The “Hattusa Project”.

A German-Italian Cooperation for the Three-

Dimensional Documentation and Representation of an UNESCO
Archaeological Site*

Natalia Bolatti Guzzo - Massimiliano Marazzi – Leopoldo Repola –

Andreas Schachner - Stefano Sven Tilia
Università degli Studi di Napoli Suor Orsola Benincasa, CEM - Deutsches Archäologisches Institut, Abt. Istanbul

Premise accompanying the divine representations) and to

virtually reproduce them for safeguard, exhibition
With the establishment of the cooperation project and study purposes (with particular emphasis
between the University Suor Orsola Benincasa of on the epigraphic and historic-artistic point of
Naples and the archaeological mission in Hattuša view) all the geometric aspects characterizing
of the German Archaeological Institute of the artefacts and, in many cases, not completely
Istanbul, directed by Andreas Schachner, and in visible to the naked eye today.
agreement with the Turkish Ministry of Culture
and Tourism, a workgroup of the University of
Naples was formed in order to carry out a 3D The site of Hattusa
survey campaign concerning sections of the site
of Hattusa and the entire site of Yazılıkaya. Immediately east of the modern village of
These activities have been finalized at creating Boğazkale lie the spacious ruins of Hattusa,
integrated 3D models of both the territorial which as the capital city of the Hittite Empire
context and of the monuments object of the was one of the largest urban sites of the Near
research, through the application of diverse Eastern Bronze Age. Founded as moderate
scanning techniques, in accordance to the typical Central Anatolian town at the end of the
different levels of detail required for each subject 3rd Millennium BC the city was first extended
(topography, rocky complex, the cultural spaces by the establishment of a colony of Assyrian
therein, complex of sculptural reliefs, inscriptions traders during the first centuries of the early 2nd

* First results of the project were presented at:
- the International Workshop “Documentation,
Interpretation, Preservation & Presentation. Innovative
Digital Technologies in Ancient Near Eastern Archaeology,
Epigraphy and Cultural Heritage Preservation”, University
of Würzburg, Department of Ancient Cultures/Ancient
Near Eastern Studies, 24–26 March 2015 (henceforth
cited as DIP&P).
- the International Congress “The Discovery of an
Anatolian Empire”, Istanbul Museum of Archaeology
Library, 14-15 December 2015;
- the International Congress “Le missioni italiane in
Turchia: mostra multimediale dedicata agli scavi e ai
progetti di ricerca italiani in Turchia”, Napoli, 4 December
2016, Università degli Studi Suor Orsola Benincasa &
Centro Ricerche Archeologiche e Scavi di Torino per il
Medio Oriente e l’Asia;
- the International Colloquium “Luwian Studies”, Zürich,
Zentrum Karl der Grosse, 3 November 2016 (henceforth
cited as Luwian Zürich).
A detailed report about the 2014-2015 campaigns
and laboratory works is published in A. Schachner
(mit Beiträgen von N. Bolatti Guzzo, S. Kühn, M.
Marazzi, L. Repola), Die Ausgrabungen in Boğazköy-
Hattuša 2015, AA 2016/1, pp. 1-47 (henceforth cited
as AA 2016).
A second report of A. Schachner, N. Bolatti Guzzo,
M. Marazzi and L. Repola is in press for the Acta of the
International Congress “The Discovery of an Anatolian
Empire”, Istanbul.

17
 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia
Fig. 1. The landscape of Hattusa.
Millennium BC1. After a severe destruction by
Anitta, the king of Neša, a rival Anatolian city,
around 1720 BC the city became the capital of
the Hittite state after c. 1650 BC when Hattušili
I. selected it as his metropolis. This development
marks a clearly visible transformation of the town
into a representative city. Not only the size was
extremely enlarged but also new forms of official
architecture, both religious and representative
as well as military resemble the establishment
of the new Hittite state and its imperial claims2.
Beside new architectural forms a bundle of social
and technical innovations made this step possible
leading to a degree of social complexity which
is unique in the pre-classical history of Central
Anatolia3. This metropolis of the Hittite empire
survived until c. 1180 BC.
The incorporation of the complex topography is
one of the many inimitable features of Hattusa
(fig. 1). This allowed the Hittites to not only divide
the city functionally along natural borders which
were even amplified by man-made constraints,
but even to incorporate the landscape into the
urban setting thus becoming part of the function
and meaning of individual buildings4. This imme-
1 For a general survey of the history of Hattusa,
its discovery and the results of the excavations see
Schachner 2011.
2  The changes from an Anatolian town to a metropolis of
international rank are described in Schachner 2015.
3  See Schachner 2009.
4  Schachner in print.
18
diate relation between man-made buildings and
the natural environment requires an integrated
approach to fully understand the features. For
this, a most accurate documentation is mandatory.
The compilation of a new topographical map of
the site which replaced the Kohl map of 1912 by
a new plan, meeting modern standards, in 19985,
revealed that several assumptions based on the
early not that accurate map are no longer true
and underlined the importance of most accurate
measurements. In this respect the method of 3D
scanning offer a complete new approach to analyse
the relationship between the topography and the
built environment. During the 2017 seasons, we
aim to use 3D laser scanning to accomplish a
basis to study the canyon of the Budaközü at its
point of breakthrough between Ambarlıkaya and
Büyükkaya. This will not only enable us to try to
reconstruct the buildings during the Hittite period
of which only cut marks and beddings of walls
are preserved, but also allow an understanding
of the relationship between a recently found
large Roman structure, which is related to large
amounts of water6, and the river.
Beyond that, the technology of 3D scanning has
much more to offer for a better understanding of
the topography in relation to the built environment.
Besides the use as an active research tool, the
method moreover became an essential instrument
5  Seeher 1999.
6  See S. Kühn 2016.
 The “Hattusa Project”
Fig. 2. The hieroglyphic inscription on the rocky surface of Nişantaşı.
for documentation as well as in heritage
conservation and preservations issues. In Hattusa
the cooperation with the team of the University
Suor Orsola Benincasa of Naples offers
capabilities in both fields.
The urban landscape of Hattusa is coined by
several publicly visible rock-cut monuments
(Fig. 1), inscriptions as well as sculptured rocks7.
Both are long recognized and are an integral part
of the research agenda ever since the sites were
known. Apart from aspects of conservation, 3D
scanning offers totally new approaches in the
documentation and to study of such monuments.
Not only an up-to-date documentation, which is
much more accurate and objective than any other
traditional method, becomes now available, but
also this data set offers new and so far rarely used
opportunities for studying the monuments in a
virtual/digital environment offering complete new
7  Seeher 2011.
19
insights for studying the individual monument
and within its urban space8. High resolution 3D
scanning allows the study of the inscriptions and
monuments in a digital environment offering the
opportunity to change the angles of observation,
the light and many other factors according to the
viewer’s wishes.
Even badly eroded inscriptions or rock-
monuments are offering aspects and hints for
new interpretations and/or reconstructions
as shown by the examples we had chosen in
Hattusa, e.g. Nişantaşı (Fig. 2) and Yazılıkaya
(Fig. 3). The digital models and the comparison
of models gained from inscriptions in
different states of preservation even partly
allow a virtual reconstruction of the erosion
processes which lead to the present status of
the monuments.
Beside the already mentioned topographical
8  See M. Dürr 2014.
 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia
Fig. 3. The rock sanctuary of Yazılıkaya: The entrance to
Chamber B.
aspects of our work, ongoing research at Hattusa
focuses on the rock inscriptions of Nişantaşı
and the Chamber 2, both in the Upper City of
the Hittite capital as well as the open-air rock
sanctuary of Yazılıkaya. For both sites we aim to
create a completely new digital documentation
which will not only support scientific research
but help to preserve the monuments for future
generations.
20
The surveyed areas
In the late summer of 2014, an initial survey
campaign was begun on the site of Hattuša.
The area where our attention was focused
upon was situated between the s.c. Südburg
and Nișantepe. This area, with the two
monumental carved hieroglyphic inscriptions
of Nișantaș and Kammer 2 in the Südburg, was
an outstanding example for the application of
particular scanning techniques capable of fully
documenting both the territorial context in
which the inscriptions had been created and both
the intricate detail of the carvings themselves.
These two inscriptions were placed, the former
on the cliff wall of a natural rocky outcrop and
the latter within an architectural structure thus
providing two very different settings for these
ancient works. Furthermore, the particularly
eroded nature of the cliff wall of Nișantaș,
offered the possibility of testing to what degree
the produced 3D models, following appropriate
processing, could effectively highlight traces
of signs, presently not visible to the naked eye
(Repola, 2016).
The surveying activities were resumed during
the beginning of the autumn of 2015 and were
specifically aimed at the 3D documentation
of the rocky complex of Yazılıkaya. The
main objective here was the experimentation
of diverse scanning techniques in order to
acquire the 3D data of the site as a whole
and the detail of the rock carvings with their
reliefs, hieroglyphic inscriptions and natural
rock outcrop modifications. This 3D data
will be used for the creation of a virtual,
single model comprising all levels of detail,
useful for safeguard, exhibitions and study (in
particular from an epigraphical point of view)
of this particularly ancient and thus heavily
weathered work of art. In fact, one of the main
problems faced by the scholars working on
the hieroglyphic inscriptions derives from the
particularly high degradation of the carved
rocky surfaces, which largely impede a correct
 The “Hattusa Project”

