rock. The wall was without towers, but at its foot ran a moat cut partly through the rock, partly through the earth, the earth being coated with a smooth and slippery covering of masonry. The most important building in the city was the palace, a plan of which has been made by modern travellers. Like the palace of Eyuk, it was erected on an artificial mound or terrace of earth, and its ornamentation seems to have been similar to that of Eyuk. But little is left of it save the foundations of the walls and the overturned throne of stone which once stood in the central court supported on the bodies of two lions. Lions' heads were also carved on the columns which formed the door-posts of the city-gate.
The interest of Boghaz Keui centres in the sculptures which have been carved with so much care on the rocky walls of the mountains. Here advantage has been taken of two narrow recesses, the sides and floors of which have been artificially shaped and levelled. The first and largest recess may be described as of rectangular shape. Along either side of it, as along the dado of a room, run two long lines of figures in relief, which eventually meet at the end opposite the entrance. On the left-hand side we see a line of men, almost all clad alike in the short tunic, peaked tiara, and boots with upturned ends that characterise Hittite art. At times, however, they are interrupted by other figures in the long Syrian robe, who may perhaps be intended for women. Among them are two dwarf-like creatures upholding the crescent disk of the moon, and after a while the procession becomes that of a number of deities, each with his name written in Hittite hieroglyphs at his side. After turning the corner of the recess, the
