After the time of Sapor I. there is a manifest decline in Sassanian art. The reliefs of Varahran II. and Varahran III., of Narses and Sapor III., fall considerably below those of Sapor, son of Artaxerxes. It is not till we arrive at the time of Varahran IV. (A.D. 388-399) that we once more have works which possess real artistic merit. Indications have already appeared in an earlier chapter of this monarch’s encouragement of artists, and of a kind of art really meriting the name. We saw that his gems were exquisitely cut, and embodied designs of first-rate excellence. It has now to be observed further, that among the bas-reliefs of the greatest merit which belong to Sassanian times, one at least must be ascribed to him; and that, this being so, there is considerable probability that two others of the same class belong also to his reign. The one which must undoubtedly be his, and which tends to fix the date of the other two, exists at Nakhsh-i-Kustam, near Persepolis, and has frequently been copied by travellers. It represents a mounted warrior, with the peculiar head-dress of Varahran IV., charging another at full speed, striking him with his spear, and bearing both horse and rider to the ground. [PLATE XXXIX.] A standard-bearer marches a little behind; and a dead warrior lies underneath Varahran’s horse, which is clearing the obstacle in his bound. The spirit of the entire composition is admirable; and though the stone is in a state of advanced decay, travellers never fail to admire the vigor of the design and the life and movement which characterize it.
The other similar reliefs to which reference has been made exist, respectively, at Nakhsh-i-Eustam and at Firuzabad. The Nakhsh-i-Rustam tablet is almost a duplicate of the one above described and represented, differing from it mainly in the omission of the prostrate figure, in the forms of the head-dresses borne by the two cavaliers, and in the shape of the standard. It is also in better preservation than the other, and presents some additional details. The head-dress of the Sassanian warrior is very remarkable, being quite unlike any other known example. It consists of a cap, which spreads as it rises, and breaks into three points, terminating in large striped balls. [PLATE XXVI., Fig. 2.] His adversary wears a helmet crowned with a similar ball. The standard, which is in the form of a capital T, displays also five balls of the same sort, three rising from the cross-bar, and the other two hanging from it. Were it not for the head-dress of the principal figure, this sculpture might be confidently assigned to the monarch who set up the neighboring one. As it is, the point must be regarded as undecided, and the exact date of the relief as doubtful. It is, however, unlikely to be either much earlier, or much later, than the time of Varahran IV.
The third specimen of a Sassanian battle-scene exists at Firuzabad, in Persia Proper, and has been carefully rendered by M. Flandin. It is in exceedingly bad condition, but appears to have comprised the figures of either five or six horsemen, of whom the two principal are a warrior whose helmet terminates in the head of a bird, and one who wears a crown, above which rises a cap, surmounted by a ball. [PLATE XL.] The former of these, who is undoubtedly a Sassanian prince, pierces with his spear the right side of the latter, who is represented in the act of falling to the ground. His horse tumbles at the same time, though why he does so is not quite clear, since he has not been touched by the other charger. His attitude is extravagantly absurd, his hind feet being on a level with the head of his rider. Still more absurd seems to have been the attitude of a horse at the extreme right, which turns in falling, and exposes to the spectator the inside of the near thigh and the belly. But, notwithstanding these drawbacks, the representation has great merit. The figures live and breathe—that of the dying king expresses horror and helplessness, that of his pursuer determined purpose and manly strength. Even the very horses are alive, and manifestly rejoice in the strife. The entire work is full of movement, of variety, and of artistic spirit.
If we have regard to the highest qualities of glyptic art, Sassanian sculpture must be said here to culminate. There is a miserable falling off, when about a hundred and fifty years later the Great Chosroes (Anushirwan) represents himself at Shapur, seated on his throne, and fronting to the spectator, with guards and attendants on one side, and soldiers bringing in prisoners, human heads, and booty, on the other. [PLATE XLI.] The style here recalls that of the tamer reliefs set up by the first Sapor, but is less pleasing. Some of the prisoners appear to be well drawn; but the central figure, that of the monarch, is grotesque; the human heads are ghastly; and the soldiers and attendants have little merit. The animal forms are better—that of the elephant especially, though as compared with the men it is strangely out of proportion.