in the central compartment, but
carrying mostly a bow and quiver instead of a shield. Along the extreme
edge of the parapet externally was a narrow border thickly set with
rosettes. [PLATE XLIII., Fig. 2.] Next, in the long spaces between the
central stairs and those on either side of them, the spandrels contain
repetitions of the lion and bull sculpture, while between them and the
central stairs the face of the wall is divided horizontally into three
bands, each of which has been ornamented with a continuous row of
figures. The highest row of the three is unfortunately mutilated, the
upper portion of all the bodies being lost in consequence of their
having been sculptured upon a parapet wall built originally to protect
the edge of the terrace, but now fallen away. The middle and lowest rows
are tolerably perfect, and possess considerable interest, as well as
some artistic merit. The entire scene represented on the right side
seems to be the bringing of tribute or presents to the monarch by the
various nations under his sway. On the left-hand side this subject was
continued to a certain extent; but the greater part of the space was
occupied by representations of guards and officers of the court, the
guards being placed towards the centre, and, as it were, keeping the
main stairs, while the officers were at a greater distance. The three
rows of figures were separated from one another by narrow bands, thickly
set with rosettes.

[Illustration: PLATE XLIII.]

The builder of this magnificent work was not content to leave it to
history or tradition to connect his name with his construction, but
determined to make the work itself the means of perpetuating his memory.
In three conspicuous parts of the staircase, slabs were left clear of
sculpture, undoubtedly to receive inscriptions commemorative of the
founder. The places selected were the front of the middle staircase, the
exact centre of the whole work, and the space adjoining the spandrels to
the extreme right and the extreme left. In one instance alone, however,
was this part of the work completed. On the right hand, or western
extremity of the staircase, an inscription of thirty lines in the old
Persian language informs us that the constructor was "Xerxes, the Great
King, the King of Kings, the son of King Darius, the Achaemenian." The
central and left-hand tablets, intended probably for Babylonian and
Scythic translations of the Persian legend, were never inscribe