the sculptured stairs and the great door of the Hall of the Hundred Columns. They are quite unworthy to be compared either in design or execution with those of Chardin. But if it were not for the exceptional excellence of the latter, we should feel more grateful to Kaempfer and his successor Le Bruyn. As it is, Kaempfer's drawing of the sculptured stairs almost carries us back to the archaic period of art represented by Herbert, and may best be described as grotesque. He is more successful in the treatment of the façade of a tomb at Naksh-i-Rustam. He has, however, merits peculiar to himself. The first attempt to draw the platform to scale was made by Chardin; but Kaempfer improved upon this example by marking the position and outline of the principal ruins upon it; and has thus afforded the student invaluable assistance to guide him through the intricacies of all future descriptions. He has added to its clearness bv numbering each of the ruins: a system he has also followed in his general view.
But of still greater importance was the attention he directed to the Inscriptions. It is to him we owe the designation of 'cuneiform' from the wedge-like appearance of the signs that compose the groups—a name they have since retained. He considered that the writing was ideographic, as in the Chinese; it was unknown elsewhere, but here it was found cut into the doors, windows, statues and walls, and it was certainly contemporary with the construction of the edifice. He was told that the hollow formed by the excision was formerly filled in with gold, which had been removed by the cupidity of subsequent ages, though he fancied he could still detect traces of it in some places. He was particularly struck by the appearance of an inscription on the south wall of the Terrace. It
