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NOTES

p. 229 87. Beside him, although shown behind, accord­ reasons why it might be assigned to the years 491-
ing to the normal procedures of all art which ig- 86 b.c.
norcs perspective (‘pre-Greek’, idcoplastic, con­ 90. Schmidt, op. cit., plate 19, a large folding p. 230
ceptual art) and achieves clarity by translating plate, shows the eastern stairway complete,
the three-dimensional disposition of figures in 91. Hcrzfcld, Iran and the Ancient East, 255.
space to a juxtaposition in the two dimensions of 92. Hcrzfcld, op. cit., plate lxxii.
the plane of drawing. For the same reason the 93. Glazed bricks were much more sparingly
stacked folds of the dress, which in reality hang in used at Persepolis where stone reliefs fulfilled their
front between the legs (sec Plate 189A), arc shown function. Schmidt, op. cit., 32; 91, figure 35.
neatly in the middle of the side-view. This prob­ 94. Encyclopedic photographique dc Vart, ir, 50, 51.
lem is discussed in great detail by FI. Schaefer,
95. A new and revealing study of the Egyptian p. 231
Von Acgyptischcr Kwist, 3rd cd., Leipzig, 1930.
battle-scenes in H. A. Grocncwcgcn-Frankfort,
88. This useful term was introduced by Miriam Arrest and Movement (London, 1951), 114-41. 1
Schild Bunim, Space in Medieval Painting and the 96. Schmidt, op. cit., plates 25, 26, 50, 71A.
Forerunners of Perspective (New York, 1940). 97. Schmidt, op. cit., plate 142. • p. 232
S9. The audience scene is fully discussed by Erich 9S. Hcrzfcld, Iran in the Ancient East, plate lxxvii.
F. Schmidt, Persepolis, 1, 162-9. He also gives Schmidt, Persepolis, 1, plate 52.

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