Page:History of Art in Sardinia, Judæa, Syria and Asia Minor Vol 2.djvu/213

 General Characteristics of Pterian Monuments. 195 where he is set up, with mouth wide open, in front of palaces (Figs. 275, 340, 341, 342), carved on the city gates (Figs. 301, 303), and in the interior, or the chief ornament about the throne (Fig. 298), whilst in pictures dealing with the spiritual world, the abode of deities, he serves as pedestals to these (Fig. 313), finally at Saktchegheuksou, kings show their prowess by shooting lions (Fig. 279). In fact, wherever we turn, we are confronted by the Fig. 349.— Hittite Warriors. Rosellini, Moimmenti^ Plate GUI. king of the forest, in as many different aspects as the Hittite artist could command. Correspondence in workmanship is no less striking and sug- gestive to the student. If we omit a certain class of monuments, in which Assyrian influence is specially noticeable, no two sets of monuments could be more alike than the Merash stela and the Eyuk slabs, the lasili-Kaia .sculptures and those at Sinjerli and Carchemish (Fig. 269). What we said with regard to the mode of art production in Pteria is fully applicable to the monuments we are considerijig. Here, too, hasty execution, flat relief, a proneness to attenuate the contour, and suppress the inner model.