[Illustration: Fig. 158.--Rock sculpture at Iasili-Kaïa (Perrot and Guillaume).] [Illustration: Fig. 159.--Rock sculpture of Iasili-Kaïa (after Perrot and Guillaume).] Close to the entrance of this vast hall, a separate relief represents a giant standing on two mountains. This personage holds in his right hand a shrine, and in his left hand has a sort of long staff, the lower end of which is curved like a crosier; he wears a hemispherical skull-cap, and is dressed in a long robe open at the side. The shrine which this deity holds is provided with two Ionic columns supporting the winged disk; beneath the disk is a figure between two bulls seen in full face. At some distance a group of two figures is observed. One of them, of colossal proportions, is found elsewhere standing upon a quadruped. Here, he wears a highly decorated conical tiara, and is armed with a sword and clothed in a short tunic. He stretches out his right hand as if to carry or to seize a child standing before him. The second figure, protected by the deity, who passes his left arm round his neck and holds his hand, is the same as he whom we noticed just before. The sculptures which decorate the walls of the vestibule in the palace of Euyuk have so great an analogy to those of Iasili-Kaïa that it is impossible not to recognise their common style and origin. We observe among them a woman, seated upon a throne, with her hair flowing down upon her shoulders, decorated with a necklace and bracelets, who reminds us of the Assyrian queen sharing the banquet of Assurbanipal; she raises a goblet to her lips, and holds a flower in her hand. [Illustration: Fig. 160.--Rock sculpture of Iasili-Kaïa (after Perrot and Guillaume).] [Illustration: Fig. 161.--Tomb of Gherdek-Kaïasi (after Perrot and Guillaume).] All these scenes are priestly and religious, and not, as in Assyria, devoted to the glory of the king and to the memory of his warlike exploits. They refer to the worship of the god Mên or of the goddess Mâ or Enio, the Cappadocian name of Anaïtis or Astarte, whose rites Strabo describes as performed in the two towns of Comana. To this Cappadocian civilisation, again, purely oriental and anterior to Greek influence as it is, the sculpture of tombs observed at Gherdek-Kaïasi, near Boghaz-Keui and Euyuk, must be referred. The principal of these caves hewn in the rock, like those of Phœnicia and Nakhsh-i-Rustam, has a façade adorned with a portico with three low colonnades, the style of which closely resembles the Greek Doric order (fig. 161). At the extremities of this portico are the doors of two chambers intended to contain sarcophagi. Both of them have windows opened in the wall of rock; the sepulchral couches are hewn in the wall like alcoves. There is something in these monuments which partakes of the character both of the Phrygian tombs and of those of Nakhsh-i-Rustam; and perhaps they are not anterior to the destruction of Pteria by Crœsus in B.C. 549.