The Hittites: The story of a Forgotten Empire

by A. H. Sayce

The influence of Babylonian culture may have made itself first felt in the age of the eighteenth Egyptian dynasty, when the cuneiform tablets of Tel el-Amarna represent the Hittite tribes as descending southward into the Syrian plains. It may on the other hand go back to a much earlier epoch. We have no materials at present for deciding the question. One fact, however, is clear; there was a time when the Hittites were profoundly affected by Babylonian civilisation, religion and art. Before this could have been the case they must have been already settled in Syria.

It is more easy to fix the period when the Hittite sculptor received that inspiration from Egyptian art which produced the sphinxes of Eyuk and the seated image on Mount Sipylos. It can only have been the age of Ramses II., and of the great wars between Egypt and the Hittite princes in the fourteenth century before our era. The influence of Egypt was but transitory, but it was to it, in all probability, that the Hittites owed the idea of hieroglyphic writing.

At a far later date Babylonian influence was superseded by that of Assyria. The later sculptures of Carchemish betray the existence of Assyrian rather than of Babylonian models. The winged figure of the goddess of Carchemish now in the British Museum is Assyrian in style and character, and it is possible that other draped images of the goddess may be derived from the same source. In Babylonian art Istar was represented nude.

However this may be, Professor Perrot has made it clear that the beginnings of Hittite art must be looked for in Syria, on the southern slopes of the Taurus, from whence it spread to the tribes of Kappadokia. It is in Northern Syria that its rudest and most infantile attempts have been found. The sculptors of Eyuk were already advanced in skill.

To Professor Perrot we also owe the discovery of bronze figures of Hittite manufacture. The execution of them is at once conventional and barbarous. Nothing can exceed the rudeness of a figure now in the Louvre, which represents a god with a pointed tiara, standing on the back of an animal. Though the face of the god has evidently been modelled with care, it is impossible to tell to what zoological species the animal which supports him is intended to belong. Almost equally far removed from nature is the bronze image of a bull which is also in the Louvre.

If these bronzes are to be regarded as the highest efforts of Hittite metallurgic work, it is not to be regretted that they are few in number. But it is quite different with the engraved gems which we now know to have been of Hittite workmanship. Many of them are exceedingly fine; a hæmatite cylinder, for instance, which was discovered at Kappadokia, is equal to the best products of Babylonian art. The gems and cylinders were for the most part intended to be used as seals, and some of them are provided with handles cut out of the stone, the seal itself having designs on four, and sometimes on five faces. These handles seem to be a peculiarity of Hittite art, or at least of the art which derived its inspiration from that of the Hittites. Another peculiarity noticeable in many of the gems, consists in enclosing the inner field of the engraved design with one or more concentric circles, each circle containing an elaborate series of ornaments or figures, or even characters, though the characters are usually placed in the central field. Thus two gems have been found at Yuzghât, in Kappadokia, so much alike, that they must have been the work of the same artist. On the larger an inscription has been engraved in the centre, round which runs a circle containing a large number of beautifully-executed figures. The winged solar disk rests upon the symbol of 'kingship,' on either side of which kneels a figure, half man and half bull. On the right and left is the figure of a standing priest, behind whom we see on the left a man adoring what seems to be the stump of a tree, while on the right are a tree, two arrows and a quiver, a basket, a stag's head, and a seated deity, above whose hand is a bird. The two groups are separated by the picture of a boot—the symbol, it may be, of the earth—which rests, like the winged solar disk, on the symbol of royalty. The smaller seal has a different inscription in the centre, encircled by two rings, one containing a row of ornaments, and the other the same figures as those engraved on the larger seal, excepting only that the arrangement of the figures has been changed, and a tree introduced among them. What is curious, however, is that a gem has been found at Aidin, far away towards the western extremity of Asia Minor, containing a central inscription almost identical with that of the smaller Yuzghât seal, though the figures which surround it are not the same.

These circular seals must be regarded not only as characteristic of Hittite art, but also as a product of Hittite invention. We meet with nothing resembling them in Babylonia or Assyria.

The gems can be traced across the Ægean to the shores of Greece. Among the objects discovered by Dr. Schliemann at Mykenæ were two rings of gold, on the chatons of which designs are engraved in what we may now recognise as the Hittite style of art. On one of them are two rows of animals' heads; on the other an elaborate picture, which reminds us of the elaborate designs on the gems of Asia Minor. It represents a woman under a tree, facing two other persons, who wear the upturned boots and flounced dress that we find in Hittite sculptures, while the background is filled in with the heads of animals.

These gems are not the only indication the ruins of Mykenæ have afforded that Hittite influence was spread beyond the coasts of Asia Minor. Allusion has already been made to the figures of the Hittite goddess and the doves that rested on the pinnacles of her temple; another figure in thin gold gives us a likeness of the Hittite goddess seated on the cliff of Sipylos, as she appeared before rain and tempest had changed her into 'the weeping Niobê.' Perhaps, however, the most striking illustration of the westward migration of Hittite influence, is to be found in the famous lions which stand fronting each other, carved on stone, above the great gate of the ancient Peloponnesian city. The lions of Mykenæ have long been known as the oldest piece of sculpture in Europe, but the art which inspired it was of Hittite origin. A similar bas-relief has been discovered at Kümbet, in Phrygia, in the near vicinity of Hittite monuments; and we have just seen that the heraldic position in which the lions are represented was a peculiar feature of Hittite art.

Greek tradition affirmed that the rulers of Mykenæ had come from Lydia, bringing with them the civilisation and the treasures of Asia Minor. The tradition has been confirmed by modern research. While certain elements belonging to the prehistoric culture of Greece, as revealed at Mykenæ and elsewhere, were derived from Egypt and Phœnicia, there are others which point to Asia Minor as their source. And the culture of Asia Minor was Hittite. Mr. Gladstone, therefore, may be right in seeing the Hittites in the Keteians of Homer—that Homer who told of the legendary glories of Mykenæ and the Lydian dynasty which held it in possession. Even the buckle, with the help of which the prehistoric Greek fastened his cloak, has been shown by a German scholar to imply an arrangement of the dress such as we see represented on the Hittite monument of Ibreez.