The land of the Hittites

by John Garstang

Part II.—The Town and Sculptures of Sinjerli.

Excavations conducted during three seasons at Sinjerli by the German Orient Committee[637] have thrown a flood of light upon the archæology of Northern Syria. They have also contributed a great series of monuments to our list of Hittite works; and the later history of the city and neighbourhood are further illuminated by the discovery of several inscribed monuments, which though not dealing with the period of Hittite domination, nevertheless establish for us definite historical landmarks from which to work backwards in our argument. The monuments and architectural remains discovered belong to three main periods, which may be distinguished, terminologically at any rate, as the Hittite, Aramæan, and Phœnician. With the monuments of the two later phases[638] we are not concerned, except so far as they throw light upon the story of the Hittite occupation of the site: yet even in them the dominant feeling is derived from the Hittite prototypes.

PLATE LXXIV

COAST ROUTE ROUND THE GULF OF ISSUS TOWARDS ALEXANDRETTA: THE AMANUS RANGE IN THE BACKGROUND, BEYOND WHICH ARE SINJERLI AND SAKJE-GEUZI

Many of the buildings, indeed a whole series of sculptures as well as historical documents, belong to the so-called Aramæan period. At this time the place was the seat of a principality identified with Samaal (or Samalla), which in the eighth century B.C. was ruled at different times by local kings, named Panammu and Barrekub, under the suzerainty of Assyria. Formerly it had possibly formed part of the Hittite feudal state of Hattina,[639] which included also Iaudi and Unki; and it was absorbed by the growing power of Assyria under Tiglath-Pileser III., as would appear from the name of Panammu, Prince of Samaal, amongst his tribute lists of B.C. 738 to 735. In the next century, 670 B.C., Esarhaddon seems to have made the place a temporary residence during his warfare with Egypt and with Tyre, and he set up there a stela recording victories that were probably imaginary, showing the kings of Egypt and of Tyre held captive by a cord.

The ruins unearthed in the course of these excavations disclose to us a walled citadel or acropolis, enclosing several palaces and other buildings, and surrounded upon the plain below by a double wall which marks the limits of the township. There was considerable difference of opinion, it would seem, amongst the excavators themselves as to the dates to be assigned to the various features of the site. It is well then to recognise that the ground for this difference of opinion existed in the insufficiency of dated materials. This is no criticism of the excavators themselves, who admirably conducted their pioneer work without the aid of established local criteria to help in solving the various minor problems which arise daily in the course of an excavation. One criticism which may be made is that no systematic record of the finding of the pottery fragments seems to have been kept, such as might conceivably have helped to establish the relationship of one part of the site to another, and more particularly would have been serviceable in future excavations in the north of Syria, or indeed anywhere in Hittite lands. Such an investigation, however, would have been one demanding great foresight, for the buildings were found to have been destroyed and reconstructed at various times, and to this cause probably must be attributed the fact that this investigation was not made.

The excavators seem to have been in agreement, however, as to the general growth of the site from a group of shepherds’ huts into a walled town. They recognised three different building periods, the first of which may belong to the latter part of the second millennium B.C., when the site of the city was wholly confined to the mound which later became the citadel. In this village the houses were closely packed together, and their outer walls, being continuous and without windows, presented a line of defence around the knoll. The foundations of several houses were partly traced under the sites of the palaces of later times, and though marked as unimportant, these may really be the ruins of the chieftains’ residences during the early Hittite period. The entrance to this citadel was to the south, but the excavators believed it had not yet assumed its final plan, nor had it yet been decorated with the sculptures that later rendered it so remarkable.

The next great period is not clearly separated from the first, from which it may have been derived in our judgment by natural growth: it is characterised by the laying out of the whole city and township on much the same lines as it preserved through the succeeding centuries. During this phase there sprang up a wall surrounding the whole township, an outer and inner defensive wall to the citadel, a cross-wall which seemed to have marked some period of renovation, as well as the foundations of an older palace and several other minor features of rearrangement. The buildings of this time are characterised by rows of timber with stone layers between. This phase must be dated in the opinion of the excavators to twelfth century B.C.; and it is noticeable that the Assyrian king, Tiglath-Pileser I., is found to have copied the plan of a Hittite palace (called Hilâni),[640] which corresponds exactly with the plans of the palaces built upon the citadel during the next period.

