OF THE BAS-RELIEFS. 
625 
appears to have equalled the magnificence of his fortunes ; and 
from the number of Grecian prisoners who fell into his power 
previous to the battle of Marathon, there could be no want of 
hands to complete his designs in the highest taste of the arts. 
We may collect good argument for this supposition, in the 
style of the works themselves. Though, at first sight, I ac¬ 
knowledge a general similitude to the Egyptian contour strikes 
the mind, yet the impression gradually wears away when the 
details are examined; the finishing of the parts, and the grace 
and truth of the bas-reliefs, every where proclaiming the refined 
taste and master-chisels of Greece. When comparing the 
colossal proportions of the structure, and its gigantic sculptures, 
with the delicacy, beauty, and perfection of the execution of its 
ornaments, I might say, with the poet, “ Here the Loves play on 
the bosom of Hercules.” 
That the design of the artist who composed the bas-reliefs lately 
described, is not to display a religious procession, seems clear, 
from the nature of most of the articles borne by the different 
groups of the train ; and as Darius adopted the style of Cyrus, 
in receiving presents from his own countrymen, instead of tri¬ 
bute, I am not diffident in assigning the sculptures in question 
entirely to Darius ; supposing them to represent the feast at the 
vernal equinox, when the Persians would present their gratuities, 
and the governors of provinces, with their delegates, would bring 
in the annually collected tax from each, with a due proportion 
of offerings besides. This ideais supported by Mons. Heeren, 
when writing on the same subject, in his work on the “ Policy, 
&c. of the Nations of Antiquity.” Indeed, I have already re¬ 
marked, that such a procession, at such a time of year, and to 
a similar purpose, was celebrated here so early as the times of 
4 L 
VOL. I. 
