space of about two hundred yards, on the surface of steep and craggy
rocks, the fronts of which extend in a line from N. W. to S. E. On the
N. W. they terminate abruptly, and take an Eastward turn: and this
termination is marked by the shaft of a column six feet high, which
stands upon the eminence, and is of the very same stone as that on
which it rests; though it has not been left in its present position
by the excavation of the adjacent parts, for I thrust a _kunjur_ (a
dagger) several inches between it and the surface of the foundation
rock; in which therefore there is obviously a socket to receive it.
The top of the rock (on which the sculptures at _Nakshi Rustam_ are
executed) is levelled into a platform about twenty feet square: on this
is an elevated seat or throne; the ascent to which is by five steps, i.
e. two steps and a landing place, and then three more, I think however,
that I perceived the remains of another step to the landing place. The
throne itself is an oblong nine feet by six, and the whole rock is a
fine marble.
Nearly under this column is situated (see plate XV.) the first and
most northern piece of sculpture. It consists of two figures on
horseback, and a third on foot. CHARDIN’S description of this, as well
as of the other monuments, is sufficiently satisfactory; and I will
therefore only mention where I differ from him. He says, that the size
of the horses is suited to that of their riders: now to me they seem
to be by far too small in proportion; and the best proof of this is,
that the riders’ feet nearly touch the ground. What he calls bridles of
chains of iron did not strike us as such. The whole furniture of the
horses is admirably preserved, and I have endeavoured to draw it with
the most scrupulous accuracy. The bridle of the horse on the right is
exactly the same as those of the horses at _Shapour_, with numerous
knobs or buckles on the head-stall: that of the horse on the left is
of another species of ornament, yet also with many straps and buckles.
Both have a remarkable strap or piece of iron which reaches from the
horse’s forehead all down the front part of the face, covers the lips,
and is fastened behind near the opening of the cheeks. The breast-plate
of the horse on the right is composed of large round plates linked
together: that of the horse on the left is ornamented with lions’
heads. The man behind the figure on the left, holds (not an umbrella,
as CHARDIN mentions, but) a fly-flap, which is common to almost all
the principal figures at _Persepolis_. Each of these horsemen trample
on a body; that under the figure on the right is more correct and
well preserved, than the other to the left. A Greek inscription is
engraved on the chest of the first horse, composed of seven lines,
the three first of which are illegible. Then nearly close under these
lines are some characters, which are extremely effaced, but which I
have endeavoured to copy exactly. (See the inscriptions, plate XXIX.)
They are evidently the same as those which I saw at _Shapour_. On the
breast of the opposite horse there is also a small but very effaced
inscription in the same characters.
[Illustration: _Nakshee Rustam._
_Drawn by James Morier Esq^r._
_Published by Mess^{rs}. Longman, Hurst, Rees, Orme & Brown,
Paternoster Row, May 1, 1811._]
The sculpture next to this is composed of nine figures; five on the
right side, and three on the left, of a personage at full length, who
stands in the centre, holding a sword before him with both hands, and
bearing a globe on his head. The figures to the left are beckoning
as it were to the others on the right. There is besides another curious
figure at full length, behind the rock close to the sculpture, but
still making part of the same piece.
More in the centre of the whole extent of rock, and nearly under the
base of a tomb, is a very spirited piece of sculpture, representing the
combat of two horsemen, who are in the very shock of the engagement.
(Plate XVI.) The figure on the left (as the spectator fronts them)
has an immense crown with three balls on the top of three pyramidical
points. Another ball of the same sort is on his right shoulder; and
another on the summit of his horse’s head. On the full stretch of his
horse he presents his lance, which is seen to pass through the throat
of his adversary. A quiver hangs by his side, and a sort of armour
covers his middle, and the back part of his horse. A figure behind him,
apparently his standard-bearer, holds a kind of ensign, which is a
staff crossed at the top and ornamented with five balls. The remainder
is admirably executed, and represents the other horse thrown backwards
on his haunches from the shock of the first cavalier’s onset, and the
spear of his rider broken. The helmet, with which the second horseman’s
head is crowned, is more Grecian, than any which I saw among the ruins;
and the whole, though much effaced, is executed with better proportions
and effect than any of the others.
