A curious edifice, belonging probably to the later Achaemenian times, stands immediately in front of the four royal tombs at Nakhsh-i-Eustam. This is a square tower, composed of large blocks of marble, cut with great exactness, and joined together without mortar or cement of any kind. The building is thirty-six feet high; and each side of it measures, as near as possible, twenty-four feet. It is ornamented with pilasters at the corners and with six recessed niches, or false windows, in three ranks, one over the other, on three out of its four faces. On the fourth face are two niches only, one over the other; and below them is a doorway with a cornice. The surface of the walls between the pilasters is also ornamented with a number of rectangular depressions, resembling the sunken ends of beams. The doorway, which looks north, towards the tombs, is not at the bottom of the building, but half-way up its side, and must have been reached either by a ladder or by a flight of steps. It leads into a square chamber, twelve feet wide by nearly eighteen high, extending to the top of the building, and roofed in with four large slabs of stone, which reach entirely across from side to side, being rather more than twenty-four feet long, six feet wide, and from eighteen inches to three feet in thickness. [PLATE LIII., Fig. 3.] On the top these slabs are so cut that the roof has every way a slight incline; at their edges they are fashioned between the pilasters, into a dentated cornice, like that which is seen on the tomb. Externally they were clamped together in the same careful way which we find to have been in use both at Persepolis and Parsargadae. The building seems to have been closed originally by two ponderous stone doors. [PLATE LIV., Fig. 1.]
Another remarkable construction, which must belong to a very ancient period in the history of the country, is a gateway composed of enormous stones, which forms a portion of the ruins of Istakr. [PLATE LIV., Fig. 2.] It has generally been regarded as one of the old gates of the city; but its position in the gorge between the town wall and the opposite mountain, and the fact that it lies directly across the road from Pasargadae into the plain of Merdasht, seem rather to imply that it was one of those fortified “gates,” which we know to have been maintained by the Persians, at narrow points along their great routes, for the purpose of securing them, and stopping the advance of an enemy. On either side were walls of vast thickness, on the one hand abutting upon the mountain, on the other probably connected with the wall of the town, while between them were three massive pillars, once, no doubt, the supports of a tower, from which the defenders of the gate would engage its assailants at a great advantage.
We have now described (so far as our data have rendered it possible) all the more important of the ancient edifices of the Persians, and may proceed to consider the next branch of the present inquiry, namely, their skill in the mimetic arts. Before, however, the subject of their architecture is wholly dismissed, a few words seem to be required on its general character and chief peculiarities.
First, then, the simplicity and regularity of the style are worthy of remark. In the ground-plans of buildings the straight line only is used; all the angles are right angles; all the pillars fall into line; the intervals between pillar and pillar are regular, and generally equal; doorways are commonly placed opposite intercolumniations; where there is but one doorway, it is in the middle of the wall which it pierces; where there are two, they correspond to one another. Correspondence is the general law. Not only does door correspond to door, and pillar to pillar, but room to room, window to window, and even niche to niche. Most of the buildings are so contrived that one half is the exact duplicate of the other; and where this is not the case, the irregularity is generally either slight, or the result of an alteration, made probably for convenience sake. Travellers are impressed with the Grecian character of what they behold, though there is an almost entire absence of Greek forms. The regularity is not confined to single buildings, but extends to the relations of different edifices one to another. The sides of buildings standing on one platform, at whatever distance they may be, are parallel. There is, however, less consideration paid than we should have expected to the exact position, with respect to a main building, in which a subordinate one shall be placed. Propylaea, for instance, are not opposite the centre of the edifice to which they conduct, but slightly on one side of the centre. And generally, excepting in the parallelism of their sides, buildings seem placed with but slight regard to neighboring ones.
For effect, the Persian architecture must have depended, firstly, upon the harmony that is produced by the observance of regularity and proportion; and, secondly, upon two main features of the style. These were the grand sculptured staircases which formed the approaches to all the principal buildings, and the vast groves of elegant pillars in and about the great halls. The lesser buildings were probably ugly, except in front. But such edifices as the Chehl Minar at Persepolis, and its duplicate at Susa—where long vistas of columns met the eye on every side, and the great central cluster was supported by lighter detached groups, combining similarity of form with some variety of ornament, where richly colored drapings contrasted with the cool gray stone of the building, and a golden roof overhung a pavement of many hues—must have been handsome, from whatever side they were contemplated, and for general richness and harmony of effect may have compared favorably with any edifices which, up to the time of their construction, had been erected in any country or by any people. If it may seem to some that they were wanting in grandeur, on account of their comparatively low height—a height which, including that of the platform, was probably in no case much more than a hundred feet—it must be remembered that the buildings of Greece and (except the Pyramids) those of Egypt, had the same defect, and that, until the constructive powers of the arch came to be understood, it was almost impossible to erect a building that should be at once lofty and elegant. Height, moreover, if the buildings are for use, implies inconvenience, a waste of time and power being involved in the ascent and descent of steps. The ancient architects, studying utility more than effect, preferred spreading out their buildings to piling them up, and rarely, unless in thickly-peopled towns, even introduced a second story.
