Chapter 25

[228]Pl.XLII.from a photo of the Imperial Ottoman Museum at Constantinople, by courtesy of H. E. Hamdy Bey.[229]Below, Pls.XXXVIII.,LXXIX.[230]The original is now at Constantinople Museum, No. 840; a cast may be seen in the British Museum.[231]Proc. Soc. Bibl. Arch.1905, Nov., p. 225.[232]E.g.at Comana of Pontus, Strabo,XII.iii. 32;ibid., and of Cappadocia, where the priest was second in rank,ibid.,XII.ii. 3; also at Pessinus,ibid.,XII.vi. 3.[233]Cf. the sculpture No. 72 at Iasily Kaya,Pl.LXX., andp. 228; alsop. 360.[234]Messerschmidt,C.I.H.(1900, pt. 5), Pl.XXII., andibid., 4, p. 18.[235]Perrot and Chipiez,Art in ... Asia Minor, ii. p. 64.[236]Cf. the similar feature in a sculpture from Carchemish,p. 127.[237]Cf. the photographPl.V.(ii)of women at Kartal, which is in the Kurt Dagh to the south of Marash. A suggestive general resemblance is to be found on certain Etruscan monuments.[238]Cf. Pls.LXXV.,LXXVII.[239]C.I.H.(1900-5), Pl.XXIII, A-B. Original in the Berlin Vorderasiatisches Museum, No. 973.[240]Hogarth,Recueil, etc.,XV.p. 32, and Pl.II., fig. B.[241]Berlin Vorderasiatisches Museum, No. 972.[242]C.I.H.(1900-4), p. 20;Ibid.(1900-5), Pl.XXV.[243]It is now in the Metropolitan Museum, New York; (Cesnola Coll., No. 1904), and there are impressions in the Berlin Museum.[244]C.I.H.(1906), pp. 12-15, and Pl.LII.[245]Op. cit., p. 13. The original is at the Constantinople Museum, No. 1625.[246]After inspection of the object we believe this to be the real explanation. We are confirmed also in our impression that the inscription and carving are contemporary with the original monument.—March 1910.[247]See, for example, fig. No. 72 in the small gallery at Iasily Kaya, below,Pl.LXX.; also pp.110,360. For the tassel cf. pp.306,308, andPl.LXXXI.(ii).[248]C.I.H.(1900-4), p. 19; and (1900-5), Pl.XXIV.[249]Humann and Puchstein,Reisen, etc., Atlas, Pl.XLVII., No. 2; Perrot and Chipiez,Art in ... Asia Minor, ii., fig. 281. Metrop. Mus. of Art, New York, No. 1906.[250]Thought by Perrot to be a high stool.[251]Cf. the lyre held by an Asiatic immigrant into Egypt about 2000B.C.Newberry,Beni Hasan(London, 1893), Pl.XXXI.[252]As a cult object this bird provides a wide and interesting range of study. Cf. for example, an Archaic Greek statue of the sixth centuryB.C., from Asia Minor, in the Berlin Museum (Stehende Frau), No. 1597.[253]Humann and Puchstein,Reisen, etc., Atlas, Pl.XLVII., fig. 4. There is a cast in the Berlin Museum, No. 61.[254]E.g.at Kara-Bel,Pl.LIV.; and at Malatia,Pl.XLIV.Cf. also the scene of the storming of Dapur in the Ramesseum at Thebes.[255]A cast is in the Berlin Vorderasiatisches Museum, No. 63, V.A.G.[256]Humann, etc.,op. cit.,XLVII.5; Perrot, etc.,op. cit., fig. 282. The original is in the Metropolitan Museum, New York, No. 1905; and there is a cast in the Berlin Museum.[257]Cf. pp.265,282.[258]Humann and Puchstein,op. cit., Pl.XLVII.1. Berlin Vorderasiatisches Museum, 62.[259]Cf. similar sculptures of Malatia,p. 133; Sakje-Geuzi,Pl.XXXIX.[260]Original Berlin Vorderas. Mus., No. 974; Perrot and Chipiez,op. cit., ii. p. 77, fig. 290.