396 NOTES. 
P. 104.]—The Story of Cheik Chenan, may remind the reader of the Lay of 
Aristote. 
The Bend-emir , p. 124.]—The Prince, from whose dyke thrown across it, the Bend- 
emir is asserted to have taken its name, is sometimes said to be Emir Azad a Dowlah, 
one of the Buiya Sultans; and as the river occurs in the route of Barbaro, 1472, within 
seventy years after the reign of Timur, as the “ Bindamyr ,” it is probable that it acquired 
that name from the earlier Prince. On the word Bund , see a note in Vincent’s Periplus, 
p. 157 ; and Moor’s Female Infanticide, p. 110, &c. 
Persepolis , p. 129.]—The first account of Chehel Minor , that was brought to Europe 
after the revival of learning, occurs in the travels of Josaphat Barbaro, Embassador 
from the State of Venice to the Prince whom he calls Assambei, (who may be recognised 
indeed as the “ Usan Cassanes,” “ofsome called Asymbeius,” in Knolles, p.409;) 
but who is better known as the Uzun Hass an or Cassan of D’Herbelot. The rarity of 
the volume in which these travels are contained may justify the insertion of an extract. 
Aldus, 1543. Josaphat Barbaro does not suspect that he is describing the Persepolis 
of the Classics; and labours therefore to find in the sculptures at Cheliil Minor , something 
which may rather accord with the Hebrew origin assigned to it by one of the traditions of 
the country. In the bridge leading over the Bend-emir he had already discovered a work 
of Solomon; and he proceeds to point out, among the representations on the rocks, the 
figure of Solomon himself. Again, instead of Rustam, the Hercules of Persia, or 
rather instead of the real heroes, Artaxerxes and Sapor, whom that name has sup¬ 
planted at Persepolis , Josaphat Barbaro perceives in a colossal image on horseback, 
the figure of Samson. The being in the air, which some have conceived to be the soul of 
a departed monarch, and which recurs in the engravings of the tombs by Le Brun and 
Chardin, is thus described: “ Sopra di tutte e una figura simile a quelle nostre che 
“ noi figuriarao Dio padre in uno tondo; laqual ha uno tondo per mano, e sotto laqual 
“ spno altre figure piccole,” fol. 51. 6. He continues; among the lesser figures there is one, 
who has on his head a Pope’s mitre, “ una mitria di Papa;” and has his hands extended, 
apparently as if he would give his benediction to those beneath him, who are looking up 
to him in fixed expectation of the said blessing. Near Samson are several other figures 
dressed in the French mode, “alia Francese,” and having long* hair. M. The descrip¬ 
tion is curious, and characteristic of the age; but even in the seventeenth century, 
Tavernier in the same manner fancied that he saw in the Sassanian sculptures at Ker- 
tnonshah , priests, surplices, and censers, tom. i. 316. This indeed was almost the earliest 
account that had been given of the spot; and therefore, this error is more excusable. 
But now, when so much has been written on the subject, (whether the sculptures be the 
works of Semiramis or of the Sassanian Kings?) and more particularly when De Sacy 
has definitively proved by the inscriptions, that the figures are connected with the history 
of the latter Princes of the house of Sassan ; we may be surprised that M. de Gardanne 