reading of them. The possibility of the high
resolution 3D scanning of the surfaces may be
instrumental in virtually viewing them with an
amount of detail not perceivable by the naked
human eye. The field activities continued in
October 2015 in the area of the rocky complex
of Yazılıkaya.
To be able to create such an all-inclusive model,
many diverse scanning techniques were needed
and, in some cases created from scratch, in
order acquire all the levels of detail necessary
to represent the natural setting and the man-
made carvings of Yazılıkaya as an indivisible
whole. This procedure was carried out through
the acquisition of numerous detailed scans of
each single relief and through the acquisition of
the surrounding grounds and rocky outcrop that
characterize the site; all models would then be
“fused” into a single one through a newly devised
interpolation process.
Context survey: procedures and
instruments used
Attention was placed on essentially two tasks:
- Use of a mixed array of surveying instruments:
both with innovative and with commercially
available hardware, though adequately modified, Structured light scanner (ARTEC EVA) (see Fig.
scanners;
- The creation of new surveying protocols for In order to obtain a more accurate acquisition (up
scanners, adapted to diverse archaeological to 0.1 mm) of the inscribed surfaces belonging
Fig. 4. Scanning on the rocks of Yazılıkaya with TOF them to align the point clouds of the different
laser scanner.
realities (monumental, epigraphical, artistic)
and to the different material characteristics of
the artefacts, in particular, with respect to the
surfaces (degradation phenomena and resulting
modification of material characteristics).
The difficulties encountered during the
survey were the differences in the size of the
monuments, the lighting conditions, the material
consistency and the colours of the surfaces, the
marked difference in the state of preservation of
the hieroglyphic signs. This required the use of
several kinds of instruments and different survey
procedures:
Time Of Flight (TOF) Laser Scanner (Riegl
LMS-Z 420i) (see Fig. 4).
In the case of the 3D scanning project in
Hattusa, the use of this type of scanner was
mainly in the generation of territorial models
to be interpolated with 3D models from other
scanning formats of specific monuments or
particular elements (inscriptions, architectural
elements etc.). In addition to the static types
of survey, a system (developed within the NOP
SINAPSIS project) for dynamic surveying (or
Mobile Laser Scanning), mounted on a moving
vehicle, was tested.
5a-b)
to Nișantaș and to Room 2, a procedure was
devised aimed at the attainment of a high level
of continuity of points even through a reduction
of their number. The procedure concerning the
use of the instrument was planned on location
based on the dominating geometries of the
symbols and shape of the area to be surveyed.
A number of reference geometries were defined
by juxtaposing markers on the rock, roughly in
a square grid pattern, both in an effort to avoid
more passages on over the same areas and to use
scan positions.