After this I was delighted and surprised to find an exact copy, though
in a gigantic scale, of the subject at _Shapour_, with one person in
a Roman dress on his knees before the horse’s head, and another whose
hands are seized by the rider. Under the horse’s belly is a long Greek
inscription, of which I could make out only a few characters. There
are, besides, other characters similar to those at _Shapour_, of which
the annexed is a specimen. (See plate XXIX.)
Next to this, is a sculpture containing three figures: the one in the
middle has a crown and globe on his head; his right hand is extended
towards a female figure on his left, and they both grasp a ring. The
third figure, which stands behind the male one in the middle, is
defaced and is apparently only an attendant.
Nearly adjoining, is a much mutilated representation of a combat
between two heroes on horseback. (Plate XVII.) The first, clad in
armour with a globe on his head, makes a desperate thrust with his
lance (his horse being at its greatest stretch) at the other figure,
whose horse is in the act of rearing, and who holds his lance, as if he
were preparing to receive his antagonist. The figure with a globe on
his head tramples a man under his horse’s feet.
The tombs are four in number. Captain SUTHERLAND with some difficulty
entered into the one farthest to the northward. A Persian mounted
first, and then let down a shawl; by which, as by a rope, Captain
SUTHERLAND helped himself up. A platform is cut into the rock before
the tomb, which he entered through a small door, and found a chamber
thirty-seven feet in length, and nine and a half in height: facing him
were three arched recesses, in which the bodies of the deceased had
probably been deposited.
In following the abrupt turn to the East, which the rock of the
sculptures takes, we come to two square fire-altars, situated on a
projecting mass and placed upon one base. They are six feet in height,
and one side of the square is three feet. On the summit of each is a
square hole. Further on in the recess of the mountain, are twenty holes
or windows of different sizes, but all of the same pattern, with an
inscription over them. The characters, according to our observation,
differed from all that we found in any of the various remains which
we visited. Facing nearly the middle of the sculptured rocks, stands
an ancient fire-temple. It is a square building, one side of which
measures twenty-four feet. It is of white marble and of admirable
masonry. In front there is a door; open indeed only at the top, and
which appears to have been opened thus far by force, for all the lower
stones are mutilated. The inside exhibited signs of fire. On each side,
except that on which the door is placed, are four apertures: they seem
to have been scarcely intended to admit light; as (at this day, at
least) they are each closely fitted with a stone. A small niche is
over the door. A cornice, enriched with dentils, passes around the
summit; and in the lines, where the stones have been fitted, oblong
perpendicular incisions are made at regular intervals. The people call
it a pigeon-house. The plain is covered with the wild liquorice; and we
plucked some of refreshing taste on the banks of a stream, which (about
a mile from the sculptures and tombs) turns a mill on the left of our
encampment. We started snipes and ducks from the _Rood-Khonéh-Sewund_,
which runs into the plain from the northward.
[Illustration: _Nakshee Rustam._
_Drawn by James Morier Esq^r._
_Published by Mess^{rs}. Longman, Hurst, Rees, Orme & Brown,
Paternoster Row, May 1, 1811._]
As we had still two hours of daylight before us, we rode to
_Persepolis_, and took a cursory view of the ruins. Our first, and
indeed lasting impressions were astonishment at the immensity, and
admiration at the beauties of the fabric. Although there was nothing,
either in the architecture of the buildings, or in the sculptures and
reliefs on the rocks, which could bear a critical comparison with the
delicate proportions and perfect statuary of the Greeks, yet, without
trying _Persepolis_ by a standard to which it never was amenable, we
yielded at once to emotions the most lively and the most enraptured.
