PALACE OF FORTY PILLARS. 
611 
up, and the peculiarity of its form, no doubt marks the par¬ 
ticularity of its breed. The succeeding four figures carry 
articles, apparently of horse-furniture ; one of them holding a 
sort of saddle-cloth and stirrup attached. The usual intervening 
cypress separates this last group from the fifth, and here we 
find a robed conductor, (indeed, throughout these bas-reliefs, 
this duty seems to be alternately exercised by the Median-robed 
Persian, and the Persian in the genuine habit of his country,) 
leading a person in a different costume from any of the former. 
The hair, as we may judge by his followers in the same general 
raiment, is bound by a fillet, and projects a little behind in small 
neat curls : the beard is very short. Both arms and legs are 
i 
naked, the feet being defended by a sandal. A short tunic 
comes to the knee, and is open at the side, being bound at the 
waist by a very broad belt. A tight mantle, through which 
passes the arms, hangs almost like a modern European coat, to 
near the calf of the leg. A tasseled end falls between the arm and 
the vest. Two persons in this garb conduct a bull, not at all 
inferior in spirit and beauty to the former ; and he, likewise, is 
meant for a beast of earthly pastures. He is followed by three 
spearmen, dressed precisely like their three preceding unarmed 
compeers; but the foremost of these warriors carries a spear 
in his right hand, and a large round shield on his left arm, 
covering his person from the chin almost to the knee. His two 
followers have no shield, but each carries a spear in either hand. 
The cypress concludes the group. Along this line may be seen 
the extent of the native artist’s skill in pourtraying the un¬ 
covered parts of the human figure ; and I have copied his 
delineation with all the accuracy in my power, to shew the 
correctness of his chisel, even to the most difficult parts of the 
4 i 2 
