SYRO-HITTITE CYLINDERS: GENERAL CONSIDERATIONS. 259 
the Hittite proper names a Mau, to be identified probably with the Phrygian 
goddess Ma, of Comana. Professor Sayce tells us of Khalan, the chief goddess 
of Carchemish, and Aramiz, a god “supreme over’ the Nine.” 
Passing from a view of these deities of different nations that occupied the regions 
over which the Hittites extended their empire, we come to our main purpose, which 
is to consider the way in which the Hittites themselves, in their glyptic art, repre- 
sented their gods. ‘This introductory sketch, however, will show how difficult it 
is to tell whether a seal is pure Hittite. 
In the study of the mythology of supposed Hittite art, and especially glyptic 
art, we must begin with what we know to be genuine Hittite art. The best index 
is the accompanying use of the Hittite hieroglyphic characters. This suffices for 
a certain number of bas-reliefs and a few seals. 
The sculptures of Boghaz-keui (ancient Pterium) are certainly Hittite, and 
the explorations of H. Winckler have lately found there many Hittite tablets in 
Assyrian script. “They show us two processions meeting each other, the principal 
figures in which seem to be designated by Hittite hieroglyphs. They are on the 
vertical walls of a natural hypzthral rock-chamber. The two long sides are sub- 
stantially parallel and are closed by a short wall connecting them at one end. As 
the visitor passes up the chamber towards the end wall, he sees on the left side a 
procession of male figures in high conical hats and very short garments, moving 
towards the upper end, and on the right side, meeting them, a similar procession 
of female figures in long robes and with high, square cylindrical hats. The two 
processions continue on to the end wall, in the middle of which they meet. As we 
start again from the lower entrance to examine the figures more carefully, we find, 
on the left-hand side, twelve short-robed figures, then thirteen, all similar in short 
robes, with one possible exception, walking forward; then two curious figures 
lifting over their heads a boat, or tray; then four more walking figures; then a 
figure in a long robe, designated as a king by the winged disk over his head, and 
carrying as a sign of authority a reversed crook or so-called “lituus’”; the king is 
preceded by five figures, of which two have wings from the shoulders, evidently 
protecting spirits. This ends the left side wall, but the head of the procession con- 
tinues on the end wall, consisting of three figures, two of them standing high on 
columns, and the front one (fig. 776), who faces the head of the opposite procession, 
stands on the bowed heads of two men; he carries in one hand a symbol, which 
may be his name, if a deity, and a club over his shoulder, while a battle-ax appears 
from his girdle, and in front of his legs appear the head and fore quarters of an 
animal, perhaps a bull, with perhaps a conical Cap such as he wears himself. Facing 
him, at the head of the opposite procession, is a goddess, in a long robe, wearing a 
high cylindrical or mural hat, somewhat like the turreted crown of Demeter; she 
stands on a lioness, or leopard, and holds in one hand a symbol similar to that held by 
the opposite figure, and in the other a staff; while in front of her appears the front of 
an animal, perhaps a lion, as before the opposite god. It is proper to say that 
while these two animals are distinctly figured by Perrot and Guillaume, they show 
very imperfectly on Humann and Puchstein’s photograph of the cast of these figures. 
Behind the goddess is a god, the only short-robed male figure wearing a conical 
hat in this second procession. He stands on a lion or leopard and carries in one 
hand a battle-ax over his shoulder, while the other holds a staff and peculiar emblem, 