21
 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia
a
Fig. 5a-b. Scanning procedure with ARTEC EVA of
the walls (decorated with reliefs and hieroglyphics) of
Chamber 2 at Südburg (a) and in the Chamber A of
Yazılıkaya (b, overnight).
Scubalibre Stereoscopic Scanner (see Fig. 6a-c)
Within the NOP SINAPSIS project, a 3D
underwater and terrestrial scanning system was
developed, functioning through the processing
of multiple images, for surveying submerged
and coastal archaeological sites, which
could be integrated with standard systems of
geomorphological surveying of coasts. The
project involved the creation of a hardware
system, composed of a steel structure supporting
two GoPro Hero Black Edition cameras arranged
to guarantee the stereo parallelism between
the main optical axes. A related software was
developed capable of producing point clouds,
and to a certain extent, process such data.
The use of this scanner at Hattusa was aimed
mostly towards the survey of the inscribed or
22
a
c
Fig. 6a-b-c. The Scubalibre scanner with to GoPro
Hero Black Edition cameras: (a) the structure; (b) the
setting (c) and scanning procedures of the hieroglyphic
monumental inscription at Nişantaş.
relief carved surfaces, in order to obtain models
dedicated to analysing the volumetric ratios.
Photoscan procedures (see Fig. 7a-b)
The survey procedure with Photoscan was
limited in the acquisition of the sole natural cliff
wall comprising the Nișantaș inscription, in order
to generate a 3D base model and a 2D orthophoto
with which various interpolation and presenta-
tion procedures were implemented (augmented
reality, immersive environments etc.).
 The “Hattusa Project”

a b

Fig. 7a-b. Yazılıkaya, moments of the orthophotographic survey in Chamber B (a) and Chamber A (b).

a b

Fig. 8a-b. Structured Light scanner ScanProb LT at work at Nişantaş (a) and Yazılıkaya Chamber A (b, overnight)
by surveying critical points of hieroglyphic inscriptions.

Structured Light Scanner ScanProbe LT (see Fig. Topographical survey

8a-b)
Also the use of the structured light scanner In order to complete the general topographic
(Scansystems) during this first campaign has been map of Hattuša, the main directive was the
used exclusively for the execution of a series of inclusion of a detailed plan-view representation
experiments on the inscribed natural rock cliff of of the architectural structures placed just to the
Nișantaș, mainly aimed at the acquisition of the south of the so-called Chambers A and B of the
outlines (more or less in relief) of the hieroglyph Yazılıkaya complex.
signs present on the surface. In this area, a series One aspect that was not taken into consideration
of specific scripts in the development phase of for this work was the georeferencing of the
the model, were also tested. topographical survey. For practical purposes it

23
 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia
was decided that the new additions to the general
map be kept within the local reference system that
characterizes such map. In order to be observable
directly from the site of Yazılıkaya (in particular
from the western edge of its parking lot), three
appropriately placed datum points were available
for the task, all of them placed on the high sector
of the city of Hattuša: the Büyükkaya hill. The
datum points, materialized on the ground as metal
nails, were denominate as: 152, 153 and 155 and
were clearly indicated on the aforementioned
general map together with other datum points that
were not considered due to their more difficult
observability. The three datum points were
measured through a Leica TCR405 total station;
this procedure enabled the placement of a number
of stations throughout the site of Yazılıkaya, in a
useful manner for the subsequent operations to
be carried out here and, above all, tied to the
reference system described above.
The operations that followed were mainly
dedicated to supporting the TOF laser
scanning survey of the entire site, in particular
Fig. 9. Point Cloud of the rocks produced by PhotoScan.
24
regarding the topographic rendition of the
natural rock outcrops that characterizes it. In
order to combine the various scanned point
clouds and to provide them with coordinate
referencing and dimensioning, a number of
special reflective markers were placed, with an
appropriate distribution, throughout the area
under survey and then measured with the total
station. These enabled the union of the various
point clouds where the same marker detected
in two or more scans would act as a connection
point in a process also known as point cloud
“registration” which was carried out in post-
processing in the Riscan software provided
with the TOF laser scanner.
This operation is a well-established and quite
standard procedure for laser scanners dedicated
to topographic survey. These types of laser
scanners can also provide the “colouring” of the
point clouds and the processed meshed models
thanks to internal or external cameras that work
in unison with 3D data acquisition (coaxially or
with a certain amount of parallax respectively).
 The “Hattusa Project”

The limitation of this characteristic resides The models

in the difficulties of providing a consistent
colouring of all points in the cloud especially During the laser scan activities on the field,
where the angle of incidence of the outgoing it was already possible to generate the first
laser ray and hence the camera’s line of sight models and to start to experimentally devise
in respect to the surface to be acquired is very the necessary interpolation procedures between
acute. Since one of the main objectives of the diverse models obtained through differing
our task was to survey all surfaces of the site, scanning systems with their different resolutions
recording also their colouring in a consistent and levels of detail. All work was then completed
and, above all, highly detailed manner, the at the University labs in Naples.
images provided by the scanning device The various point clouds were aligned (merged)
would not be sufficient. It was thus decided together in accordance to the necessary procedures
to combine the laser scanner acquired models for each type of acquisition instrument (see, for
with models and textures obtained through example, the intermediate in Fig. 10a-b). With
photogrammetric means (see Fig. 9). the TOF scanner (Riegel 420), the tie points
This particular procedure was applied to the consisted in small cylinders (5 and 10 cm in
higher grounds present just east of the site’s diameter) covered with a reflective material while
Chamber B where the colouration of the point in the case of the structured light scanner, they
clouds through laser scanner (on board camera) consisted in small square 1X1 cm markers. The
had proved very difficult due to the extremely actual spatial coordinates of all tie points were
jagged nature of the rock outcrops present here.
The software employed was PhotoScan by a
Agisoft, a very versatile and practical (though
not rigorous) tool for 3D model acquisition
through photographs. Images were acquired of
the whole area both from a zenithal point of
view, through a camera mounted on a 5m high
pole and from a lower “eyesight” and more
angled point of view in order to cover the more
vertical surfaces otherwise not fully visible
directly from above. As in laser scanning,
photogrammetry also requires control points
for a proper restitution (image pair matching)
of dimensionally correct and georeferenced 3D
surfaces, it was decided to use the same points
that had been surveyed for laser scan point
cloud registration which were well visible in
the acquired images. A total of 324 images
were selected among the many acquired for the
restitution in addition to 15 control points.
The 3D models thus produced were instrumental
for the extraction of well detailed and b
chromatically consistent “textures” to be used
Fig. 10. Yazılıkaya, Chamber A (a) and Chamber B (b):
on all 3D model surfaces, whether laser scan or intermediate models in point cloud generated from
photogrammetrically derived. TOF scanning.

