Beate Dignas & Engelbert Winter - Kaveh Farrokh

5 ˇ Sāpūr I at war with Rome 81
Fig. 7 Paris Cameo
(Ghirshman, R. (1962) Iran. Parthians and Sassanians: fig. 195)
(Photo: Paris, Bibliothèque Nationale, Cabinet des Médailles)
over the Western opponent, as an unparalleled triumph, as they had ˇ Sāpūr’s
preceding victories. On the triumphal relief at Bīˇsāpūr (fig. 6) Valerian is
standing behind ˇ Sāpūr’s horse. The Sasanian king grasps the emperor’s
wrist, which nicely illustrates ˇ Sāpūr’s personal involvement in the capture
and also highlights Valerian’s submission.
However, in contrast to Philip the Arab, who is represented on his knees
before ˇ Sāpūr’s horse and pleading for peace (16), Valerian appears in a
standing position. Considering that Valerian most likely died in Sasanian
captivity this contrast is rather surprising. Even at the height of his successes
against Rome ˇ Sāpūr did not place the emperor Valerian on a level with those
on whom he imposed tributary payments, such as Philip the Arab. The fact
that ˇ Sāpūr refrained from depicting Valerian in a kneeling position suggests
that the rulers of both empires could see each other as of equal rank during
this early phase of their relations.
The so-called Paris Cameo, on which a duel on horseback between the
two rulers symbolises the Sasanian triumph, shows a striking representation
of Valerian’s capture (fig. 7). Valerian raises his sword against his enemy,
whereas his opponent ˇ Sāpūr has not drawn his sword. Instead, he seizes the