At the distance of about five miles is a conspicuous hill, on the top
of which, and visible to the eye from _Persepolis_, are the remains of
a fortress. This hill is now called _Istakhar_, and is quite distinct
from _Persepolis_. _Persepolis_ itself is commonly styled by the people
of the country “_Takht Jemsheed_,” or the throne of JEMSHEED: it is
also called “_Chehel Minar_,” or the Forty Pillars. LE BRUN has given a
drawing of this hill of _Istakhar_; and the original must strike every
traveller the moment he enters the plain of _Merdasht_, as it has all
the appearance of having been much fashioned by the hand of man.
Jan. 15th. After reading prayers to our society, I hastened to the
ruins. I went on this principle, that I would endeavour to draw and
ascertain all that former travellers had omitted; and for that purpose
I took CHARDIN and LE BRUN in my hand, that I might complete all that
I found wanting in their views and notices. Finding, however, that
they differed from each other (and one of course therefore from the
reality) in many essential points, I thought that an entire description
of the ruins in their present state would answer my purpose better than
a partial and unconnected account, referring only to the mistakes or
omissions of others.
The most striking feature, on a first approach, is the staircase and
its surrounding walls. Two grand flights, which face each other, lead
to the principal platform. To the right is an immense wall of the
finest masonry, and of the most massive stones: to the left are other
walls equally well built, but not so imposing. On arriving at the
summit of the staircase, the first objects, which present themselves
directly facing the platform, are four vast portals and two columns.
Two portals first, then the columns, and then two portals again. On
the front of each are represented in basso-relievo figures of animals,
which, for want of a better name, we have called sphinxes. The two
sphinxes on the first portals face outwardly, i. e. towards the plain
and the front of the building. The two others, on the second portals,
face inwardly, i. e. towards the mountain. From the first (to the
right, on a straight line) at the distance of fifty-four paces, is
a staircase of thirty steps, the sides of which are ornamented with
bas-reliefs, originally in three rows, but now partly reduced by the
accumulation of earth beneath, and by mutilation above. This staircase
leads to the principal compartment of the whole ruins, which may be
called a small plain, thickly studded with columns, sixteen of which
are now erect. Having crossed this plain, on an eminence are numerous
stupendous remains of frames, both of windows and doors, formed by
blocks of marble of sizes most magnificent. These frames are ranged
in a square, and indicate an apartment the most royal that can be
conceived. On each side of the frames are sculptured figures, and
the marble still retains a polish which, in its original state, must
have vied with the finest mirrors. On each corner of this room are
pedestals, of an elevation much more considerable than the surrounding
frames; one is formed of a single block of marble. The front of this
apartment seems to have been to the S. W. for we saw few marks of
masonry on that exposure, and observed, that the base of that side of
it was richly sculptured and ornamented. This front opens upon a square
platform, on which no building appears to have been raised. But on the
side opposite to the room which I have just mentioned, there is the
same appearance of a corresponding apartment, although nothing but the
bases of some small columns and the square of its floor attest it to
have been such. The interval between these two rooms (on those angles
which are the furthest distant from the grand front of the building) is
filled up by the base of a sculpture similar to the bases of the two
rooms; excepting that the centre of it is occupied by a small flight
of steps. Behind, and contiguous to these ruins, are the remains of
another square room, surrounded on all its sides by frames of doors
and windows. On the floor are the bases of columns: from the order in
which they appeared to me to have stood, they formed six rows, each of
six columns. A staircase cut into an immense mass of rock (and from its
small dimensions, probably the _escalier derobé_ of the palace) leads
into the lesser and enclosed plain below. Towards the plain are also
three smaller rooms, or rather one room and the bases of two closets.
Every thing on this part of the building indicates rooms of rest or
retirement.
In the rear of the whole of these remains, are the beds of aqueducts
which are cut into the solid rock. They met us in every part of the
building; and are probably therefore as extensive in their course,
as they are magnificent in construction. The great aqueduct is to
be discovered among a confused heap of stones, not far behind the
buildings (which I have been describing) on this quarter of the palace,
and almost adjoining to a ruined staircase. We descended into its bed,
which in some places is cut ten feet into the rock. This bed leads East
and West; to the Eastward its descent is rapid about twenty-five paces;
it there narrows, so that we could only crawl through it; and again it
enlarges, so that a man of common height may stand upright in it. It
terminates by an abrupt rock.
