On the next bend of the wall, some six yards distant, and thus really outside the main chamber, there are two monstrous winged figures just over three feet high. They face one another on opposite sides of a narrow rift in the rock, which seems to have been the ancient approach to an inner sanctuary adorned also with a series of sculptures. That on the left hand[536] presents most detail. The body and limbs are human, but the head is that of a lion, and two short wings are added behind, of which the right is slightly raised and the left hangs down. The hands are raised one on each side of the head, and the fingers are extended like claws, adding menace to the threatening aspect of the jaws, as in warning to those who dared to approach the entrance over which it watched. A short tunic tied across the waist reaches barely to the knees, and around the lower edges a broad fringe may be traced. The upper part of the body seems also to be clad in a garment fastened down the front. The carving of the companion figure,[537] on the opposite side, seems hardly to have been completed in detail, though it reproduces in general the design and appearance of the former.
PLATE LXIX
BOGHAZ-KEUI: THE SMALL GALLERY AT IASILY KAYA
BOGHAZ-KEUI: HITTITE PORTRAITS
Three figures from the group on the left in the small gallery at Iasily Kaya.
The entrance which these creatures guard is now closed by fallen stones, and access to the interior is gained further to the right by climbing over stones and rubbish at a place which would seem to have been originally closed. On entering from this end we find ourselves in a narrow gallery between vertical walls of rock, which open out slightly as we advance. By the original entrance, however, the approach would be from the broader end.[538] On the west side there are carved twelve male figures[539] side by side, resembling the similar group in the main chamber already described.[540] In this case, however, the group is low down, and until recent times was partly or wholly covered with earth, so that the sculptures are in excellent preservation.[541] The action and attitude of the figures suggests a quick march in line. The costume and details in each case are the same, and have already become familiar. Each wears a short tunic with a fold in front, a belt around the waist, shoes with upturned toes, conical ribbed hats with brim, and a horn-like emblem attached to the front. The earring is plain in several cases. The left arm is forward and turned up at the elbow, the hand being empty. The right hand holds a weapon like a sickle, which rests upon the shoulder, the curved part of the blade being upwards. The form is very nearly that of the sacred khopesh of Egypt.[542] The figures are not unnaturally stolid, but the faces are heavy and the nose and lips thick, though not protrusive.
On the opposite wall are two important sculptures, facing in the same sense. The front one[543] is generally regarded as an heraldic figure. It is very tall, being about eleven feet in height. The upper part is the body of a man, face right, wearing the conical hat with ribs and rings. He is represented as clad in lion-skins, two of which hang from the shoulders, the heads facing outwards and replacing the arms, which are not visible or suggested. The other pair hang downwards from the waist, each suspended by one foot, their other hindlegs being drawn under the bodies and approaching close to one another. The heads of the lions reach with the forepaws to the approximate level of knees. The whole design may be alternatively regarded as composed of lions in this combination, replacing altogether the body of the man, while reproducing the same form. Below the knees the legs are replaced by a device which may be taken for the tapering point of a great dagger or dirk with midrib. The figure has no visible frame.
PLATE LXX
