There is no reason to doubt that these halls also had platforms or talars like the smaller halls, which would also serve to shelter any opening in the roof, though in the present instance it seems very doubtful if any such openings or skylights existed or were indeed required.
Thus arranged, the section of the buildings would be as shown in the woodcut (No. 97); and presuming this structure to have been sculptured and painted as richly as others of its age and class, which it no doubt was, it must have been not only one of the largest, but one of the most splendid buildings of antiquity. In plan it was a rectangle of about 300 ft. by 350, and consequently covered 105,000 square ft.; it was thus larger than the hypostyle hall at Karnac, or any of the largest temples of Greece or Rome. It is larger, too, than any mediæval cathedral except that of Milan; and although it has neither the stone roof of a cathedral, nor the massiveness of an Egyptian building, still its size and proportions, combined with the lightness of its architecture and the beauty of its decorations, must have made it one of the most beautiful buildings ever erected. Both in design and proportion it far surpassed those of Assyria, and though possessing much of detail or ornament that was almost identical, its arrangement and proportions were so superior in every respect that no similar building in Nineveh can be compared with this, the great architectural creation of the Persian Empire.
[Illustration: 95. Pillar of Western Portico.]
[Illustration: 96. Pillar of Northern Portico.]
There is no octastyle hall at Persepolis, and only one decastyle. In this instance the hall itself measured about 225 ft. each way, and had 100 pillars on its floor; still, it was low in proportion, devoid of lateral porticoes, and consequently by no means so magnificent a building as the great hall of Xerxes. The portico in front was two ranges in depth, and flanked by gigantic bulls; but as the whole height was barely 25 ft., it could not have been a remarkable or pleasing object. The sculptures on the jambs of the doorways are the most interesting part of this building; these represent the king on his throne, and various mythological subjects, on a more extensive scale than those similarly situated in the other buildings of the platform. Indeed, it is probable that in the other palaces these subjects were painted on the internal walls, as was done in those Assyrian halls which were not revêted with slabs. With an appropriateness that cannot be too much praised, sculpture seems always to have been used in parts of the building exposed to atmospheric injury, and, because of the exposure, to have been employed there in preference to painting.