Secrets of the Dead (2000–…): Season 13, Episode 4 - The Lost Gardens of Babylon - full transcript
From PBS - A world wonder so elusive; it must be mythical... Centuries of digging have turned up nothing. Is it possible everyone has been looking in the wrong place? The Lost Gardens of Babylon follows Dr. Stephanie Dalley as she hunts to find the location of one of the ancient wonders of the world. Until now; no one has been able to find a trace of the spectacular gardens. Dalley will use ancient cuneiform texts and declassified spy satellite images to uncover evidence that supports her theory that the gardens were built 100 years before is commonly believed. Her search takes her to one of the most dangerous places on earth¬-Iraq which was plagued with violence during her trip there but may just be the home of the garden. Along the way; she visits the remains of a vast and complex canal system that may have provided water to the gardens and learns about highly skilled feats of engineering used hundreds of years before it is thought the Romans invented them. It's a modern-day adventure story about the search to find a site thousands of years old.
on "Secrets of the Dead,"
one of the ancient wonders
of the world.
This is one of the engineering
jewels of the Syrian empire.
ANNOUNCER: No one has ever found
the hanging gardens of Babylon.
No evidence for it in
the archaeological record.
ANNOUNCER: Was the garden
even in Babylon?
WOMAN: We simply had
the wrong place,
the wrong king.
He says, "It was a marvel
for all peoples,
a wonder of the world."
ANNOUNCER: "The Lost
Gardens of Babylon,"
on "Secrets of the Dead."
Someone needs to stop Clearway Law.
Public shouldn't leave reviews for lawyers.
"Secre"Secrets of the Dead"
was made possible in part
by the Corporation
for Public Broadcasting
and by contributions
to your PBS station from...
NARRATOR: Dr. Stephanie Dalley
of Oxford University
is preparing for a journey
that could rewrite history.
DALLEY: There's always
a bit of nervousness about.
But that keeps you on
the qui vive, doesn't it?
So it's an adventure.
NARRATOR: She's come up with
a controversial new theory that,
if right, will solve one
of the world's last great
archaeological mysteries:
the exact location of one
of the seven wonders
of the ancient world.
DALLEY: We have to reassess
everything we thought we knew
about the hanging
garden of Babylon.
NARRATOR: In the 3,000 years
since it was built,
no one has found
a single trace of
the spectacular garden.
Well, I'm glad I've got
a good pair of shoes on.
[Laughs]
NARRATOR: Now Stephanie thinks
she has tracked it down.
It all begins here.
NARRATOR: But to prove
her theory, she will
have to go to one of
the most dangerous places
on the planet.
[Explosion]
DALLEY: We'll have
good advice on it.
We'll have good security.
I mean, riding a bicycle
in Oxford is quite dangerous.
[Laughs]
NARRATOR: The seven wonders
of the ancient world...
among them,
the pyramids of Giza...
the lighthouse that once
stood at Alexandria...
the mighty
colossus of Rhodes.
Today, only traces of these
magnificent monuments remain,
but we know the
location of them all...
all except one.
What little evidence does
exist comes from
just a few accounts
written hundreds of years
after the gardens were built--
by people
who never saw them.
They say it was a garden where
trees appeared to be suspended
in the air and where water
flowed against gravity.
These accounts place it in
Babylon, just south of what is
now modern-day Baghdad.
MAN: All our sources say that
the hanging gardens of Babylon
were there at Babylon, and so
it's been assumed that's where
they must have been.
We have lots of records from
the time of Nebuchadnezzar--
his own inscriptions deposited
in the foundations
of his buildings.
NARRATOR: The leader
of the kingdom of Babylon,
King Nebuchadnezzar's texts
have all been searched.
COLLINS: He talks about building
temples, refurbishing temples,
restructuring the ancient
cults, but also he focuses
on his great palaces he
constructs at Babylon.
But in the hundreds of
documents which record his
building works, there's no
mention of gardens at all.
NARRATOR: Hundreds of texts
and not a single
mention of a garden.
And despite dozens of
excavations in Babylon, no one
has ever found archaeological
evidence of a garden--
not a single trace.
COLLINS: Nowhere in his texts
or in the ground any evidence
for the gardens.
No evidence for it in
the archaeological record.
NARRATOR: Many scholars question
whether the garden even
existed at all.