25
 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia

acquired through total station measurements (with
the same Leica 405 TC total station used for the
general topography work) and successively the
alignment itself was carried out with the software
provided for each instrument (e.g. RiscanPro for
the TOF instrument, through formal homology
procedures for the structured light scanner, etc.).
The points were processed for the reduction of
noise effects and for generating mesh at different
levels of resolution. The mesh management was
carried out through the Geomagic Studio software,
from which we obtained sections lines by cutting
through the model with parallel planes. The mesh
produced detailed models of the architectural
structures in their context, extrapolated from
the topographic model, produced with the TOF
scanner. Starting from mesh and section lines,
all technical drawings were produced (plans,
sections, perspective views, etc.) and imported
into the AutoCAD software to support the
representation of archaeological artefacts and
buildings within their context.
The three parts were handled ensuring different
levels of definition, specifically, the point cloud
relative to the ground, namely the areas between
the rocky outcrops and archaeological area limits,
were greatly discretized (point number reduction)
and rendered by means of a reduced number of
polygons, partly because of the existing dense
vegetation throughout the site. In order to handle
the large amount of data, the general models
of the monumental complexes were divided
into parts according to the geometries of the
rock blocks, paying particular attention to the
decorated surfaces. In order to allow a progressive
verification of all the produced information with
the different tools, the clouds generated by means
of image-based and structured light scanning
systems, referred to the decorated parts, were
processed simultaneously to the clouds relative

Fig. 11a-b-c. The scan laser TOF Model of Chamber 2, extrapolated from the topographical model of Südburg (a),
and the ARTEC structured light model of the its inscribed and decorated walls (b) are experimentally “fused” to
produce a “complex” georeferenced model.

26
 The “Hattusa Project”
Fig. 12. Yazılıkaya, Chamber A: “fusion” procedure of the georeferenced laser TOF model of the left wall (here in
background) with the structured light ARTEC model of the frieze with the procession of male deities (here in foreground).
to rocky planes on which they laid. In this way, it
was possible to optimize the geometric quality of
the models produced by the TOF scanner in order
to ensure reduced levels of approximation in
alignment procedures, for homologous points, of
the detailed models (see the “fusion” procedures
exemplified in Figs. 11-12).
Particular importance was given to the area
placed above Yazılıkaya’s Chamber B, both
during the surveying phase and during data
processing, due to the strong inconsistency of the
rocky outcrops, characterized by a high number
of cracks and splits. In this area three acquisition
systems were integrated: total station, time of
flight laser scanner, modelling from images
(photogrammetry), through the positioning on
the field of three types of markers: 2.5 by 2.5
centimetres, high contrast markers (in support
of the referencing and orthophotogrammetric
rectification phases of photos); the aforementioned
5 and 10 centimetres wide cylinders in addition
to 5 centimetres diameter round discs also of
reflective material (for the automatic alignment
of the various scan positions by means of the
RiscanPro software). Starting from the inclusion
of these three types of markers in a single
reference system, the automatic alignment the
27
general models produced with the Riegl scanner,
which, given its distance measuring range of
up to 800 meters, was able to return the entire
orographic context in addition to the summit parts
of the rocky walls (hardly detectable inside the
chambers due to their reduced width), with the
detailed models generated from the images, that
due to the handling of the system, consisting of a
camera mounted on a 5 metre high pole, allowed
an accurate survey of the complex rocky surfaces
up to the edge of Chamber B.
Given the complexity of both the architectural-
topographical models (see, for example, the
topographical model in Fig. 13) and those of the
relief’s detail, it was necessary to plan a strict
management process of the models and their
visualization through specific software to support
the phases of use of the information. In particular,
the 3D digitization campaign was aimed at
supporting the initial activities for the possible
verification of interventions for the safeguard of
the monuments, scientific study of the reliefs and
hieroglyphics and the “musealization” of the area
through new forms of digital communication.
Already during the 2014 survey campaign at
Hattuša, it was clear that a fundamental research
path would be that of the optimization, through a
 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia

Fig. 13. Preliminary polygon model of the Yazılıkaya rocky landscape.

proprietary system, of the model “visualization”
environment, within which the model (or a portion
of it) could be loaded and subjected to diverse and
simultaneous forms of manipulation, in order to
free it from its original and real position in space.
The first experiments, carried out during the first
months of 2015 in the labs in Naples, still through
the use of commercial software (Studio 3D for the
rotation, stretching and multiple static illumination
procedures (see, for example, Fig. 14); Geomagic
for the rotation and dynamic illumination
procedures), have showed how the uploading
of adequately processed models of the inscribed
rock surface of Nișantaș or of the reliefs and their

Fig. 14. Interactive upload of the models into the visualizer (right part of the first 3 lines of the hieroglyphic inscription at
Nişantaş: rotation and stretching along the z axis).

28
 The “Hattusa Project”

Fig. 15a-b. (a): Inscription of Nişantaş: shots of parallel models (derived from different scanning procedures and differently
“manipulated” in the visualizer: A=structured light ARTEC, F=Photoscan procedure, S=structured light ScanProbe LT, dyn.=dynamic
lighting, st.= static lighting, 1d…=stretching ratio along the axis perpendicular to the surface of the inscription); (b): interactive mapping
of the models related to the 1rst line of the Nişantaş inscription (A=structured light ARTEC, F=Photoscan procedure, S=structured
light ScanProbe LT, Geomagic=downloadable model in visualizer with dynamic lighting, stretch …%=stretching ratio along the axis
perpendicular to the surface of the inscription). On the top the downloadable corresponding autographies.

29
 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia

inscriptions at Yazılıkaya into an environment for
their virtual visualization where the illumination
of models could be manipulated through variable
parameters, made it possible to detect traces of
signs not observable with the naked eye.
For every typology of model, subdivided in this
way, an interactive map was created from which it is
possible to directly enter into the visualization mode,
according to a GIS platform logic (see Fig. 15a-b as
example for the first line of the Nişantaş inscription).
The interactive mapping of the models has
represented the base for the study of the signs of
the inscriptions. The visualization, illumination,
manipulation and stretching procedures per-
formed on each model have in fact enabled
the construction a series of images suitable for
reading and, consequently, to proceed to the first
partial autographies.
This work, which is still in progress, will enable
the creation of a number of processed models,
which we can call hereafter “images” (for a detail
of the Yazılıkaya reliefs see Fig. 16). Each one
of these “images”, reproducing a portion of the
model after being illuminated, rotated and/or
stretched in order to enable an enhancement and
thus optimal reading of the signs, can be accessed
and compared with the preliminary drawings of
the autography positioned above the inscription.
The data, subdivided and processed, was also
used within the communication strategies of the
results of the research.
All acquired and processed data was subsequently
used, in the production of a temporary exhibition,
in December 2015, at the University of Naples
Suor Orsola Benincasa, concerning the Italian
archaeological expeditions in Turkey. The 3D
models were used for the production of real
copies, by means of 3D milling, on which the
hieroglyphic signs were mapped dynamically
with light projections to enhance their texture and
bring them out in high relief (see, for example,
in Fig. 17 the experiment pertaining Nişantaş
presented at the international congress of Naples
in 2015). This system of representation has
allowed us to join real information, interpretive
signs and meanings, with the logical procedures

Fig. 16. Yazılıkaya, left wall, particular view of the deity model 36-37 (highlighted the traces of the hieroglyphics
connected with the second divinity).

