Among the minor inscribed objects from Marash there should be mentioned one, which is a fragment of basalt 10½ inches high and 8 inches wide, inscribed with characters in high relief on two adjacent sides.[248] There are also several uninscribed sculptures from Marash of peculiar interest. The first is a slab of basalt 21 inches high, carved in relief.[249] The subject is that of a female seated at a table facing to the left; on her left knee[250] is a child, whose face is towards the mother. In the right hand of the woman is a decorated mirror, or something of that form; and in her left, which is extended over the table, she holds a primitive five-stringed lyre, square in shape.[251] Over the lyre is a bird often taken for a dove, but more nearly resembling a vulture.[252] The counterpart to the figure, if such existed, is broken away; the carving is crude and the surface worn. Such details as are distinguishable, the robe, the hat, the chair and table, seem to be similar respectively to those upon the sculpture of the Ceremonial Feast from this place previously described. There is a second uninscribed stone on which appears the emblem of a bird similar to the other in outline and appearance.[253] In this case the subject shows two figures, one on either side of a small two-legged table. That on the right, which is seated, wears the same cylindrical hat as in the cases just described. That on the left, which is standing, is clad in a long robe, which, from such details as are visible, suggests the toga-like garment which distinguishes the priestly class on certain monuments of Asia Minor. The further hand of each is outstretched as usual, the one holding a mirror and the other the bird; the latter feature, however, is not carved with the same detail as in the case just quoted. Over the right shoulder of the standing figure there seems to hang a bow of the peculiar triangular form often depicted in ancient drawing.[254] The cord, however, is not seen; and the stone is in general worn so smooth that little detail can be discerned. The bow reappears on a third uninscribed fragment, which probably resembled the former in subject somewhat closely. On this a figure is shown standing before a two-legged table, over which he holds aloft a curving bow with his extended left hand. In his right hand, which is kept low, there may be seen two arrows, while a quiver hangs at his waist. This stone is also very smooth-worn, but some details of dress may still be recognised, notably the skull-cap long robe with fringe, and turned-up shoes. The Hittite character of the theme is sustained by the arrangement of the hair, which falls away in a single thick cluster or curl behind the neck. A tassel is attached to the waistbelt.[255]
A fourth stone of somewhat larger size, being 35 inches high, is decorated with a subject of unusual character, but unfortunately the most important figure of the scene is largely broken away.[256] This must have been a picture of a god, represented in long fringed robe, and sandals with upturned toes. Poised aloft in front of him, but how supported is not seen, there is the end of an implement or weapon, the attachment to which forms a loop, and then hangs down. A low table, with two curving legs, is placed opposite the middle height of this figure; upon it is a bird, seemingly a goose, with bread-cakes and other eatables. On the opposite side, and facing the major being, a small male figure stands at the same level as the table. He is clad in a short fringed tunic, with oblique fold, and a vest with short sleeves. On his feet are sandals, with the points very prominently returned, and above these are anklets, unless these be long laces wrapped around the ankles to bind the sandals. His hair is curly on the head and bound by a fillet, while lower down it hangs more straightly as far as the shoulders. An earring is suggested, and thick bracelets are clearly shown. He holds an object in his left hand which may be taken for a palm leaf, while with the right he partly proffers towards the greater person a small cup which seems to be bound around with two small bands, as though made of wood. Below, in such space as remains available, the sculptor has added a horse led by a man. Both are on a small scale, but disproportionate, as the man stands higher than the horse’s head; this arises from the fact that a greater height is available under the feet of the small figure than under the greater one, where the horse’s body is seen. The animal is a stallion, represented with a vague suggestion of spirited movement in the forelegs; and his shoulder-muscles are shown in the same conventional outline as is seen sometimes on the representations of lions in this style of art.[257] The man holds the bridle with his right hand; and, with his back to the horse, and indeed to the greater figure, he holds a spear upright with his left hand, the end of the shaft resting on the ground. He seems to wear a skull-cap, and his hair falls behind in the characteristic bunch or knot. In this case, as in nearly all the figures considered, the outline of the face shows the nose and forehead as practically continuous.
There are two further sculptured fragments of stones from Marash worthy also of special mention. On the one there is preserved the front part of a chariot and the hind part of a horse;[258] the carving is rough, and the drawing neither clear nor good. A small animal under the horse may be a dog. The wheel of the chariot seems to have had eight spokes. The driver is hardly seen, except for the forearm and the hand that grasps the reins. We may conclude none the less that the fragment formed part of a scene of the royal hunt.[259]
The other fragment is better known, showing the head of a musician playing the double pipes.[260] From the treatment of the hair and general character of the carving of this piece we suspect that it is of post-Hittite art, corresponding to the Aramaic period at Sinjerli. There is also in the Berlin Museum a new piece in Hittite style which may very well come from the same place. It is about two feet high, and rather wider. The sculpture is fragmentary, but of striking interest, for the central figure, a man, seems to be riding on horseback. He grasps the bridle with his left hand, and holds a curving nameless object in the right. His legs and the body of the horse are not visible. In the background to the left there is the smaller figure of a female seated on a chair. She holds a pomegranate in her right hand, and raises a drinking-cup with the left. To the right of the man’s head a tiny figure seems to represent the whisk-bearer, turning towards his lord, and waving a palm leaf.
This brings to an end the list of major monuments from Marash. When it is considered that the site has never been excavated for its antiquities, and that these discoveries are mostly accidental, it must be admitted that there is evidence here of a Hittite city of exceptional importance. The date to which it can be assigned as a seat of power will be considered when all the data for comparison are before us.[261]
PLATE XLIII
ROWANDUZ, ON THE AFRÎN: DISCUSSION OF ROUTES, AN INCIDENT OF TRAVEL IN THE QURT DAGH MOUNTAINS
Note the varied facial types of the natives. (See pp. [9], [33], [106].)