The palace of Euyuk, as well as that of Boghaz-Keui, presents striking features of resemblance to those of Nineveh; its terrace, 812 ft. square, still rises to the height of 39 ft. The corners are turned towards the four cardinal points. The principal doorway is 11 ft. broad,[71] and on each side stand two sphinxes, in place of the human-headed bulls. Next to these, all along the façade, was a series of bas-reliefs, the arrangement of which was the same as that upon the façades of Khorsabad and Kouyunjik; only, the sphinx, which is not Assyrian, discloses another foreign influence--that of Egypt. Cappadocian art was able to interpret the Egyptian type, and, on this occasion, did not limit itself to a dull copy. “In Egypt,” observes M. Perrot, “the sphinx, to whatever variety of the type it belongs, is always represented in the reclining posture, never standing as here: instead of being treated as a bas-relief and placed in front of the doorway, it is sculptured in the round and set on both sides of the entrance, perpendicular to the path, towards the axis of which it looks.”[72] Besides, in the sphinxes on the banks of the Nile, the extremities of the hair, on each side of the head, fall straight without forming the curls which we see here. At Euyuk, the Egyptian sphinx is treated in the Assyrian style; the place which it occupies on the sides of the doorway, and the position of its paws, turn it into a sort of compromise between Egypt and Assyria, which vied with one another in this land of Cappadocia, in artistic influence as in political preponderance. [Illustration: Fig. 155.--Rock sculptures at Iasili-Kaïa (after Perrot and Guillaume).] This double tendency is also observed at Iasili-Kaïa. Here a rectangular chamber has been found 81 ft. by 37½ ft., hewn in the rock on three sides; the walls are covered with bas-reliefs forming a plinth. [Illustration: Fig. 156.--Rock sculptures at Iasili-Kaïa (after Perrot and Guillaume).] [Illustration: Fig. 157.--Rock sculptures at Iasili-Kaïa (after Perrot and Guillaume).] Another smaller chamber and a corridor contain similar sculptures; the height of the figures varies from 4 ft. 6 in. to 2 ft. 3 in. Two processions of figures go round the larger chamber and meet one another: on the right, women dressed in long robes with trains, their hair falling upon their shoulders, wearing a round tiara like the women at Marash; on the left the men, with the conical cap assigned by Herodotus to the Cimmerians, and a short tunic reaching no lower than the knees in front, but longer behind. In each group the figures grow larger in proportion to their nearness to the centre. Many of them are not human beings, but winged genii, satyrs with goats’ feet, dog-headed monsters. Nearly all hold in their hands sceptres, curved staves, two-edged hatchets; some stand upon quadrupeds. Two are seen perched upon a two-headed eagle; another, accompanied by a kid, stands on the shoulders of two porters.