Proceeding from this towards the mountains, (situated in the rear of
the great hall of columns) stand the remains of a magnificent room.
Here are still left walls, frames and porticoes, the sides of which
are thickly ornamented with bas-reliefs of a variety of compositions.
This hall is a perfect square. To the right of this, and further to the
southward are more fragments, the walls and component parts apparently
of another room. To the left of this, and therefore to the northward of
the building, are the remains of a portal, on which are to be traced
the features of a sphinx. Still towards the north, in a separate
collection, is the ruin of a column, which, from the fragments about
it, must have supported a sphinx. In a recess of the mountain to the
northward, is a portico. Almost in a line with the centre of the hall
of columns, on the surface of the mountain is a tomb. To the southward
of that is another, in like manner on the mountain’s surface; between
both (and just on that point where the ascent from the plain commences)
is a reservoir of water.
These constitute the sum of the principal objects among the ruins of
_Persepolis_, some of which I will now endeavour to describe in more
detail. The grand staircase consists of a Northern and a Southern
ascent, which spring from the plain at the distance of forty-six feet
from each other. Each again is divided into two flights; the first,
terminated by a magnificent platform, contains fifty-four steps on a
base of sixty-six feet six inches, measured from the first step to a
perpendicular dropt from the highest at the landing place: the second,
to the extreme summit of the whole, consists of forty-eight steps on a
base of forty-six feet eight inches. Each step is in breadth twenty-six
feet six inches, and in height three inches and a half. So easy
therefore is the ascent, that the people of the country always mount
it on horseback. The platform, where the two grand divisions meet, is
thirty-four feet from the ground, and in length seventy. From the front
of this platform to the portals behind is likewise seventy feet.
[Illustration: _Persepolis._
_Drawn by James Morier Esq^r._
_Published by Mess^{rs}. Longman, Hurst, Rees, Orme & Brown,
Paternoster Row, May 1, 1811._]
The portals are composed of immense oblong blocks of marble; their
length is twenty-four feet six inches, breadth five feet, and distance
from one another thirteen feet. The two first are faced by sphinxes;
the remaining parts of whose bodies are delineated in a basso-relievo
on the interior surface of the portal. In passing through these, the
next objects before the more distant portals are two columns, but (as
there is a sufficient space for two others, and as the symmetry would
be defective without such an arrangement) I presume that the original
structure was completed by four columns. The second portals correspond
in size with the former, but differ from them not only in presenting
their fronts towards the mountain, but in the subject of the sculptures
with which they are adorned. The animals on the two first portals are
elevated on a base. From the contour of the mutilation, the heads
appear to have been similar to those of horses, and their feet have
hoofs; on their legs and haunches the veins and muscles are strongly
marked. Their necks, chests, shoulders, and backs, are encrustated with
ornaments of roses and beads.
The sphinxes on the second portals appear to have had human heads,
with crowned ornaments, under which are collected massive curls, and
other decorations of a head-dress, which seems to have been a favourite
fashion among the ancient Persians. Their wings are worked with great
art and labour, and extend from their shoulders to the very summit
of the wall. The intention of the sculptor is evidently, that these
figures (emblematical perhaps of power and strength) should appear to
bear on their backs the mass of the portico, including not only the
block immediately above each, but the covering also, which, though now
lost, certainly in the original state of the palace, connected the two
sides and roofed the entrance. In these, as in the first portals, the
faces of the animals form the fronts, and the bulk of their bodies,
(called forth to a certain extent by the basso-relievo on the sides) is
supposed to constitute the substance of the walls.
Under the carcase of the first sphinx on the right, are carved,
scratched, and painted the names of many travellers; and amongst others
we discovered those of LE BRUN, MANDELSLOE, and NIEBUHR. NIEBUHR’S
name is written in red chalk, and seems to have been done but yesterday.
