sketches with the original. He wrote in German, and the French translation appeared in 1780.[1]
The magnificent views of Persepolis given to the world by Chardin, and the very useful plan drawn to scale by Kaempfer, had already afforded ample material for forming a tolerably accurate conception of the general aspect of the ruins. Little remained now to be done except to work for the archæologist, to whom the minutest attention to detail was the first necessity. Niebuhr, unfortunately, cannot claim to have accomplished this difficult task, so far at least as his drawings are concerned. He has, however, contributed ten plates of illustrations of considerable artistic merit. Following the example of Kaempfer, he begins with a ground plan on which the various edifices are distinctly indicated by letters. This is followed by a general view looking towards the west; three plates are devoted to the sculptured stairs; one to the mysterious animals on the porch that continued so long a stumbling-block; the Palaces of Darius and Xerxes each occupy a plate, and two others portray the seated figures in the Hall of the Hundred Columns. He was so satisfied with this achievement that he thought even the student would have no need of any farther assistance from the artist's pencil.[2] This is, however, so far from the case, that even the general reader has some cause to complain.[3] Niebuhr has conveyed an entirely false conception of the appearance
- ↑ 'Voyage en Arabic, par C. Niebuhr (Amsterdam, 1783), vol. ii. pp. 98-133.
- ↑ Vol. ii. p. 122.
- ↑ Morier observes: 'On comparing Le Bruyn's, Chardin's and Niebuhr's drawings with the sculptures, I found them in general correct in outline, but imperfect in the details of dress, arms, &c. . . . They have not been done justice to in the works of those travellers.'—Second Journey through Persia (London, 1818), p. 76.
