is impossible to recognise the character. These descriptions scarcely prepare us for the very elaborate plans that appear in the plates, upon which the modern ideas of the place are chiefly based.[175] From Murgab they proceeded to Naksh-i-Rustam, where they again allowed themselves to be baffled by difficulties that they should certainly not have treated as insuperable. They observed the long inscription on one of the tombs, which they made no effort to copy, because it happened to be in a position which they considered inaccessible. They reconciled themselves to the omission the more easily on account of its mutilated condition, which they thought would defy the perseverance of the decipherer; otherwise indeed it might be found to record ‘the life of the illustrious dead intombed within.’[176] Less than two years after they had left, this very inscription was copied by the Dane Westergaard; and in 1843, or seven years before Flandin published his book, it had been deciphered by Lassen, who found that it declared the tomb on which it was inscribed to be that of Darius Hystaspes. From their quarters at Husseinabad they visited various objects of archæological interest, and made drawings and plans of them. They finally removed their camp to Persepolis on October 25, and remained there to December 8. During that period of forty-three days they made upwards of a hundred magnificent drawings of the place, which will always remain a striking proof of the industry no less than the talent of the two artists. The plates include highly-finished pictures of the Terrace and surrounding country taken from various points of view; admirable drawings of the different buildings, and of all the numerous bas-reliefs they contain; ground plans of the platform and of each of the principal edifices; besides copies of all the inscriptions. The work is farther enlivened by a few pictures of Persepolis before it fell into decay, restored according to the imagination of the ingenious artists. The scale upon which this work is executed may be judged from the number of plates devoted to the more important objects. The sculptured staircase fills no less than twenty-two; the Palace of Xerxes and the Hall of the Hundred Columns occupy twelve each; while sixteen plates are appropriated to inscriptions.