30
 The “Hattusa Project”

Fig. 17. Real copy of the right surface of the inscription at Nişantaş (scale 2:1) with light projections to enhance the sign
strings and to display their transcription.

of study and data production by archaeologists.
Moreover, 3D models are managed by virtual ani-
mations that represent simultaneous views of the
monument at different scales of representation. In
this way, the natural contexts of the monuments
and inscriptions, are able to give a single
storytelling of places where beauty, history and
legend have led the scientific research, into a
deeper understanding of the Hittite civilization.
Some new readings of the Nişantaş
and Yazılıkaya hieroglyphic
Inscriptions
Nişantaş (Figs. N1-14)
The hieroglyphic inscription, executed in relief
on the sloping surface of one of the rocky outcrops
at the base of Nişantepe, is badly weathered. The
wide inscribed area – ca. 9m width x 2m height

Fig. N1. The NIŞANTAŞ Inscription: orthophoto with general view, line partition and order of reading of the text.

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 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia
– is divided into two parts by an original crack in
the rock. The main portion, on the right, preserves
an 11-line text, which begins top right, running
sinistroverse and continuing bustrophedic also
on the narrower and much more damaged left
stone, where only 5 lines are still partially visible,
aligning with ll. 2-6 of the right stone (Fig. N1;
for general information and references to the
main literature see Hawkins 2001).
Apart from the first and best preserved line,
the interpretation of which has since long
allowed scholars to assign the document to the
last king of Hatti Shuppiluliuma II, the relief
appears generally worn and in some parts almost
effaced as a consequence of deterioration and
erosion processes due to climate conditions
and geo-environmental factors. Under these
circumstances, it is very difficult to distinguish
and positively identify any meaningful strings
of signs directly on the spot, since their traces
appear hardly visible to the naked eye even in
favorable lighting conditions. 3D digital imaging
and modeling technologies can now prove to be
an important aid to the epigraphic analysis.
On a more practical level, the models of the
whole inscribed rock surface, subdivided into
32
several smaller sections – blocks and line
portions –, have been progressively inserted in a
digital virtual environment where it is possible to
visualize them in detail applying different special
manipulation procedures: for example rotation;
active and passive light orientation; stretching
(see Fig. 14 above and Fig. N2a-b).
As a matter of fact, the use of models generated
through different scanning techniques as described
above, implies the following immediate advantages
in order to recreate the best analysis conditions:
1) absence of disturbance effects deriving from
the rock’s superficial patina; 2) reliable rendering
of the surface’s peculiarities – including cracks,
fissures and missing flakes –; 3) minimum degree
of ambiguity in determining the 3D geometry
of the elements in relief, a prerequisite for the
identification of sign outlines and shapes.
The work is still in progress. Some preliminary
results of our first scanning campaign at
Boghazköy in 2014 were reported at a workshop
held at the Ludwig-Maximilians University
in Würzburg in March 2015 (DIP&P). In that
occasion, J.D. Hawkins – who is preparing
an edition of NIŞANTAŞ for his forthcoming
Corpus of the Hieroglyphic Luwian Inscriptions,
 The “Hattusa Project”

Fig. N2. a) models of different blocks acquired through Photoscan technology; b) map and samples of ARTEC and
Structured-light models.

vol. III – presented his own readings, regarding
large portions of ll. 1-6 and some more limited
sections of the lower lines. We are much indebted
to him for having shared his data with us, offering
us a fundamental basis for comparison of the
information collected (see also Hawkins 2015, p. 8).
The first three lines, both on the right and on
the left-hand stone, have been up-to-now almost
entirely processed, giving a satisfactory data
collection, while the subsequent, more deteriorated
lines require further trials. Overall, we were able to
identify a consistent number of signs and of recurring
signs patterns, but in many cases the meaning of
larger phrases and sentences is obscured by the
lack of coherent recognition and understanding of
certain crucial graphic sequences. Therefore, the
interpretation of the text remains at present still in its
initial stages. Future research on the models appears
however to be very promising, since the sequential
and comparative analysis of the generated images
is slowly producing useful and detailed evidence,
especially important for what concerns the
comprehension of the historical narrative contained
in the main parts of the inscription.
Here below just a few examples of the results
hitherto achieved are listed, which in general
may be summarized as follows: 1) revision and
confirmation of readings already suggested in
previous studies; 2) more accurate rendering of
the graphic reality of some signs; 3) identification
of signs and tentative proposals of new readings;
4) recognition of recurring logograms and
sequences. (see also AA 2016/1, 31-34).
Line 1
- Author’s self-presentation, aedicula and
genealogy (Fig. N3).
Models fully confirm the readings originally
proposed by Laroche 1969-70 – when he brilliantly
argued that the inscription could be attributed to
Shuppiluliuma II –, and generally accepted.

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 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia

Fig. N3. Beginning of the inscription on l. 1. A: self-presentation + royal aedicula; B: genealogy of Shuppiluliuma II.

Fig. N4. Beginning of l.1 as visible on models Photoscan – above – and ARTEC – below. The shapes of the otherwise
poorly distinguishable signs EGO – (a) on the right – and HATTI – (b) on the left – emerge clearly thanks to the use of
lighting and stretching procedures..

Fig. N5. The initial part of the narrative concerning Tudhaliya IV. A: the sequence DEUS-ni-ti á-zi/a-mi sa-tá-a; B: the
god(s); C: unclear elements at the end of the clause.

