<< Previous Page    As distinct from the clay-coated adobe floors, faced with stone slabs, the floor in the temple of god Khaldi is made of small wooden planks, like the modern parquet-floor.
      The north-eastern side of the yard was completed by the palace of Argishti I, which consisted of large halls, Susi temple, peristylar and service yards surrounded with residential and service rooms.
      Judging by the rich decoration of its walls, the peristylar yard, one of the most ancient ones in the Ararat plain, was used for conferences and receptions. It communicated with Susi temple, devoted to god lushba - a small rectangular structure intended for Argishti I and his retinue. An opening over the credence altar served to let in daylight and draw the altar smoke out. There was another credence altar which stood outside the temple, in the middle of the peristylar yard. The interior and exterior walls of the building were painted sky-blue. Next to the temple there were service premises including two wine stores with enormous (up to 600 litres) jars for wine used in sacrifice offering ceremonies.
      The biggest of the halls, which adjoined the peristyle from the north-east, was probably the personal residence of Argishti I. As distinct from other premises it was more richly decorated. The murals showed rhythmically arranged stripes, palmettes, stepped towers, life trees with priests, rosettes, squares with concave sides, lions and oxen. Judging by holes from bronze nails, the lower parts of the walls, under the frieze, were hung with carpets.
      Cuineform inscriptions, cut not only on the stone walls but also on the column bases, say that shortly upon being completed, the palace was expanded. Argishti had new premises, organically connected with the fortress layout, added to its south-eastern side.
      The front hall with five wooden columns is of special in¬terest. Shifted a little from the longitudinal axis to the southwestern side of the hall, they introduced a certain rhythmic element to the space of the enormous hall (480 sq m). Com¬bined with murals, the columns added to the solemn atmosphere of the hall and played a role in organizing its space. One of the frescoes showed a large scene of hunting, with a nobleman driving in a chariot accompanied by leopards. Another fresco showed a peasant with an oxen-drawn plough, and the third one a herd of cattle - a gift to the king. These are the first Urartu frescoes on secular themes (the representations of gods, lions, oxen, squares with concave sides, remi¬niscent in their style and manner of execution of the similar earlier frescoes of Erebuni's presence chambers).
      Erebuni's frescoes are typical of the Ancient East. They have much in common with Assyrian ones, but have characteristic features all their own. Argishti the First's successors - Sarduri II (750-730 B.C.) and Rusa I (730-714 B.C.) continued construction work to improve the citadel. The loss by the Urarts of their state independence in the 6th century B.C. and the establishment of the Akhemenids' domination led to substantial changes in the architectural composition of Erebuni citadel. The main yard, greatly reduced in size, lost its importance as the nucleus of the complex's layout which became denser. As a result the monumental structures lost their solemn appearance. The temple of Khaldi was rebuilt into a thirty-column apadana for the official receptions of the Iranian viceregent in the Ararat plain. The outer walls, fortified with pilasters, created the impression of emphasized mightiness, which was in a striking contrast with the interior. Slender columns, rhythmically arranged along the facade and in the depth of the interior imparted lightness and clarity to its composition.
      Reconstructions were made in the peristylar yard which lost its initial purpose. The temple of Susi was turned into a fire worshipping temple, and another fire worshipping temple was built in the north-eastern corner of the yard. This tem¬ple consisted of three small premises with blank walls and niches with steps. The Urarts' architectural and artistic traditione, vividly represented in Erebuni and in other Urartu monuments, played a prominent role in the further development of architecture on the territory of the Armenian upland.