Shapour.
Drawn by James Morier Esqr.
Published by Messrs. Longman, Hurst, Rees, Orme & Brown, Paternoster Row, May 1, 1811.
The first object which arrested our attention, was a mutilated sculpture of two colossal figures on horseback, carved on the superfices of the rock. The figure on the right was the most injured; the only part indeed, which we could ascertain with precision, was one of the front and two of the hinder feet of a horse, standing over the statue of a man, who was extended at his full length, his face turning outwardly, and reposed upon his right hand, and his attire bearing marks of a Roman costume. A figure in the same dress was placed in an attitude of supplication at the horse’s knees, and a head in alto-relievo just appeared between the hinder feet. The equestrian figure on the left was not quite so much mutilated, the horse and parts of the drapery on the thighs being still well preserved. The dimensions of the figures are as follows: length of the foot of the figure under the horse, fifteen inches; length of the whole figure sixteen feet one inch; length of the arm five feet; chin to the summit of the head one foot two inches; length of the horse’s leg from the lower part of the shoulder to the hoof four feet four; the dress of the figures was a short petticoat, from the waist downwards just below the knees.
The next piece of sculpture (which, like the former, was carved upon the mountain of the citadel), is perfect in all its parts. It consists of three grand compartments, the central and most interesting represents a figure on horseback, whose dress announces a royal personage. His head-dress is a crown, on which is placed a globe; his hair flows in very large and massy curls over both shoulders, whilst a slight mustachio just covers his upper lip, and gives much expression to a countenance strongly indicative of pride and majesty. His body is clothed with a robe which falls in many folds to his girdle, and then extends itself over his thigh and legs as low as his ancle. A quiver hangs by his side; in his right hand he holds the hand of a figure behind him, which stands so as to cover the whole hind quarter of his horse, and which is dressed in the Roman tunic and helmet. A figure, habited also in the Roman costume, is on its knees before the head of the horse, with its hands extended, and with a face betraying entreaty. Under the feet of the horse is another figure extended, in the same attire and character as that of the other two Roman figures. To the right of the tablet stands a figure (behind that in a suppliant attitude) with his hands also extended, but dressed in a different manner, and, as far as we could judge, with features more Egyptian than European. In the angle between the king’s head and the horse’s is a Victory displaying the scroll of Fame. A figure (part of which is concealed by the one on its knees) completes the whole of this division. (Plate X.) The second grand compartment, which is on the right, is divided again into six sub-compartments; in each of these are carved three figures, the costumes and general physiognomies of which are all different. They appear mostly in postures of supplication; and, I should suspect, are representations of vanquished people. On the left, in the third grand compartment, are two rows of horsemen divided by one line into two smaller compartments. They all have the same characteristic dress and features as the royal figure in the centre, and certainly represent his forces. The whole of this most interesting monument is sculptured on a very hard rock, which bears the finest polish, and which we pronounced to be a coarse species of jasper. The shortness of our stay did not afford me an opportunity of delineating the detail of the many figures, which have been so faithfully pourtrayed. The artist has preserved so much distinction in the countenances and features of the different characters brought together in this groupe, that, if their respective countries could be ascertained, (and study and close investigation would probably secure the discovery) some important point of ancient history would be elucidated by an evidence as ingenious as it would be convincing. The dimensions we took are as follows: figures on foot, height five feet nine inches; figures on horseback from the rider’s cap to the horse’s hoofs six feet five inches: the minor tablets are four feet ten inches in length; the grand tablet eleven feet eleven inches.
Rock at Shapour.
Drawn by James Morier Esqr.
Published by Messrs. Longman, Hurst, Rees, Orme & Brown, Paternoster Row, May 1, 1811.
Having examined these, we next crossed the river to the sculptures on the opposite rock. The first is a long tablet, containing a multitude of figures. The principal person, (who is certainly the King represented in the former tablet) is placed in the very centre of the piece, alone in a small compartment, and is seated with a sword placed betwixt his legs, on the pummel of which rests his left hand. It is a most ridiculous object, with a head swelled by a singular wig to an immense circumference. On his right, on the uppermost of two long slips, are many men who seem to be a mixture of Persians and Romans; the former are conducting the latter as prisoners. Under these in the lower slip are others, who by their wigs appear to be Persians: their leader bears a human head in both hands, and extends it towards the central figure. On the left are four small compartments; the first (nearest that figure, and the highest from the ground) incloses a crowd of men whose arms are placed over one another’s shoulders. Below these are five figures, one of whom leads a horse without any more furniture than a bridle. The two other compartments are filled up with eight figures each. We considered this to represent, in general, a king seated in his room of audience surrounded by his own people, and by nations tributary to him. The length is eleven yards four inches.
On the left of this were two colossal figures on horseback, carved in an alto relievo. The one to the right had all the dress, character and features of the King above described; the other, on the left, appeared also a royal personage, but differing in dress, and in the furniture of his horse. Both had their hands extended, and held a ring, which we conceived to be emblematical of peace. The Envoy, who had seen both these remains and Nakshi Rustam, prepared me to expect a similar sculpture at the latter: and as I had not leisure to detail all the subjects of Shapour, I preferred to delineate those, of which no other specimen might exist, and therefore proceeded in our general examination. I must not however omit to say, that the sculpture of these two figures was exquisite; the proportions and anatomy of both horses and men were accurately preserved, so that the very veins and arteries in the horses’ legs and belly were most delicately delineated.
Walking forwards we came to a very extensive piece of sculpture, the lower parts of which were entirely destroyed. We saw, however, on the right, a row of camels’ and men’s heads intermixed; and under them a row of horses’ and men’s heads, which were demolished from the horse’s eye downwards. In front of these, at the distance of about four feet, was part of a figure on a horse, the King as before, holding a bow and four arrows in his right hand. We supposed that this might be the commencement of a hunting piece. [Plate XI.]