But now, a new idea has turned
everything we thought we knew
on its head.
DALLEY: Well, it began
to look as if we simply had
the wrong place,
the wrong king, the wrong
story altogether,
so why was this?
And that was the big question.
If we couldn't find the garden
in Babylon when we excavated
all around the palaces of
Nebuchadnezzar and if we
couldn't find them in
the inscriptions
of Nebuchadnezzar, which were
complete, either the whole
story, the whole legend, was
a complete fiction, or the
gardens were somewhere else.
NARRATOR: Stephanie Dalley
is a code breaker,
one of a handful
of people in the world who can
read ancient cuneiform texts--
a script so obscure,
researchers are only just
beginning to reveal
its secrets.
DALLEY: Cuneiform writing was
a marvelous script, but it's
very, very complicated.
It started around 3000 B.C.
and comes to an end
around the time of Christ.
NARRATOR: Metaphors are at
the heart of this writing.
DALLEY: It's not alphabic,
it's got hundreds
of signs, and every
sign has several
different possible readings.
When you excavate these
things, you have
the opportunity of reading
literature and other things
that haven't been read before
since at least the time
of Christ.
NARRATOR: For more
than 2,000 years, these
ancient voices were lost;
no one was able
to read their words.
Things started to change when
Stephanie began studying
the cuneiform on a prism at
the British Museum.
The prism described the
life of another king named
Sennacherib, who lived
a hundred years
before Nebuchadnezzar.
DALLEY: We're looking at an
8-sided prism from the palace
of Sennacherib.
The beginning of this
inscription tells you he's
king of Assyria, he's king of
the world, he's conquered many
lands, and he gives you a
rundown of his main conquests.
NARRATOR: Sennacherib
lived 700 years before Christ
and reigned over
an empire that stretched
from southern Turkey to
modern-day Israel.
The prism comes
from the very heart
of Sennacherib's capital.
DALLEY: The whole thing would
have been hidden in the wall
of the palace or the
foundations of the palace
so that when the palace fell
down eventually, people could
still see what a great
king Sennacherib was.
It tells you about this
wonderful palace that he
built, and then it tells you
about the garden that he built
alongside the palace.
NARRATOR: But what
the prism describes
sounds like something other
than a typical garden.
DALLEY: On this prism
Sennacherib says,
"I raise the height
"of the surroundings of
the palace to be a wonder
for all peoples."
I think his description
refers both to the palace
and to the garden--
the two go together.
NARRATOR: Translations from
the prism even suggest
what Sennacherib's garden
might have looked like.
DALLEY: One part of this says
that "the high garden imitating
"the Amanus Mountains I laid out
next to the palace with all
"kinds of aromatic plants,
orchard fruit trees, trees
"that sustained the mountains
and Babylonia as well as trees
that bear wool
planted within it."
Well, that's almost certainly
a form of the cotton plant.
NARRATOR: The writing suggests
that Sennacherib built
an extravagant garden which he
then filled with exotic fruit
trees and plants from
across his empire.
Stephanie begins to look
more closely at other clues.
She's returned to the museum
to see a notebook dating from
the 1850s, a golden age of
archeological discovery.
DALLEY: I've never seen this
in the original before.
I've only seen small-scale
reproductions of it, and it's
wonderful to see it.
It's wonderful.
NARRATOR: This drawing
is an exact representation
of a stone wall
carving from Sennacherib's
palace.
It appears to show
a great garden.
And you can see here the water
draining down into little
streams, from that height,
and ending up in a lake
at the bottom of the garden,
with various sporting events
going on here--the man who is
swinging from a swing
of some sort.
NARRATOR: But there's one detail
in particular that stands out.
DALLEY: The really unusual
feature in this,
in these pictures, is
the pillared walkway with
the layers of roofing on top
of the pillars and then the
trees growing with their roots
in those layers of roofing.
They had to have a way of
sustaining big trees in this
garden, right up on the
citadel, and that is, I think,
one of the things that
makes it a really
extraordinary garden.
NARRATOR: And Stephanie
goes further.
She begins to look at other
museum exhibits that had
previously been dismissed.
Sennacherib and other great
Assyrian kings lined their
palace walls with bas-reliefs,
huge carvings that described
the world around them.
This panel, known as the
garden relief, was removed
from Sennacherib's capital
city and brought to
the British Museum.
