Persépolis

History

Construction

After having continued the work of Cyrus II with Pasargades and parallel to important building work undertaken with Suse, Darius {{Ier}} decides to establish a new capital; this decision is generally interpreted as a will to be distinguished from the elder branch of Achéménides, on which Pasargades is strongly dependant. It chooses for that a city identified since as being Uvādaicaya (Matteziš into Babylonian). This city must already have a certain political importance since it is there that Darius made carry out Vahyazdāta, its principal Persian opponent, in -521. In addition, the presence of palate and monumental doors going back to Cyrus and Cambyse II is attested, as well as a unfinished tomb probably intended for Cambyse. Babylonian shelves show that it is then about a developed urban center, active and populated, having commercial relations with the Babylonia, able to ensure average logistics and food for a building site of this width. Pierre Briant, historian of Persia achéménide, note indeed that the implementation chronologically close to important building sites with Suse and Persépolis supposes the mobilization of considerable means. In fact, these constructions enter within the framework of a global level of refitting of the royal residences aiming at showing with all that “the advent of the new king marks a recasting of the empire” . Darius chooses for site of construction the bottom of the rock formation of the Kuh-e Rahmat which becomes thus the symbol of the dynasty achéménide. It made there set up the Terrace, of the palates (Apadana, Tachara), rooms of the Treasury, as well as the walls Is. It is difficult to go back with precision construction to each monument. The only irrefutable indication is provided by shelves found on the site which attest of an activity at least as of -509, during the construction of the fortifications. One can on the other hand allot the majority of constructions to the periods corresponding to the reigns of the various sovereigns. Constructions of Darius are then finished and supplemented by its successors: his/her son Xerxès {{Ier}} adds to the complex the Door of all the nations, Hadish, or Tripylon. Under Artaxerxès I {{er}} in -460, one counts 1149 craftsmen present on the building sites. The site remains in construction at least until in -424, and perhaps even until the fall of the empire achéménide: a door remains indeed unfinished, as well as a palate allotted to Artaxerxès III.

Contrary to other ancient monumental constructions Greek or Roman, the construction of Persépolis does not owe anything with slavery. It is entirely ensured by workmen coming from all the countries of the Empire: Babylonia, Decay, Ionie, or Egypt.

Destruction

Protected by its situation in the middle of the Empire achéménide, Persépolis does not have solids defenses. Moreover, the position with the foot of Kuh-e Ramat represents a weak point because of the weak disalignment in the East, between the Terrace and the ground. This side was protected by a rampart and turns.

Knowledge of the catch and the destruction of Persépolis, allotted to Alexandre Large the, comes primarily from the writings of ancient historians, the first of which Plutarque, Diodore of Sicily, and Fifth-Curce. Certain archaeological elements corroborate to them dires, but their version of the destruction of the city is disputed: Duruy questions it since “one sees little time after the death of the conqueror, the Peucestès satrap to sacrifice to it to the manes of Philippe and Alexandre”.

According to Plutarque, Diodore of Sicily and Fifth-Curce, Tiridate, guard of the treasure, makes carry to Alexandre, whose army approached, a letter of rendering enjoignant it to go to Persépolis as a winner. The richnesses would thus quickly be acquired to him. The writings do not mention however the answer of Alexandre. Diodore and Fifth-Curce also tell the meeting on the way for Persépolis, of: 4000 mutilated Greek prisoners or having undergone ill treatments on behalf of Persians. The fall of Persépolis is followed massacre of its inhabitants and bag of its richnesses.

After having taken the city in -331, Alexandre there leaves part of its army and carries on its road, returning in Persépolis only some time afterwards. At the conclusion one day of drinking bout in the honor of the victory, Persépolis is burnt on order of the conqueror in May -330. Some advance that the meeting of the mutilated prisoners, causing anger and sadness of the sovereign, would have constituted an additional reason for reprisals.

Actually, it is now admitted by the historians that the reason of the destruction of Persépolis is more probably of a political nature. The decision of Alexandre seems indeed considered. Whereas the winner takes care to save the cities taken and in particular Babylon, not sparing any gesture to reconcile the Persian population, it achieves in Persépolis a gesture of a high symbolic range dictated by the Persian context: the ideological heart of the capacity achéménide being always located in the Persian capitals. The population, having made act of forced or voluntary tender, remains attached to the legitimate sovereign and is in bad terms with the conquerors. The decision is thus made to set fire to the Persian dynastic sanctuary in order to mean with the population the change of being able. Duruy known as as “ Alexandre wanted to announce with all East, by this destruction of the national sanctuary, the end of the Persian domination” .

The destruction of Persépolis marks the end of the symbol of the power achéménide. The first Persian empire disappears completely with death from Darius III, last emperor of its dynasty. The hellenisation starts with the Séleucides.

