also there is a conspicuous though partly defaced representation of a priest of the Double Eagle, on a sphinx-jamb of the palace gateway,[567] a symbolism which we read to imply that the occupant of the palace was chief priest of the cult. This palace, however, at so short a distance from the capital, probably marks the site of a royal estate rather than an independent kingdom. Now we have already come to the conclusion that the sculptures on the right-hand procession pertain particularly to the locality of Boghaz-Keui, inasmuch as the chief representation of the king-priest is associated with this group. Hence we conclude that, following the images of the national deities on this side (the Mother-goddess and her Son, the Lion deities), there come the images of the local cult of this part of Cappadocia, namely, the twin goddesses of the Double Eagle. The other female figures of this side distinguished by separate symbols represent probably the priestesses of the cults, which may have been to some extent allied; while the continued procession of nameless women recalls to mind the rite of self-dedication practised in the temples of Istar at Babylon.[568] The left-hand series of sculptures is more complex, but open to explanation in general terms on the same line of argument. The leading figure clearly represents the Father-God (in contraposition to the Mother-Goddess), the Zeus of the Greeks, the Baal of Tarsus, the ‘Sutekh,’ or national deity of the Hittites. This is shown supported upon the shoulders of two priestly attendants, who, like the lions opposite, seem to stand upon the tops of mountains. There is in this detail a lurking reminiscence or absorption of a mountain-cult, which becomes clearer in the two figures which follow. These deities we take to be the local forms of ‘Sutekh’ pertaining to different Hittite states[569] other than Cappadocian; the first is distinguished by the unsheathed sword, the second by a detail of his dress, but both are almost identical with the leader, while both stand upon mountain-tops. It is significant that the peoples whom we suspect from their dress to have descended from the mountains should preserve also in this way the unconscious memory of their ancestral deity. Another figure of like kind follows, but it is the two winged figures that particularly attract our notice.[570] Here in Hittite art we have clearly deities from across the Taurus,[571] claiming place in the ceremony here depicted just as they claim separate mention in the list of Hittite deities in the Egyptian treaty.[572] There follows the image of a priest-king; but whether that of the great king seen on the opposite side, or of a vassal king from beyond the Taurus similarly accompanying his deities, is not determined. The star-like emblem and crescent which he bears must be a clue, if only it could be interpreted. At this point we suspect the list of divine beings gives way