The history is then given of various pretenders who led revolts against him. The whole account of these rebellions occupies many lines of cuneiform writing, but victory was always gained by the crown, and the usurpers were put to death in the most barbarous manner. Their noses and ears and tongues were cut off, their eyes were put out, and in this pitiable condition they were chained to the palace where “all the people saw” them, and afterward they were carried away and placed upon crosses. The penalty inflicted upon each one is given in detail, but there is a great uniformity in the accounts, although the punishment was sometimes varied by hanging the leader of the revolt, together with his principal followers. Often a decree of extermination was issued against all the people engaged in the rebellion. The great inscription is finished with a pictorial representation of the nine kings which Darius took in battle, one of whom claimed to be Bardes, the son of Cyrus. Another claimed to be the king of Susiana;[58] another led the revolt of the Babylonians; the fourth caused the rebellion of the Medians; the fifth, like the second, proclaimed himself the king of Susiana, while the sixth led the Sagartians in an attack upon their king. “The seventh was a Persian who lied and said, ’I am Smerdis, son of Cyrus, and he caused the revolt of Persia.’”[59] The eighth proclaimed himself king of Babylon, and the ninth claimed to exercise kingly power over the Margians. The first of these is represented by a prostrate figure, upon which the victorious king is trampling, the others are standing in the position of captives, and are branded as imposters by the inscriptions beneath them. The king also recorded the names of the warriors who assisted him in his campaigns, and requested those who might succeed him upon the Persian throne, to “remember to show favor to the descendants of these men.” DARIUS AT PERSEPOLIS. Afar in the mountains of Persia stand the ruins of the capital city of her ancient kings. Porch and temple, hall and palace, lie together amidst the desolation wrought by the ages. The long stairway still leads to the great plateau, while the gray marble pillars stand like sentinels above the ruins at their feet, and the moonlight gleams upon sepulchres of Persian monarchs. But even here, on panel and column, we find symbols graven by a forgotten hand—the desert voice of the past, still boasting of the grandeur of her fallen kings.