Persépolis has continuous to be used by the following Persian dynasties. With the foot of the Terrace is a temple, perhaps built by Achéménides, and re-used by Séleucides, then by Fratadaras (guards of fire).

The low city is gradually abandoned with the profit of its neighbor Istakhr, at the time Parthian. Graffiti, ascribable to last kings de Perse under Parthes or at the beginning of the era Sassanide, show that the site however remained related to Persian monarchy, at least symbolically. Indeed, an inscription in Pehlevi reports that a son of Hormizd I {{er}} or Hormizd II gives a banquet to it and there made proceed to a pertaining to worship service. Persépolis thus could continue to be used as place of worship several centuries after the fire of -330. Persépolis is used also as architectural reference for certain elements of constructions sassanides the such palates of Firouzabad.

Of passage towards Cathay in 1318, Odoric de Pordenone, monk Venetian traveller passes by Chehel minār without being delayed on the ruins. It is the first European to mention the site. It is followed after more than one century (1474) by another Venetian traveller: Josaphat Barbaro .
the Portuguese missionary, Antonio de Gouvea, visits the site in 1602. It notices there wedge-shaped inscriptions and representations of “animals with heads of man”.

the ambassador of Spain near Shah Abbas {{Ier}}, Gift Garcias de Silva there Figueroa, lengthily described the site in a letter going back to 1619. Being pressed on the Greek texts, it clearly establishes the link between Persépolis and Chehel Minār .
Of 1615 with 1626, the Romain Pietro Della Valle visit of many countries of the East. It pays of Persépolis of the wedge-shaped copies of inscriptions which were used later for deciphering of the writing.
It is followed by the English Dodmore Cotton and Thomas Herbert of 1628 to 1629, whose voyage has as an aim the study and the deciphering of the Eastern writings.
Of 1664 with 1667, Persépolis is visited by the French Jean Thévenot and Jean Chardin. Thévenot wrongly notes in its work Voyage to Raising , that these ruins are too small to be the residence of the kings of old Persia. Chardin clearly allots the site to Persépolis. It sticks the services of the draftsman Guillaume-Joseph Grelot and described the royal city in a work whose quality is greeted by Rousseau.
In 1694, the Italian Giovanni Francesco Gemelli-Carreri defers dimensions of all the ruins which it reaches, and studies the inscriptions.
In 1704, the Dutchman Cornelis de Bruijn observes and draws the ruins. It publishes its work in 1711: Reizen over Moskovie, door Persie in Indie , then 1718, in French: Voyages of Crow the Brown one by Moscovie, in Persia, and in the Eastern Indies .

Archaeological missions: the time of the scientists

The XIXe, then the 20th century see multiplying the scientific expeditions on Persépolis: ,

In 1840 and 1841, the painter Eugene Flandin and the architect Pascal Coste, attached to the embassy of France, visit several ruins in Persia among which Persépolis. They establish a land and descriptive survey of it.
the first true archaeological excavations are carried out in 1878. Motamed-Od Dowleh Farhad Mirza, governor of Fars, direct work releasing part of the Palate of the 100 columns.
A little later the French Charles Chipiez and Georges Perrot carries out a very important exploration of the site. Thanks to a pushed architectural study of the ruins and excavated remains, Chipiez draws seizing rebuildings of the palates and monuments such as they seem to him to have had to be at the time achéménide.
the German scientist Franz Stolze also explores the archeological sites of Fars and publishes the result in 1882 of it.
the French archeologists, Jane and Marcel Dieulafoy, carries out two archaeological missions in Persia (1881-82 and 1884-86). They explore Persépolis of which they bring back for the first time of the photographic documents. They also carry out rebuildings and bring back many archaeological parts.
Of 1931 to 1939, of the excavations is carried out by the Germans Ernst Herzfeld then Erich Frederich Schmidt, missionnés by the Oriental Institute of the Université of Chicago.
During years 1940, the French Andre Godard, then Iranian A. Sami, continue the excavations on behalf of Iranian Archeological Service (IAS), since integrated into the Organization of the cultural heritage of Iran.
Thereafter, the IAS under the direction of Ali Tajvidi directs work of excavation and of partial restoration in co-operation with the Guiseppe Italians and Ann Britt Tilia, of Instituto Italiano Per it Medio AD Estremo Oriente. These excavations revealed the probable existence of two other palates allotted to Artaxerxès I and Artaxerxès III, which disappeared.

All the structures of Persépolis are not excavated yet. There remain two monticules in the East of Hadish and Tachara whose origins are not yet known.

After the Iranian revolution and with an aim of éradiquer a strong cultural reference to the preislamic period and monarchy, the Ayatollah Sadeq Khalkhali tries with its partisans to shave Persépolis using bulldozers. The intervention of Nosratollah Amini, governor of the province of Fars, and the mobilization of the inhabitants of Shiraz interposing in front of the machines then make it possible to save the site of the destruction.