It shows his palace complex
and a garden--
trees hanging
in the air on terraces...
and plants
suspended on arches.
But because it wasn't from
Babylon, it was ignored.
DALLEY: The garden relief
shows water coming
along halfway up the
garden on arches, and they
look as if they're stone
arches the way
that they're shown.
And that is, I think, one
of the things that makes it
a really extraordinary
garden--a hanging garden.
NARRATOR: It was a revelation.
The prism and relief
both placed the garden
in Sennacherib's capital,
and Sennacherib's capital was
nowhere near Babylon.
It was at Nineveh, more
than 250 miles to the north.
Nineveh is now part of
modern-day Mosul,
one of the most dangerous
places on earth.
No western archaeologist
has been there since the war
in Iraq began.
On average 3 to 5 terrorist
attacks occur every day during
Stephanie's trip.
Despite this, she
thinks she has a way
to gather evidence
to support her theory.
She heads to Erbil
in Iraqi Kurdistan,
just 50 miles from Nineveh.
Compared to the rest of
the country, it's a safe
and stable place,
and it's an area
she knows well.
DALLEY: I first
came here in 1967.
We were digging
in northern Iraq.
There'd been a certain amount
of trouble there, as there
often is, but we
got through easily.
That's me there,
and that one's the man
who became my husband.
MAN: Your romance
blossomed on this trip?
Ah, eventually.
NARRATOR: Tomorrow,
from her base here in Erbil,
Stephanie will begin
to test her theory.
[Man chanting]
NARRATOR: Conditions in Iraq
make her work difficult.
In high summer, temperatures
reach nearly 104 degrees.
An early start is critical.
The first step is to prove
that Sennacherib had the
expertise to get water to
a garden in the heart of this
arid country.
When Stephanie was here nearly
50 years ago, she saw the
beginnings of a canal system
in the mountains of Khinis.
She decides to head
back to this site.
Well, we're off to see where
the water starts, at the head
of Sennacherib's
great canal scheme.
When I came before,
I thought there were many more
people around.
You would see a lot of
children in the villages,
you'd see a lot of fruit
trees, a lot of chickens,
and I think now when you go
through the villages, there's
much less sort of
family life going on.
NARRATOR: When Stephanie
finally reaches
the site, the sheer scale
of Sennacherib's building
project is revealed.
DALLEY: And there's
Sennacherib.
Sennacherib is recording,
in a very visual form,
the greatness of what he did.
He is showing that he has
inaugurated this wonderful
system of water management,
bringing the water all the way
to Nineveh and to his hanging
garden, and he's showing
himself together with the
great gods and that the gods
support him because that's
the important thing.
If the gods stop supporting
the king, he's on his way out.
NARRATOR: These reliefs survived
centuries, until hermits
moved into the area
and destroyed them.
The enormous holes became
caves used as shelters,
and Sennacherib has left
his mark everywhere...
Proud, powerful, celestial.
DALLEY: It's evident
that this is his work
because of this monument,
and not just this one,
but there are small niches
with a picture of the king
all the way along here.
I find it very moving that it
is still here--you can still
come and see it,
you can go up and touch it
if you wanted.
You could kiss
Sennacherib's feet.
I know it's ruined.
Perhaps that adds to the
romance of it, in fact.
It's a very impressive
monument, and thank God
it's still here.
NARRATOR: But scrambling
over the site at Khinis,
Stephanie stumbles
onto something she's
never seen before.
DALLEY: Well, it looks as if
here we've got some kind
of a fountain, and you
can just see, very eroded,
the tail of this
lion, here, coming round there,
and his back legs, from
which he's springing off,
roughly there.
4 paws, I think,
there and there.
Well, the lion is the royal
animal of the king, that's
for a start; it's also the
animal of the great goddess
of Nineveh.
So on both counts it's
appropriate to have this here.
NARRATOR: But she thinks
this fountain was more
than just ornamental.
DALLEY: Sennacherib
was very concerned to
look after his workmen well,
and I'd just like to
imagine them heaving their
blocks of rock from the quarry
up there and coming here to
fill their water skins
when they needed a rest
and a drink.
A place like this is full of
surprises, and if you walk
around, you'll see things
you haven't seen before.
Water from this river was
taken and routed into a vast
network of canals.
DALLEY: This is
the huge rock where the
water was divided in two.
