defined, and the new but reduced kingdom of Mitanni was created a special Protectorate.[784] The gods of both peoples were invoked as guardians of the treaty. The frontier of Subbi-luliuma on the Euphrates was amply secured by the gratitude of the re-established king. The empire of the Hittites beyond Taurus had now reached, under Subbi-luliuma, its furthest historical extent; and in Asia Minor, though direct evidence is not yet available, we may infer that his sway had been extended westward far beyond the confines of the Halys, even if his arms had not already penetrated to the Lydian coast.[785] We thus see in Subbi-luliuma the founder of the Hittite empire under the dynasty of the Hatti, which for nearly two hundred years continued to hold its own amid the constant tremblings of the balance of oriental power throughout this time. Relieved for the present from their frontier campaigns, the Great King and his allies seem to have reaped the reward of their good fortune and prosperity. In the capital at Boghaz-Keui, ‘the city of the Hatti,’ the royal palace seems to have stood on the northern crest of Beuyuk Kaleh.[786] At Malatia, the palace of his vassal or ally, the king of Khali-rabbat (the _Milid_ of later Assyrian records), was decorated with sculptured blocks showing the ruler and his consort as high priest and high priestess, making oblations before Sandes (the Hittite national deity), and to the winged deity who seems to have been the guardian of the tribe.[787] To the same phase of art, though not necessarily the work of this generation, we must assign the similar oblation scenes of Eyuk[788] and Fraktin[789]; in the former case, moreover, the forms of the sacred vessels are the same as those seen at Malatia. It is true that such vases may have continued in use for ceremonial purposes after their common vogue had passed; but in any case the lower buildings at Eyuk, the existence of which we have pointed out,[790] must be as old as these times; while in the rock-sculptures of Fraktin we recognise a phase of art and motive as early as that of any recorded Hittite works.