Midas Monument

Q: Who was Cybele/Matar?

Matar Kubileya (Mother of the Mountain) was the chief deity of the Phrygian religion -- a powerful mother goddess associated with nature, fertility, mountains, and wild animals. The Greeks adopted her as Cybele and the Romans as Magna Mater (Great Mother). Her worship spread from Phrygia across the Mediterranean, and in 204 BC, a sacred meteorite associated with her cult was formally brought to Rome. She became one of the most widely worshipped goddesses in the Roman Empire.

Quick Summary: The Midas Monument, known locally as Yazilkaya ("Inscribed Rock"), is the largest and most magnificent surviving religious monument of the ancient Phrygian civilization. Rising 17 metres tall and spanning 16.5 metres wide on a high plateau at over 1,300 metres elevation in the Han district of Eskisehir, this colossal east-facing rock-cut facade dates to the early to mid-7th century BC and served as the principal open-air sanctuary for the worship of the Mother Goddess Matar Kubileya (later known as Cybele). The monument's popular name derives from an Old Phrygian inscription containing the word "Midai" -- once thought to reference the legendary King Midas but now understood as a surname of the goddess. First documented by William Martin Leake in 1800, the Midas Monument is the centrepiece of a broader archaeological complex known as Midas City (Midas Sehri), which includes stepped altars, rock-cut tunnels, cisterns, additional facades, chamber tombs, and a fortified settlement that together constitute the most important religious centre of the Phrygian kingdom. The site is also a principal destination on the 506-km Phrygian Way long-distance hiking trail.

Why the Midas Monument Matters
Geography and Setting
Historical Timeline
The Monument in Detail
Midas City: The Broader Complex
The Phrygian Way
Archaeological Work
Visitor Information
Frequently Asked Questions
Sources and Further Reading

Why the Midas Monument Matters

The Largest Phrygian Rock-Cut Facade in Existence. At 17 metres tall and 16.5 metres wide, the Midas Monument dwarfs all other known Phrygian cult facades. It represents the supreme achievement of Phrygian monumental art and sacred architecture -- the equivalent of a Phrygian cathedral carved from living rock.
The Religious Heart of the Phrygian Kingdom. While Gordion served as the political capital, Midas City (Yazilkaya) was the most important religious centre from the kingdom's earliest days. The density of cult monuments, altars, and sacred infrastructure on this plateau is unparalleled in the Phrygian world, making it the most significant concentration of Phrygian religious architecture anywhere.
A Key to Understanding Phrygian Religion. The monument's inscriptions, iconography, and architectural form are among the primary sources for reconstructing the worship of Matar Kubileya (Cybele), the goddess who would later become one of the most widely worshipped deities in the Greek and Roman worlds. The spread of Cybele worship from Phrygia to Rome is one of the great stories of ancient religious diffusion.
Outstanding Geometric Art. The facade is covered with intricate geometric patterns that scholars believe replicate the decorative terracotta tiles of contemporary Phrygian timber architecture -- patterns confirmed by excavations at Gordion that recovered nearly identical terracotta tiles. This "translation" of perishable decoration into permanent stone has preserved a detailed record of Phrygian design aesthetics that would otherwise be entirely lost.
An Active Archaeological Research Site. From William Martin Leake's first documentation in 1800 through Albert Gabriel's pioneering excavations (1937--1939), French Archaeological Institute campaigns, and recent Turkish excavations, the monument and its surrounding complex continue to yield new findings about Phrygian civilization.
A Gateway to the Phrygian Valley. The Midas Monument serves as the most accessible and visually dramatic entry point to the broader Phrygian Valley, a landscape dotted with dozens of rock-cut monuments, settlements, and tombs spanning from the 8th century BC through the Byzantine period.

Geography and Setting

The Midas Monument and Midas City occupy a prominent high plateau in the village of Yazilkaya (not to be confused with the Hittite site of the same name near Hattusa), in the Han district of Eskisehir Province. The plateau sits at an elevation of over 1,300 metres above sea level, rising approximately 70 metres above the surrounding terrain of the Phrygian Valley, creating a natural acropolis visible from great distances.

