thought they had good reason to complain of the treatment they received at his hands. But there was another cause that led to inevitable discrepancies. Few of them aimed to produce the minute accuracy of a photograph, or could resist the temptation of idealising the work before them: on the one hand, Le Bruyn exaggerated the ruin wrought bv time; on the other. Niebuhr repaired its ravages. According to the one, the sculptured staircase is a confused mass of mutilated figures; according to the other, it appears as perfect as when first completed by the sculptor. Nor was it only in the drawings that inaccuracies were to be detected. The measuring tape itself seemed to yield different results in different hands. It was impossible^ to find agreement even as to the number of steps in the great staircase. According to one, there were only ninety-five (Herbert); according to another, one hundred and thirteen (Kaempfer); and other accounts ranged between these two extremes.
It was with the professed object of giving a final and authoritative representation that would satisfy the curiosity of the minute student that Sir Robert Ker Porter undertook to go over the old ground once more. He was an accomplished artist and he consequently possessed qualifications many of his predecessors were without. He arrived at Murgab on June 12. 1818, and left Perse polis on July 1, so that he was not more than eighteen days engaged in the study of the numerous antiquities in the neighbourhood. At the conclusion of his stay, he congratulates himself upon finding that: 'I had drawn nearly every bas-relief of consequence, had taken a faithful plan of the place, and copied several of the cuneiform inscriptions. '[1]
- ↑ Porter (Sir Robert Ker), Travels in Georgia, &c. (London, 1821) i. 679.
