In brief, those Hittites whom we had hitherto looked upon as more or less dim figures have suddenly revealed themselves to us in a new character, and it is almost impossible to say in what department of the science of antiquity they will not prove of pre-eminent importance. As regards Semitic antiquity in particular, they possibly possess the same value for a correct estimate of the relics of the civilisation of the northern Canaanites and the western Syrians as the Sumerians and Accadians have in respect to the civilisation of the Semitic Babylonians and Assyrians and of the Hebrews. Further inquiry, and certainly rich accessions of material, will clear up many points at which it is at present only permissible to guess; and perhaps the immediate future may bring the most interesting conclusion, especially regarding their linguistic position and also in respect to their religious history.[c]
HITTITE ART
There is no originality in the Hittite art of Syria. It is Assyrian art, interpreted by barbarians and debased in the process. With the exception of one rude torso, found in Cilicia, and the inscribed statue of a lion from Marash, it is all in low relief, according to Assyrian precedent, and the costumes and attitudes of the figures have evidently been copied from the Assyrian, though we remark some difference of detail. For example, the Hittite Astarte, corresponding to the Istar of Babylon and similarly represented, has the special peculiarities of being winged and wearing a conical tiara.
The debasement of the art in Hittite hands is exhibited by a series of bas-reliefs found at Sindjerli, and another in a mound in the same district. The latter of these represents a lion hunt, evidently copied from some Ninevite model, but without any of the vigour which the Assyrians put into their sculptures. The animal appears to be submitting with perfect tranquillity, while he is stabbed to death with javelots.
Farther west, and especially in Cilicia, the sculptures become more original, but also more rude. The special attributes of the Hittites, as shown in these monuments, are the diadem, the women’s tall cap with a long veil, and the pointed shoes. The latter, however, are the ordinary wear of the modern populations of Asia Minor.
One canton of Cappadocia, the Pteria of Herodotus, contains many Hittite ruins. The village of Boghaz-Keui, its ancient capital, possesses bas-reliefs cut in the rock, and the remains of a royal palace having many points in common with those of Assyria. The same is true of the palace of Euiuk; but a sphinx, placed at the door, betrays an Egyptian influence, though details of its sculpture have been borrowed from Assyria.
Both influences are also apparent in the rock sculpture of Boghaz-Keui, called Iasili-Kaïa, “the written stone,” and with these the sculptures of the palace of Euiuk have much in common. But while the Assyrian monuments are in honour of the sovereigns, these of the Hittites all have a religious significance and refer to the worship of the god Men or the goddess Ma or Enio, who corresponds to Anaïtis or Astarte.
The tombs of Gherdek-Kaïasi, not far from Boghaz-Keui and Euiuk, seem also to belong to this Cappadocian civilisation. The façade of the principal vault has a portico with three short columns, somewhat suggestive of the Doric style. These tombs perhaps belong to a period not earlier than 549 B.C., the year when Crœsus ravaged Pteria.
To sum up, we may conclude with M. Perrot that the monuments of Boghaz-Keui and Euiuk, which bear witness to the primitive Cappadocian civilisation, have all, like those of northern Syria, come under the Assyrian influence. The palaces are like “a reduced copy of the great royal edifices of the banks of the Tigris and Euphrates.” The winged figures, the monsters with eagles’ or lions’ heads, are Assyrian, as are also the divinities carried on the backs of different quadrupeds, the flowers in the hands of the persons represented, and the winged globe, the image of Asshur.