Is there any serious foundation for such a belief, and must we assume that there existed at this time and in this part of the world a kingdom similar to that of Sapalulu? Assyria was recruiting its forces, Chaldæa was kept inactive by its helplessness, Egypt slumbered by the banks of its river, there was no actor of the first rank to fill the stage; now was the opportunity for a second-rate performer to come on the scene and play such a part as his abilities permitted. The Cilician conquest, if this be indeed the date at which it took place, had the boards to itself for a hundred years after the defeat of Assurirba. The time was too short to admit of its striking deep root in the country. Its leaders and men were, moreover, closely related to the Syrian Hittites; the language they spoke was, if not precisely the Hittite, at any rate a dialect of it; their customs were similar, if, perhaps, somewhat less refined, as is often the case with mountain races, when compared with the peoples of the plain. We are tempted to conclude that some of the monuments found south of the Taurus were their handiwork, or, at any rate, date from their time. For instance, the ruined palace at Sinjirli, the lower portions of which are ornamented with pictures similar to those at Pteria, representing processions of animals, some real, others fantastic, men armed with lances or bending the bow, and processions of priests or officials. Then there is the great lion at Marash, which stands erect, with menacing head, its snarling lips exposing the teeth; its body is seamed with the long lines of an inscription in the Asiatic character, in imitation of those with which the bulls in the Assyrian palaces are covered. These Cilicians gave an impulse to the civilization of the Khâti which they sorely needed, for the Semitic races, whom they had kept in subjection for centuries, now pressed them hard on all the territory over which they had formerly reigned, and were striving to drive them back into the hills. [Illustration: 248.jpg LION AT MAKASH] Drawn by Boudier, from a photograph of the cast shown at the Paris Exhibition of 1889.