Persépolis is a fragile medium whose safeguarding can be compromised by the human activity. The question of the harmfulness of certain chemical components resulting from agricultural pollution is raised. A program of protection of the site recently started, aiming at limiting degradations related on the erosion and the passage of visitors: roofs were already installation protecting certain elements as the staircase Is of Apadana, and it is envisaged to cover the ground with a floor on the crossing points. The construction of a stopping close to Pasargades maintains a polemic between the Iranian ministry archeology and the ministry for the culture and the inheritance. The rise of water could damage number of archeological sites of the area, of which Persépolis. Moreover, the construction of a railway line whose layout could pass near Persépolis and Naqsh-e Rostam also makes fear damage for these sites, which could make pass some of the list of the world heritage to that of the sites in danger by UNESCO. Legal actions carried out by the Office of Fars of the Organization of the Cultural Heritage and Tourism already led to the judgment of the ministry for transport. In parallel, a request for fastening of the sites close to Naqsh-e Rostam, Naqsh-e Rajab, Ishtakr, and Kuh-e Ramat with the classification of Persépolis by UNESCO is in hand, which could oppose the current layout of the railroad. Moreover, Persépolis is regularly victim of flights related to the traffic of antiquities, even of vandalism. The site also undergoes degradation because of negligences as at the time of the realization of films. An extension of the museum is also envisaged, whose exact methods are not yet defined: the classification of the site to the world heritage prohibits any modification indeed.

However, as of its foundation by Cyrus large the, the Persian Empire obtains monumental constructions. Initially inspired by the conquered people, the architects achéménides integrate these influences and propose an original art quickly. If, in Pasargades, the general plan still shows nomadic influences with its stretched buildings, dispersed in an immense park, fifty years later that of Persépolis shows of rationalization and balance: the square plan is systematized, the columns are strictly arranged (6x6 for Apadana, 10x10 in the palate of the Hundred Columns…), including in the majority of the small rooms of the Harem and appendices of the palates. The transitions from the gantry S to the lateral sides are ensured by turns from angle Apadana, another innovation major. The two large doors and the various passages distribute circulation towards the principal buildings.

These achievements are original creations whose style results from the combination of elements resulting from subjugated civilizations. It is not a question of a hybridization, but rather of a fusion of the styles which creates new. Exit of the knowledge to make architects and workmen of all the empire, Persian architecture is utility, ritual and emblematic. Persépolis thus shows many elements attesting of these multiple sources.

. The rise of the Ionian style in Greece is broken Net after the Persian invasion, but it is expressed in a bright way in Persia, by means of imposing monuments. Architects Lydie NS and Ionian are indeed engaged on the building sites of Pasargades, then later on those of Persépolis and Suse. They carry out the principal elements of them, and one thus finds graffiti in Greek in the careers close to Persépolis, mentioning the names of carriers chiefs. They play an important role in the blossoming of the Persian style, as much in the apparatus that in masonry. The participation of Greeks in the erection of columns and the ornament of palate in Persia is also mentioned by the Charte of Suse, like by Pline Old the. The columns of Persépolis are indeed of Ionian style, with a was grooved and thin: the diameter is lower than the tenth height, no column of Persépolis is not broad of more than 1,9 Mr. Certains capitals carry griffon S inspired by scratch of bronze antiquated Greeks.

The majority of the columns are out of wood, possibly resting on a basis of stone; they have all disappeared. It is only when the height is too important that the stone is used like those of Apadana and the Door of all the nations. The stone columns having remained are very composite and show an influence of various civilizations of the empire, which is perhaps not innocent: the base Campaniforme is a achéménide creation but undoubtedly of inspiration hittite; the grooved barrel is Ionian; the capital, a disproportionate height being able to go until one the third of the column starts with a capital of Egyptian style followed by a square pillar to double Volute, an Iranian creation inspired by Assyrian reasons. The whole is overcome by a Imposte thériomorphe (of animal form), another reason imported for Mésopotamie this time, but whose function of support of beams is new. One can see in this composition a summary of the diversity of the empire.

The description of multiple colors on many parts resulting from the majority from the palates and buildings persépolitains attests richness and omnipresence of polychrome paintings in Persépolis. It is not a question only of evidence resting on pigmentary traces persisting on objects, but of consistent evidence like agglomerates of paintings forming of grumeaux, colors having taken in mass in bowls found in multiple places of the site..

The east coast of the terrace is formed by Kuh-e Rahmat, in the wall of which are dug the royal burials which overhang the site. The three other sides are formed by a retaining wall of which the height on the ground varies from 5 with 14 Mr. the wall is composed of enormous cut stones, adjusted without mortar and fixed by means of metal ankles. The Western frontage constitutes the face of the complex and presents the principal access to the Terrace in the shape of a monumental staircase.

