56o 



NATURE 



[April 12, 1888 



gual, and it has not a convexity of surface, like the seal of 

 Tarkutimme. The Yuzgat seal, in fact, is flat, with the 

 exception of the central space, which is concave, and 

 which consequently causes a central convexity in the 

 impression. On careful observation it may be perceived 

 that the figures on the circumference divide themselves 

 into three groups. In the centre of the first group is the 

 winged solar disk supported on a cone. It seems not 

 unlikely that this cone is essentially identical with the 

 " king "-symbol already discussed in connection with the 

 Tarkutimme seal. Here it may point to the prominence 

 and pre-eminence of the sun-god as ruler of the world, 

 all things animate and inanimate being subjected to his 

 sway. The solar king in the centre, with the two figures, 

 one half-kneeling and one standing, on each side, constitute 

 the first group. These two figures on each side present 

 features of very great interest. Nearest to the solar 

 emblem are two horned ox-headed figures, apparently 

 masculine, with the palms of the hands uplifted, in the act 

 of adoration. The ox's head is not here presented in 

 profile, as is usually the case on the Hittite monuments, 

 but the horns and ears and the tapering muzzle are 

 depicted with sufficient clearness. These figures may be 

 taken as representing the moon-god, and recalling in 



Fig. G. — The Yuzgat seal in the British Museum (enlarged). 



their masculinity the Babylonian moon-god Sin. This 

 seeming masculinity should be remembered if a compari- 

 son is made with other ox- or cow-headed figures of 

 deities, as, for example, those found by Dr. Schliemann, 

 and about which there was not very long ago some dis- 

 cussion. More distant from the solar emblem are two 

 draped figures which we may regard as types of the 

 female deity Ashtoreth, viewed as a moon-goddess. There 

 is tolerably clear evidence that one of these draped figures is 

 horned, and probably also ox-headed. In the case of the 

 other, on account of a flaw in the seal, this is not equally 

 manifest. Though the attitude is different, these female 

 lunar deities appear also to be worshipping the sun-god. 

 The lunar deities, like other figures on the seal, appear all 

 to have turned-up toes, indicating probably the so-called 

 "Hittite boots." ^ With these figures of lunar deities 

 may be compared a symbol of Ashtoreth as a moon- 

 goddess on the longest Hamath inscription, giving a 



' It is worthy of note here that about a third of the circumference is occu- 

 pied by these sacred figures. From this fact may be derived a probable 

 explanation of the vacant space over the king's head in the seal of Tarku- 

 timme {supra, p. 537). The engraver, we may suppose, when he commenced 

 engraving the king's name, intended to devote a third of the circumference 

 to sacred objects, or at least to leave it vacant as usually so devoted. He, 

 however, miscalculated the space at his disposal. Resolved, however, to 

 leave some vacant space at the top, and especially over the king's head, he 

 was comi>elled to leave a space in the middle of a word. Prof Sayce has 

 given a different explanation {Zeitschr. fur Assyriologie, November 1886.) 



crescent moon with the head of an ox above and within 

 it, while beneath is an equilateral triangle or else a cone.^ 

 If we strike a diameter across the seal from the solar 

 disk, it will come, towards its extremity, to what is 

 apparently a king seated on his throne and wearing a cap 

 with a horn in front. Between the king and the group of 

 sacred figures already described, there is on each side a 

 distinct group, making up altogether the three groups 

 which I have mentioned. Of the two groups not yet 

 described the more interesting, on account of its resem- 

 blance to what may be seen on the inscriptions, is the 

 group behind the king. There appears strong reason 

 to believe that in this group we have a genuine 

 example of picture-writing, in which the successful chase 

 of a stag is represented. There is first (most remote 

 from the king) a tree, indicating the forest, where the 

 hunt occurred. Then come two javelins, used no 

 doubt by the hunters of the stag, and next after 

 these there is a sort of trident, employed, I should 

 suppose, to give the coup de grace, and of this trident 

 I shall have an additional word to say directly. Next to 

 the trident we find a bundle, or basket with a handle, which 

 naturally suggests the idea of carrying. Then there is a 

 stag's head with large antlers, and beneath it two arms 

 with hands pointing towards the king. As the king is 

 sitting with his face towards the gi'oup of figures in front 

 of him, the engraver, in order to denote the king's accept- 

 ance of the stag's head (which may represent the whole 



Fig. H.— Symbol of Ashtoreth, on Hamath inscription. 



Stag), has given on the other side, and above the king's 

 arm outstretched to receive it, the stag's head a second 

 time, of smaller size and consequently somewhat less 

 artistically rendered. In the third group, beginning with 

 the figure most distant from the king, we have what is 

 very likely a tributary king, bringing a gift or tribute. 

 Before him is what I take to be a woman veiled after the 

 Oriental fashion, and with probably a baby suspended 

 from her arm. With this appendage she may possibly 

 have been regarded as likely to prove more acceptable 

 to the king. Between the woman and the king is what I 

 have regarded as a conventional symbol of a castle, 

 indicating that the presents were received by the king in 

 his castle. The symbol is difficult to determine ; but I 

 cannot find any more probable explanation. What it is 

 particularly important to observe is, that the other two 

 groups on the circumference of the seal being pictorial or 

 ideographic, it is scarcely possible to escape the conclu- 

 sion that the third group — that which I have regarded as 

 representing the successful chase of a stag — is of the like 

 character. 



Of the objects in the central space I am unable to 

 speak with any confidence. They may be so placed as 

 objects of interest merely, or, taken phonetically, they 

 may denote a name. There is a crescent, beneath it a 

 nearly semicircular knife with a handle (if it is not 

 possibly a ladle seen in profile), a mace or club, a sort of 

 grating, and a trident smaller than that in the outer 



'^ Mr. Rylands's drawing of the inscription gives the former, and this may 

 possibly be right, though the cast of the inscription in the British Museum 

 does not make this altogether clear. The original is unfortunately at 

 Constantinople. 



