ssessing architectural
features--the well-known arch of Chosroes II. above alluded to--seems
to deserve description before we pass to another branch of our subject.
[PLATE XXXIV., Fig. 1.] This is an archway or grotto cut in the rock
at Takht-i-Bostan, near Kerman-shah, which is extremely curious and
interesting. On the brink of a pool of clear water, the sloping face
of the rock has been cut into, and a recess formed, presenting at its
further end a perpendicular face. This face, which is about 34 feet
broad, by 31 feet high, and which is ornamented at the top by some
rather rude gradines, has been penetrated by an arch, cut into the solid
stone to the depth of above 20 feet, and elaborately ornamented,
both within and without. Externally, the arch is in the first place
surmounted by the archivolte already spoken of, and then, in the
spandrels on either side are introduced flying figures of angels or
Victories, holding chaplets in one hand and cups or vases in the other,
which are little inferior to the best Roman art. [PLATE XXXIV., Fig. 2.]
Between the figures is a crescent, perhaps originally enclosing a ball,
and thus presenting to the spectator, at the culminating point of the
whole sculpture, the familiar 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 mutilate