The geological foundation is volcanic tuff -- consolidated ash from ancient eruptions that occurred millions of years ago -- the same material that characterizes the entire Phrygian Valley landscape and, famously, the fairy chimneys of Cappadocia. The tuff is soft when freshly exposed, allowing it to be carved with iron tools, but hardens significantly over time through exposure to air and moisture (a process called case-hardening). This unique property made it ideal for creating monumental facades and complex subterranean spaces -- and explains why the Phrygians, rather than building freestanding temples, chose to carve their sacred architecture directly from the landscape.

The plateau's position is strategically significant: it offers commanding views over the surrounding valleys and approach routes in all directions, making it both a naturally defensible position and a visually dramatic setting for religious architecture. The Phrygians deliberately chose elevated, visible locations for their most important cult monuments, reinforcing the theological belief that the Mother Goddess Matar dwelt within the rock of the mountains. The monument's east-facing orientation was almost certainly deliberate, catching the first light of dawn -- a connection to solar symbolism in Phrygian religion.

The climate is high-altitude continental steppe: summers are warm (25--30 C) but nights can be cool even in July; winters are cold with snow and ice, and temperatures can drop below -10 C. The plateau is exposed to wind year-round, particularly in winter and spring. Late spring (May--June) and early autumn (September--October) provide the best conditions for exploration and photography.

Historical Timeline

Phrygian Kingdom: The Religious Capital (ca. 9th--7th Century BC)

The Phrygians established their kingdom in central-western Anatolia after the collapse of the Hittite Empire (ca. 1200 BC), migrating from Thrace and settling in the region around the Sakarya (Sangarios) River. Their political capital was Gordion (near modern Polatli, southwest of Ankara), famous as the city of King Midas and the Gordian Knot legend. However, from the very beginning of the Phrygian state, the highland plateau at Yazilkaya served as the primary religious centre -- the Delphi of the Phrygian world.

The Phrygians believed that their chief deity, the Mother Goddess Matar Kubileya, resided within the living rock of the mountains. Rather than constructing freestanding temples as the Greeks did, they carved monumental facades into cliff faces and outcrops to create symbolic temple fronts -- doorways through which the goddess could emerge to receive the worship of her devotees. These facades, combined with stepped rock-cut altars for offerings and libations, formed the core of Phrygian religious practice.

The Midas Monument, dating to the early to mid-7th century BC, was the grandest of these sacred facades and immediately established itself as the largest and most elaborately decorated. Its construction required significant resources -- skilled stonemasons, scaffolding, iron tools -- indicating royal patronage and kingdom-wide religious importance.

The "Midas" Inscription: Name and Controversy

The monument's popular name derives from an Old Phrygian inscription on the upper left portion of the facade, which contains the word "Midai". The inscription also mentions a figure named Ates, possibly a priest or dedicant. Early scholars interpreted "Midai" as a reference to the legendary King Midas, leading to speculation that the monument was his tomb or funerary memorial. However, modern epigraphy has demonstrated that:

"Midai" is not a personal name but rather a surname or epithet of the Mother Goddess Matar -- the full reading being "Matar Midai" (Mother Midai)
Other inscriptions on the monument explicitly mention "Matar" (Mother), confirming its dedication to the goddess
The monument is definitively a cult facade, not a tomb -- the shallow niche could not have served as a burial chamber
The association with King Midas, while historically evocative, is a scholarly error that has proven remarkably persistent in popular literature

Despite the correction, the popular name "Midas Monument" has persisted in both academic and tourist literature and is likely permanent.

Cimmerian Invasion and Aftermath (ca. 696--650 BC)

The devastating Cimmerian invasion of ca. 696--695 BC destroyed the Phrygian kingdom's political independence. According to ancient sources (Strabo, Eusebius), King Midas committed suicide -- reportedly by drinking bull's blood -- rather than face capture. However, Phrygian culture and religion continued under successive Lydian and Persian overlordship. The cult monuments at Yazilkaya were not destroyed; they continued to function as sacred sites throughout the Lydian period (ca. 680--546 BC) and likely into the early Persian period, demonstrating the resilience of Phrygian religious tradition even after political collapse.