[261]See below,p. 380.[262]Cf. below,p. 371, and Maspero,The Struggle of the Nations, pp. 145 ff.[263]See Perrot and Chipiez,op. cit., ii. p. 281, for summary of a report printed in theGraphic. Consult also Drummond,Travels ... to the Banks of the Euphrates(1754), p. 209; and Maundrell (Hy.),A Journey ... to the Banks of the Euphrates(Oxford), 1749.[264]Seep. 263; and cf.Pl.LXV.(Iasily Kaya),Pl.LXXIX.(Sakje-Geuzi), andPl.XLII.(Marash). For a discussion of the motive in general, seeAusgrabungen in Sendschirli,cit., p. 270, note 1.[265]As represented by Perrot and Chipiez,Art in ... Asia Minor, ii. p. 62, fig. 276. For the photo from which we write we are indebted to the courtesy of the Mission at Cæsarea. This object is illustrated by an ill-printed photograph in Sayce’sThe Hittites, to face p. 58, where it is described by oversight as from Marash.[266]British Museum,Guide to Babylonian and Assyrian Antiquities, p. 27, No. 3; Perrot and Chipiez,Art in ... Asia Minor, ii., fig. 277; Messerschmidt,C.I.H.(1900), Pl.XII.A photograph in Ball,Light from the East, p. 142.[267]Cf. also the sculpture found at Sakje-Geuzi,Pl.LXXX.; andLiv. Annals Arch., 1908 (4), Pl.XLI., No. 2, where the deity has four wings.[268]Cf. the sculptures of Bor,Pl.LVI.; and Ivrîz,Pl.LVII.[269]C.I.H., 1900, Pl.X.;British Museum Guide,cit., p. 27, No. 8. Rendering by Sayce inProc. S.B.A., 1905, Nov., p. 201, beginning ‘the dirk-bearer of Carchemish.’ The repetition of the geographical word Kar-ka-me-is (Assyrian Gargamis) is a remarkable corroboration of Professor Sayce’s system of translation.[270]Cf. for this feature the Bor sculpture,Pl.LVI.[271]On the importance of this detail as a criterion, seep. 379.[272]Boscawen in theGraphic, Dec. 11, 1880; Perrot and Chipiez,op. cit., ii., Additions, fig. 390;C.I.H.(1900), Pl.XV.13, and Text, p. 12.[273]Cf.Baruch, vi. 43. ‘The women having cords around their body sit; and one says ... why was I not chosen and my cord broken?’[274]Brit. Mus. Guide, p. 27, No. 6;C.I.H.(1902), Pl.XIV., No. 7.[275]British Museum Guide, p. 27, No. 1, where ‘portion of a building’ is the sum of information available;C.I.H., Pl.IX., and Text, p. 9; Ball,Light from the East, p. 143; Sayce inS.B.A., 1905, Nov., p. 204.[276]C.I.H.(1900), Pl.XI., 2, and Text, p. 10;British Museum Guide, p. 27, No. 2; Sayce inS.B.A., 1905 (Nov.), p. 206.[277]Perrot and Chipiez,op. cit., fig. 390.Addendum, 1910: our information about these sculptures is now supplemented by Mr. Hogarth’s account,Liv. Annals of Arch.(Dec. 1909), ii. pp. 165-172, and Pls.XXXV.,XXXVI.(i). See alsoKellekliinAppendix B.[278]Perrot and Chipiez,Art in ... Asia Minor, fig. 391.[279]Perrot and Chipiez,op. cit., ii. p. 62, fig. 278.[280]Since published, seeApp. B, andLiv. Annals of Arch., ii. pp. 177-183, and Pls.XXXVII.-XL.[281]Op. cit., fig. 283. First published inGazette Arch., 1883. Pl.XXII.[282]Humann and Puchstein,Reisen in Kleinasien und Nord Syrien(Berlin, 1890),Atlas, Pl.XLIX., No. 1-3. Also Messerschmidt,C.I.H.(1900), Pl.XVII., and Text, p. 14.