The third phase is assigned to about the eighth century B.C. The city was now fully established. On its walls rose eight hundred towers. The south gate of the citadel was finally built and adorned with sculptures like the older gateway of the city, but in more elaborate fashion. The corner-stones of the palaces were architectural lions, and their porticos were supported by columns placed upon the backs of sphinxes. Of these palaces there were three in chief, and they conformed to a standard type, which is distinguished by wing-towers on either side of the portico, and was approached by steps leading beyond to a hall around which were several chambers.[641] Thereafter, from about 750 B.C., a date which the documentary evidence supplies, houses sprang up between the palaces. There was a departure from the former strict type of the Hilâni, to admit of greater accommodation, and the purely Hittite character of the buildings was greatly modified. The city seems to have been burned about 680 B.C., corresponding with the date of Esarhaddon’s stela.

In the absence of more precise historical data, our interest is centred upon the several series of sculptures which adorned the gateways and palaces. Those which the excavators believe to be the oldest were found at the southern gateway of the city. The stones themselves are weathered, but the subjects upon them have been carefully studied and reproduced. They are carved in relief upon blocks of dolerite. The drawing is for the most part crude, but they illustrate to us the standard conventions in such Hittite works with some interesting variations. Being numerous, we shall confine ourselves to a brief description of the subjects, noting here and there details which help us in our comparative study.[642] Firstly, there is an eagle-headed winged creature with human body and limbs, clad in a short Hittite tunic, holding up both hands, and standing with his left foot advanced in the direction towards which he faces. Though no shoes are visible, the toes upon the sculpture are upturned in conformity with the Hittite pattern. A lock of hair descending by the side of the eagle’s head ends in an outward curl, which is a mark of the earlier Hittite style. A tassel also hangs from the middle of the girdle. On another block the same representation appears with little modification. A third stone shows, in crude fashion, a horse-rider; he holds up with his left hand a mask, the features upon which resemble his own, being of the usual Hittite character, with straight nose and large eye seen in profile. He rides with his heels drawn up as though clutching the horse’s side, for he has no stirrups. He is clad in a short tunic and short-sleeved vest, and upon his head there is the conical hat, though not so high as those now familiar in the sculptures of Boghaz-Keui, while the curling lock or pigtail is prominent behind his neck. By his left side there is suspended a long knife or dagger, and he holds with his right hand a diminutive looped object which may be intended for his bow. The drawing of the horse is even more crude. The head might be taken for that of a zebra, but in the treatment of the shoulder muscles and the haunches there is a certain obedience to the Hittite conventions. There is another stone on which a horse-rider is portrayed in a style which is very similar, but the details are almost obliterated.

We then come to two monstrous mythological creatures, carved upon a single stone, the one above the other, to be imagined therefore as side by side. The lower one has the body of a lion on which the shoulder muscles are suggested, while the face is that of a human being, and the curling pigtail is clear behind the neck. The head-dress is a modification of the conical hat, with a sort of knob upon the top, and the brim is upturned in front and behind. One wing only is shown, being that upon the further side. The tail is upright, and ends in the head of a bird.[643] The upper monster is the same in all respects except the head, which is purely a product of the artist’s imagination, though from the hooked bill it may be supposed to be intended for that of a bird. Both creatures are walking with the left forefoot advanced and in the air. Curiously, it is the right hind leg of the lower animal that is advanced, while the corresponding leg of the upper animal is behind. This monument is perhaps the crudest of the series.

Upon the sixth block of stone there appear two male figures facing one another: each is clad in a long robe, the hem of which is visible; each advances the further leg towards that of the other; each grasps in his nearer hand a short staff, and with his further hand approaches a cup-like object to his lips. They are distinguished only in that the right-hand figure has a tassel[644] descending from his girdle. They seem to wear skull-caps, and the curling pigtail is seen on the left-hand figure, while the corresponding portion of the stone on the other side is broken away. The next sculpture is somewhat broader, and shows a hunting scene in which a bowman is seen in the act of discharging his arrow. He is clad in a very short fringed tunic; the toes are upturned, and a pigtail curls away from his neck. A knife hangs, point forward, from the girdle on the further side, but the detail is obscure. Behind him, poised in the air head downwards, is an animal resembling a hare, which he may be supposed to have shot. His aim is probably directed, however, against a stag seen in the sculpture which precedes. This again is a drawing so crude as to be almost quaint. The animal stands with his head turned back towards his pursuer. An arrow has pierced his neck, and the barbs are visible beyond, while an ill-drawn dog is joining in the chase. In front of this again two other animals, represented upon a single stone, are obviously intended to suggest further quarry for the sport. The one is a stag, drawn in this case in full profile (including his antlers); while in the lower register there is seen a lion which, though it can be identified, lacks in the drawing any character that invites comment.

