yriades, who is somewhat too short, receives the diadem from his
benefactor with a calm satisfaction. But the best figure is that of the
captive emperor, who kneels on one knee, and, with outstretched arms,
implores the mercy of the conqueror. The whole representation is
colossal, the figures being at least three times the size of life; the
execution seems to have been good; but the work has been considerably
injured by the effects of time.

[Illustration: PLATE XXXVI.]

[Illustration: PLATE XXXVII.]

Another bas-relief of the age of Sapor I. is on too large a scale, and
too complicated, to be represented here; but a description may be given
of it, and a specimen subjoined, from which the reader may judge of
its character. On a surface of rock at Shapur, carefully smoothed and
prepared for sculpture, the second Sassanian monarch appears in the
centre of the tablet, mounted on horseback, and in his usual costume,
with a dead Roman under his horse's feet, and holding another
(Cyriades?), by the hand. In front of him, a third Roman, the
representative of the defeated nation, makes submission; and then follow
thirteen tribute-bearers, bringing rings of gold, shawls, bowls, and the
like, and conducting also a horse and an elephant. Behind the monarch,
on the same line, are thirteen mounted guardsmen. Directly above, and
directly below the central group, the tablet is blank; but on either
side the subject is continued, above in two lines, and below in one,
the guardsmen towards the left amounting in all to fifty-six, and the
tribute-bearers on the right to thirty-five. The whole tablet comprises
ninety-five human and sixty-three animal figures, besides a
Victory floating in the sky. The illustration [PLATE XXXVIII.] is a
representation of the extreme right-hand portion of the second line.

[Illustration: PLATE XXXVIII.]

After the time of Sapor I. there is a manifest decline in Sassanian art.
The reliefs of Varahran II. and Varahran III., of Narses and Sapor III.,
fall considerably below those of Sapor, son of Artaxerxes. It is not
till we arrive at the time of Varahran IV. (A.D. 388-399) that we once
more have works which possess real artistic merit. Indications have
already appeared in an earlier chapter of this monarch's encouragement
of artists, and of a kind of art really meriting the name. We saw
that his gems were exquisitely cut, and embodied designs of first-rate
excellence. It has now to be observed fur