[283]Humann and Puchstein,Reisen, etc., p. 355, fig. 50. ‘Felsrelief bei Gerger.’[284]Recueil de Travaux, xvii. p. 26.[285]Constantinople Museum, No. 846. Hogarth,loc. cit., with Plate, fig. 3. Hilprecht,Explorations in Bible Lands(Philadelphia, 1897), fig. 159; Messerschmidt,C.I.H.(1900), Pl.XVI.A., and Text, p. 13.[286]Discussed by Sayce,S.B.A., 1905, Nov., p. 212. Hand copy, Hogarth,loc. cit., p. 25.[287]Cf. the sculptures, Pls.XLII.andLXXIX.[288]Constantinople Museum, No. 847.C.I.H.(1900), Pl.XVI.B. Hogarth,Recueil, xvii. p. 25.[289]See pp.99,103,111.[290]Cf.Pl.LXXV.(i), andp. 111.[291]Cf. the epilogue to the treaty between RamesesII.and Hattusil,p. 349.[292]Cf.Pl.LXXII.On this question in general see below,p. 360.[293]In the Louvre Museum, Paris. Publ. Heuzy,Les Origines Orientales de l’Art, Pt. i. (Paris, 1892), Pl.X.Messerschmidt,C.I.H.(1906), Pl.XLVII., and p. 7.[294]First published and discussed by Sayce,P.S.B.A.xxvi. (1904, Jan.), p. 13, with drawing. Prof. Sayce’s rendering is: ‘of this gateway the carver-out is Lie ... s, the lord of ... the ... ian,’ but Messerschmidt disputes the reading ‘gateway,’loc. cit.[295]Cf.Pl.LXXII., and pp.256,265.[296]Pl.LXXIX., andp. 301.[297]SeePl.XLIX.fromLiverpool Annals of Archæology, i. (1908), Pls.IV.,V.More recently Mr. Hogarth (ibid., 1909, Pl.XLI.) has secured a new set of photographs which show the details much clearer.[298]Cf. the head-dress of the god at Boghaz-Keui, Pls.LXV.,LXXI.[299]He corresponds, Professor Sayce points out, with the Syrian Hadad, who similarly stands on the back of a bull which he guides with a cord. Cf. also the statement of Lucian (De Dea Syria), that the chief god of Hierapolis, which replaced Carchemish, was supported on a bull. On the position of the god in the Hittite Pantheon, seep. 359.[300]Cf. sculpture of Kara-Bel,Pl.LIV., alsop. 119.[301]For this object cf. a sculpture of Sinjerli,Pl.LXXVII.(ii); and for a formal representation, the leading god at Boghaz-Keui,Pl.LXV.[302]Pl.LXXII.,p. 256.[303]Cf. the winged deity of Boghaz-Keui (Iasily Kaya), No. 5 L.,p. 216.[304]For the types of vases cf. the Syrian tribute in Maspero,The Struggle of the Nations, p. 263; and especially the Hittite tribute,temp.Akhenaten, published by Davies,El Amarna II., Pl.XL., and p. 41; cf. also the oblation scenes of Eyuk (k.,p. 268), and of Fraktin,Pl.XLVII.[305]On the question of date, seep. 339.[306]See pp.277,301.[307]Recueil de Travaux, xv. p. 27, Pt. iv.[308]Ramsay and Hogarth,Recueil de Travaux, xv. Pl.III., Constantinople Museum, No. 1215 (630); Messerschmidt,C.I.H.(1900), Pl.XX., and revised copy, 1906, Pl.XX.[309]Cf.Journal of Hellenic Studies, vol. xii. Pl.IX.[310]Hogarth,loc. cit., p. 31.[311]Vorderasiat. Mus., Berlin, No. 2882,Ausgrabungen in Sendschirli, i. (Mitt. aus den Orient. Sammlungen, 1893, Berlin, Heft xi.), Pl.VI.[312]Messerschmidt,C.I.H.