A more interesting, though in part less ancient, series of sculptures decorated the main door of the citadel. This was placed at the southern bend of the wall, and, as it appears in its final form, resembled closely in general plan the gateways of the palace at Eyuk and of the citadel of Boghaz-Keui, which we have previously described.[645] The approach to this entrance is protected, as in those other cases, with wing-towers on either hand.[646] The width at this point of the entrance is about twelve yards, and the depth of these extra-mural towers before reaching the first doorway is six yards. The first doorway is met with almost in alignment with the contour of the wall. Its broad pilasters project eleven feet, leaving the space between them rather more; this was filled, as the excavators found reason to believe, by a double door. The space beyond—lying, that is to say, between the two doorways—forms a separate chamber the same width as the entrance and with a depth of sixteen feet, bounded on the inner or northern end by the pilasters which supported the second doorway. These are almost in alignment with the main inner walls of the entrance-towers, which thus have a total depth of fifty-five feet; their breadth is about ten yards. The main wall of the enclosure, to which they return on either side, has a thickness estimated at about fifteen feet.

The whole of the face of this entrance, both along the façade of the towers and around the bases of the pilasters, was decorated with sculptured slabs. The carving in all cases is in relief; the subjects represented are various, including deities, mythological emblems, and scenes of the chase, the treatment of which in all cases corresponds to the established Hittite motives and presents in other details traces of Hittite handiwork. The date of this gateway is at least as early as, indeed probably earlier than, the stela which Esarhaddon set up in the space between the two doors in B.C. 681. Indeed, the origin of the gateway was traced by the excavators to the second great building period, though its final structure and some of its decorations belong to the later phase. We may assume that its latest sculptures were the work of the eighth century B.C.

SINJERLI: SKETCH PLAN OF THE GATEWAY, SHOWING BY NUMERALS THE POSITION OF THE SCULPTURES DESCRIBED IN THE TEXT.

The sculptures in this case are so numerous that we find it convenient to attach numbers to them for reference. We begin with the outer approach to the gateway from the southern end, and describe the sculptures on each face of the wall east and west, before proceeding to the next return.[647] At the approach of the doorway and facing south the series of sculptures begins on the left hand (to the west) with

No. i. Two slabs upon which the subject of decoration is a horse and chariot. The general scheme recalls the chariots which we have previously found among the sculptures of Malatia and Sakje-Geuzi,[648] but there are about this one certain details unique in Hittite art, while other features previously difficult to explain are now made clear. The chariot is small and mounted upon a six-spoked wheel.[649] The two objects upon the panel of the chariot, crossing one another, are clearly in this case quivers to hold the arrows for the warrior who stands within. As in the other examples we have noticed, a spear is placed with point upwards in the back of the car, and leaning backwards. Outside, on the back of the chariot, there is seen in profile the head of a small lion, an emblem probably of the royal rank of the owner. As before, there are two men standing inside, and we see their features in this case more plainly because the driver is represented somewhat in advance of the other, who occupies the nearer part of the car, and in characteristic fashion is bending his bow with the arrow ready for its flight. This personage, although we must take him for the chief or prince of the city, wears the national Hittite dress, a short tunic belted at the waist, and a vest with short sleeves. His head-dress is more peculiar, but unfortunately it is too weathered for much detail to be gathered: there may be seen, however, a curling lock of hair upon the near side, continuous possibly with a wig upon his head, and coming to an end behind the neck. The figure in the background is similarly clad, but on his head there is a plain cap which fits tightly to the skull. Both figures are bearded, but in the latter instance the ringlets of his beard are not trimmed square. He stands with his arms outstretched, holding two pairs of reins, which leads us to infer that a pair of horses is being driven, though, as in previous cases, only one is represented. This animal bears a jaunty trapping on his head, and just behind the neck (hence presumably an ornament upon the collar) there is an emblem which is taken by the excavators to resemble the head of a long-necked griffin. The trappings of the horse are plainly defined and resemble a halter firmly fixed behind the ears, though possibly from the position of the reins a bit also is employed. This point, however, is not certain. The drawing of the animal as usual is crude; it obeys certain ordinary rules in that the muscles of the shoulder and the haunch are shown in outline. Unique, however, in Hittite representations is the picture of a man prostrate between the fore and hind legs of the animal and pierced by two arrows, obviously shot by the warrior in the car. With one hand the victim tries to pluck an arrow from his thigh. The picture is almost a counterpart to those so familiar upon the walls of Egyptian temples, in which the Pharaoh may be seen slaying with his arrows his fleeing Hittite enemies. Here, however, it is not a foreign enemy that is represented. The prostrate man conforms in general character to the North Syrian type, such as may be seen even in the charioteer within the car. He is apparently without clothing except for his cap, which is close-fitting; the curl of hair behind his neck is shown in outline, and even the toes of his shoeless feet are represented by the habit of the sculptor as being upturned.

