the fertility of the land.
The Processional Way was paved with large stone pieces set in a bed of bitumen and was up to 66 feet wide at some points. This street ran from the Euphrates through the temple district and palaces and onto the Ishtar Gate.
The inscription of the Ishtar Gate is written in Akkadian cuneiform in white and blue glazed bricks and was a dedication by Nebuchadnezzar to explain the gate's purpose.
On the wall of the Ishtar Gate, the inscription is 15 meters tall by 10 meters wide and includes 60 lines of writing. The inscription was created around the same time as the gate's construction, around — BCE.
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 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. Rich's topographical records of the ruins in Babylon were the first ever published, in It was reprinted in England no fewer than three times.
Rich and most other 19th-century visitors thought a mound in Babylon was a royal palace, and that was eventually confirmed by Robert Koldewey's excavations, who found two palaces of King Nebuchadnezzar and the Ishtar Gate.
Koldewey's part in Babylon's excavation began in 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.
Walter Andre, one of Koldewey's many assistants, was an architect and a draftsman, the first at Babylon.
His contribution was documentation and reconstruction of Babylon. A small museum was built at the site, and Andre was the museum's first director.