each side of the second row are two men, one over the other, armed with pikes. It was impossible to gain access to this tomb, for it was full of water, but on entering the other to the south of it he found three sepulchres cut into the rock like the basins of a fountain. In the centre of the cave is a slab that appears to cover a tomb. Beyond the platform, to the south, he observed a single column still standing, and to the north the ruins of a porch. On his way to Naksh-i-Rustam, he observed on his right hand another column standing. He was inclined to believe that Chehel Minar had been a temple, for it is evident the buildings have never been roofed, and the site itself was not large enough for a palace.[1]Finally, he apologises for the confusion in which part of his narrative is involved, and protests, probably with truth, that if he had added anything more to his description he might only have increased its obscurity.
Two years later, Tavernier added his contribution to the subject[2](1676). Although he seems, as we have said, to have visited Persepolis along with Daulier, in March 1665, yet he was evidently but little influenced by his opinion. He had seen the ruins several times, and his judgment on the subject had been no doubt already formed. He tells us that on the occasion of one of his visits he was accompanied by an artist named Angel, a Dutchman, who, it appears, was commissioned by Abbas II. to make drawings of the ruins; and the estimates they formed are in striking contrast to those of Daulier. Tavernier was too much concerned with practical affairs to be greatly interested in antiquarian research; and his eye, trained to dwell on the minute