We've got the mountain river
coming down through the gorge
over there, and it's circling
round here, and at this point
it's diverted half of it into
the canal, and you can't see
the line of the canal now
because they've made
a car park there.
But it would have continued
past our vehicle towards
the flagpole and on
towards Nineveh.
Well, we're standing in
a sort of key point
for the whole project.
It all begins here.
NARRATOR: 2,700 years ago, this
giant rock would have split the
river and diverted
half the water into
Sennacherib's system.
The canal was perfectly
engineered,
dropping exactly one
meter for every kilometer,
to control the flow of runoff
from the mountains
to distant Nineveh.
This system, built
hundreds of years before the
Roman Empire even existed,
was a staggering achievement.
DALLEY: There would have been a
most enormous ceremony here when
the whole system was opened
up for the first time.
They would have had tremendous
ceremony, and the king would
have been here, and probably
a great feast took place.
MAN: You sound like
you you wish you
would have been there.
Oh, yes.
I'm hoping to meet
Sennacherib one day.
[Laughs]
Well, it's nice to imagine
it here because you have
the scenery for it and
you have the occasion.
NARRATOR: 125 miles
from Sennacherib's carving,
the canal reemerges.
DALLEY: Well, we're
coming along here
to see where the canal goes.
We saw that it was covered
by the car park, and now we're
picking it up.
It's just come out of a
tunnel, and there we see where
this lovely reed bed is,
where we see the extent
of the canal at this point.
And now, of course,
it's got reeds growing in it
because the soil and dust
and so on would have settled
in the bottom, giving
something for the reeds to
grow out of, but in
Sennacherib's time, we imagine
clear water going along
a rock-cut bottom, or maybe
a pebble bottom, and then out
from the source of the water.
NARRATOR: While the site
at Khinis demonstrates
Sennacherib's ambition,
it doesn't show the scale
of his canals
or how it relates to Nineveh.
To see whether this canal
system could be connected
with Nineveh, Stephanie
returns to Erbil.
Studying the canals is
difficult because much
of the evidence for the
ancient network has been lost
to modern life.
She's come here to find out
about a new project that
promises to reveal secrets
of Sennacherib's great work.
[Speaking foreign language]
DALLEY: A bit later today,
we're off to see
my colleague Jason Ur
from Harvard, who studies
in a quite different way from
myself the landscape that
Sennacherib inhabited, changed
for forever, really.
NARRATOR: Jason Ur uses highly
classified spy material to
study ancient landscapes,
including the area once ruled
by Sennacherib.
DALLEY: We have to sort of peel
back the landscape that is
currently available, that we
can see nowadays, and look
at how it must have been in
the time of Sennacherib.
UR: Well, I've used a Corona
program, this American spy
satellite program that
started in the 1960s.
It's been declassified since
the mid-nineties, and now it's
available for literally
anybody to use, including
the people that the
Americans were spying on.
It reveals fantastic
details of the ancient world.
NARRATOR: This early satellite
took snapshots of landscapes as
they were before modern cities
were built, before modern roads.
And in this part of Iraq,
the landscapes have not changed
for thousands of years.
UR: The inscriptions
can tell us a lot.
They can tell us the thoughts
of the people that wrote them,
but we never must forget that
those people had an agenda.
So here's where the satellite
imagery comes in.
It shows us the landscape
in a very objective way.
It doesn't lie.
This is an image of Nimrud.
This is one of the capital
cities of the ancestors
of Sennacherib.
We can see a lot of
interesting things here.
This is a big, high mound
that had an important palace,
and then we've got the wall
stretching around the city,
which is very clear,
can be easily seen.
But we knew about
all these places.
You know, the satellite
imagery here isn't telling
us anything we didn't
already know.
But it's in the center of the
city that we learn new things.
We've known nothing about
the insides of this city,
but with this corona image,
we can see processional ways
leading from the gates
into the city.
It's these dark lines
going through the city,
like this here.
These are ancient streets,
and they are massive
ancient streets.
They are 15 to 20 meters wide.
So these aren't just streets,
these are processional ways.
You can imagine that there
could have been 3 chariots
wide going through
the streets here.
It would have been very
dramatic to see the king
in his retinue, moving through
these spaces, say, on their way
into the citadel or from
the citadel out to the parade
grounds near the arsenal here.
This really shows the power
and scope of this technique.
