Ramsay, William Mitchell: The cities and bishoprics of Phrygia: being an essay of the local history of Phrygia from the earliest time to the Turkish conquest (Band 1,2): West and West-Central Phrygia (Oxford, 1897)

362 X. EUMENEIA.

two horsemen are to be compared with those in the relief accom-
panying inscr. 33 ; but the impression grew that the figure in the
car is male, and that the scene is a procession, representing the deity
making a progress through his territory. Such a procession is a
known feature in the religion of Asia Minor.

The very bad preservation of the monument makes it difficult to
judge of its character and age. The human figures, which would be
most indicative of artistic style, are unfortunately worst preserved ;
but the figure in the car, which has suffered least, appeared to me to
belong to a pre-Greek style of art1. Though the head has entirely
disappeared, yet the body seemed to be a rude and lumpy mass from
which a hand protruded at right angles j ust above the high side of the
car, and the reins seemed to meet the hand without being held in it.
The car has a high back, while the sides rise above the waist of the
person who sits inside of it. The wheel is large, and has six spokes,
like the car in which Apollo is borne on a Melian vase, and like the
Koman triumphal car (which was, doubtless, adopted from Etruria) -.
The Greek and Persian wheels have generally four or eight spokes ;
but M. Chamonard points out that the cars and wheels on the gates of
Salmanasar at Balawat (860-824 B.C.) are identical in shape with this.
Its oriental character, therefore, is beyond dispute.

The horse which draws the car is much defaced. The other two
horses are in excellent style, spirited and natural in action, the work
of a sure and skilful hand: the legs, however, are too long, though
in other respects good B. The tail stands out very prominently from
the body like the tail of horses of Arab breed. The horsemen sit as
represented on many early Greek vases, which is the only fact that
can be distinguished with certainty about them 4.

We are then in presence of a work, in which the animal figures are
decidedly superior in style and power to the only human figure that
permits a judgement. That is the character of early art5, which

1 I use this term to indicate a style was probably a simple flat relief. The
older than the Greek art which was other was carved on a separate piece of
established in Phrygia by the conquest stone which was fastened to the rock
of Alexander. In this book we treat of and has now fallen away. M. Chamo-
Greek only in the phases in which it nard rightly describes this, and observes
affected Anatolia. that the device was practised by Greek

2 See Daremberg et Saglio fig. 2204, sculptors.

2222, 2225 (but ten spokes no. 2223). s The central figure taken alone would

3 One horse is 22 inches high and 22 be consistent with the work of a country
in length, the other 23 high and 22 in stone-cutter in the Roman period ; but
length. the horses preclude such a view.

4 The figure of the front horseman