Closely connected with Hittite religion was Hittite art. Religion and art have been often intertwined together in the history of the world, and we can often infer the religion of a people from its art, as in the case of the sculptures of Boghaz Keui. Hittite art was a modification of that of Babylonia, and bears testimony to the same Babylonian influence as the worship of the 'Mother-goddess.' The same Chaldæan culture is presupposed by both. But while the art of the Hittites was essentially Babylonian in origin, it was profoundly modified in the hands of the Hittite artists. The deities, indeed, were made to ride on the backs of animals, as upon Babylonian cylinders, the walls of the palaces were adorned with long rows of bas-reliefs, as in Chaldæa and Assyria, and there was the same tendency to arrange animals face to face in heraldic style; but nevertheless the workmanship and the details introduced into it were purely native. Even a symbol like the winged solar disk assumes in Hittite sculpture a special character which can never be mistaken. The Hittite artist excelled in the representation of animal forms, but the lion, which he seems to have never wearied of designing, is treated in a peculiar way which marks it sharply off from the sculptured lions either of Babylonia or of any other country. So, too, in the case of the human figure, though the general conception has been derived from Babylonian art, the conception is worked out in a new and original manner. Those who have once seen the sculptured image of a Hittite warrior or a Hittite god, can never confuse it with the artistic productions of another race. The figure is clearly drawn from the daily experience of the sculptor's own life. The dress with its peaked shoes, the thick rounded form, the strange protrusive profile, were copied from the costume and appearance of his fellow-countrymen, and the striking agreement that exists between his representation of them and that which we find on the Egyptian monuments proves how faithfully he must have worked. The elements, in short, of Babylonian art are present in the art of the Hittite, but the treatment and selection are his own. It is in his selection and combination of these elements that he exhibits most clearly his originality. Monsters, half human, half bestial, were known to the Babylonians, but it was left to the Hittite to invent a double-headed eagle, or to plant a human head on a column of lions. The so-called rope-pattern occurs once or twice on Babylonian gems, but it became a distinguishing characteristic of Hittite art, like the employment of the heads only of animals instead of their entire forms. So, again, the heraldic arrangement of animals face to face, or more rarely back to back, had its first home in Chaldæa, but it was the Hittites who raised it into a principle of art. We may perhaps trace their doing so to their love of animal forms.