The levelling of the rock ground is ensured by the filling of the depressions with ground and stones. The final earthwork is carried out by means of heavy stones also fixed between them by metal ankles. During this first preparatory phase, the network of drainage and water conveyance is set up, sometimes cut with very the rock.

On the Southern frontage, wedge-shaped trilingual inscriptions were found. The text, written in élamite, approaches an inscription of the palates of Suse, and proclaims:

“Me, Darius the Large King, king of the kings, king of the countries, king on this ground, wire of Hystapes, Achéménide. ”

And Darius the king known as: “in this site where this fortress was built, there or before no fortress had been built. By the grace of Ahuramazda, this fortress, me I built it as was the intention of Ahuramazda, all the gods (being) with him, (namely) that this fortress was built. And I built it, completed and made beautiful and resistant, as that had been prescribed to me”.

And Darius the king: known as “Me, that Ahuramazda protect me, all gods (being) with him, and also this fortress, and still what was arranged for this site. What will think the man who is hostile, that is not recognized! ”

These inscriptions could correspond to the site of the initial entry of the complex, before the construction of the monumental staircase and the addition of the Door of all the nations.

The configuration of the Terrace suggests that its design also took into account requirements of defense of the site in the event of attack. A wall and turns constituted of it the perimeter, doubled in the East by a strengthened rampart and turns. The angulation of the walls is indeed carried out in order to open a maximum field of view with the defenders towards outside.

The Terrace supports a number impressing of colossal constructions, made out of gray limestone coming from the adjacent mountain. These constructions are characterized by the important use of colonnades and pillars, of which a good number remained upright. Hypostyle spaces are constant, whatever their dimensions. They cash associate rooms 99,100,32, or 16 columns following of variable arrangements (20x5 for a room of the Treasury, 10x10 for the Palate of the 100 columns). Some of these constructions were not completed. Materials and waste used by workmen were even found, not having been cleaned. Fragments of containers having been used to store painting were thus put at the day by chance in 2005 near Apadana. They confirm the already known indices attesting use of paintings for the decoration of the palates.

Its Western entry is kept by two colossal bulls which compose the amounts and measure 5,5 of them; m in height, inspiration Assyrie. It gives on a central hall of 24,7 m ². Marble benches skirt the walls of the hall which was covered in the beginning. Its roof was supported by four columns of 18,3 m in height, symbolizing Palm tree S, and whose carved tops represent stylized sheets of palm. To the Western entry two exits are added: worms South opening on the court of Apadana, and worms Is opening on the Alley of the processions. The latter is kept by a pair of colossal statues representing of the winged man-bulls, or Lammasu S. These protective figures are also present on capitals of columns of Tripylon. One also observes of them remainders of feet at the base of unfinished stiles. Each entry of the Door of all the nations was closed by a wood door with two leaves whose hinges swivelled in cells cut in the ground. The doors were decorated noble metals.

A wedge-shaped inscription is engraved with the top of the bulls of the Western frontage in the three major languages of the empire (Old man-Persan, Babylonian, and Élamite):

Ahuramazda is the large god, who created this ground here, which has created this sky over there, which created the man, who created happiness for the man, who made Xerxès king, single king the many ones, single sovereign the many ones.

“I am Xerxès, the large king, the king of the kings, the king of the people in the many beginnings, the king of this large ground with far, the son of king Darius Achéménide. ”

king Xerxès declares: “Thanks to Ahuramazda, I made this Portique of all the people ; there is still much good which was made in this Persia, that me I made and that my father made. All that was made moreover, which appears good, all that did we it thanks to Ahuramazda. ”

king Xerxès declares: “That Ahuramazda protects me, like my kingdom, and what I made, and what my father made, whom Ahuramazda protects that too. ”

This inscription thus lets think that the Door of all the nations was named thus by Xerxès in reference to the multiple people and kingdoms composing the empire achéménide.

Allée des processions and Carries unfinished

Skirting of West of it Is the Northern part of the Terrace, the alley of the processions leads Door of all the nations to a similar construction: the unfinished Door (also called the unfinished Palate), thus called because its late construction was not finished at the time of the destruction of the site by Alexandre. This door is thus with the North-eastern angle of the Terrace, and counts four columns. It leads to a court which opens on the Palate of the 100 columns. A double wall bordered the alley on its two sides, protecting Apadana and the private palates from the glances. Staff waiting rooms and reserves were there in appendices. Only the low parts of these walls remain to date, but some think that they reached the height of the statues of lammasus. In a alcove on a side of the alley, one can observe two heads of scratch partially restored which never seem not to be assembled on columns. They can be intended for a later construction.

. Apadana is with the most complex Palate of the 100 columns, largest and of monumental constructions of Persépolis. It is in the center of the Western part of the Terrace. Placed on an high level, it is accessible by two monumental staircases into double symmetrical and parallel slopes, which flank the Soubassement sides North and East.