PLATE LXXV

SCULPTURES FROM SINJERLI (See [p. 284])

1. CEREMONIAL FEAST 2. WARRIOR

No. ii. The corresponding sculpture on the opposite face of this entrance—that is to say, on the eastern side, but still facing south, is the upright figure of a warrior armed with spear and shield as well as the customary long dagger or sword.[650] Curiously enough, he faces in the same direction as the chariot, namely, towards his left, looking therefore in this instance away from the gateway. The warrior stands with his left foot and left arm advanced; his body and face shown in profile, and his shoulders in full view, in obedience to the ordinary conventions of Oriental art. He is dressed in the familiar short tunic which is fringed at the bottom, and the overlap of the garment is seen falling obliquely in front; the upper part of his body is lightly covered with a short-sleeved vest. A broad girdle passes around the waist, and the long dagger hanging from his left side seems to have a special attachment which passes over the right shoulder. His head-dress is the conical hat of the Hittite peoples with the brim upturned, but with the top expanding like a ball. On his feet are shoes the points of which are extravagantly upturned, while around the ankles there is a suggestion of ornaments or of attachments, for binding on the shoes.[651] The features of the man, though conventional, are represented with boldness. The long straight nose in line with the forehead is drawn with deliberation. From the chin there falls a square-cut beard, and a moustache also is represented. The eye is shown in full profile, and is also too large in proportion. The conventional lock of hair, like the survival of a pigtail, falling from the crown of the head, ends in a broad curl behind the neck. The shield which he holds up is obviously intended to be of the figure-of-eight shape,[652] though the perspective of the picture has given the artist trouble. The spear, which he holds transversely with the point down, is longer than himself. The shaft is not drawn straight, possibly suggesting the natural shape of the branch of a tree. The blade is long and pointed, with indication of a midrib. His short weapon is probably a dagger, though represented of such length that it might also be a sword. The hilt is crescental,[653] with a notch on either side of the handle,[654] and is doubtless enclosed in a sheath; the midrib is well defined along its entire length.

From the outer face we pass to the sculptures which decorate the flanking walls of the pilasters in the first doorway.

No. iii. The decoration on the left, facing therefore to the east, comprises two subjects: the one a large lion, which occupies two slabs, with its head upon the corner-stone,[655] and the other a monstrous creature holding up a rabbit. The lion[656] faces to the left, looking out therefore from the gateway. The picture is poorly drawn; there is no vigour and little life in the animal, and the artist’s conventions are exaggerated so as to be no longer artistic. The beast’s mouth is open. His further legs are advanced, and his tail falls between the two hind legs as in the standard types. The shoulder muscles are shown by a border line, which reaches in a broad curve to the back of his neck, and a collar, whether of hair or what not, is suggested behind the ears. The claws are curved and prolonged so as to be ridiculous. The body, which is found on the second stone, is elongated and narrow, and hardly seems to fit on to the heavy forequarters.

No. iv. The monstrous figure which is his companion faces to the right. It is called by the excavators the God of the Chase. His body is that of a human being, clad in a short tunic, vest, and upturning shoes; while his head is that of a lion, with wide-open mouth and long exaggerated neck. A slender dagger hangs from his left side. With his outstretched left arm he holds up a rabbit by the back legs; while borne upon that hand there is a bird, which cannot be readily described, though its hooked beak suggests a vulture or a falcon. The right arm is held aloft behind the head, wielding some short curving implement like a throwing-stick, and behind that there is seen another bird with open beak.

Nos. v.-vi. The counterpart to these representations, on the opposite side of the doorway, is practically a repetition of the subject just described, only that in this case both creatures face to the right, looking out from the doorway. The leader is a lion represented even more crudely than in the last instance, and with no further instructive detail; while the only variation in the upright monster that follows is in the position of the two birds, which in the former instance were seen upon his hands, and are now perched upon his arms.

No. vii. We now come to the inner wall of the chamber, which is found between the doorways. We commence as before on the left-hand side, with the sculptures that face to the east, continuing subsequently with those on the return facing south. The first part comprises five sculptured blocks.[657] The first of these is the picture of a man facing left, clad in a short tunic and upturned shoes. He wears a close skull-cap, and behind this the Hittite curl is represented. His beard is long and square-cut. His arms are aloft, and he bears a kid upon his shoulders, the head of which is turned as though looking backwards.