(1906), p. 13. The base of the statue appears to be a survival of the columnar bases of Sinjerli and Sakje-Geuzi (Pl.LXXXII.), in the design of which two sphinxes support the drum of the column upon their backs. In this case the design is modified, but retains striking features surviving from the older prototype. The sphinxes are replaced by lions, in the style of the corner-stone lions of Sinjerli (Ausgrabungen in Sendschirli, iii., Pl.XLVII.), and between their fore-parts there appears the figure of a man carved in relief. He is in a crouching attitude, dictated probably by the small space at the sculptor’s disposal; his hands are stretched out to the collars of lions on either side; his face is shown in full, with square-cut ridged beard, and a curl of hair prominent on either side of his head, attached clearly to a wig. His dress is a short fringed tunic and short-sleeved vest; a belt is round his waist, to which a dagger is attached. His legs are turned towards his left; upon his feet there seem to be bands or anklets, possibly to bind on his footgear. Though no shoe is visible, the toes are prominently upturned. It is a striking object. The rim of the drum is not decorated in any way, but on the top there is a large square-cut socket, corresponding to the tongue upon the bottom of the statue. (Orig. Consple. Mus., No. 1519.)[313]By Sir Charles W. Wilson; Wright,Empire, etc., p. 57. Ramsay and Hogarth,Recueil, etc., xiv. and Pl.IV.C.I.H., 1900; Pl.XVIII., and p. 15.[314]Cf. Pls.LXV.,LXXI.[315]The name means ‘Lion-stone,’ and is familiar wherever such monuments are found.[316]Ramsay and Hogarth,loc. cit.Pl.II., A.[317]See below,p. 297, andMitt. a. d. Orient. Samm. Sendschirli, iii. (Berlin, 1902), Pl.XLVI.Originals in the Berlin Vorderas. Mus., Nos. 2718, 3001.[318]Cf. the lions of Marash and Sakje-Geuzi, Pls.XLII.,LXXIX.[319]Sterrett,Epigraphical Journey(1884), p. 299.[320]Ramsay and Hogarth,Recueil, etc., xv. p. 30 and Pls.I.-II.[321]G. de Jeraphanion,Proc. S.B.A., 1908 (Feb.), p. 42 and Pl.I.For the two photographs before us as we write we are indebted to the members of the American Mission at Cæsarea.[322]Pp.180,181.[323]P. 237.[324]Pl.XLVI.;C.I.H.(1900), Pl.XXXI.p. 26;Ibid.(1906), Pl.XXXI. Aand p. 23. Constantinople Museum, No. 1217.[325]Hans Rott,Kleinasiatische Denkmäler(Leipzig, 1908), p. 178, fig. 3; Jeraphanion,Proc. S.B.A., xxx. (1908) pp. 43, 44, and Pl.II.[326]Murray’sHandbook for Asia Minor, p. 273.[327]Ramsay and Hogarth,Recueil, etc., xiv. p. 81, and Pl.VI.;C.I.H.(1900), Pl.XXX.and p. 25; Chantre,Mission en Cappadoce(Paris, 1898), Pl.XXIIIand p. 125.[328]Hist. Geog., pp. 288, 312. The identification probably remains unshaken by the discovery at Tashji. Cf. Strabo, xii. 2-6. The word seems to involve the nameTark....[329]Pl.XLVII.[330]Cf. the god-figures of Boghaz-Keui,Pl.LXV.[331]This position is unique; cf. the priest-figures in Pls.LVIII.,LXXII.[332]Cf. the god-figures of Kara-Bel,Pl.LIV.; Malatia,Pl.XLIV.[333]Cf. the oblation scenes of Malatia,Pl.XLIV.,p. 138, and of Eyuk,p. 268.[334]Cf. Eyuk,Pl.LXXIII.(i); Sipylus,Pl.LIII.[335]Cf. the female figure at Boghaz-Keui,Pl.LXVII.[336]Cf. the tassel at Sakje-Geuzi,Pl.LXXXI.(ii); and Marash,p. 115; also the oblation-scene at Malatia, above,Pl.XLIV.[337]Cf. the sculptures from Marash,p. 118, and Yarre,p. 165.[338]Cf.p. 241.

