to be Parthian. The most important of them represents a personage of consequence, apparently a Magus, who seems to be in the act of consecrating a sacred

Parthian bas-relief of a Magus (after Flandin and Coste).

cippus, round which have been placed wreaths or chaplets. Fifteen spectators are present, arranged in two rows, one above the other, all except the first of

them standing. The first sits upon a rude chair or stool. The figures generally are in an advanced stage of decay; but that of the Magus is tolerably well preserved, and probably indicates with sufficient accuracy the costume and appearance of the great hierarchs under the Parthians. The conical cap described by Strabo1 is very conspicuous. Below this the hair is worn in the puffed-out fashion of the later Parthian period. The upper lip is ornamented by moustaches, and the chin covered by a straight beard. The figure is dressed in a long sleeved tunic, over which is worn a cloak, fastened at the neck by a round brooch, and descending a little below the knees. The legs are encased in a longer and a shorter pair of trowsers, the former plain, the latter striped perpendicularly. Round the neck is worn a collar or necklace; and on the right arm are three armlets and three bracelets. The conical cap appears to be striped or fluted.

On the same rock, but in no very evident connection with the main representation, is a second relief, in which a Parthian cavalier, armed with a bow and arrows, and a spear, contends with a wild animal, seemingly a bear.2 A long flowing robe here takes the place of the more ordinary tunic and trowsers. On the head is worn a rounded cap or tiara. The hair has the usual puffed-out appearance. The bow is carried in the left hand, and the quiver hangs from the saddle behind the rider, while with his right

1 Strab. xv. 3, § 15.

2 M. Flandin doubts whether the animal is intended for a bear or a lion (Voyage, p. 185); but his representation fairly resembles the former, while it presents no likeness to the latter animal.

3

Compare a representation of a Parthian warrior in M. Flandin's work (pl. 225); and see also the coin of Labienus, which represents him equipped in Parthian fashion (supra, p. 189).

hand he thrusts his spear into the beast's neck. The execution of the whole tablet seems to have been rude;

but it has suffered so much from time and weather, that no very decided judgment can be passed upon it. Another still ruder representation occurs also on another face of the same rock. This consists of a

Parthian bas-relief (after Flandin and Coste).

female figure reclining upon a couch, and guarded by three male attendants, one at the head of the couch unarmed, and the remaining two at its foot, seated, and armed with spears. The female has puffed-out hair, and carried in her right hand, which is outstretched, a wreath or chaplet. One of the spearmen has a curious rayed head-dress; and the other has a short streamer attached to the head of his spear. Below the main tablet are three rudely carved standing figures, representing probably other attendants.

This set of reliefs may perhaps be best regarded as forming a single series, the Parthian king being represented as engaged in hunting the bear, while the queen awaits his return upon her couch, and the chief Magus attached to the court makes prayer for the monarch's safety.

Such are the chief remains of Parthian æsthetic art. They convey an idea of decline below the standard reached by the Persians of the Achæmenian times, which was itself a decline from the earlier art of the Assyrians. Had they been the efforts of a race devoid of models, they might fairly have been regarded as not altogether without promise. But, considered as the work of a nation which possessed the Achæmenian sculptures, and which had moreover, to a certain extent, access to Greek examples, they must be pronounced clumsy, coarse, and wanting in all the higher qualities of Fine Art. It is no wonder that they are scanty and exceptional. The nation which could pro

1 The sculptures at Persepolis, Nakhsh-i-Rustam, Behistun, &c., must always have been exposed to view, and would have sufficed to form a better taste than that which is

actually found among the Parthians had they possessed fair æsthetic capacity. That, besides these, they possessed Greek models appears from the emblems upon their coins.

duce nothing better must have felt that its vocation was not towards the artistic, and that its powers had better be employed in other directions, e.g. in conquest and in organisation. It would seem that the Parthians perceived this, and therefore devoted slight attention to the Fine Arts, preferring to occupy themselves mainly with those pursuits in which they excelled; viz. war, hunting, and government.