Coming to Anatolia in waves of immigration beginning at the end of the 2 nd millennium BC 1 , the Phrygians have adopted the thousands-of-years-old, deeply-rooted Anatolian belief in the Mother Goddess, whom they simply called Matar 'mother' 2. They have created cult monuments for this goddess consisting of rock-carved façades, altars, and niches in their new homeland in Central Anatolia. Reliefs depicting the Mother Goddess are seen on the steles found in the capital of Gordion and within the borders of Ankara in the center of niches and on some façades of these monuments. In addition to these depictions, a small number of statues of the Goddess are found at the Yazılıkaya / Midas Fortress in the Highlands of Phrygia 3 , in the capital of Gordion 4 and in Ankara and its surroundings 5 in Central Phrygia, and to the east of the Kızılırmak (Halys) River in the strata of the Phrygian settlement of Boğazköy 6. Apart from small details, Matar is shown with the same iconographic characteristics in all of her anthropomorphic depictions. In most of the steles, the Goddess is shown in a framed pediment. This architectural frame is a linear-style depiction of the schema seen on the façades of the Mother Goddess's sanctuary or temple 7. Using schematic imagery synthesizing Anatolian culture, the Goddess is pictured as a mature woman, reflecting an Anatolian mother-figure, in both reliefs and free-standing statues. She is pictured straight on and standing with a high polos on her head, a dress stretching to her feet, and a wrap hanging down from her shoulders. Her arms are connected to her body and usually bent at the elbow. In most cases the goddess is portrayed holding a bird of prey and a bowl, and sometimes depicted next to lions. Of all of Matar's anthropomorphic depictions, only in one group found in situ inside