The spectator, however, was impressed with a sense of grandeur in another way. The use of huge blocks of stone, not only in platforms, but in the buildings themselves, in the shafts of pillars, the antae of porticos, the jambs of doorways, occasionally in roofs, and perhaps in epistylia, produced the same impression of power, and the same feeling of personal insignificance in the beholder, which is commonly effected by great size in the edifice, and particularly by height. The mechanical skill required to transport and raise into place the largest of these blocks must have been very considerable, and their employment causes not merely a blind admiration of those who so built on the part of ignorant persons, but a profound respect for them on the part of those who are by their studies and tastes best qualified for pronouncing on the relative and absolute merits of architectural masterpieces.
Among the less pleasing peculiarities of the Persian architecture may be mentioned a general narrowness of doors in proportion to their height, a want of passages, a thickness of walls, which is architecturally clumsy, but which would have had certain advantages in such a climate, an inclination to place the doors of rooms near one corner, an allowance of two entrances into a great hall from under a single portico, a peculiar position of propylaea, and the very large employment of pillars in the interior of buildings. In many of these points, and also in the architectural use which was made of sculpture, the style of building resembled, to some extent, that of Assyria; the propylaea, however, were less Assyrian than Egyptian; while in the main and best features of the architecture, it was (so far as we can tell) original. The solid and handsome stone platforms, the noble staircases, and the profusion of light and elegant stone columns, which formed the true glory of the architecture—being the features on which its effect chiefly depended—have nowhere been discovered in Assyria; and all the evidence is against their existence. The Arians found in Mesopotamia an architecture of which the pillar was scarcely an element at all—which was fragile and unenduring—and which depended for its effect on a lavish display of partially colored sculpture and more richly tinted enamelled brick. Instead of imitating this, they elaborated for themselves, from the wooden buildings of their own mountain homes, a style almost exactly the reverse of that with which their victories had brought them into contact. Adopting, of main features, nothing but the platform, they imparted even to this a new character, by substituting in its construction the best for the worst of materials, and by further giving to these stone structures a massive solidity, from the employment of huge, blocks, which made them stand in the strongest possible contrast to the frail and perishable mounds of Babylonia and Assyria. Having secured in this way a firm and enduring basis, they proceeded to erect upon it buildings where the perpendicular line was primary and the horizontal secondary—buildings of almost, the same solid and massive character as the platform itself—forests of light but strong columns, supporting a wide-spreading roof, sometimes open to the air, sometimes enclosed by walls, according as they were designed for summer or winter use, or for greater or less privacy. To edifices of this character elaborate ornamentation was unnecessary; for the beauty of the column is such that nothing more is needed to set off a building. Sculpture would thus be dispensed with, or reserved for mere occasional use, and employed not so much on the palace itself as on its outer approaches; while brick enamelling could well be rejected altogether, as too poor and fragile a decoration for buildings of such strength and solidity.
The origination of this columnar architecture must be ascribed to the Medes, who, dwelling in or near the more wooden parts of the Zagros range, constructed, during the period of their empire, edifices of considerable magnificence, whereof wooden pillars were the principal feature, the courts being surrounded by colonnades, and the chief buildings having porticos, the pillars in both cases being of wood. A wooden roof rested on these supports, protected externally by plates of metal. We do not know if the pillars had capitals, or if they supported an entablature; but probability is in favor of both these arrangements having existed. When the Persians succeeded the Medes in the sovereignty of Western Asia, they found Arian architecture in this condition. As stone, however, was the natural material of their country, which is but scantily wooded and is particularly barren towards the edge of the great plateau, where their chief towns were situated, and as they had from the first a strong desire of fame and a love for the substantial and the enduring, they almost immediately substituted for the cedar and cypress pillars of the Medes, stone shafts, plain or fluted, which they carried to a surprising height, and fixed with such firmness that many of them have resisted the destructive powers of time, of earthquakes, and of vandalism for more than three-and-twenty centuries, and still stand erect and nearly as perfect as when they received the last touch from the sculptor’s hand more than 2000 years ago. It is the glory of the Persians in art to have invented this style, which they certainly did not learn from the Assyrians, and which they can scarcely be supposed to have adopted from Egypt, where the conception of the pillar and its ornamentation were wholly different. We can scarcely doubt that Greece received from this quarter the impulse which led to the substitution of the light and elegant forms which distinguish the architecture of her best period from the rude and clumsy work of the more ancient times.