masonry, at the foot of a lofty mountain range. By far the most important is the first group, situated at the foot of a lofty mountain range. The extent of this terrace is about 1500 feet from north to south and 800 feet from east to west, and was once surrounded by triple walls 16, 32 and 60 feet in height respectively. The internal area is further divided into three terraces, the lowest one to the south; the central being about 800 feet square and rising 45 feet above the plain; and the third, the northern, about 550 feet long and 35 feet high. On the northern is the "Propyleum of Xerxes," but most distinguished here is the "Great Hall" of Xerxes, called Chehly Minor by way of eminence. The palace of Xerxes and that of Darius towering one above the other in successive elevation are also on this terrace. The stones used for this building are of dark gray marble, cut into gigantic square blocks, and in many cases exquisitely polished. The ascent from the plain to the great platform is made by two flights, the steps being nearly 22 feet wide, 3½ inches high and 15 inches in tread so that travelers have been able to ascend on horseback. The Propyleum of Xerxes is composed of two masses of stone work which probably formed an entrance for foot passengers. The steps are paved with gigantic slabs of polished marble. The portal is still standing and bears figures of animals 15 feet high. The building itself is conjectured to have been a hall 82 feet square, closely resembling the Assyrian halls of Nineveh. It bears the following inscription: "The great God Ahroomazda, He it is who has given this world and who has given life to mankind, who has made Xerxes both king and lawgiver of the people. I am Xerxes the King and Great King, the King of Kings, the King of the many peopled countries, the supporter of the great world, the son of King Darius, the Achoemenian."

"Says Xerxes the King, by the grace of Ahroomazda I have made this gate of entrance. There is many another nobler work besides this,—Persepolis which I have made and which my father has executed."

An expanse of 162 feet divides this platform from the center one which bears many of those columns of the Hall of Xerxes, from which the ruins have taken their names. The stairs leading up to the Chehly Minor are still magnificent according to the statement of Prof. Jooseph whose residence was near this historic palace. The walls are superbly decorated with sculptures, representing colossal warriors with spears, gigantic bulls, combats with wild beasts, processions, and the like, while broken capitals, shafts, pillars and countless fragments of buildings with cuneiform inscriptions cover the whole extent of the platform, 350 feet from north to south and 380 feet from east to west. The great Hall of Xerxes, perhaps the largest and most magnificent structure the world has ever seen, is computed to have been a rectangle of about 300 to 350 feet and to have consequently covered two and a half acres. The pillars were arranged in four divisions consisting of a central group six deep every way and an advanced body of twelve in two ranks, the number flanking the center. Fifteen columns are all that now remain of the number. Their form is very beautiful. Their height is 60 feet, the circumference of the shaft 16 feet, the length from the capital to the turrets 45 feet. Next along the west front stood the palace of Darius and to the south the palace of Xerxes measuring about 86 feet square, similarly decorated with lions, birds, heroes, kings and warriors.

Of course the present architecture of Persia is not equal to the old for the evident reason that the country is not so rich as it was. However the work in some cities is equivalent to ancient buildings. In modern times some splendid palaces have been erected of brick, either of raw or hardened by fire. These tower to a considerable height. The custom of Persia is to beautify without rather than within, so the exterior is painted with different colors. Blue, red and green are favorites. The walls are adorned with the pictures of flowers, birds, lions and many verses of Al-Kuran. Favorite poems also appear. Inside it is more plain, whitened by chalks. But the roof is wonderfully decorated with delicate chalk work. Here are sculptured designs of ladies holding bouquets of flowers, playing with doves on their shoulders and surrounded by beautiful objects. Usually in the center is a large mirror. This is all hand work. A single mason may work a month in completing the roof decorations of one room. All buildings are square. Village architecture is very poor. Buildings are one story in height, especially of Mohammedans. Most all are built of unburnt bricks. A Mohammedan peasant does not know the joy and pleasure of living. Though he has plenty of money, he is content to live in a small cottage, spending little.

Christians, on the other hand, are the direct reverse and are learning to enjoy having things nice.

CHAPTER IV.

THE LANGUAGE AND POETRY OF PERSIA.

The ancient languages of Persia are three (1) The Zend or East Iranian, or Bactorian language. But this became obsolete during the third century before Christ. This was called the Zoroastrian languages, because the name Zend is that of their sacred book. (2) The ancient Persian language, the chief remnants of which are found in the cuneiform inscriptions of the time of Archemides, discovered in the ruins of Persepolis on the rocks of Behiston. The inscriptions contain the names of gods, men and of Daniel the prophet. (3) The third language was Pehlawee spoken by the West Iranians, Medians and Persians, during the period of the Sassanidæ—3rd to 7th century, A.D.

At last a new form of commentaries to the sacred writings came into existence, in which clearer and more distinct characters were used. Almost all old words of the Zend were replaced. This new form is called Pazend. In later times historians and the Arabs have called it Parsee. It was in use from 700 to 1100 A.D. At 1100 the old Persian language was revived. This is called Jamie or Nizamie.

A purer dialect came into use as the direct result of the writings of the poet Hafiz 1100 A.D. and has continued down to the present day. This is spoken especially in Shiraz, a city of great note in the history of Persia, and the capital of the state of Faris, which gives Persia its name.

Unfortunately after the Mohammedan conquest Persia fell under their reign. Arabs tried to infuse Arabic into the Persian language. The Koran was the only Holy Bible to them they believed that its teachings should be accepted by all Parsees. All writers in the country now, as a matter of course, became Mohammedans. With the fanaticism, characteristic of a conquering religion, with the ruthlessness which Islam has always shown, all the representatives of the old Persian literature and science were grievously persecuted by Omar's general, Sayid Ibn Abou Wakkas. All priests and writers were compelled to accept the new order of things: "Allah the only God, and Mohammed His prophet." So the pure language of the Parsees was infused with Arabic words to such an extent that one-third of the words of the language are Arabic.

POETICAL LITERATURE.

Under the dynasty of Samanides, a writer comes into view, one Nasr, living about 952 A.D. under the third ruler of the dynasty. Also Abul Hasson Rudige, the blind, lived under the same ruler. This man wrote 1,300,000 rhymes. About 1000 A.D. Kabbas wrote, being a contemporary of Mahmud who surrounded himself with four hundred court poets. Ansarie, another writer, wrote 300,000 rhymes in honor of the king.

The reign of Atabek dynasty was the brilliant age of Persian poetry. Anhaduddin Anawaree was one of the greatest writers of that period. The best mystic poet was Sunayi, author of 30,000 distichs. Nizami about the twelfth century, was the founder of the Romantic Epoch. The greater part of his Jami­ or collection of five romantic poems, are about Khosraw and Shirin, a king and