It had long been recognised that the hieroglyphics were not those of Egypt, and Professor Perrot had also drawn attention to the striking resemblance between the style of art represented by this sculpture and that represented by certain rock-sculptures in Kappadokia, as well as by the sculptured image of a warrior discovered by himself at a place called Ghiaur-kalessi, 'the castle of the infidel,' in Phrygia, which is practically identical in form and character with the sculptured warrior of Karabel.
What was the origin of this art, or who were the people it commemorated, was a matter of uncertainty. A few weeks, however, before my visit to the Pass of Karabel, I announced[1] that I had come to the conclusion that the art was Hittite, and that the hieroglyphics accompanying the figure at Karabel would turn out, when carefully examined, to be Hittite also. The primary purpose of my visit to the pass was to verify this conclusion.
Let us now see how I had arrived at it. The story is a long one, and in order to understand it, it is necessary to transport ourselves from the Pass of Karabel in Western Asia Minor to Hamah, the site of the ancient Hamath, in the far east. It was here that the first discovery was made which has led by slow degrees to the reconstruction of the Hittite empire, and a recognition of the important part once played by the Hittites in the history of the civilised world.
As far back as the beginning of the present century (in 1812) the great Oriental traveller Burckhardt had noticed a block of black basalt covered with strange-looking hieroglyphics built into the corner of a house
- ↑ In the Academy of Aug. 16th, 1879.