[228]Pl.XLII.from a photo of the Imperial Ottoman Museum at Constantinople, by courtesy of H. E. Hamdy Bey.

[229]Below, Pls.XXXVIII.,LXXIX.

[230]The original is now at Constantinople Museum, No. 840; a cast may be seen in the British Museum.

[231]Proc. Soc. Bibl. Arch.1905, Nov., p. 225.

[232]E.g.at Comana of Pontus, Strabo,XII.iii. 32;ibid., and of Cappadocia, where the priest was second in rank,ibid.,XII.ii. 3; also at Pessinus,ibid.,XII.vi. 3.

[233]Cf. the sculpture No. 72 at Iasily Kaya,Pl.LXX., andp. 228; alsop. 360.

[234]Messerschmidt,C.I.H.(1900, pt. 5), Pl.XXII., andibid., 4, p. 18.

[235]Perrot and Chipiez,Art in ... Asia Minor, ii. p. 64.

[236]Cf. the similar feature in a sculpture from Carchemish,p. 127.

[237]Cf. the photographPl.V.(ii)of women at Kartal, which is in the Kurt Dagh to the south of Marash. A suggestive general resemblance is to be found on certain Etruscan monuments.

[238]Cf. Pls.LXXV.,LXXVII.

[239]C.I.H.(1900-5), Pl.XXIII, A-B. Original in the Berlin Vorderasiatisches Museum, No. 973.

[240]Hogarth,Recueil, etc.,XV.p. 32, and Pl.II., fig. B.

[241]Berlin Vorderasiatisches Museum, No. 972.

[242]C.I.H.(1900-4), p. 20;Ibid.(1900-5), Pl.XXV.

[243]It is now in the Metropolitan Museum, New York; (Cesnola Coll., No. 1904), and there are impressions in the Berlin Museum.

[244]C.I.H.(1906), pp. 12-15, and Pl.LII.

[245]Op. cit., p. 13. The original is at the Constantinople Museum, No. 1625.

[246]After inspection of the object we believe this to be the real explanation. We are confirmed also in our impression that the inscription and carving are contemporary with the original monument.—March 1910.

[247]See, for example, fig. No. 72 in the small gallery at Iasily Kaya, below,Pl.LXX.; also pp.110,360. For the tassel cf. pp.306,308, andPl.LXXXI.(ii).

[248]C.I.H.(1900-4), p. 19; and (1900-5), Pl.XXIV.

[249]Humann and Puchstein,Reisen, etc., Atlas, Pl.XLVII., No. 2; Perrot and Chipiez,Art in ... Asia Minor, ii., fig. 281. Metrop. Mus. of Art, New York, No. 1906.

[250]Thought by Perrot to be a high stool.

[251]Cf. the lyre held by an Asiatic immigrant into Egypt about 2000B.C.Newberry,Beni Hasan(London, 1893), Pl.XXXI.

[252]As a cult object this bird provides a wide and interesting range of study. Cf. for example, an Archaic Greek statue of the sixth centuryB.C., from Asia Minor, in the Berlin Museum (Stehende Frau), No. 1597.

[253]Humann and Puchstein,Reisen, etc., Atlas, Pl.XLVII., fig. 4. There is a cast in the Berlin Museum, No. 61.

[254]E.g.at Kara-Bel,Pl.LIV.; and at Malatia,Pl.XLIV.Cf. also the scene of the storming of Dapur in the Ramesseum at Thebes.

[255]A cast is in the Berlin Vorderasiatisches Museum, No. 63, V.A.G.

[256]Humann, etc.,op. cit.,XLVII.5; Perrot, etc.,op. cit., fig. 282. The original is in the Metropolitan Museum, New York, No. 1905; and there is a cast in the Berlin Museum.

[257]Cf. pp.265,282.

[258]Humann and Puchstein,op. cit., Pl.XLVII.1. Berlin Vorderasiatisches Museum, 62.

[259]Cf. similar sculptures of Malatia,p. 133; Sakje-Geuzi,Pl.XXXIX.

[260]Original Berlin Vorderas. Mus., No. 974; Perrot and Chipiez,op. cit., ii. p. 77, fig. 290.

[261]See below,p. 380.