Palate

The palate has a square plan of 60,5 m on side. It comprises 72 columns of which 13 are still upright. Measuring close to 20 m in height, the columns were probably set up by means of ground slopes making it possible to bring, then to position the stones with desired height. The slopes are probably progressively high of the advance of the columns, then the ground is evacuated. testifying to the Ionian influence, the columns of Apadana have the same diameter and a height close to those of the temple of Héra with Samos, moreover, they present similar Cannelure S.

The ceiling was supported by beams resting on Protomé S of bulls and lions. Opposed, protomés form a saddle on which a principal beam was posed. Two heads thus making protrusion laterally on approximately a meter. Cross beams were also posed directly on the heads, were stabilized by the ears or the horns of the carved animal. These elements of the animals are fixed by gouge iron and taxable people with lead. The cross beams united the columns of the close lines, spaces remaining were then covered by secondary beams. The unit was caulked and covered by a mortar bed with dried mud. The beams were in Chêne, ebony, and Cèdre of Lebanon. Excavations carried out with Suse, in a palate also carried out for Darius 1st, updated a flagstone in Apadana, located in the axis of the palate compared to the Southern wall. The comparison showing that the two palates have close designs, the existence of a throne fixed on the ground of Apadana de Persépolis is probable. Moreover, two close passages made it possible to the king to be withdrawn in the adjacent apartments and royal districts.

When Alexandre the Large one set fire to Persépolis, the roof of Apadana collapsed towards the East, protecting the reliefs from this part of wear during nearly 2100 years. A massive head of lion was found in a pit close to the wall separating Apadana from the Palate from the 100 columns. It seems to have had for function to support a principal beam of the roof. Its presence in a pit located under the level of the ground is however unexplained. A counterpart of the gantry of Apadana is with the museum of the site and gives an idea of the magnificence of the palate.

Staircase Is

. The trees, pines and palmettes, symbolize the gardens of the palate. The panels carry inscriptions indicating that Darius built the palate, that Xerxès supplemented it and required of Ahuramazda to protect the country from the famine, the félonie, and the earthquakes. The characters of the reliefs observe a proud port. The ethnic characters méticuleusement are méticuleusement deferred, and the details are worked with smoothness: peelings, barbs, hair are thus represented in small ringlets, clothing and animals are characterized with meticulousness. The examination of not finished scenes pleads for a posted organization of work, calling upon a specialization of the workman (faces, hairstyles, ornaments). The artists and workmen who took part in construction did not have any freedom of creation: they were to follow in a rigorous way the orientations provided by the advisers of the king. The realization of works indeed follows a program which does not leave any share to the improvisation. Initially polychrome, the planks answered the requirements fixed by the sovereign: development of the order and the rigor. These characters involve an offset of the representations making think of the Orthostate S of the Assyrian palates. The distribution by registers in defined rows, the stiffness of the subjects evoke the influence of the severe Ionian style.

; Triangles and central panel. The triangles are occupied by reliefs symbolizing the new year: a lion devouring a bull. The equinox of spring shows a sky where the constellation of the Lion is with the zenith, while that of the Bull disappears at the Southern horizon. Norouz mark thus the beginning of the agricultural activity after the winter. The significance of the central panel is nun. It shows Ahuramazda kept by two griffon S with human heads, overhanging four Persian guards and Mèdes. Persians hold of the left hand a typical round shield, the Sagaie S are held of the right hand.

; Northern panel. The Northern panel is divided into three registers and watch the reception of the new year in the shape of a parade. Center towards the Northern end, the higher register shows immortal followed by a royal procession. The immortal ones wear a bonnet, and are equipped with lances and quivers ballasted by pommels resting on their feet. The royal procession breaks up into official a mède preceding the servants then the carriers by royal chair. The royal chair is carried by means of straps harnessed with the shoulder, supporting two Bambou S passed through the chair. The chair itself is made up of a carved wood framework, of which the feet have the shapes of animal legs. A servant carries the stool used by the king who could not touch the ground. Its damaged legs carry the traces of a repair fixed by iron clamps. The procession continues with the person in charge mède royal stables, with the head of the horses of the king, each one directed by a page. The horses are finely worked letting see the detail of the bits. The procession is closed by two carriages carried out by a élamite. The draft horses are smaller and more ends that the precedents, therefore of another race. They draw two carriages of which the wheels have twelve rays (symbolizing the twelve months of the year) and whose axles are carved. The first carriage differs from the other: lions carved on the case seem to indicate that it is about an attachment of hunting or war. The registers inferior and means also show immortal follow-ups by noble Persians (crenelated caps or with feathers) and mèdes (cap round with a small tail) alternate. Some carry luggage, others of the germs and flowers of pomegranate S. Of the subtle differences in their clothing and jewels suggest different functions or statutes. The noble ones are represented discussing and smiling. Their attitude is slackened and nonceremonious. They are held sometimes by the hand, turn one to other, or pose the hand on the shoulder of the precedent in benevolent attitudes symbolizing their unit. The immortal ones of the lower register are Persian; armed with lance, arcs and quiver, each one a stair in a representation of rise stresses. Those of the average register wear a bonnet and are only armed with lances.