We wouldn't have seen any of
this on the ground.
Just, it's not there.
It's underneath fields.
But under the right
conditions, it emerges as
clear as a bell.
[Knock on door]
Stephanie, how are you?
Jason, very good to
see you again.
Come on in.
NARRATOR: Jason's work reveals
just how big Sennacherib's
canal system was.
Stretching from the Zagros
Mountains that border Iran,
it ran across the plains of
northern Iraq all the way
to Nineveh.
UR: So we're looking here at
a canal that leads fm the
Zagros up to the north, and
it directs the entire flow
of this river across this
watershed into this other
river system.
This is not necessarily
easy to see from the ground,
but this image gives you a
fantastic idea of just how
screamingly obvious it is
from a vertical perspective.
DALLEY: So
on the ground,
how wide would that
canal be?
From top to top,
it's a hundred
meters wide, and it's
probably about 20
meter deep.
NARRATOR: In parts,
Sennacherib's
waterways were the width
of the Panama Canal, and they
ran downhill at a precise
angle across 60 miles
of parched terrain.
What have you got here
to get the canal from
there to there?
This is one of the
engineering jewels
of the Assyrian empire,
this canal that you
can faintly trace here.
It has to go around this
entire valley, but to get
there, it has to cross this
stream, and that's where this
feature comes in.
It's a little ambiguous
on the imagery, but
this is an aqueduct.
This is a two-million-block
stone aqueduct.
This feature carries the water
from this side of the plain
across this water course
and then carrying on
around the head of the valley,
ultimately to the capital
and Nineveh, and it really
is a masterpiece
of Assyrian engineering.
Well, it's astonishing,
isn't it?
To imagine
Sennacherib and his
engineers seeing that
whole picture without
the sort
of maps that we have.
DALLEY: So what we can see on
those photographs is that
Sennacherib and his engineers
were phenomenal, that it was
something quite out the
ordinary, quite magnificent
in scope, design,
and execution.
NARRATOR: It is clear
that Sennacherib
had the technology to build
a huge canal network.
But did he have the
engineering skills to build
a terraced garden?
Stephanie decides to vit
the aqueduct Jason pointed out
on his satellite map.
The Jerwan aqueduct
is one of the earliest known
aqueducts in history.
It pre-dates anything the
Romans built by 500 years.
DALLEY: Well, I'm glad I've got
a good pair of shoes on.
[Laughs]
It's so solid.
I mean, look at the size
of those pieces of stone.
You could almost imagine
a giant having to compose this.
NARRATOR: Sennachrib
was so proud of his
achievements, he wanted to
tell the world about his work.
DALLEY: We know who built
this because he wrote
his name, his title,
his father's name on
these stones here.
It's written in cuneiform.
It goes from left to
right, just like English.
He says, "Mr. Sennacherib,
the king of the world, king
of the land of Assyria."
There's no doubt at
all who built this.
Not modest at all.
He wanted to make sure that
his legacy lasted forever.
And it has done quite well,
2,700 years or so.
NARRATOR: But while
the aqueduct has survived
for nearly 3 millennia,
the area around it has been
too turbulent and dangerous
for archaeologists to work in.
DALLEY: Well, although it's
much prettier to be here
in the spring, because of the
spring flowers and the crops
growing and so on, it's
actually not very safe then
because there are unexploded
ordnance around on the fields
just occasionally, and in this
particular area there were
landmines until they were
cleared extremely recently,
and of course those are buried
mines, so there's a danger.
But I gather it's
perfectly safe now, and we
think it is, but over there,
that was the area where there
was a place with ldmines,
but a lot of people have been
here in the last few years,
actually, so sticking to this
area is perfectly safe.
NARRATOR: On the other side
of the aqueduct,
there's a clue that sheds
light on the Hanging Gardens.
DALLEY: What we've
got here is the remains
of an arch in this
aqueduct, and I think you
can see that the stones are
gradually shaped in towards
the center at the top, which
is no longer preserved.
NARRATOR: There were
5 arches built from
two million perfectly
carved stone blocks.
This extraordinary structure
would have supported
Sennacherib's canal at a
height of 30 feet above
ground, and it would
have been 72 feet wide.
But for Stephanie,
there's something even more
significant about
the aqueduct...
something that reminds her
of the garden relief
at the British Museum.
