rthian period. The upper lip is ornamented by moustaches, and the chin
covered by a straight beard. The figure is dressed in a long sleeved
tunic, over which is worn a cloak, fastened at the neck by a round
brooch, and descending a little below the knees. The legs are encased
in a longer and shorter pair of trowsers, the former plain, the latter
striped perpendicularly. Round the neck is worn a collar or necklace;
and on the right arm are three armlets and three bracelets. The conical
cap appears to be striped or fluted.

[Illustration: PLATE 9.]

On the same rock, but in no very evident connection with the main
representation, is a second relief, in which a Parthian cavalier,
armed with a bow and arrows, and a spear, contends with a wild animal,
seemingly a bear. [PLATE X. Fig. 1.] A long flowing robe here takes
the place of the more ordinary tunic and trowsers. On the head is worn a
rounded cap or tiara. The hair has the usual puffed-out appearance. The
bow is carried in the left hand, and the quiver hangs from, the saddle
behind the rider, while with his right hand he thrusts his spear into
the beast's neck. The execution of the whole tablet seems to have been
rude; but it has suffered so much from time and weather, that no very
decided judgment can be passed upon it.

[Illustration: PLATE 10.]

Another still ruder representation occurs also on another face of the
same rock. This consists of a female figure reclining upon a couch, and
guarded by three male attendants, one at the head of the couch unarmed,
and the remaining two at its foot, seated, and armed with spears. The
female has puffed-out hair, and carries in her right hand, which is
outstretched, a wreath or chaplet. One of the spearmen has a curious
rayed head-dress; and the other has a short streamer attached to
the head of his spear. Below the main tablet are three rudely carved
standing figures, representing probably other attendants.

This set of reliefs may perhaps be best regarded as forming a single
series, the Parthian king being represented as engaged in hunting the
bear, while the queen awaits his return upon her couch, and the chief
Magus attached to the court makes prayer for the monarch's safety.

Such are the chief remains of Parthian aesthetic art. They convey
an idea of decline below the standard reached by the Persians of the
Achaemenian times, which was itself a decline from the earlier art of
the Assyrians. Had they been the