. For Dutz, the symbols of Persépolis are heavy direction, and their organization does not concern the chance. The fitting of the representations could thus correspond to a protocolar order, without one being able to know if such an order follows a sequence determined by the horizontal or vertical lines (see diagram). In all the cases, it appears clearly that Mèdes are the first, and the Ethiopia NS the last. Moreover, none arrangements follows the sequential list of the Satrapie S given by the inscription of the king. The fitting of the delegations does not seem either to follow the order of incorporation of different the satrapies in the empire. On the other hand, it could be a function of the time of voyage separating them from Persépolis. One knows by the shelves of the Treasury that the offerings carried by the delegations do not correspond to a tax. They thus correspond to gifts intended for the king or a ceremonial use. In the absence of inscription, the identification of the delegations remains always a problem because it is based especially on the costumes, and offerings. In spite of the bringings together with other representations, there remains of many uncertainties. Indeed, the presence, exclusion, the order of quotation or presentation, even the denomination of each people of the empire is very variable as well in the sculptures as in the royal inscriptions. These last do not constitute an administrative inventory carried out for the posterity, but correspond rather to the idéelle vision of the empire whose king wishes to leave the trace.

, Stierlin, and Briant:

1 Mèdes: led by a Persia, this delegation is most important. The subjects bring clothing, bracelets or the torques ones, a sword, pots and a vase. They are probably other tribes mèdes that those which serve the empire since its foundation, which would explain the statute of taxable people. At the beginning of the empire, such tribes had remained faithful to Astyage, the others having joined Cyrus.

2 Élamites: the Élam is Persian since the foundation of the empire by Cyrus Large the. The delegation led by Mède offers a lioness and two lion cubs, as well as swords and arcs.

3 Arménie NS: this delegation carries a vase to two handles finely worked, and a horse.

4 Arachosie NS (or Aryan): The pants are still carried to the Baluchistan. One of the subjects is vêtu of a skin of cat-like. The offerings consist of a camel and pots.

5 Babylonian: this delegation offers a bull, bowls, and a hanging identical to those of representations in the palate of the 100 columns, the Treasury or Tripylon.

6 Assyrian and Phénicie NS (or Lydians): this relief is very detailed. The offerings consist of vases and cuts worked (vases with large will goderons, of bronze or money, with double handles appearing of the winged bulls), of the jewels (bracelets with clasp decorated with let us scratch winged), and a tank harnessed with horses of small size. Clothing and hairstyles of the subjects are very worked, one distinguishes even from the curlpapers always carried by the orthodoxe Juif S. The vestimentary identity maintains a controversy between the origins these delegations.

7 Aryan S (or Arachosiens): the subjects of this satrapie corresponding to the areas of Herat and Mashhad are practically indifférentiables of Arachosiens. The offerings consist of a camel and vases.

8 Cilicie NS or Assyrians: coming from the South of Minor Asia, this delegation offers two ram S, of the skins, a clothing, cuts and vases. This representation is thoroughly worked, and lets appear the detail of clothing (laces, belts, caps).

.
The central panel initially showed Xerxès 1st, Darius Large the and official. This last could be a Ganzabara (governor of the Treasury), or a Chiliarque (officer ordering the guard). This relief was thereafter moved with the Treasury, and was replaced by another showing eight guards. A trilingual wedge-shaped inscription also present on the staircase East mainly takes again the text of that of the Door of all the nations, without specifying the name of the building.

Tachara

The corner piece S of the Southern staircase presents symbols of Norouz: lion devouring a bull. The ascending parts represent of Mèdes and Arachosiens bringing animal, earthenware jars and goatskin bottles. They are probably priests coming from holy places zoroastriens the such Lac from Orumieh in Médie and the Lac Helmand in Arachosie, and which carry the necessary one for ceremonies

A door opens in the royal bathroom. She is decorated of a relief showing a glossy king for a ceremony and follow-up of two servants holding a sunshade and drive out-flies. The king is crowned, vêtu of a rich person ornament decorated of stones and invaluable parts. He also carries bracelets, and jewels are fixed on its braided beard.

Hadish

Hadish, or palate of Xerxès, is in the South of Tripylon; it is built on a level similar to Tachara but twice larger. Its central hall comprised thirty-six wood and stone columns. They were tree trunks of big sizes and large diameters of which there remain nothing any more. It is surrounded in the East and the West by small rooms and corridors, whose doors also present carved reliefs. One finds there processions royal representing Xerxès 1st accompanied servants sheltering it under a sunshade. The Southern part of the palate is made up of apartments whose function is discussed: a time described like being used for the queen, they are rather regarded as stores or appendices of the Treasury. The access to Hadish is done by a monumental staircase in the East, double divergent flights then convergent, and a smaller staircase with convergent flights in the West; both present the same decoration as the Southern staircase of Tachara: Persian bulls and lions, guards, winged disc and sphinx.

