But by far the most interesting of the processional scenes, are those which represent the conquered nations bringing to the monarch those precious products of their several countries which the Lord of Asia expected to receive annually, as a sort of free gift from his subjects, in addition to the fixed tribute which was exacted from them. Here we have a wonderful variety of costume and equipment, a happy admixture of animal with human forms, horses, asses, chariots, sheep, cattle, camels, interspersed among men, and the whole divided into groups by means of cypress-trees, which break the series into portions, and allow the eye to rest in succession upon a number of distinct pictures. Processions of this kind occurred on several of the Persepolitan staircases; but by far the most elaborate and complete is that on the grand steps in front of the Chehl Minar, or Great Hall of Audience, where we see above twenty such groups of figures, each with it own peculiar features, and all finished with the utmost care and delicacy. The illustration [PLATE LV., Fig. 2], which is taken from a photograph, will give a tolerable idea of the general character of this relief; it shows the greater portion of six groups, whereof two are much injured by the fall of the parapet-wall on which they were represented, while the remaining four are in good preservation. It will be noticed that the animal forms--the Bactrian camel and the humped ox--are superior to the human, and have considerable positive merit as works of art. This relative superiority is observable throughout the entire series, which contains, besides several horses (some of which have been already represented in these volumes), a lioness, an excellent figure of the wild ass, and two tolerably well-drawn sheep. [PLATE LVI., Fig. 2 and 3.] [Illustration: PLATE LVI.] The representations of the monarch upon the reliefs are of three kinds. In the simplest, he is on foot, attended by the parasol-bearer and the napkin-bearer, or by the latter only, apparently in the act of proceeding from one part of the palace to another. In the more elaborate he is either seated on an elevated throne, which is generally supported by numerous caryatid figures, or he stands on a platform similarly upheld, in the act of worship before an altar. This latter is the universal representation upon tombs, while the throne scenes are reserved for palaces. In both representations the supporting figures are numerous; and it is here chiefly that we notice varieties of physiognomy, which are evidently intended to recall the differences in the physical type of the several races by which the Empire was inhabited. In one case, we have a negro very well portrayed; in others we trace the features of Scyths or Tatars. It is manifest that the artist has not been content to mark the nationality of the different figures by costume alone, but has aimed at reproducing upon the stone the physiognomic peculiarities of each race.