[262]Cf. below,p. 371, and Maspero,The Struggle of the Nations, pp. 145 ff.

[263]See Perrot and Chipiez,op. cit., ii. p. 281, for summary of a report printed in theGraphic. Consult also Drummond,Travels ... to the Banks of the Euphrates(1754), p. 209; and Maundrell (Hy.),A Journey ... to the Banks of the Euphrates(Oxford), 1749.

[264]Seep. 263; and cf.Pl.LXV.(Iasily Kaya),Pl.LXXIX.(Sakje-Geuzi), andPl.XLII.(Marash). For a discussion of the motive in general, seeAusgrabungen in Sendschirli,cit., p. 270, note 1.

[265]As represented by Perrot and Chipiez,Art in ... Asia Minor, ii. p. 62, fig. 276. For the photo from which we write we are indebted to the courtesy of the Mission at Cæsarea. This object is illustrated by an ill-printed photograph in Sayce’sThe Hittites, to face p. 58, where it is described by oversight as from Marash.

[266]British Museum,Guide to Babylonian and Assyrian Antiquities, p. 27, No. 3; Perrot and Chipiez,Art in ... Asia Minor, ii., fig. 277; Messerschmidt,C.I.H.(1900), Pl.XII.A photograph in Ball,Light from the East, p. 142.

[267]Cf. also the sculpture found at Sakje-Geuzi,Pl.LXXX.; andLiv. Annals Arch., 1908 (4), Pl.XLI., No. 2, where the deity has four wings.

[268]Cf. the sculptures of Bor,Pl.LVI.; and Ivrîz,Pl.LVII.

[269]C.I.H., 1900, Pl.X.;British Museum Guide,cit., p. 27, No. 8. Rendering by Sayce inProc. S.B.A., 1905, Nov., p. 201, beginning ‘the dirk-bearer of Carchemish.’ The repetition of the geographical word Kar-ka-me-is (Assyrian Gargamis) is a remarkable corroboration of Professor Sayce’s system of translation.

[270]Cf. for this feature the Bor sculpture,Pl.LVI.

[271]On the importance of this detail as a criterion, seep. 379.

[272]Boscawen in theGraphic, Dec. 11, 1880; Perrot and Chipiez,op. cit., ii., Additions, fig. 390;C.I.H.(1900), Pl.XV.13, and Text, p. 12.

[273]Cf.Baruch, vi. 43. ‘The women having cords around their body sit; and one says ... why was I not chosen and my cord broken?’

[274]Brit. Mus. Guide, p. 27, No. 6;C.I.H.(1902), Pl.XIV., No. 7.

[275]British Museum Guide, p. 27, No. 1, where ‘portion of a building’ is the sum of information available;C.I.H., Pl.IX., and Text, p. 9; Ball,Light from the East, p. 143; Sayce inS.B.A., 1905, Nov., p. 204.

[276]C.I.H.(1900), Pl.XI., 2, and Text, p. 10;British Museum Guide, p. 27, No. 2; Sayce inS.B.A., 1905 (Nov.), p. 206.

[277]Perrot and Chipiez,op. cit., fig. 390.Addendum, 1910: our information about these sculptures is now supplemented by Mr. Hogarth’s account,Liv. Annals of Arch.(Dec. 1909), ii. pp. 165-172, and Pls.XXXV.,XXXVI.(i). See alsoKellekliinAppendix B.

[278]Perrot and Chipiez,Art in ... Asia Minor, fig. 391.

[279]Perrot and Chipiez,op. cit., ii. p. 62, fig. 278.

[280]Since published, seeApp. B, andLiv. Annals of Arch., ii. pp. 177-183, and Pls.XXXVII.-XL.

[281]Op. cit., fig. 283. First published inGazette Arch., 1883. Pl.XXII.

[282]Humann and Puchstein,Reisen in Kleinasien und Nord Syrien(Berlin, 1890),Atlas, Pl.XLIX., No. 1-3. Also Messerschmidt,C.I.H.(1900), Pl.XVII., and Text, p. 14.

[283]Humann and Puchstein,Reisen, etc., p. 355, fig. 50. ‘Felsrelief bei Gerger.’