Hadish is a old man-Persan word being reproduced on a trilingual inscription in four specimens, on the gantry and the staircase: it means “palate”. It is the use of the archeologists to name this palate hadish , the original name not being known. Attribution with Xerxès is certain since this one, in addition to these four inscriptions, made engrave its name and its titulature not less than fourteen times.

The Southern door of the palate presents a completely different relief. It symbolizes the support brought to the king by the various nations composing the empire. The soldiers of the five lower rows belong indeed to several nations, recognizable with their cap, behaviors, and armaments. Turned towards the Treasury, this message is addressed rather to the servants and recalls them what the richnesses forwarding by this door are used for cohesion of the empire. Wedge-shaped shelves detail the files of the tributes, thus giving an outline of the richnesses having forwarded by these doors.

If the reliefs of the entries North and South of the palate relate to primarily the assertion of the royalty, those of the East parts and West present as for other palates, heroic scenes of engagements of the king against the evil. Clay and wood shelves were found there, which detail the amount of the wages and advantages paid to the workmen having built the site. According to certain shelves: 1348 people work with the Treasury in -467.

The Treasury is several times rebuilt and modified. Several inscriptions were found there on massive blocks of Diorite, mentioning king Darius. One also found there two reliefs from which one comes from the Northern staircase of Apadana. This last is now with the museum of Teheran and represents Darius the Large one on the throne. The king receives official a mède tilted forwards which carries its right hand to the lips as a sign of respect. It could be a question of chiliarque, commander: 1000 guards, or of a governor of the treasure (or Ganzabara ). Xerxès and of noble Persians are upright behind the sovereign. Two carriers of Encens are between the king and the dignitaries.

At the time of the excavations, this building was quickly identified as being the Treasury because in spite of its important surface, the access is done only by two narrow small doors.

Garrison and room of the 32 columns

On the slope Is complex, between the palate of the 100 Columns and the mountain are multiple rooms forming the districts of the servants and the soldiers, the chancellery, and of the offices. More: 30000 shelves and fragments of shelves in élamite were found there.

It is not certain that the Harem could be a place of residence of the women. According to some, the center section could have been intended for the queen and her continuation. Others think that the women resided outside the walls.

The Harem was excavated and partially restored by Herzfeld by means of a process of Anastylose. It rebuilds several rooms of which it is useful like workshops of restoration and presentation of the parts found on the complex. Part of the Harem is then transformed into museum.

The museum of the site presents a large variety of objects found on the site:

potteries, terra cotta plates and goblets, ceramics squares;
coins of time;
tools of all kinds including/understanding of the tools of masonry, size, kitchen, or ustensils of mouth, mortars;
ironwork, points of lance and arrows, fragments of trumpets or metal ornaments, ankles metal;
remainders of fabrics or wood remainders composing the infrastructure;
metal bits and parts of feature;
engraved shelves.

Additional elements

Many elements were found out of the walls of the Terrace. They are remainders of gardens, dwellings, burials post achéménides, or royal tombs achéménides. Moreover, one complex network of water pipelines will intra and extra muros is in the course of exploration.

Dwellings

Ruins completely not having been excavated yet are visible with 300 m in the South of the Terrace. Probably former to the palates, these constructions comprise several houses. Broadest consists of a central hall accessible by a staircase and surrounded by secondary rooms. They thus seem to be intended for people of social high ranking. A construction is also in the North of the Terrace, whose function remains unknown.

Gardens

Recent geological explorations highlighted the ruins of gardens achéménides and their irrigation canals outside the complex. A part was damaged by it in 1971, at the time of the ceremonies of 2500 years celebration of monarchy in Iran. Other damage was caused by the construction of a tarred road after the revolution. Such gardens called Pairidaeza (old word Persian from which the word “paradise is resulting”), were often carried out beside the palates achéménides.

Hydraulic network

The system of drain of the Terrace still contains invaluable secrecies justifying of the thorough excavations. It is a question of extracting and of analyzing the sediments from them. More 2 km of network were discovered, traversing the Terrace and its surroundings, and passing under the palates. Very variable dimensions of the channels (60 with 160 cm broad, 80 cm with several meters of depth) explain the importance of sedimentary volume and the value of the archaeological potential. The remains which they contain can thus prove to be invaluable: part of the supposed throne of Darius was found, as well as many fragments of pottery having preserved their colors. Work encounters however a complex problem: the withdrawal of the sediments allows the water infiltration, which is likely to damage the structure of the complex.

