There is a Sound Series, Dead Sea Scrolls: Ur, 3rd dynasty

Shidonna Raven
3 hours ago
3 min read

By Leonard Woolley

Fact Checked by The Editors of Encyclopaedia Britannica

Last Updated: Jun 9, 2025

Source: Britannica

Article History

Photo Source: Unsplash,

Ur

ancient city, Iraq

Also known as: Tall al-Mughair, Tall al-Muqayyar, Tell el-Muqayyar, Ur Kasdim, Ur of the Chaldeans

3rd dynasty of Ur, 22nd–21st century BCE

To the next period, that of the 3rd dynasty of Ur (22nd–21st century BCE), when Ur was again the capital of an empire, belong some of the most important architectural monuments preserved on the site. Foremost among these is the ziggurat, a three-storied solid mass of mud brick faced with burnt bricks set in bitumen, rather like a stepped pyramid; on its summit was a small shrine, the bedchamber of the moon god Nanna (Sin), the patron deity and divine king of Ur. The lowest stage measures at its foot some 210 by 150 feet (64 by 46 metres), and its height was about 40 feet (12 metres). On three sides the walls, relieved by shallow buttresses, rose sheer. On the northeast face were three great staircases, each of 100 steps, one projecting at right angles from the centre of the building, two leaning against its wall, and all three converging in a gateway between the first and the second terrace. From this a single flight of steps led upward to the top terrace and to the door of the god’s little shrine. The lower part of the ziggurat, built by Ur-Nammu, the founder of the dynasty, was astonishingly well preserved; enough of the upper part survived to make the restoration certain.

The excavations showed that by the 3rd millennium BCE Sumerian architects were acquainted with the column, the arch, the vault, and the dome—i.e., with all the basic forms of architecture. The ziggurat exhibited its refinements. The walls all sloped inward, and their angle, together with the carefully calculated heights of the successive stages, leads the eye inward and upward; the sharper slope of the stairways accentuates that effect and fixes attention on the shrine, the religious focus of the whole huge structure. Surprisingly, there is not a single straight line in the structure. Each wall, from base to top and horizontally from corner to corner, is a convex curve, a curve so slight as not to be apparent but giving to the eye of the observer an illusion of strength where a straight line might have seemed to sag under the weight of the superstructure. The architect thus employed the principle of entasis, which was to be rediscovered by the builders of the Parthenon at Athens.

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