native sources. But I may at least mention that we occasionally meet with these characters in the other classes of the literature. In the Gilgamesh Epic, for instance, Ishtar of Erech, the goddess of love, appears as wooing the hero, and as repulsed by him for her former adventures and her fickleness.42 She is attended by her maidens, the harimâti and the šamḥâti, who are represented as lax in morals. In the same Epic the story how one of them, called both harimtu and šamḥat, brought Eabani into Erech by her wiles, is related with much realistic detail. And when Gilgamesh and Eabani slew the bull of Anu, Ishtar gathered about her the šamḥâti and the harimâti and set up a lamentation over the bull." Erech is called "the city of the kizrêti, the šamḥâti, and the ḥarimâti.” “ These passages certainly indicate that there were excesses committed in connection with the worship of Ishtar of Erech. We have seen mention of a kadištu of Adad. Doubtless devotees of various gods have the same title. Those of Ishtar might easily have brought the title into disrepute, since some of them at least were unchaste. But we may not therefore conclude that there was anything improper about the kadištu of the Code. It would be an unwarranted assumption to identify her with Ishtar devotees, or to conclude that because some persons who bore the name were unchaste all such persons were. In the magical literature likewise we encounter the kadištu and the zermašitum, as in Cuneiform Inscriptions of Western Asia, 4.50, col. 1, lines 44-45. In the reference given the names are used as titles of the witch, who was an object of hatred and of dread. But such passages do not seem to require any modification of the impression which the Code makes as to the character of the consecrated women in whose behalf it legislates. Tablet 1, column 4. Tablet 6, columns 1-2. FIGURINES OF SYRO-HITTITE ART RICHARD JAMES HORATIO GOTTHEIL Columbia University DURING the last twenty-five years or so, various figurines have been unearthed in northern Syria and in eastern Asia Minor which are of interest from various points of view, and around which many questions cluster regarding their provenance and their significance. In Asia Minor the finds have been made as far west as Angora, as far north as Amasia, and as far south as Konia (Iconium); in Syria, at Marash, Homs, and in the Lebanon mountains. But that the extent of country covered is still greater may be seen from the fact that a mould for making such figurines which has been in the Louvre for many years is said to have come (somewhat vaguely, it is true) from Phoenicia. This is of especial interest because two of the four figurines which I propose to discuss here are said very circumstantially to have been unearthed in ancient Tyre. I have given the name 'Syro-Hittite' to this species of art, quite conscious that this is woefully a misnomer. The term is used simply for the want of one that is better and equally comprehensive. It has been pointed out very properly that the figurines belong to various strata of civilization and to various forms of early Mediterranean art. But a number of them have been found in regions where Hittites are known to have dwelt, and the designation has, therefore, a certain ambiguous warrant. Four of them are to be found on the accompanying illustrations. (a) The first of the four figurines is one of those said to have been dug up at Tyre. It is made of a greenish bronze, and, though the workmanship is unfinished, Greek influence is quite apparent. I think that there can be no doubt that it is in tended to represent the god Pan - the αἰγοπρόσωπος καὶ τραγοσkeλns, as Herodotus (ii. 46) calls him. The goat-like legs of the figure are a sufficient indication. The face, also, shows characteristics that confirm this supposition: snub nose, protruding lips, and the long beard. Similar peculiarities are to be seen, e.g., on two marble statues in the National Museum at Athens, or on the marble statue of Pan taking a thorn out of a person's foot in the Vatican collection. In addition, the head is capped by a helmet, instead of the more usual truncated horns. This leads to the further supposition that the peculiar form of the god represented here is that of the Πὰν στρατιώτης, Pan the shepherd-god of war. .' He seems to be pictured in the figurine either as dancing or as marching, the right leg stepping forward and the arms outstretched. What he originally held in his hands it is difficult to say- perhaps spear and buckler. But it is also possible that the figurine was used as an ornament or as a handle, and was fixed by the outstretched arms to some larger object. At the end of the spinal column there is a slight protuberance, of the meaning of which I am not quite certain, unless it be meant to represent the tail of the lower animal part of the body. Many statuettes of the animal representation of Pan from the Roman period of classic art have come down to us; but among the many I have been unable to find any model that coincides exactly with this. From the somewhat primitive character of the workmanship I should hardly imagine that it was either purely Greek or purely Roman; but rather that it belongs to that mixed form of art which Syria at times produced under classical influence. There seems to be no mention of any worship of Pan at Tyre. But in Northern Palestine, at Banias (Panias), there did exist a grotto dedicated to Pan; and Pan is pictured on the imperial coinage οι Καισάρεια Πανιάς. It is possible that the figurine is another evidence of the worship of Pan in Syrian regions. 1 The literature on these will be found cited in Roscher, Ausführliches Lexikon der griechischen und römischen Mythologie, cols. 1417, 1418. Ibid., col. 1389. 'Baudissin, Studien zur semitischen Religionsgeschichte, 2. 155; Schürer, Geschichte des jüdischen Volkes, 2. 116 (2d ed.); Roscher, loc. cit., col. 1871. |