Note that the traces of the introductory sequence
EGO-wa/i-mi-a, which is rather unusual in the
Empire period corpus, are faint and not clearly
visible on the stone: indicative in this respect
are the comments by Meriggi (1975), p. 292
ad N° 43: “La prima parola è interamente
integrata. Le tracce dei segni sono troppo vaghe
per reggere una lettura”. The comparison of
different models, appropriately oriented, allows
now to clarify the graphic outline of the signs in

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 The “Hattusa Project”

question. The same thing must be observed in
relation to the sign L 196 = HATTI / HATTUSA, in
the sequence HATTI(REGIO) REX immediately
following the royal aedicula, hardly detectable
to the naked eye, but well rendered by models
(fig. N4).
- Historical section referring to Shuppiluiuma’s
father Tuthalija (Fig. N5).
As well-established by previous works (see
especially Laroche 1969-70, Steinherr 1972 and
Masson 1988), at the middle of l. 1 begins a text
referring to Shuppiluliuma’s father Tuthalija, as
indicated by the starting formula mi-sa-a tá-ti
MONS.TU MAGNUS.REX (“my father T. the
Great King”). Models confirm this interpretation.
Just a few points deserve some comments.
A. DEUS-ní-ti á-zi/a-mi [s]a-tá-a = “was loved
by the gods” (Fig. N6).
Correct readings and interpretation suggested
by Masson (1988, pp. 150-152) seem now
definitely assured. The surface under the
‘profile’ is slightly effaced, but the sign mi still
appears sufficiently clear. The first syllable of
the verb [s]a-tá-a at the end is partially covered
by a break in the stone; some traces of it become
anyway again detectable by turning (see Fig. N6
d, e) or stretching the models (fig. N6 f).
B. The divine pair (Fig. N7).
This pair of signs recurs frequently in the text,
4 times at least in ll. 1, 2 (x2) and 5, always
followed by the verb aza- – being thus the subject
of the act of love towards the king –, except that

b c

d e f

Fig. N6. Initial part of the narrative concerning Tuthalija IV: images from ARTEC (a, b) and Photoscan models (c). Detail
pictures of the sequence á-zi/a-mi sa-tá-a reflectng different visualization / manipulation strategies: active (d) and passive
(e) lighting and orientation procedures; stretching (f).

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 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia
Fig. N7. Different shots from models of the divine sequence
probably representing the Sun goddess of Arinna, as attested
in l. 1. (a), in l. 5 (b), where the thorn attached to the second
logogram is clearly visible, and twice in l. 2 (c), these latter
occurrences being more doubtful because of the badly preserved
signs and the absence, on the left stone, of the verb aza-.
in l. 2, left stone, where the context remains
unclear. The first element is surmounted by the
divine determinative.
The proposal by Masson 1988, 151 – with
reference to Steinherr 1972 – to read it DSarruma
is not supported by the analysis of models,
which leads instead to the identification of the
compound as (DEUS)SOL.SOL+RA/I, “Sun
goddess of Arinna“, already attested elsewhere in
the Empire corpus (for ex. EMIRGAZI altars and
block: cf. Hawkins 1995, 32).
The comparison of the Nişantaş occurrences
makes this reading very likely in l. 1 (see Fig.
N7a) and especially in l. 5, where the expected
“thorn” attached to the second element is also
preserved (Fig. N7b).
Less certain are the 2 attestations in the
destroverse l. 2, left and right stone, where the
36
Fig. N8. End of l.1 and tentative reconstruction of the last
preserved clause before the lacuna on ARTEC and Photoscan
models. a-b: shots with different views from ARTEC; c: shot
from Photoscan; d: stretched image from ARTEC; e: details
of the damaged signs - including the supposed sà - enhanced
in virtual area by means of a slanting light.
first element (DEUS)SOL can be still possibly
discerned, while the second element seems
to show a slightly different angular shape,
vaguely suggesting an alternative reading L.
199 TONITRUS (see Fig. N7c and N10/2).
Nevertheless, since the signs outline is altered at
this point by the presence of rock damage and
erosion on both the left and the right stone, it is
conceivable that also these less clear occurrences
may represent the same group as in ll. 1 and 5.
C. End of the section depicting the favor shown
by the gods towards Tuthalija.
The signs are unclear, suffering from the erosion
of the rock’s surface (Fig. N8). We tentatively
transcribed the phrase as wa/i-na-a [wa/]i-[s]
à-ti [u]-[n]i-[t]á giving a possible meaning “and
(the deity) looked at / recognized him with favor
/ goodness” (see AA 2016). Actually, the traces
which seem to emerge at this point are uncertain,
and the reconstructed sequence at the end might
be just an illusion due to missing rock flakes
(Fig. N8). Moreover, there would be no imperial
parallels to this formula, with the only exception
of (DEUS)-ní-ti u-ni-mi-sa in the Lidar bullae,
though with a different grammatical construction
(cf. CHLI I, 575). Therefore, even if such an
interpretation would fit the present context – note
 The “Hattusa Project”

that l. 1 ends with the sequence wa/i-a HATTI

(URBS) REX x … (see also Fig. N10/3) before
the large break between right and left stone –, it
remains very doubtful.
An alternative solution might be sought on
l. 5, where a similar sequence of signs as in
C. seems to occur in a comparable context,
probably referred to Shuppiluliuma who should
be here the subject of a first person narrative,
as indicated by the presence of the 1st sg. clitic
pronoun -mu in parallel to the 3rd sg. -na in l.1:
“… (DEUS)SOL.SOL+RA/I azata wa/i-mu-a
X-ti Y-tá “ (Fig. N9).
Traces make probable the identification of X-ti =
REX-ti – so Hawkins, DIP&P, also for the passage
on l. 1 – followed by an unclear sign Y, oddly
resembling – if not a simple a – the logographic
part of L 277 = IUDEX, complemented by the
Fig. N9. Ending phrase of the passage describing the divine
syllable -tá, apparently the 3rd sg. prt. verbal favor towards the king in l. 5, maybe parallel to that at the
ending. This would give a general meaning “the end of l. 1, right stone shown above. Shots from ARTEC
Sun Goddess of Arinna loved me and x-ed me models based on different visualization methods, with
– i.e. “made me / appointed me”? – (as) king”, passive (a) and active light (b); sketch of the visible traces
drawn from photos (c).
though not precisely defined.