No. viii. The next block is filled with the scene of a Ceremonial Feast.[658] Two figures, clearly man and woman, are seated facing one another on opposite sides of a low table filled with provisions. The man is on the left, and his seat is a square-framed chair, with high back. He wears a close round skull-cap, and the Hittite lock falls behind his neck. He is represented with both beard and moustache; his nose is prominent and straight. His dress is a long robe reaching to his ankles, and the toes of his shoes are upturned as usual. His right arm is by his side and holds a long crooked staff, while with his left he is raising some object to his mouth. The figure opposite presents several differences. Her hat is cylindrical, and is covered with a long slender wavy object reaching down behind her back almost to the ground; this may be taken for a veil pushed back from before the face. Her dress also is a long robe, and her girdle, like that worn by the man, is broad, and composed of six or more strands, as of cord. Her hair is dressed in the usual curling lock or pigtail. Her features are sharp, but not so prominent as in her counterpart. Like him, with her right hand she holds up some object towards her mouth, and in her left hand, which is by her side, she holds two seemingly edible objects on stalks. She has bracelets on both her wrists. Her seat is a low stool, which, in contrast to that of the man, is seemingly without a back. For want of space the table between them is set back from the picture. Only two legs are seen, and these are curved as usual. The top of the table also is curved downwards, suggesting that it was round; so too are the provisions piled upon it, which cannot, however, be identified.[659] We have previously described several sculptures of like kind, and to some extent discussed their character. The closest analogy to the present instance is one from Malatia,[660] and here as there we take the subject to be a feast on the part of the royal pair. In spite of the incongruous scenes around, the religious origin of this class of sculpture seems to be perpetuated in the priestly dress in which the male figure is clad.

No. ix. Upon the next stone there are two figures represented, both facing to the left. The leader is smaller than the other. He is clad in the usual Hittite fashion, with short tunic and skull-cap. His long, straight nose, and the curl of hair, are equally characteristic. His left arm is by his side, and his right, which is seen only in outline, is advanced, but no further details are distinguishable. The figure which follows him, facing in the same direction, is somewhat taller. He is clad differently; his dress being a long robe reaching to his ankles and ending in a fringe. The usual belt, with upper and lower border-lines, encircles the waist. The sleeves are short, and the toes of his shoes upturned. In place of a hat he clearly wears a wig, from which the Hittite curl descends behind his neck. His beard is long and conventional, and he is seemingly without moustache. His nose is straight and exaggerated in length, and the features are poorly drawn. His right hand is extended, but the left is drawn back, holding a long curving object, which rests on and reaches beyond his left shoulder. He wears also a dagger on the further side of his belt.

No. x. A third man follows upon the next stone, clad like the foregoing in a long robe, which however is not fringed. This is an interesting figure, for in the place of turning-up shoes he clearly wears sandals,[661] the straps of which may be traced. His head-dress too is different: whereas in the sculpture which precedes him the hair or wig is arranged in conventional concentric bands and curls, or short plaits, the cap worn by this man is covered with plain ribs passing over from one side to the other. The Hittite curl descends, however, behind the neck, and the beard, though receding, is conventionally represented. The face of this man is striking, even though the drawing is ill done. The long nose in line with the forehead is represented more deliberately than in any other instance. The chin is receding, and the lips, though thin, are prominent and protruding. From his belt there hangs a tassel, which may be seen to consist of a loop and two loose ends, like a loop of cord doubled. Among other distinguishing features, a dagger with crescental hilt is held in his left hand, while his right hand outstretched holds an upright staff.[662]

PLATE LXXVI

SINJERLI: SCULPTURED BLOCKS (IX.-XV.) OF GATEWAY in situ PREVIOUS TO EXCAVATION

No. xi. The stone which follows is small, and the figure upon it faces to the right. It is the representation of an archer with bent bow. He is shown with all the common features of male attire—the tunic, turned-up shoes, skull-cap, curl, girdle, and dagger. He stands upon his left leg with the right knee bent, in the act of shooting. This stone is set upon another below it, in order to bring it up to the required height, and it brings the inner wall of this recess to an end. The adjoining wall advances eastward, and consists of five stones decorated with four subjects.

Nos. xii.-xiii. A stag facing to the right occupies the first two stones. It is badly drawn. The head and neck are utterly mis-shaped; the conventions of animal representations are exaggerated, and a lifeless picture is the result. It is preceded on the third stone by a kid looking backwards, the carving of which is perhaps more successful, though still displaying little artistic feeling or application. The muscles are outlined in the usual fashion.

No. xiv. A different picture, better drawn and better carved, fills the whole height of the block which follows. The subject here is a winged lion rampant, whose left paw claws the air, while the right paw is depressed. A wing rises from his near shoulder and passes behind the neck. The tail is erect behind the back, ending in a stiff curl. The muscles of his haunches are suggested with some vitality, but the claws are exaggerated.

No. xv. The next stone brings this series to an end, the corner having been rearranged in antiquity by the inclusion of a pedestal. Upon the face we are considering there is the figure of a man carrying over his right shoulder what seems to be a large double-headed stone hammer, or a double axe. He is clad in a short tunic, fringed, shoes with upturned toes, and a skull-cap so high as to be almost conical. The Hittite curl is prominent behind his neck; the strong nose may be traced, and a square-cut beard falls from his chin. He is armed also with a long dagger shown with the hilt behind the girdle and the blade or sheath projecting forwards. His legs are bare as usual, and his figure is perhaps unusually powerful and muscular.

