But it was in the direction of the Greek seas that Hittite influence was most powerful. Through Asia Minor Babylonian culture penetrated to the West. A native imitation of the Babylonian seal-cylinder was found by Dr. Schliemann in the ruins of Hissarlik,[147] and the so-called “heraldic” position of the lions at Mykenæ can be traced back through Asia Minor to the designs of the Babylonian gem-cutters. The winged horse, Pegasus, is found on Hittite seals, and, like the double-headed eagle of Eyuk and other composite figures, is derived from Babylonian prototypes.[148] They represented the first attempts of the creative power, as conceived of by Babylonian cosmology, and an old Babylonian legend of the creation accordingly describes the monsters suckled by Tiamât as “warriors with the bodies of birds, men with the faces of ravens.”[149] The fantastic monsters of “Minoan” art, which have been brought to light by the excavations in Krete, claim an intimate connection with the similar composite beings which are a characteristic of Hittite art.[150] The early Hittite art of Asia Minor, as I pointed out many years ago, is dependent on that of Babylonia, and has little in common with the art of Assyria.[151] It is not until we come to the later Hittite monuments of Cilicia and Syria that the influence of Assyrian art makes itself visible. Hence was derived the partiality of the Hittite artist for the composite animals that adorn the seal-cylinders of Babylonia, and which consequently became known wherever the seal-cylinder and the literary culture it accompanied had made their way. As I have already stated, though Subari was an Assyrian province and Kara Eyuk an Assyrian colony, the form of the cuneiform script that was used in Cappadocia was of Babylonian origin. The writing material of “Minoan” Krete, we now know, consisted of clay tablets. The fact is a proof that the influence of Babylonian culture had extended thus far. But it was an indirect influence only. Though the clay tablet was employed, the characters impressed upon it were the native Kretan. This in itself, however, demonstrates how strong the influence must have been, for the Kretan characters, whether hieroglyphic or linear, were less easy to inscribe on clay than the cuneiform. Krete, moreover, is a land of rock and stone rather than of clay. We may infer, therefore, from the use of the Babylonian material that the first impulse to write was inspired by the civilization of Babylonia.