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"Hostilities" were even reported at European rug meetings.Isolated from the public debate, I could only react to the book itself.It was gratifying that agreed to publish my lengthy article in its entirety, along with interminable footnotes.
The visual presentation itself was confusing, since sketches of tangible clay artifacts, motifs from modern kilims, and undocumented wall-painting motifs were all mixed together. There was plenty of time for Mellaart's ideas and primary images to become familiar, convenient and comfortable.
The clues were so obvious and so plentiful, if one simply looked.
With my suspicions verified by Mellaart's own early reports and my conclusions no longer in doubt, I decided to prepare a summary of my findings.
Deities and their animal entourages were now everywhere. How could remnants of 8,000-year-old wall paintings, even the smallest fragments, have been destroyed without photos?
Indeed, an elaborate new Neolithic Mother Goddess cult flourished where none had existed before. The atal Hyk paintings were, after all, among the world's earliest architectural murals.
It suddenly focused on the credibility of 44 startling new drawings of "reconstructed" wall paintings.