No. xvi. Passing across now to the eastern side of this recess, the wall corresponding to that which we have last described[663] is similarly adorned with four sculptured blocks, whereof the first is a repetition in detail of that which we have last described, and needs little further description. There may be noticed, however, two slight variations in the treatment of the subject. Firstly, the dagger is now suspended in the usual fashion, with the hilt shown in front of the body; and the headgear seems to be higher, more like the conical hat of the Hittites, with expanding top.[664] It may be noted also that the double axe or hammer is somewhat broader and shorter, and is marked with four short lateral lines, while the long handle is somewhat bent as though formed of the branch of a tree. This handle he grasps with both hands, the left one holding the end. There is an error of drawing in the delineation of the left hand; for though the left elbow is advanced and the hand drawn back towards the body, the palm of that hand is turned outwards, while the thumb is uppermost, and the fingers are also represented in full, pressing into the palm, instead of which the mere knuckles should be shown in front of the handle. This is an error of a kind not uncommon in oriental drawing.

No. xvii. The next block of stone is larger than the others, bearing two figures upon it, both facing as in the previous case to the observer’s right. In front there is a winged sphinx walking, followed by a warrior with spear and shield in much the same style as that which we have previously described.[665] In this case the figure is so small and the surface of the stone so much decayed that no new details can be added, but with the exception of the dagger or sword, all the features of the earlier stone seem to be suggested. The upturned brim of the hat in front is perhaps more prominent. The sphinx is an interesting representation. The body is that of a lion, and the face, which is somewhat delicate, is that of a human being. A wing rises from behind the shoulder, sloping backwards. The muscles of the animal are shown in outline, and the claws or talons are exaggerated as usual. The tail is erect in the air and seems to end in the head of a bird,[666] though possibly this appearance is illusory. The face is beardless and of clear-cut Hittite type; the head-dress is a skull-cap with brim, the front peak of which upturns. A double plait falls from under it behind the head, turning upwards behind the neck and completely round, forming a prominent curl. A second double plait of hair seems to fall from behind the ear, in front of the breast of the animal, and halfway to the ground, where it ends in a curl. The delineation of the wing is unusual, the curving ribs being drawn together in the middle towards the upper part, as though that were a new starting-point for a series of feathers.

No. xviii. Another monstrous figure precedes the sphinx, in this case a griffin, with the body of the lion and the head of an eagle. A wing rises from the junction of the long neck and the body; the muscles are shown in outline; the head is ill drawn, and provided with ears; the tail hangs down behind the body. A double plait falling from behind the right ear of the animal, as in the previous case, ends in a curl to the left part of the breast. The drawing, on the whole, is lacking in spirit and vitality.

No. xix. The last sculpture in this length of wall seems to represent a man, but the carving has not been carried out in detail, and except that he is facing to his right, with both arms held backwards, the outline of his figure conveys little other suggestion than the ordinary Hittite type. The wall now turns parallel with the opposite face, running north and south, the sculptures therefore facing westward. There are four of these;[667] all face towards the right, as in the previous section.

No. xx. The first is an upright monstrous figure with depressed wings; the body is that of a man, the head that of an eagle. His dress is a short tunic. His arms are raised aloft as in adoration. Behind the ear, with which the bird’s head is adorned as in the last instance, there falls a similar double plait, ending in a curl upon the throat.[668]

No. xxi. In front there is a worn representation of a seated figure, in which little detail can be discerned. The head-dress seems to be cylindrical in form, with a long veil falling as usual behind. A curling lock of hair is suggested beside the neck of the figure. The right arm is held up by the side. The chair is low and square shaped, and its high back ends in an outward curl. The general appearance of this stone bears such a marked contrast to the sharp carving of those on either side of it, that it seems probable that it was already old when the doorway was constructed in its present form, and that it formed at one time the left-hand part of a Ceremonial Feast similar to that which we previously described (No. viii.), to which it would thus form the counterpart.[669]

No. xxii. It is preceded by a splendid sculpture of the Hittite storm-god Tessup, or by whatever name he should be called.[670] He wears the characteristic short tunic and upturned shoes of the Hittite people. His head-dress is the tall conical hat with expanding top. His beard is long, square-cut, and depicted as usual in successive bands of short curls or plaits. The nose is long and straight, and the eyes are large. A long curling plait of hair, resembling a pigtail, falls behind his neck and shoulder, and is seen below the right elbow, which is held up. A long dagger with crescental hilt, and the midrib clearly shown, is slung from the farther side of the belt, the handle backwards. In his left hand he holds up an emblem, like a three-pronged trident, representing, it is supposed, forked lightning, while in his right hand he wields aloft an axe-hammer with short handle, to which it is bound by threads.