[284]Recueil de Travaux, xvii. p. 26.

[285]Constantinople Museum, No. 846. Hogarth,loc. cit., with Plate, fig. 3. Hilprecht,Explorations in Bible Lands(Philadelphia, 1897), fig. 159; Messerschmidt,C.I.H.(1900), Pl.XVI.A., and Text, p. 13.

[286]Discussed by Sayce,S.B.A., 1905, Nov., p. 212. Hand copy, Hogarth,loc. cit., p. 25.

[287]Cf. the sculptures, Pls.XLII.andLXXIX.

[288]Constantinople Museum, No. 847.C.I.H.(1900), Pl.XVI.B. Hogarth,Recueil, xvii. p. 25.

[289]See pp.99,103,111.

[290]Cf.Pl.LXXV.(i), andp. 111.

[291]Cf. the epilogue to the treaty between RamesesII.and Hattusil,p. 349.

[292]Cf.Pl.LXXII.On this question in general see below,p. 360.

[293]In the Louvre Museum, Paris. Publ. Heuzy,Les Origines Orientales de l’Art, Pt. i. (Paris, 1892), Pl.X.Messerschmidt,C.I.H.(1906), Pl.XLVII., and p. 7.

[294]First published and discussed by Sayce,P.S.B.A.xxvi. (1904, Jan.), p. 13, with drawing. Prof. Sayce’s rendering is: ‘of this gateway the carver-out is Lie ... s, the lord of ... the ... ian,’ but Messerschmidt disputes the reading ‘gateway,’loc. cit.

[295]Cf.Pl.LXXII., and pp.256,265.

[296]Pl.LXXIX., andp. 301.

[297]SeePl.XLIX.fromLiverpool Annals of Archæology, i. (1908), Pls.IV.,V.More recently Mr. Hogarth (ibid., 1909, Pl.XLI.) has secured a new set of photographs which show the details much clearer.

[298]Cf. the head-dress of the god at Boghaz-Keui, Pls.LXV.,LXXI.

[299]He corresponds, Professor Sayce points out, with the Syrian Hadad, who similarly stands on the back of a bull which he guides with a cord. Cf. also the statement of Lucian (De Dea Syria), that the chief god of Hierapolis, which replaced Carchemish, was supported on a bull. On the position of the god in the Hittite Pantheon, seep. 359.

[300]Cf. sculpture of Kara-Bel,Pl.LIV., alsop. 119.

[301]For this object cf. a sculpture of Sinjerli,Pl.LXXVII.(ii); and for a formal representation, the leading god at Boghaz-Keui,Pl.LXV.

[302]Pl.LXXII.,p. 256.

[303]Cf. the winged deity of Boghaz-Keui (Iasily Kaya), No. 5 L.,p. 216.

[304]For the types of vases cf. the Syrian tribute in Maspero,The Struggle of the Nations, p. 263; and especially the Hittite tribute,temp.Akhenaten, published by Davies,El Amarna II., Pl.XL., and p. 41; cf. also the oblation scenes of Eyuk (k.,p. 268), and of Fraktin,Pl.XLVII.

[305]On the question of date, seep. 339.

[306]See pp.277,301.

[307]Recueil de Travaux, xv. p. 27, Pt. iv.

[308]Ramsay and Hogarth,Recueil de Travaux, xv. Pl.III., Constantinople Museum, No. 1215 (630); Messerschmidt,C.I.H.(1900), Pl.XX., and revised copy, 1906, Pl.XX.

[309]Cf.Journal of Hellenic Studies, vol. xii. Pl.IX.

[310]Hogarth,loc. cit., p. 31.

[311]Vorderasiat. Mus., Berlin, No. 2882,Ausgrabungen in Sendschirli, i. (Mitt. aus den Orient. Sammlungen, 1893, Berlin, Heft xi.), Pl.VI.