DALLEY: If we look
on the drawing of it
where the the thing is
a bit clearer, we can see
the shape of the top of those
arches on the drawing.
And it's quite interesting
that on this we can see that
they've drawn in the stones.
NARRATOR: The arches
shown on the stone panel
match the design
of the arches supporting
the aqueduct at Jerwan.
DALLEY: We can see
that this is real,
and it helps us to understand
that what we see here is not
a bit of make-believe; they're
showing what the king did in
detail, and they're not
fairy tale imaginary
pictures at all.
They're trying very hard
in two dimensions to represent
something enormous that the
king did in 3 dimensions.
NARRATOR: For Stephanie,
the aqueduct proves
the garden relief is
more than just
a piece of art that
once decorated
a palace wall at Nineveh.
It's a piece of
documentary evidence.
DALLEY: We've seen
the rock sculptures
and the canal leading out
from the mountains at Khinis,
and now we've found the place
where an aqueduct solves the
problem of crossing the major
tributary, and then we think
of this whole network making
its way very carefully
all the way to Nineveh.
The thing is, it's not
just a garden, is it?
It's a world wonder on
several different counts.
This whole water works is a
part of what makes the hanging
garden a world wonder,
and it shows the
character of Sennacherib.
He's not afraid of a big
project, and he has the
expertise to carry it out,
and it works when he's done it.
NARRATOR: Returning to
Erbil, Stephanie considers
what she's learned:
Sennacherib did build a huge
canal system that could have
provided water for
a large garden in Nineveh.
Now, using old archaeological
surveys, she also believes
she's pinpointed the location
of the fabled hanging garden.
DALLEY: What we've got here is
a map that was made in 1904.
We know that's a part of
the palace of Sennacherib.
Now, some people think that's
just about all there was,
but other people think that
it was much bigger than that
and that it extended
all the way along here.
If we think it does come along
this far, that would be a good
place there for the garden.
NARRATOR: Sennacherib's
palace complex
stretched 1,300
feet in length.
To the rear was a huge open
space that Stephanie believes
was the site for his garden.
DALLEY: Sennacherib's
own inscription says
that he raised the level
of the earth beside the palace
to make a garden.
NARRATOR: But there are
critical details
Sennacherib failed to provide.
He didn't tell us how the
garden was laid out or how
large it was.
Other writers living hundreds
of years later claimed
they knew.
DALLEY: We only know
about the size of
the gardens from what the
Greek writers say, but one of
the Greek authors,
Diodorus Siculus, tells us just
what the dimensions were.
He says the park extended 4
plethra on each side, and then
says that it sloped
downwards on these terraces
and resembled a Greek theater.
NARRATOR: A plethra is
an ancient measurement.
4 plethra equals
about 400 feet.
DALLEY: The way I think you can
interpret this is we've got
essentially a rectangle and
we've got 123 meters along
the top, and 123 meters along
the side, and that's
the dimensions
that Diodorus gives.
NARRATOR: This size and shape
would fit the available
space alongside the palace.
DALLEY: And then he says that it
resembles a theater because
of these terraces rising up,
so we envisage it coming like
this and then the lake
down at the bottom there.
So that's roughly--what
it would have looked like is
a large Greek or Roman
amphitheatre, with a lake
at the bottom.
NARRATOR: An immense, thirsty
amphitheater of plants
nourished by
a vast canal system.
But the question remains:
how did Sennacherib get water to
the upper tiers of his garden,
where these giant trees grew?
DALLEY: Scholars have
estimated that this
particular hanging garden
would have needed about
300 tons of water a day,
and that's an
enormous amount of water.
NARRATOR: Without
modern technology,
lifting 300 tons
of water per day by hand would
have been an extremely
difficult task.
DALLEY: So how are we going to
get the water up there?
It's a phenomenal question as
to how it was done.
NARRATOR: Stephanie
was working through
Sennacherib's writing
when she came across a word that
didn't make sense to her.
DALLEY: He says, "In order to
draw water up all day long,
"I had ropes, bronze wires, and
bronze chains made, and I set
up the great cylinders
and alemitu over cisterns."
He's drawing up
water all day long.
This is not a bucket and
chain job from a well.
But what on Earth did he
mean by the alemitu?
NARRATOR: It seemed
Sennacherib did find
a solution to bringing water
to the garden's highest tiers,
but it was hidden behind
the word "alemitu."
