emblems of two of the national divinities.  Below the spandrels and archivolte, on either side of the arched entrance, are the flowered panels above-mentioned, alike in most respects, but varying in some of their details.  Within the recess, its two sides, and its further end, are decorated with bas-reliefs, those on the sides representing Chosroes engaged in the chase of the wild boar and the stag, while those at the end, which are in two lines, one over the other, show the monarch, above, in his robes of state, receiving wreaths from ideal beings; below, in his war costume, mounted upon his favorite charger, Sheb-Diz, with his spear poised in his hand, awaiting the approach of the enemy.  The modern critic regards this figure as “original and interesting.”  We shall have occasion to recur to it when we treat of the “Manners and Customs” of the Neo-Persian people.

[Illustration:  PLATE XXXIV.]

The glyptic art of the Sassanian is seen chiefly in their bas-reliefs; but one figure “in the round” has come down to us from their times, which seems to deserve particular description.  This is a colossal statue of Sapor I., hewn (it would seem) out of the natural rock, which still exists, though overthrown and mutilated, in a natural grotto near the ruined city of Shapur. [PLATE XXXV.] The original height of the figure, according to M. Texier, was 6 metres 7 centimetres, or between 19 and. 20 feet.  It was well proportioned, and carefully wrought, representing the monarch in peaceful attire, but with a long sword at his left side, wearing the mural crown which characterizes him on the bas-reliefs, and dressed in a tunic and trousers of a light and flexible material, apparently either silk or muslin.  The hair, beard, and mustachios, were neatly arranged and well rendered.  The attitude of the figure was natural and good.  One hand, the right, rested upon the hip; the other touched, but without grasping it, the hilt of the long straight sword.  If we may trust the representation of M. Texier’s artist, the folds of the drapery were represented with much skill and delicacy; but the hands and feet of the figure, especially the latter, were somewhat roughly rendered.

[Illustration:  PLATE XXXV.]

The bas-reliefs of the Sassanians are extremely numerous, and though generally rude, and sometimes even grotesque, are not without a certain amount of merit.  Some of the earlier and coarser specimens have been already given in this volume; and one more of the same class is here appended [PLATE XXXVI., Fig. 1.] but we have now to notice some other and better examples, which seem to indicate that the Persians of this period attained a considerable proficiency in this branch of the glyptic art.  The reliefs belonging to the time of Sapor I. are generally poor in conception and ill-executed; but in one instance, unless the modern artist has greatly flattered his original, a work of this time is not devoid of some artistic excellence.