No. xxiii. The next sculpture fills one side of the corner-stone. It is the representation of a woman, and though broken at the top several new features may be discerned in it, while other details are more plainly seen than in cases previously described. Her dress is a long robe reaching to the ankles, bound at the waist with a rope-girdle of six strands. This garment seems to be wrapped round the body, joining down the right side, where it is fringed or bordered in some way. Behind the figure there is the suggestion of a long veil or cloak, which, from the numerous serrations in the drawing, may also have been fringed or embroidered. The top of the hat is not clear, but the front peak is turned upwards. A double plait and curl are seen as usual behind the neck, and a necklace also is shown. In her right hand she seems to grasp something like a feather, while with her left hand she holds up a round mirror, with handle similar to those frequently found in Egyptian tombs.[671] The drawing of the right hand, which is in front of the body, exhibits the same fault as we indicated in a recent instance, where, with thumb upwards, the palm of the hand is also turned outwards—an impossible position.

We have now reached the return of the wall, on the inner side of the pilaster to the outer gateway. This, like the corresponding wall on the opposite side to the left, was left blank, probably because it did not strike the eye of any one entering the gateway, and it was also in comparative darkness to any one going out. We proceed then to describe the remaining sculptures decorating the pilasters of the inner doorway, and, in the first place, those which flank the position of the doorway on either side: the corresponding walls of the outer doorway were decorated with representations of lions facing outwards.

Nos. xxiv.-xxv. In this case bulls form the leading motive of the decoration: on the left hand two stones are filled with a representation of this animal.[672] The drawing, as in the case of the lions, is too much elongated, and the sculptor has not carried out his work with realism, obeying only established conventions. The horns of the animal are both drawn forward; his shoulder muscles are shown in exaggerated outline, and just above his hoof on each leg there seems to be a ring or ornament of some kind. The third block of stone bears a new design, being that of a rider facing in the same direction. The horse is small and ill-drawn; the trappings seem to be somewhat like a halter, as in the case of the chariot horses, and the rider holds a pair of reins or ropes, both of which pass on the near side of the neck. No saddle or stirrup is visible. The features of the man are not clearly preserved. His head-dress, however, is plainly the simple conical helmet or hat, and the Hittite curl may be seen falling behind. Upon his left arm, and covering his body from our view, there is borne a large round shield. Rising from behind his back, at a level with his shoulder, is an object which may be taken for a large quiver.

PLATE LXXVII

1. HITTITE GOD OF THE SKIES WITH LIGHTNING AND A HAMMER IN HIS HANDS (See [p. 291].)

2. HITTITE GOD OF THE DOUBLE AXE (CF. THE SCULPTURES OF BOGHAZ-KEUI, [PL. LXIV.]) (See [p. 283].)

Nos. xxvi.-xxvii. Corresponding to these sculptures on the opposite side, the right-hand flanking wall to the inner doorway is decorated by a similar representation of a bull, facing outwards, and occupying two stones, and of a man on the left-hand side who faces in the opposite direction. The latter representation (No. xxvii.) is new. The man stands, it is evident, with his back to the animal, and probably the two subjects are distinct. He is clad in a long-fringed skirt and vest with short sleeves. A close-fitting skull-cap and the Hittite shoes complete his costume. His beard projects somewhat forward, and the Hittite lock is seen behind his neck. A long dagger or sword hangs from behind his girdle, the handle forward. He carries two objects which seem to be similar to one another, resembling clubs in outline. In his right hand he holds out one of these, which he grasps just above the level of his head; in his left hand, however, he holds the other at the end of the handle which rests in a natural way upon his left shoulder.

Nos. xxviii.-xxix. There remain the sculptures which decorate the inner frontage-wall of this doorway, that is, the first wall confronting any one passing out from the citadel. On the right hand, the nearest sculptures are a pair of deer drawn only in outline, one upon each of two blocks of stone. The animals are turned towards one another, but the nearer one is looking backwards, so that both their faces are looking towards the entrance. On the opposite side, that is to the east, there are three sculptures on separate blocks of stone.

No. xxx. Of these three the first,[673] which is carved on the same block as the man with clubs (No. xxvii.) just described, is a complex monstrous figure. The body is apparently that of a lion, with mouth open and tail erect. A wing rises from behind the shoulder, and in the drawing is continuous with the conventional outline of the shoulder muscles. Upon the neck there rises the head of a human-being wearing the close skull-cap, the front brim of which upturns. The features are those familiar in the preceding sculptures, and the Hittite curl behind the neck is not omitted. A broad band, decorated in three rows, is shown around the neck. It is unfortunate that the stone shows signs of weathering, and little detail can be made out, for the representation is unique; and though the drawing is crude, it is not altogether inelegant.