Stephanie was able to decipher
the meaning of the word.
[Knocks on door]
It's a partular type
of date palm.
But what did a date palm have
to do with lifting water?
...very kind of you.
We saw that you had
a palm tree.
NARRATOR: When she sees a date
palm tree, she understands
what Sennacherib
was describing.
DALLEY: This tree is significant
because you can see where the
fronds have been cut off as
the trunk has gone up.
You can see the scars from the
fronds making a spiral pattern
around the whole
of the trunk.
NARRATOR:
The spiral pattern
around the trunk of the tree...
resembles the shape
of a screw...
the kind of screw used
for drawing water uphill.
Silent and able to keep
a constant amount of water
flowing against gravity,
it would have been
an engineering breakthrough.
Sennacherib was using
the shape of a date palm to
describe an Archimedes screw.
DALLEY: When you invent
something,
you've got to find
words for it.
Like on your computer you have
this mouse--well, you know,
that could be quite perplexing
in the future for people who
talk about mice on desks.
Here we've got something that
maybe they've already invented
and they know what it looks
like, but how are they going
to find a word for it?
They look in nature for
something that has it, too,
and this is what provides them
with a word that they can use
for it that everybody
will understand.
NARRATOR: The Archimedes screw
is named after the Greek who
is believed to have
invented it.
But it seems Sennacherib was
using it 400 years before
Archimedes was even born.
DALLEY: I looked at what
various writers had said
about Archimedes and the
water-raising screw, and they
thought the screw itself was
older than Archimedes, so I
felt some relief at that
because you don't want to
go out too much on a limb.
Sennacherib solved this
enormous problem of raising
water from that aqueduct
halfway up the garden
and getting it right up to
the top above the pillared
walkway, and he does
it with these screws.
And that is a stroke
of genius, really.
NARRATOR: The focus
of her investigation
turns to getting
access to the site at Nineveh.
Nineveh and the neighboring
city of Mosul are effectively
closed to westerners.
[Explosion]
During Stephanie's visit,
a car bomb exploded at a book
market, and 47 people
were killed or injured,
and on average, 100 people
were killed every month.
But 4 days into the trip,
Stephanie and her team have
found a way to see the site.
DALLEY: We've come
up with a plan to
send local security people
with cameras, and they're
going to the bit of the mound
at Nineveh that
we're interested in.
[Knock on door]
Hello.
Hello.
Do come in, please.
DALLEY: Two local men arrive
and receive their instructions
from Stephanie.
Shall we get
straight to our map?
NARRATOR: Locals can work in
Nineveh without attracting
any attention.
So you'll be starting
here with the roofed area.
NARRATOR: Watching
footage they bring back
will be Stephanie's first
opportunity to
study the site.
We want to look
at this bit here.
NARRATOR: They will
only have an hour
to film at the location.
After that, using
cameras around the
site will make them
too conspicuous, and it
will become too dangerous.
You'll be coming
out here.
you may have to come
through a fence.
NARRATOR: They must get
to the possible
garden location quickly.
MAN: From the palace to this
area--what do you think,
I mean, about the distance
from here to here?
About 400 meters.
400 meters.
Roughly.
And this--this is
the area that we
really want you to focus
on, here, as much as
you can of that.
DALLEY: We'll see
how the land lies
in the bit of Sennacherib's
palace that is still
recognizable, and then, above
all, the bit that I'm most
interested in, those contours
which correspond to what we
know about the hanging garden.
NARRATOR: The men
set off on their
two-hour drive to Nineveh.
They must pass through 4
checkpoints which are often
targeted by terrorists.
They've each been given a
camera and will call Stephanie
when they get to the site.
MAN: How are you feeling?
DALLEY: Well, nervous.
Nervous.
I do hate waiting.
I'm quite an impatient
person, I suppose,
and also from the West,
I've got in the habit
of being punctual
for things,
so when there's any
delay, I chomp
at the bit, rather.
NARRATOR: Stephanie must
wait anxiously for news.
She's unaware that the men
have passed dangerously close
to attacks on the
outskirts of Nineveh.
Then, after nearly 4 hours,
she receives some good news
from her security advisor.
MAN: They're OK.
They're inside.
Good.
MAN: So they're
just waiting to start
the process of filming.
OK, thanks. Good.
