ems to have had its seat of government at
Tarrisha in the, valley of Malamir.**

* The prince represented on the bas-reliefs gives himself
the title Apirra, the name of Apir, Apirti, or Habardip.

** Tarrisha is the name of a town, doubtless the capital of
the fief of Malamir; it is probably represented by the
considerable ruins which Layard identified as the remains of
the Sassanid city of Aidej.

Three hundred figures carved singly or in groups on the rocks of
Kul-Firaun portray its princes and their ministers in every posture of
adoration, but most of them have no accompanying inscription. One large
bas relief, however, forms an exception, and from its legend we learn
the name of Khanni, son of Takhkhi-khikhutur.*

* The name of Khanni has been explained by Sayce as _the
desirable_, and that of his father, Takhkhi-khikhutur, as
_help this thy servant_.

[Illustration: 349.jpg THE GREAT ROCK BAS-RELIEF OF MALAMIR]

Drawn by Faucher-Gudin, from a photograph by Babin and Houssay.

This prince, even if possessed of no royal protocol, was none the less
a powerful and wealthy personage. His figure dominates the picture, the
central space of which it completely fills;* his expression is calm, but
somewhat severe. His head is covered by a low cap, from which long
locks escape and flow over his shoulders; the hair on his face is
symmetrically curled above the level of his mouth, and terminates in a
pointed beard. The figure is clothed from head to foot in a stiff robe
and mantle adorned with tufted fringes, and borders of embroidered
rosettes; a girdle at the waist completes the misleading resemblance
to the gala-dress of a Nine vite, monarch. The hands are crossed on
the breast in an attitude of contemplation, while the prince gazes
thoughtfully at a sacrifice which is being offered on his behalf. At the
bottom of the picture stands a small altar, behind which a priest in a
short tunic seems to be accomplishing some ceremonial rite, while two
men are cutting the throat of a ram. Higher up the heads of three rams
lie beside their headless trunks, which are resting on the ground, feet
in the air, while a servant brandishes a short sword with which he
is about to decapitate the fourth beast. Above these, again, three
musicians march in procession, one playing on a harp, another on a
five-stringed lyre, and the third on a tambourine. An attendant holding
a bow, and the mi