Some observations about line 2
For this portion of text see what was already
pointed out recently in AA 2016 (32ff. with a
provisional autography of the right part of l. 2
in figs. 58-59).
Hawkins’ readings (DIP&P) reconstruct now
in detail the annalistic character of the narrative,
referred to Shuppiluliuma’s father in the first
part of this section at least.
The autography presented by Hawkins at the
DIP&P Workshop doesn’t consider however the
left rock surface of the inscription. Since the
narration of the military conquests of Tuthalija
must have begun on this left portion, it would be
relevant to find here some clue that permit further
progress in the interpretation. Unfortunately the
rock surface appears in general badly eroded:
the upper part of the stone, i.e. the end of the
first line on the left, is now entirely lost, whereas
some signs were still visible in Steinherr 1972.
On the extant lines the reliefs are smoothed and
shapes may be identified only through accurate
comparison with similar traces in analogous
contexts on the inscription on the right, as
exemplified schematically in fig. N10.
A provisional reconstruction of the text in l. 2/
left part (which is surely going to be modified as
the model analysis will allow better comparisons
with the right side) has been presented recently
by M. Marazzi at the Luwian Zürich Workshop
(see here Fig. N11).
In some cases comparisons offer multiple
solutions.
Note, for example, the sequence (see Figs. N10/1
and N11):

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 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia

firstly read as Luka REGIO and reconstructed as: But the sequence for Luka REGIO, which
recurs clearly at the end of l. 6 (see already the
autography of Hawkins DIP&P), looks indeed
very different (see Fig. N12), and a better
comparison for our sequence can now be found
in l. 3 and 10 (see Fig. N13).
Some related problems
Among the many toponyms that are present
in this narrative military text, linked to the
conquests of both the author of the subscription
(Shuppiluliuma) and his father (Tuthalija,
which appears not only in its initial portion but
also later, as, for example, in line 5), should

Fig. N10. Left stone, ll. 1-3. Examples of signs or sign groups with possible comparisons on the right stone.

Fig. N11. Provisional drawing of l. 2 as preserved on the left stone (presented at the Luwian Zürich Workshop). The
beginning of the line is no longer extant. This passage would anyway represent the initial part of the narration of the
conquests by Tuthalija IV with the aid of the gods, continuing on the right stone.

38
 The “Hattusa Project”

be highlighted the possible mention of VITIS it is accompanied by REGIO and Südburg,

(URBS) on line 4 (see Fig. N14) and, perhaps, where there is no determinative) represents an
line 3, left side (see Fig. N10/6). interesting evidence, especially in relation to
The citation of this toponym accompanied by the recent discussion in Schürr 2010 and 2014,
the determinative URBS (unlike Yalburt, where Oreshko 2012 and Gander 2014.

Fig. N12. The sequence Lu-ka (REGIO) in l. 6.

Fig. N13. Possible sequences in l. 3 and 10 to be compared with l. 2 left.

39
 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia

Fig. N14. The toponym VITIS(URBS): A. general view of lines 4-5 and B. only line 4 with the identification of the sign
sequence; C. detailed view of VITIS(URBS).

Yazılıkaya (Figs. Y1-9)
Almost all the analyses of the models relating
to the hieroglyphic inscriptions accompanying
the deities represented on the walls of “Chamber
A” have allowed establishing certain readings
of the signs.
In some cases, the new readings confirmed
the hypotheses and suggestions proposed by
H.G. Güterbock in its 1975 edition and in the
subsequent revision of 1982.
This is the case, for example, of the deities group
18-22, for which the 3D scanning procedures in
high definition, have confirmed without doubt
the absence of any hieroglyphic inscription (see
Fig. Y1), or of the inscription belonging to god
16a, the shape of whose signs can now be safely
ascertained (see Fig. Y2).

40
 The “Hattusa Project”
Fig. Y1. The male gods 18-22. Model in high definition from structured light ARTEC.
Fig. Y2. The signs belonging to god 16 as appear on the
structured light model compared with the readings of H.G.
Güterbock and E. Masson.
More interesting is the reading of the inscription
accompanying the relief of the divine calf 43a.
Güterbock 1975 (and later 1982) already proposed
that the inscriptions belonging to the two divine
calfs 42a and 43a were different and hypothesized
for the latter the sequence REX-VITELLUS-
MONS-ti-su-[pi], forming a pendant to 42a
(DEUS)VITELLUS ti-su-pi hu-pi-ti. On the basis
of the structured light (ScanProbe LT) scanning
model, the third sign cannot be read MONS, but
again REX, thus obtaining the sequence (REX)
VITELLUS REX ti-su[-pi] (see Fig. Y3).
41
In other cases, the study of the models confirmed
the correctness of the readings proposed by
Masson 1981.
So, for example, as far as the sequence of
inscriptions associated with deities 14-15 is
concerned, it is clear from the structured light model
that the DEUS determinative is present also at the
beginning of the third inscription. The sequence
(DEUS)pa-pa-na (“mountain divinity”), thus
obtained, refers, therefore, to all three mountain
deities 13-15, of which only the last two appear to
have their own inscription (see. Figs. Y4-5).
Interesting is also the confirmation that the supposed
sign on the right of the first “PA” (interpreted by
Güterbock as a “thorn”) of pa-pa-na, is in fact the
original sword of the following God 16, present in
the first layout of the relief and then unfinished due to
lack of space (as evidenced in Fig. Y6).
The analysis of the models has also confirmed
(in agreement with the proposal of Masson 1981)
the presence of traces of the DEUS sign on the
top of the “Kornähre” connected with God 40
(see Fig. Y7).
Among the new readings, two are of particular
interest: the cases of the inscriptions connected
with Goddesses 46 and 60.
As far as the number 46 is concerned, what
remains uncertain is whether below the
determinative for “god” there were originally
 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia

Fig. Y3. Identification of the signs belonging to the inscription 43a on the structured light model.

42
 The “Hattusa Project”

Fig. Y4. Structured light model ARTEC showing (surrounded by black squares) the sequence of the 3 God determinatives
in front of the divinities 14-15. The second inscription in front of God 15 (surrounded by a white square and reproduced
in detail on the right), (DEUS)pa-pa-na, refers to all the 3 mountain divinities.

Fig. Y5. The sequence of the 3 mountain divinities 13-15 on the extrapolated laser TOF topographic model.

other signs in addition to the two signs still visible
today. A series of drawings created towards the
end of the 1800s, before the rock underwent at
this point a heavy deterioration, indicated with
certainty yet two more.
A first analysis of the preliminary 3D models
relative to the scans acquired in 2015, indicates
that no traces are there to be found, except maybe
for a final part of what may have been the last
sign. The processed 3D model however enables
the reading of the first sign placed immediately
under the determinative for “God” as LIGNUM
(Hittite taru “wood/tree”), which very probably
must be interpreted as the phonogram /TARU/