NARRATOR: But
the clock is ticking
as the two men race to film
the site before
they're told to lea.
[Man chanting]
Eventually, they return
with the footage they shot
in Nineveh.
[Knock on door]
So nice to see you again.
NARRATOR: Stephanie is
grateful for their courage.
I thank you so
much for what you've done.
MAN: We thank God
that we are safe.
Well, we
thank God, too.
NARRATOR: The area
is an archaeological site
in the center of Nineveh
under the control of the
Department of Antiquities.
The men enter the
excavated part of the palace.
Despite millennia of damage,
there's no disguising the scale.
So here we are
in Sennacherib's
palace.
Yes.
So what's
this relic?
I think that's a bit
of a winged bull.
That's a hind leg,
the bottom, the back
of the bull.
It's quite interesting
to see the stone
and how--oh, yes.
Oh, there's some
wonderful shell
in the stone there.
Oh, look at it. Oh.
Oh, yes, these
are the trees,
like the ones in
Sennacherib's
garden according to the
sculpture that we have.
NARRATOR: It shows Sennacherib's
fascination with plant life
and the natural world
just like the carvings
on the garden relief.
DALLEY: It's a mountain
landscape.
When they have these sort of
diamond kinds of background,
that shows you're
in the mountains.
So I think these might be
fruit trees, but I'm not sure.
NARRATOR: The images
show an ancient
city in a terrible state
of disrepair.
Nineveh is on the Global
Heritage Fund's list of sites
in danger of irreparable
destruction and loss.
DALLEY: It is
in a sad state,
but it's still
very exciting.
Those slabs that
you see there--
we've lost
the sculpture on the
outside of them.
But still it gives
you a feel for
the scale of it all,
doesn't it?
MAN: Yes.
DALLEY: You feel how
impressive it was.
Yes, exactly.
Of course it would
have been perfect.
When I went over there,
I felt that I am living
in another world.
DALLEY: Yes, yes.
NARRATOR: With time ticking
away, they must keep moving,
as there's a lot
of ground to cover.
The men head toward the rear
of Sennacherib's palace,
getting closer to the area
Stephanie thinks is
the location of the garden.
It becomes quickly apparent
that much of the old city is
now used as farmland.
DALLEY: And they're
plowing right up to the edge.
That's...Yes, well...
How much is lost every year,
you imagine thousands of years
when this site has been
eroded, damaged, looted.
People come up for picnics,
they find, "Ah, look what I've
found," and they take it home.
And you can't
blame them.
Ah, but look how
difficult it
is to see any
sort of--
to interpret
any of the land.
It is so eroded.
Can you just show us
where we are on
the map at this moment?
Exactly there.
Exactly there?
Yeah.
Great.
So you're walking
towards the area
that has the red circle
around it.
Yes.
NARRATOR: Watching as they
arrive at the spot circled
on the map, Stephanie is
initially downhearted.
DALLEY: We know for certain
he had a palace garden.
It must be somewhere here.
This seemed to me a very
likely spot, but now we're
here, of course, we don't
see a garden--that's
for sure--and we don't see ay
trace of what we hoped might
be visible.
NARRATOR: Then she spots
something that gives
her hope...
the extraordinary view
from the citadel overlooking
the plains of northern Iraq.
It's a perfect place for a
garden looking over the river.
Sennacherib tells us so in his
inscription, and he says it
was a marvel for all peoples--
a wonder of the world,
in his own words.
NARRATOR: Stephanie
can search no further.
She's seen evidence of the
enormous engineering feat that
brought water from
the mountains...
through huge canals...
to a garden resembling
an amphitheater nearly 70
miles away.
Stone arches carried 300
tons of water...
while screws worked
silently to lift the water up
to the highest terraces of
gardens that were built
by a king to
demonstrate his
mastery of nature.
To Stephanie's frustration,
any detailed archaeological
study of this site remains
impossible as long as
the conflict continues.
It's just too dangerous.
For the moment, she has
gotten as close as anyone can.
We have seen Sennacherib at
work in his canals, in his
sculptures, in his palace.
We've seen the sight
of the garden...
and we have seen Sennacherib
had the brilliance
and the expertise to make
a wonder of the world.
It's been wonderful.
ANNOUNCER: The iconic moments
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MAN: It stretches human
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WOMAN: That legend just doesn't
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