left,
with the legend BaGi PAPaKi MaLKA, "Divine Papak, King;" or BaBl BaGi
PAPaKi MaLKA, "Son of Divine Papak, King." Both heads wear the ordinary
Parthian diadem and tiara; and the head of Artaxerxes much resembles
that of Volagases V., one of the later Parthian kings. The coins of the
next period have a head on one side only. This is in profile, looking
to the right, and bears a highly ornamental tiara, exactly like that
of Mithridates I. of Parthia, the great conqueror. It is usually
accompanied by the legend MaZDiSN BaGi ARTaHSHaTR MaLKA (or MaLKAN
MaLKA) aiean, i.e. "The Ormazd-worshipping Divine Artaxerxes, King of
Iran," or "King of the Kings of Iran." The reverse of these coins bears
a fire-altar, with the legend ARTaHSHaTR nuvazi, a phrase of doubtful
import. In the third period, while the reverse remains unchanged, on the
obverse the Parthian costume is entirely given up; and the king takes,
instead of the Parthian tiara, a low cap surmounted by the inflated
ball, which thenceforth becomes the almost universal badge of a
Sassanian monarch. The legend is now longer, being commonly MaZDiSN
BaGi ARTaiisi-iaTR MaLKAN MaLKA airanMiNUCHiTRi iniN YazDAN, or "The
Ormazd-worshipping Divine Artaxerxes, King of the Kings of Iran,
heaven-descended of (the race of) the Gods." The fourth period is
marked by the assumption of the mural crown, which in the sculptures of
Artaxerxes is given only to Ormazd, but which was afterwards adopted by
Sapor I. and many later kings, in combination with the ball, as their
usual head-dress. The legend on these coins remains as in the third
period, and the reverse is likewise unchanged. Finally, there are a few
coins of Artaxerxes, belonging to the very close of his reign, where he
is represented with the tiara of the third period, looking to the right;
while in front of him, and looking towards him, is another profile, that
of a boy, in whom numismatists recognize his eldest son and successor,
Sapor. [PLATE XV., Fig. 1].

[Illustration: PLATE 15.]

It is remarkable that with the accession of Artaxerxes there is at
once a revival of art. Art had sunk under the Parthians, despite their
Grecian leanings, to the lowest ebb which it had known in Western Asia
since the accession of Asshur-izir-pal to the throne of Assyria (B.C.
886). Parthian attempts at art were few and far between, and when made
were unhappy, not to say ridiculous. The coins of Artaxerxes, compared
with those of the la