[312]Messerschmidt,C.I.H.(1906), p. 13. The base of the statue appears to be a survival of the columnar bases of Sinjerli and Sakje-Geuzi (Pl.LXXXII.), in the design of which two sphinxes support the drum of the column upon their backs. In this case the design is modified, but retains striking features surviving from the older prototype. The sphinxes are replaced by lions, in the style of the corner-stone lions of Sinjerli (Ausgrabungen in Sendschirli, iii., Pl.XLVII.), and between their fore-parts there appears the figure of a man carved in relief. He is in a crouching attitude, dictated probably by the small space at the sculptor’s disposal; his hands are stretched out to the collars of lions on either side; his face is shown in full, with square-cut ridged beard, and a curl of hair prominent on either side of his head, attached clearly to a wig. His dress is a short fringed tunic and short-sleeved vest; a belt is round his waist, to which a dagger is attached. His legs are turned towards his left; upon his feet there seem to be bands or anklets, possibly to bind on his footgear. Though no shoe is visible, the toes are prominently upturned. It is a striking object. The rim of the drum is not decorated in any way, but on the top there is a large square-cut socket, corresponding to the tongue upon the bottom of the statue. (Orig. Consple. Mus., No. 1519.)

[313]By Sir Charles W. Wilson; Wright,Empire, etc., p. 57. Ramsay and Hogarth,Recueil, etc., xiv. and Pl.IV.C.I.H., 1900; Pl.XVIII., and p. 15.

[314]Cf. Pls.LXV.,LXXI.

[315]The name means ‘Lion-stone,’ and is familiar wherever such monuments are found.

[316]Ramsay and Hogarth,loc. cit.Pl.II., A.

[317]See below,p. 297, andMitt. a. d. Orient. Samm. Sendschirli, iii. (Berlin, 1902), Pl.XLVI.Originals in the Berlin Vorderas. Mus., Nos. 2718, 3001.

[318]Cf. the lions of Marash and Sakje-Geuzi, Pls.XLII.,LXXIX.

[319]Sterrett,Epigraphical Journey(1884), p. 299.

[320]Ramsay and Hogarth,Recueil, etc., xv. p. 30 and Pls.I.-II.

[321]G. de Jeraphanion,Proc. S.B.A., 1908 (Feb.), p. 42 and Pl.I.For the two photographs before us as we write we are indebted to the members of the American Mission at Cæsarea.

[322]Pp.180,181.

[323]P. 237.

[324]Pl.XLVI.;C.I.H.(1900), Pl.XXXI.p. 26;Ibid.(1906), Pl.XXXI. Aand p. 23. Constantinople Museum, No. 1217.

[325]Hans Rott,Kleinasiatische Denkmäler(Leipzig, 1908), p. 178, fig. 3; Jeraphanion,Proc. S.B.A., xxx. (1908) pp. 43, 44, and Pl.II.

[326]Murray’sHandbook for Asia Minor, p. 273.

[327]Ramsay and Hogarth,Recueil, etc., xiv. p. 81, and Pl.VI.;C.I.H.(1900), Pl.XXX.and p. 25; Chantre,Mission en Cappadoce(Paris, 1898), Pl.XXIIIand p. 125.

[328]Hist. Geog., pp. 288, 312. The identification probably remains unshaken by the discovery at Tashji. Cf. Strabo, xii. 2-6. The word seems to involve the nameTark....

[329]Pl.XLVII.

[330]Cf. the god-figures of Boghaz-Keui,Pl.LXV.

[331]This position is unique; cf. the priest-figures in Pls.LVIII.,LXXII.

[332]Cf. the god-figures of Kara-Bel,Pl.LIV.; Malatia,Pl.XLIV.

[333]Cf. the oblation scenes of Malatia,Pl.XLIV.,p. 138, and of Eyuk,p. 268.

[334]Cf. Eyuk,Pl.LXXIII.(i); Sipylus,Pl.LIII.

[335]Cf. the female figure at Boghaz-Keui,Pl.LXVII.

[336]Cf. the tassel at Sakje-Geuzi,Pl.LXXXI.(ii); and Marash,p. 115; also the oblation-scene at Malatia, above,Pl.XLIV.

[337]Cf. the sculptures from Marash,p. 118, and Yarre,p. 165.

[338]Cf.p. 241.

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