43
 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia

indicating the female divinity Daru. The second
sign is certainly “ta” (expressed by the “donkey
head”). If the signs depicted at the end of the
1800s of the part which is missing today are to
be believed, then they can be interpreted without
much difficulty as “ki” and “tu”. The final part
of the “tu”, on the other hand, on the basis of its
original position evidenced by such drawings,
would appear visible on one of the 3D models
to the bottom right of the end of the “donkey’s”
snout (see Fig. Y8a-c).
This would configure (as already proposed in
1969 by E. Laroche, although on an incorrect
interpretation of the first two signs) the interesting
case of the presence, under a single determinative
for “God”, of the divine female dyad Daru-Takidu,
present exclusively as such in numerous cuneiform
texts concerning offering rituals: the reconstructed
reading would thus become (DEUS)TARU ta-ki-tu.
In the case of 60 it is certain that this deity
is related to a sacred mountain of the goddess
Hepat. The hieroglyphic sign indicating the
name is yet of uncertain identification. However,
a preliminary analysis of the 3D-models would
indicate a reading (DEUS)MONS.TU he/a-
pa-pi “Mountain-god Tuthalija of Hepat” (to
be understood as the epiphany of goddess
Hepat connected with the sacred mountain
Tuthalija?). The traces of the signs (with the
details) are showed in Fig. Y9a-b.
The work in progress on the 3D-models
and a comparison with the results of a new
3D-survey on the old plaster casts preserved
today in the Pergamon Museum in Berlin, will
enable a complete revision of the hieroglyphic
inscriptions accompanying the reliefs of
Yazılıkaya.

Fig. Y6. Identification of the supposed “thorn” belonging to the first PA-sign as the original layout of the sword of
the following God 16.

44
 The “Hattusa Project”

Fig. Y7. The marked traces of the original DEUS determinative on the top of the sign of “sheaf of grain”.

a b

45
 N. Bolatti Guzzo - M. Marazzi – L. Repola – A. Schachner - S. S. Tilia

Fig. Y8. (a) The inscription today (after the model; detail of the sign for LIGNUM); (b) Detail of the traces of the
original “tu” on the model; (c) The drawings towards the end of the 1800s (A-B), the reading and the reconstruction
of E. Laroche 1969 (C-D).

a b

Fig. Y9. (a) The model of the inscription (light stretched); (b) The model with the detail of the signs.

46
 The “Hattusa Project”

Bibliographical references Kühn 2016

S. Kühn, Ein monumentales Gebäude vor
CHLI I Mıhraplıkaya, in A. Schachner, Die Ausgrabungen
J.D. Hawkins, Corpus of Hieroglyphic Luwian in Boğazköy-Hattuša 2015, AA 2016/1, 12‒23.
Inscriptions, I. Inscriptions of the Iron Age,
Berlin 2000. Laroche 1969
E. Laroche, Les dieux de YAZILIKAYA, RHA
Dürr 2014 84-85, 1969, 61-109.
M. Dürr, Hattusa Virtual Environment. Eine in-
teraktive virtuelle Rekonstruktion des zentralen Laroche 1969-70
Tempelviertels als Produkt und Medium archäo- E. Laroche, Nişantaş, Anatolica 3, 1969-70, 93-98.
logischer Forschung, Dissertation Universität
Freiburg, Freiburg 2014 [Online link: http:// Masson 1981
www.freidok.uni-freiburg.de/volltexte/9528/in- E. Masson, Le panthéon de Yazılıkaya, Nouvelles
dex.html]. lectures, Paris 1981.

Gander 2014 Masson 1988

M. Gander, Tlos, Oinoanda and the Hittite E. Masson, La formule “aimé des dieux” dans
Invasion of the Lukka lands. Some Thoughts les hieroglyphes louvites, in Studi di storia e di
on the History of North-Western Lycia in the filologia anatolica dedicati a Giovanni Pugliese
Late Bronze and Iron Ages, Klio 69, 369-415. Carratelli, F. Imparati ed., Firenze, 147-154.

Güterbock 1975 Meriggi 1975

H.G. Güterbock, Die Inschriften, in K. Bittel P. Meriggi, Manuale di Eteo-Geroglifico. Parte
(ed.), Das hethitische Felsheiligtum YAZILIKAYA, II: Testi – 2a e 3a Serie, Roma 1975.
Berlin 1975, 167-187.
Schachner 2009
Güterbock 1982 A. Schachner, Das 16. Jahrhundert v. C. – eine
H.G. Güterbock, Les hiéroglyphes de Yazılıkaya, Zeitenwende im hethitischen Zentralanatolien,
A propos d’un travail récent, Paris 1982. IstMitt 59, 2009, 9-34.

Hawkins 2001 Schachner 2011

J.D. Hawkins, Nişantaş, in RlA 9/7-8, 2001,
580-581.
Hawkins 2015
J.D. Hawkins, Hittite Monuments and their
Sanctity, in Sacred Landscapes of the Hittites,
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Honour of Franca Pecchioli Daddi, Florence
2014, A. D’Agostino - V. Orsi - G. Torri eds.,
Studia Asiana 9, Firenze 2015, 1-9.
A. Schachner, Hattuscha. Auf der Suche nach
dem sagenhaften Großreich der Hethiter,
München 2011.
Schachner 2015
A. Schachner, Die Ausgrabungen in der
Unterstadt von Hattuša 2009–2014: erste
Ergebnisse, in Sacred Landscapes of the Hittites,
Proceedings of the International Conference
in Honour of Franca Pecchioli Daddi, Florence
2014, A. D’Agostino - V. Orsi - G. Torri eds.,
Studia Asiana 9, Firenze 2015, 67-81.

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Schachner in print
A. Schachner, The Historical Development
of the Urban Geography of Hattuša, the Hittite
capital City and Beyond, in M. Alparslan (ed.),
Hittite Geography, Istanbul.

Schürr 2010
D. Schürr, Zur Vorgeschichte Lykiens:
Städtenamen in hethitischen Quellen, Klio 92,
2010, 7–33

Schürr 2014
D. Schürr, Lykische Orte und ihre Namen: Drei
Namentypen, in Acts of the Eighth International
Congress of Hittitology, Warsaw, 5–9. Sept.
2011, P. Taracha–M. Kapełus (eds.), Warschau
2014, 760-762

Seeher 1999
J. Seeher, Die Ausgrabungen in Boğazköy-
Ḫattuša 1998 und ein neuer topographischer Plan
des Stadtgebiets, AA 1999, 317‒344.

Seeher 2011
J. Seeher, Gods Carved in Stone. The Hittite
Rock Sanctuary of Yazilikaya, Istanbul 2011.

Steinherr 1972
F. Steinherr, Die Großkönigsinschìchrift von
Nişantaş, IM 22, 1-13.

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