The land of the Hittites

by John Garstang

BOGHAZ-KEUI: ONE OF THE FEMALE FIGURES OF THE RIGHT-HAND SERIES IN THE LARGE RECESS AT IASILY KAYA (See [p. 224].)

The figure that follows, though smaller, is none the less striking and important. It represents a boy or beardless man, with curling pigtail, in the now familiar costume, consisting of short tunic, shoes with toes upturned, and a conical fluted hat. He also stands upon the back of a panther, which differs only from the former in the position of its tail, which is held up while the other is kept low.[526] With his outstretched right hand he clasps the upper end of a staff, and in his left he holds an axe with double head,[527] the offensive edges of which are curved. A short dagger with semicircular handle hangs by the belt, but worn in this case on the right side, doubtless at the discretion of the artist, so as to avoid breaking the contour of the figure. The symbol which seems to denote his name is the lower part of the body and legs of a small being clad in the same fashion as the figure itself, under the usual oval emblem.

Behind are two female figures, which in all respects resemble that which heads this series, except that they are smaller, and the emblems above their right hands are different. These sculptures are comparatively well preserved, being in a corner sheltered somewhat from the weather. Their headgear, staves, long plaits (or shawls) down their backs, and turned-up shoes, are particularly clear. They form a pair, standing as though supported by a double-headed eagle with outspread wings.[528] The heads of the eagle face in opposite directions, and the wings, which are turned upwards towards the tips, are represented, as in a previous case, by lateral lines bound by vertical bands on each side. An interesting addition to the design is in the horseshoe-shaped device,[529] the ends of which only, however, are seen, as though placed over the back behind the wings: they descend as a thin line on each side of the body and curl outwards at the level of the top of the legs. The legs of the eagle are wide apart, and the talons are in the position of resting on something flat which is not represented.[530] This completes the sculptures on the main frontage. The figures which follow, as far as the twenty-first, are nearly alike, and closely resemble the female figures just described. They all stand, however, on the level; their left hands are upraised towards the face, and the staff which seems to be held by their right hands is clearly seen to curve away towards the top. The eighteenth figure is distinguished by obliquity of the pleats in the skirt, but it falls none the less naturally into the series. It may be said also that in not one of these figures is there clear proof preserved that earrings were worn, though the suggestion is present in several cases. Their height averages two feet eight inches. Two are found in the recess formed by the return of the wall to the right, and there is space for a third on the weathered surface of the rock. Seven others follow in a somewhat irregular line, which is broken by a small gap in which one more is found. Two follow on a slight projection, and seven others along the receding wall bring the series to an end.

PLATE LXVIII

BOGHAZ-KEUI: THE CHIEF PRIEST, POSSIBLY THE KING

Last sculpture on the right in the large recess at Iasily Kaya.

The twenty-second figure is quite different, and worthy of special study. It is of much greater size, being eight feet high, and it stands alone on the inner face of a projection in the rock, thus facing the innermost portion of the enclosure where the two processions meet. In it we see again upon a larger scale the details of costume, with toga, skull-cap, and tip-tilted shoes, which we have already noticed in connection with the ninth figure on the left, only in this case the figure faces to the observer’s left; the left arm is thus the one that is sleeved, and the loose end of the robe hangs over the right shoulder, reaching almost to the ground and ending possibly in a tassel. The dirk is by the right side, and the reversed lituus is grasped in the left hand, which is raised to hold it. The cap has three bands round the edge; a pigtail is possible but doubtful. The feet rest on two rounded pedestals with scale-like surfaces;[531] and the extended right hand supports a series of emblems.[532] These form a somewhat complicated group; in the middle of it there is a small bearded figure wearing a conical ribbed hat which tilts forward at the top, and clad in a long robe decorated with scale-like pattern. At the sides are three protrusions which are difficult to explain.[533] This little figure rests upon what resembles a Hittite shoe, the toe of which is prominently upturned. Its left hand is upraised above the head, and the right arm is outstretched. The outside elements of this emblem are tapering columns of three flutes capped by Ionic volutes; between these and the figure a third device intervenes on each side, consisting possibly of a dirk with its point resting in a quiver. The whole is covered by a device in which two rosettes form the central features, the lower one encircled by a horseshoe-shaped object, and borne on a pair of outspread wings as previously described. This figure, we shall find, recurs once more in a group in the adjoining gallery, to which we shall shortly pass.

On the opposite side of the same projection of rock, and therefore facing to the south, exactly where we have defined the entrance, there is a group of two figures[534] which have not been previously described, but are characteristic and of special interest. These are very difficult to trace on the weather-beaten rock, and to make out the details it is necessary to examine them in various lights, particularly in the early morning and again in the early afternoon. By this means it is possible to make out that the group consists of two females or robed figures seated at opposite sides of a table in the characteristic attitude seen on the slabs representing ceremonial feasts, from Marash, Sinjerli, Yarre, and elsewhere.[535] One of the figures at least has the appearance of a plait of hair or shawl thrown back; the chair on which she sits seems to be solid. Certain emblems accompanied each figure, but these cannot now be identified, except the oval emblem of sanctity or divinity which surmounts each group.