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The Sassanian remains show us the royal sportsmen engaged in the pursuit of the stag, the wild boar, the ibex, the antelope, and the buffalo. To this catalogue of their beasts of chase the classical writers add the lion, the tiger, the wild ass, and the bear.
Hicks, for the hundredth time, that Sassanian and Saracenic were not interchangeable terms, to unravelling for her the genealogies of her titled guests, and reminding her, when she "seated" her dinner-parties, that Dukes ranked higher than Princes. No the job was decidedly intolerable; and he would have to look out for another means of earning his living.
The Magi took every opportunity of killing such creatures; and the Jchrafgthraghna was an implement which they invented for the sake of carrying out this pious purpose. The court of the Sassanian kings, especially in the later period of the empire, was arranged upon a scale of almost unexampled grandeur and magnificence.
It is probable that the hold of Persia on the territory had never been strong; and in relinquishing it she may have imagined that she gave up no very great advantage; but in the hands of Rome Kurdistan became a standing menace to the Persian power, and we shall find that on the first opportunity the false step now taken was retrieved, Cordyene with its adjoining districts was pertinaciously demanded of the Romans, was grudgingly surrendered, and was then firmly re-attached to the Sassanian dominions.
He was succeeded by his son Shahpuhri, or Sapor, the first Sassanian prince of that name. According to the Persian historians, the mother of Sapor was a daughter of the last Parthian king, Artabanus, whom Artaxerxes had taken to wife after his conquest of her father. But the facts known of Sapor throw doubt on this story, which has too many parallels in oriental romance to claim implicit credence.
"Professor Darchivio had promised to explain to us the difference between the Sassanian and Byzantine motives in Carolingian art; but the Manager has sent up word that the two new Creole dancers from Paris have arrived, and her Serene Highness wants to pop down to the ball-room and take a peep at them.... She's sure the Professor will understand...."
The reverse shows the usual fire-altar, with guards, or attendants, watching it. The king's head appears in the flame upon the altar. According to the Oriental writers, Varahran V. was one of the best of the Sassanian princes.
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. 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.
A prostrate figure under the feet of the two Sassanian kings represents either Artabanus or the extinct Parthian monarchy, probably the former; while the sunflower upon which Ormazd stands, together with the rays that stream from his head, denote an intention to present him under a Mithraitic aspect, suggestive to the beholder of a real latent identity between the two great objects of Persian worship.
To these merits we may add a certain grandeur of soul, and power of appreciating the beautiful and the magnificent, which, though not uncommon in the East, did not characterize many of the Sassanian sovereigns.
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