The network of drains and water channels crosses the foundations and the ground of the Terrace. It is thus probable that the plans of the totality of the complex were precisely established before its construction.

Remainders of burials post-achéménides were also found with the foot of the mountain, with one kilometer in the North of the Terrace. It comprises approximately: 30000 parts of which: 6000 are readable. Contents of: 5000 of them was already studied but is not published yet entirely. They contain mainly administrative texts written in élamite, language of the chancellors, between - 506 and - 497, but of the shelves written in Araméen from which approximately 500 texts were deciphered, a shelf in Akkadien, one in Greek, one in a language and C-W communication of Anatolia, one in Vieux Persian were also found.

These shelves can be classified in two sub-groups. The first relates to the transport of materials from one place to another of the empire; the other is connected more with one register of accounts. These parts made it possible to obtain invaluable information making it possible to include/understand the operation of the empire and its administration in fields as various as construction, circulation, the mails, passports, or finances. Certain trade associations thus could be known like the governor of the Treasury (or will ganzabara ). The shelves even made it possible to know the name of the people having worked in Persépolis, of the simple workman to the governor of the Treasury. Moreover, some make it possible to specify the statute of women of any social horizon at the time achéménide.

The other series, discovered by Schmidt and known under the name of “Shelves of the Treasury of Persépolis”, counts 139 parts describing of the payments made out of gold and money between -492 and - 458. Several of them are marked print of seals, and constitute letters and memoranda addressed by the official ones to the governor of the Treasury.

The astonishing conservation of dried clay shelves is explained by the fact why they were cooked at high temperature by the fire of Persépolis. This involuntary transformation into terra cotta paradoxically allowed their best resistance to time in their avoiding falling in dust. Eastern Institute of the University of Chicago indeed has the guard of the shelves since their discovery.

Controversies on the functions of Persépolis

The Persian empire achéménide has in fact several capitals. Pasargades is that of Cyrus the Large one, Suse, Ecbatane, or Babylon is those of its successors. The majority of the authors agree on the importance of the protocolar and religious functions of Persépolis illustrated by the strong symbolism of the ornaments.

A controversy exists as for the reality of the ceremonies described by the reliefs, and several points of view are expressed then. Some see in Persépolis only one place reserved for initiates. This assumption is based especially on the little of old writings mentioning the site before its catch by Alexandre the Large one, who contrasts with the number and the diversity of the fixed people. As many delegations should have ensured Persépolis a more important notoriety. According to this point of view, no reception would have been really held in Persépolis. For others, such receptions clearly took place. They rest on the organization in level of the Terrace which would answer a clearly definite function of separation of the inhabitants according to their social status. The organization of the reliefs marking the progression of the tribute to the treasure, the existence of separate ways leading either to Apadana or with the Palate of the 100 columns, are as many arguments going in this direction. According to this point of view, the protocolar and religious function of Persépolis is exerted through the celebrations of the new year (Nowrouz). The king of the kings receives the offerings and perceives the tax of the delegations coming from all the satrapies.

Henri Stierlin, historian of art and architecture, also abounds in this direction. The spaces released by the architecture of the palates as Apadana allow the behavior of great receptions, of banquets and rites aulic. The uses of Drinking S and royal banquets are spread indeed from Persia, in the majority of the satrapies: Thrace, Asia Minor, or Northern of Macedonia, integrate such traditions indeed. Moreover, the discovery of many objects of goldsmithery achéménides or inspiration achéménide devoted to arts of the table testifies to the importance of such banquets for Persians. Configuration of the site and arrangement of the access testify to a will to make the person royal inaccessible for some. She allows the follow-up of a rigorous label giving to the sovereign an almost divine character.

A controversy also exists as for the occupation of Persépolis. Taking into account the reliefs, R. Ghirshman suggested a transitory annual occupation of Persépolis. Occupied only during the festivities of Nowruz, the city would not have whereas a ritual function. This thesis is disputed more and more:

Finally for David Stronach, it is rather necessary to consider the function of Persépolis under a political angle, by taking account of the conditions of accession of Darius with the capacity (Darius had had to overcome an opposition). Such monuments would not have as a literal function to reflect the power or the richnesses of the empire, but rather to answer immediate political requirements. Built the advent of Darius shortly after, Persépolis initially devotes the legitimacy of its accession to the throne and affirms its authority to the borders of the empire. Moreover, the repetition of reasons representing Darius the Large one and Xerxès suggests the will to legitimate its successor. In the same way, the multiplicity of the references to Darius by Xerxès {{Ier}} suggests the will to consolidate and make safe the succession with the trône - Arthur Upham Pope: the splendor of Persépolis is not the accidental counterpart of the monumentality and of ostentation, it is the beauty product recognized like supreme value. - Romance Ghirshman: Never in antiquity, art had not shown such an audacity.

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