A square reservoir of water, broken in many places, yet still appearing
to have been of one single block, was in the space, between the portals
and the staircase which led to the grand hall of columns. The breadth
of that staircase is fifteen feet four inches. It has two corresponding
flights, the front of which, though now much mutilated, was originally
highly carved and ornamented with figures in bass-relief. The stones
which support the terrace of the columns are all carved in the same
style, and are as perfect as when Le BRUN made his drawings. On
comparing indeed his designs with the originals, I found that he had
given to some of the figures a mutilation which does not exist; for I
discovered on a close inspection many interesting details of dress,
posture, and character, which are omitted in his plates. One great
defect pervades this part of his collection; in order to elucidate by
the human form the comparative dimensions of the buildings, he has
introduced figures so small, that, measured by them as a standard,
the actual size of the objects represented would be three times their
real magnitude. In fact, a man who stands close to the sculptured wall
touches the summit with his chin, though the figures in the drawings of
Le BRUN would not reach half way.
Immediately on ascending this staircase, stands a single column, but
on closer observation I counted the bases (or spots at least where
once bases were) of eleven more columns of two rows; forming, with the
first, six in each row. They are quite distinct from the great cluster
in the centre of the hall, and were therefore probably a grand entrance
to it.
Passing forwards through this double range, we observed large blocks
of stone, placed at symmetrical distances (to correspond with the
arrangement of the columns at the entrance, and those in the centre),
and forming, probably, the bases of sphinxes or other colossal figures.
Having taken some pains to ascertain the real plan and the original
number of the columns in the great hall, I came to the following
conclusions: I observed, in the first place, that there were two
orders of columns, distinct in their capitals as well as in their
height, and that, of the highest, two rows were severally placed at the
E. and W. extremities of the hall.
Between these and the mass of columns of less height and a different
capital is the space on either side of one row, in which, however, no
trace whatever of bases exists, and through which run the channels
of aqueducts. The remainder in the centre consists of six columns in
front, and composes with the four exterior rows a line of ten columns;
each row contains in depth six bases, forming, with the twelve at the
entrance, a grand total of seventy-two. On drawing out a plan of this
arrangement, I find that it is symmetrical in all its points, and
in every way in which I can view it satisfies my imagination; but,
on comparing it with that laid down by NIEBUHR, my own conceptions
have accorded so exactly with those of that great traveller on this,
(as well as on the ichnography of the general remains) that the
introduction of my sketch becomes unnecessary.
On one of the highest columns is the remains of the sphinx, so common
in all the ornaments at _Persepolis_; and I could distinguish on the
summit of every one a something quite unconnected with the capitals.
The high columns have, strictly speaking, no capitals whatever, being
each a long shaft to the very summit, on which the sphinx rests. The
capitals of the lesser columns are of a complicated order, composed
of many pieces. I marked three distinct species of base. The shafts
are fluted in the Doric manner, but the flutes are more closely fitted
together. Their circumference is sixteen feet seven inches. Some of
their bases have a square plinth, the side of one of which I measured,
and found it to be seven feet; the diameter of the base was five feet
four inches, diameter of columns four feet two inches, distance from
centre of base to the next centre twenty-eight feet. To the Eastward of
one of these, and close at the foot of one of the highest columns, are
the fragments of an immense figure. The head and part of the fore-legs
I could easily trace; the head appeared to me more like that of a lion
than of any other animal, and the legs confirmed this supposition; as
it has claws so placed, as to indicate that the posture of the figure
was couchant.
The grand collection of porticoes, walls, and other component parts of
a magnificent hall, are situated behind the columns, at the distance
perhaps of fifty paces, and are arranged in a square.
On the interior sides of the porticoes or door frames, are many
sculptured figures, which have been drawn with accuracy by Le BRUN.
They represent the state and magnificence of a King, seated in a high
chair with his feet resting on a footstool.