The conception of Fatherhood, hitherto submerged, now found expression in independent form, wherein the new god was identified with the Bull, the emblem of virility. At Malatia[858] the god rides upon the animal’s back; at Eyuk[859] the animal alone is found, in a scene where his ministers are the royal high priest and priestess, the counterpart to the worship of the goddess herself on the other side of the gateway. In this character food and music and revelry were his delight. There were present all the elements which under other conditions might have led to the development of a special and exaggerated worship of masculine powers. But here the circumstances were unfavourable. So long, indeed, as the warrior kings maintained the throne, their god also retained his individuality,[860] amid an environment, however, too deeply imbued with the older ideals to maintain his separate worship after their downfall. Already we see one way in which his cult was liable to be submerged; for the part he now claimed, as it were, by force, had been hitherto played in esoteric fashion by the son. Hence a new identity arose, in which the attributes of the father-god and the son-god became confused and merged in one.[861] This fact seems to be reflected even in the sculptures of Boghaz-Keui, where the cult of a dirk, which each important male figure wears, becomes endowed with a separate ritual.[862] Possibly, however, this may be more particularly an aspect of the son-god, and associated with the ritual of the Mother-goddess. It was, moreover, a national cult, widespread, and revered.[863] In any case the association of the Father-god with the Son-god in the cult of the Mother-goddess, nature’s divine triad, seems to us an essential feature of the religion of these times. The part played by the king and his queen in this worship is clear in the sculptures of Eyuk[864] and Malatia,[865] and their position as high priest and priestess of the god is defined in the text of the Egyptian treaty.[866] Whether the king himself took an official position in the worship of the goddess is still open to conjecture; for the pictures of the high priest at Boghaz-Keui,[867] though accompanied by the royal insignia, are open to another interpretation,[868] and possibly in her festivals the king’s place was taken by a eunuch-priest of considerable authority, in accordance with a ritual long established and surviving in later times. At Sinjerli there is an interesting suggestion in a certain series of sculptures[869] belonging possibly to this era. In comparing these it seems to us that the king himself is shown impersonating his gods or god in various characters; in one he is the warrior with shield and spear, in another he holds aloft the lightning trident, and in a third we see him like Thor with a magic hammer. In the rites of the various deities the king may possibly have carried these sacred emblems ceremonially.