The most accessible subjects for such an art were naturally mere ceremonial representations, where the action, reduced to a minimum, was naturally neither momentary nor energetic. There are the promenades of the king, with staff and lotos-flower in his hands, followed by eunuchs, one third of his size, who carry his handkerchief and sunshade, and cool him with a fan of peacock’s feathers. It is worthy of curious notice that, upon a door at the back of the palace, the sunshade is omitted from the relief, as being of use only in going out. A casual observation of Persian sculpture may be deceptive, and we may seem to recognize quiet dignity in what is mere want of all expression. It is thus with the frequently repeated ceremonial scenes, the architectural employment of which has been mentioned above. (_Fig._ 87.) The canopied throne appears raised upon an elevation; the king sits with his feet resting upon a footstool, his retinue before him with censers. Three superposed rows of men stand as supporters of the throne, with outstretched arms bearing the platform. The figures are placed in such regular position that the effect is purely ornamental; but are individually interesting, in so far as they are intended to represent, in feature and costume, the different nationalities of the Persian empire. Notwithstanding the celebrated description of the review of the Persian army upon the banks of the Hellespont given by Herodotos, it would be hopeless to attempt to recognize among the figures the types of known tribes. Of a similar kind are the upper parts of the rock-cut reliefs upon the tombs of the Achæmenidæ, the architectural peculiarities of which have already been mentioned. Because of the sacred character of these graves, the kings are not represented enthroned, but standing upon a stepped platform before an altar, over which floats the winged and encircled deity, near the disk of the sun or moon. A consideration of the exterior treatment of the upper story of the palaces would here be in place if it could be shown that the ornamentation was indeed carved.
Persian sculpture received its most extensive application upon the buttresses of the steps placed before every palace. Here are found the ceremonial scenes of the Assyrian courts in a feeble rendering, far removed from the sharp and careful cutting of the details, and the naturalistic modelling of the bodies, peculiar to the works of Mesopotamia. Long processions of men represent different nationalities, characterized by their costumes and by the treatment of hair and beard; by their various feather-caps, hoods, capuchins, pointed hats; short skirts, with wide pantaloons; long garments, with great fulness at the bottom, and sleeves falling in multiplied folds; by the skins of animals worn as mantles; by girdles, sword-belts and swords, bows and quivers; by peculiar sandals, shoes, boots, and the like. These subjects bring to the monarch most manifold gifts--horses, dromedaries, musk-oxen, rams, goats, a wagon, elephants’ tusks, stuffs, garments (among which various kinds of stockings are even distinguishable), swords, double-headed hammers, bracelets for the arms; censers, with vessels for incense; salve, in little bowls, borne upon trays which hang like scales; wine-skins, goblets, globular and flat cake-like loaves of food, carried in the palm of the hand; carved cups and saucers; little bags, etc. Others bear only lotos-flowers and pomegranates. They are slim, narrow-chested figures; the short upper body is given in profile, without anatomical truth in general form or detail; not only without motion, but apparently incapable of it. At times the position of the arms shows, not, indeed, a gesture, but some attempt of varied position; the hands lie upon one another, or touch the mouth, the end of the beard, the hilt of the sword hanging at the side, or the quiver, or are extended so as to rest upon the shoulders of the preceding figure in the procession.