No. xxxi. The next stone is not decorated, but upon the second from the corner is the picture of a warrior, with shield and spear similar to those two previously described (Nos. iii. and xvii.). The only detail which may be added is the appearance of a tassel hanging from the peak of his conical hat.

No. xxxii. After a similar interval there appears the last sculpture of this wall, in which, though much weathered and hardly traceable, we seem to see the picture of a hunter holding up a rabbit with his left hand and brandishing a long spear in his right. He seems to wear a tall helmet, but other details are obscure.

Having now completed a survey of the sculptures decorating the inner walls of this entrance on either side of the doorway, we pass outside, where there were found several interesting carvings which seem to have decorated the outer flanking walls, and were seen therefore in approaching the entrance to the citadel from the south. On the right hand side, that closest the corner was decorated with an animal figure now no longer visible, while on a small stone (No. xxxiii.) placed above it there seems to be the picture of a dog, which is equally destroyed. The next four, however, are more plain.

No. xxxiv. The first is the picture of a musician seated upon a stool. He wears a long skirt with waistband, but the details of his dress and features call for no special comment. The instrument which he plays, however, is of interest, being[674] ‘a Tambur of pronounced Assyrian type, exactly similar to one of the time of Assur-nazir-pal,’ cir. 880 B.C.[675] There is a cord for attachment to the shoulder. It has been suggested, alternatively, that an instrument like a harp seen from the side is intended; the position of the musician’s hands, however, does not support this view, as with his left he clasps the stem of the instrument which he plays[676] with his right. On a small stone placed above this one there is the outline of an eagle or vulture.[677]

No. xxxv. The sculpture on the next stone shows a man who seems to be in relation to the musician towards whom he is turned. His dress is a short skirt, and he seems to have worn, in addition to the upturned shoes, some prominent ornament around his ankle. The hat is close-fitting and ribbed laterally. The beard and curl are as usual. His left arm is bent, and with his fingers he seems to touch his beard; the right hand is obliterated.

Nos. xxxvi.-xxxvii. The last two sculptures of this side may be taken together, for they represent the familiar oriental scene of a pair of goats standing upon their hind legs in order to reach the upper green shoots of a shrub at which they are nibbling.

The left-hand flanking wall to the approach of this main gateway seems to have been destroyed previous to excavation, and no sculptures are on record to form the counterpart to the group last described. In our description we have endeavoured to record the actual find-spot of each stone, but we are convinced, from an examination of the original monuments, and of the excavators’ photographs, that very few of them were found in the positions for which they were originally intended. Their varying sizes, the medley and lack of sequence of the subjects they represent, all contribute to support this point of view. Nor do we share with the excavators the opinion that all the sculptures of the outer gate of the town, which we described first, are necessarily older than those of the gate of the citadel; the former are more weathered, for they have been more exposed, and the latter are not, in our opinion, all contemporary with one another. We can distinguish three or four groups of subjects, which were probably ranged together, as at Eyuk and Sakje-Geuzi. Among these are the procession of mythological creatures and representations of the deities (possibly the king himself impersonating the gods[678]), the scenes of the chase, the musicians, and the Ceremonial Feast, all of which appear for the most part to be intermingled haphazard. It seems to us that the warrior-figure (No. ii.) might be as old as any sculpture of Boghaz-Keui, while others again might be as late as history sanctions. We believe them to be in the main the work of the tenth century B.C., and we regard the rearrangement to be due to one of the later restorations of the site, such as the local documents show must have been not infrequent, and possibly to the preparation of the buildings as summer palace of Esarhaddon in the seventh century B.C.

There are several further sculptures of considerable interest, including two pairs of massive lions which must have served as corner-jambs of doorways, like those of Sakje-Geuzi.[679] In this case, however, the lions are of enormous size. One pair is carved only in outline, while the work of the other is carried out in detail of admirable quality. Most striking of all, however, are two stone busts in relief, found near to the lions last mentioned.[680] Here we are face to face with that remarkable facial type and head-dress which characterises the sphinxes of Eyuk.[681] The stones are very weathered, but there can be little doubt, from the front and profile views which have been published, that they are each decorated with the bust and head of a woman. There can be distinguished the roundness of face, the high cheek-bones, the band across the forehead, the curving wig over the head, and finally (but faintly) the outward curl of the ends of the wig on each side of the throat, which are plain on the sculptures of Eyuk. The nature of the sphinx-bases, another series of sculptures of striking character, will become apparent in the description of the palace-portico at Sakje-Geuzi which follows.