ARDASHIR AND ORMUZD. 
193 
ever on this sculpture, we have no clew but analogy, by which 
it may be explained. The general costume is that of the Sas- 
sanian dynasty ; and the particular details, with the triumphant 
situation, and mutual holding of the cydaris, of two of the 
figures, seem to point to its union with the subject of a bas-relief 
I drew at Nakshi Roustam. * That, when compared with this, 
was finely executed; and the grace of the habiliments, though in 
the same fashion with these, partook of the flowing elegance of 
the artist’s chisel. There is a third figure also, in that bas-relief, 
but he is evidently intended for a servant; whilst the third in 
this, by his station and attributes, appears little less than a god. 
Notwithstanding this difference, 1 should still be led to consider 
the present subject, as a pedestrian design of the same event 
exhibited in the equestrian representation on the rock of Nakshi 
Roustam. The inscription there f declares it emblematic of the 
re-establishment of the glorious Kaianian line, in the person of 
Ardashir Rabigan. :}: Here we have the same murally-crowned 
Ormuzd, presenting the emblem of sovereignty to the same 
globe-helmeted Ardashir ; and both are trampling on a similar 
royally-habited figure, symbolical of the fallen Arsacidm. The 
radiated personage may either be a personification of the Mitli- 
ratic religion, restored by him ; which the sun-beams round the 
head, and the full-blown flower rising under their influence at 
his feet, seem to typify ; or the figure may be meant for the 
glorified Zoroaster himself; some Persian writers ascribing to 
him the reflected honour of that godlike attribute. The altar- 
platform near this bas-relief, and also the source of the river, 
(two sacred Mithratic appendages,) support the idea that this 
sculpture contains more than human images. 
* See Plate XXIII. Vol. I. f Ibid. 
t See Vol. I. pages 549. to 557. inclusive. 
c c 
VOL. II. 
