It cannot be said that Thévenot’s description of Persepolis contributed much to the elucidation of the plan of the building. He, however, gives an accurate though somewhat complicated description of the double staircase. He explains for the first time the position of the animals on the pilasters of the Porch—their heads facing the front, and their half bodies in demi-ronde adorning the inside of the passage. He thought they were cut out of a single block, those facing the stairs representing elephants and the others griffins. He gives a fair account of the sculptured wall, which previous travellers had so frequently overlooked. He describes the projection in the centre, with a single stair at either end, and the single flights at each end of the terrace. They are, he says, almost entirely buried beneath rubbish, which may perhaps account for their having so frequently escaped observation. ‘Nevertheless one sees several figures on that portion of the wall of the terrace which is above ground.’ He noticed the combat—a lion and bull—and the three rows of bas-reliefs, representing, as he thought, a sacrifice or a triumph. He observed the various arms of the men, and the different animals, the sheep, oxen and dromedary, that figure in the procession. He conducts the reader up the stairs to the platform strewn with columns, some buried, some broken, and others marked only by their bases. Seventeen were then standing, and he conjectured that there were originally twelve rows of nine in each. He remarked the strange style of the capitals, and fancied they had been surmounted by statues, or perhaps by idols. He proceeds to the square building beyond, where he beheld ‘an old man followed by two valets,’ one holding a parasol and the other a crozier. But at this point his narrative becomes confused and we follow him with difficulty. In his description of the eastern part of the platform, however, he enumerates six distinct buildings, which appear to be formed by the ruins of the Great Hall of the Hundred Columns and those of the Central Edifice united. Although the description of the arrangement of these buildings is hopelessly confused, we obtain for the first time an adequate account of the remarkable bas-reliefs found among them. He describes the personage seated upon a chair of state, a staff or sceptre in his hand, while beneath him are three rows of figures, one over the other, with uplifted arms, supporting those above. The winged figure is, he says, an idol seated upon an arc, with the body passed through a ring. He found another similar piece of sculpture with three rows of figures among these ruins, and he also mentions the great bas-relief in the north door of the Hall, where the seated personage is elevated above five rows of figures, but he failed to notice that these were guards.[47] He divides the edifices on the platform into three rows of buildings one behind the other from west