In the ruins of Persepolis, ruins of buildings designed, erected, and decorated by the worshippers of the supreme God Ahura Mazda, and of his friend and representative Mithras, Tauric symbolism abounds. We do not amongst these ruins find portrayals of Mithras as a youth wearing a Phrygian cap, and “thrusting his dagger into the neck of the mystic Bull,” but again and again, in the bas-reliefs adorning the walls, we do find a colossal being thrusting his dagger into the body of a still more “mystic” creature than the Bull of the Roman sculptures--a creature combining in one instance at least[35] the attributes of Bull, Lion, Scorpion, and Eagle, and frequently those of two or more of these animals. [35] See Plate IV. [Illustration: PLATE IV. Persépolis. Combat du roi et du griffon. Palais n^{o} 3. Perrot et Chipiez. _Histoire de l’Art dans l’Antiquité_, Tome v. opposite page 547. [_To face p. 64._] Perrot and Chipiez have supposed this constantly repeated scene to represent imaginary contests between the reigning monarch and all possible or impossible monsters, but a very different impression was produced on the mind of Ker Porter by these same bas-reliefs; and though he did not adopt a purely astronomic theory to explain them, he was firmly convinced that the combat depicted was not one waged between an ordinary human being and an ordinary or extraordinary animal, but that it was a symbolical representation of the combat constantly carried on by Ormuzd (Ahura Mazda), and by his representative Mithras, against the powers of evil and darkness.[36] [36] “The man who contends with the animals ... is represented as a person of a singularly dignified mien, clad in long draperied robes, but with the arms perfectly bare. His hair, which is full and curled, is bound with a circlet or low diadem; and his sweeping pointed beard is curled at different heights, in the style that was worn by majesty alone.... The calmness of his air, contrasted with the firmness with which he grasps the animals, and strikes to his aim, gives a certainty to his object, and a sublimity to his figure, beyond anything that would have been in the power of more elaborate action or ornament to effect. From the unchanged appearance of the hero, his unvaried mode of attack, its success, and the unaltered style of opposition adopted by every one of the animals in the contest, I can have no doubt that they all mean different achievements towards one great aim....”--Ker Porter’s _Travels_, vol. i. p. 672.