Hellenistic and Roman Periods (334 BC -- 4th Century AD)

After Alexander the Great's conquest, the Phrygian heartland passed through Seleucid, Galatian, and ultimately Roman control. During these periods, the active creation of new rock-cut cult facades ceased, but the existing monuments likely continued to receive some form of veneration. The worship of Cybele (the Hellenized and Romanized version of Matar) spread dramatically across the Mediterranean world, eventually becoming one of the official cults of the Roman Empire -- a remarkable journey from mountain rock facades in central Anatolia to temples in Rome itself. The plateau also shows evidence of reuse and modification in later periods, including some Byzantine-era alterations.

Post-Antiquity and Rediscovery

The religious significance of the Midas Monument was lost during the medieval period. Local inhabitants continued to use the plateau's caves and cisterns for storage and shelter, but the Phrygian inscriptions were no longer understood. The modern rediscovery of the monument began in 1800, when British traveller and antiquarian William Martin Leake became the first Western scholar to document the site and make a preliminary sketch. In 1834, the French architect and explorer Charles Texier produced a more detailed and accurate engraving that introduced the monument to a wider European audience and sparked scholarly interest in Phrygian civilization.

The Monument in Detail

Overall Form and Dimensions

The Midas Monument is carved into the east-facing cliff of the citadel rock on the Yazilkaya plateau. Key measurements:

Height: 17 metres (approximately 56 feet) -- roughly the height of a five-story building
Width: 16.5 metres (approximately 54 feet)
Orientation: East-facing, catching the morning sun -- likely a deliberate choice connected to solar symbolism in Phrygian religion and designed to maximize the visual impact of the facade at dawn

The facade takes the form of a pedimented temple front -- that is, it imitates the entrance of a gabled building with a triangular pediment at the top. This is a purely symbolic architectural form: there is no actual building behind the facade, only the solid rock of the cliff. The "temple" exists entirely as surface decoration, creating the illusion of a monumental entrance to the goddess's dwelling within the mountain.

The Central Niche

At the centre of the facade, at ground level, is a shallow rectangular niche measuring approximately 1.65 metres high, carved into the rock face. This niche was not a doorway -- it is too shallow (approximately 30 cm deep) to serve as an entrance to any interior space. Instead, it served as an "idol niche": a sacred alcove in which a cult statue or image of the Mother Goddess Matar would have been placed during religious ceremonies.

The niche entrance is framed to suggest a pair of wooden doors, complete with carved imitation hinges, panels, and hardware. This architectural trompe-l'oeil reinforced the symbolic fiction that the niche was a gateway into the goddess's divine dwelling within the rock -- a threshold between the mortal world and the realm of the divine.

Geometric Decoration

The most visually striking aspect of the Midas Monument is its elaborate geometric surface decoration, which covers virtually the entire facade in a dense, textile-like pattern. The designs include:

Meanders (Greek key patterns) in multiple variations and scales
Lozenges and diamond patterns arranged in repeating grids
Interlocking geometric designs that create a complex visual field reminiscent of woven textiles or embroidered fabrics
Rectilinear frames that divide the facade into panels, each filled with different geometric motifs

Scholars believe these geometric patterns replicate the decorative terracotta revetment tiles that were used to adorn the exposed wooden beams and mudbrick walls of contemporary Phrygian palaces and elite buildings at Gordion and other sites. Excavations at Gordion have recovered actual terracotta tiles with nearly identical geometric patterns, confirming this interpretation. The Midas Monument thus serves as a permanent stone record of a decorative tradition that was otherwise executed in perishable materials -- a Phrygian Rosetta Stone of design.

The Pediment and Acroteria

The triangular pediment at the top of the facade is crowned by carved acroteria (ornamental finials at the apex and corners). These elements complete the illusion of a temple front and are among the best-preserved features of the monument. The acroteria's design -- likely representing palmettes or volutes -- connects Phrygian decorative tradition to broader Anatolian and early Greek architectural ornament.

Inscriptions

Multiple Old Phrygian inscriptions are carved on the monument:

The famous "Midai" inscription on the upper left, which gave the monument its popular name and mentions the dedicant Ates
Several other inscriptions that include the word "Matar" (Mother), confirming the religious dedication to the Mother Goddess
Additional short texts that are still being studied by epigraphers specializing in the Phrygian language -- a partially deciphered script that makes each new reading potentially significant

The inscriptions are written in the Phrygian alphabet, which was derived from the Phoenician script (much like the Greek alphabet) and is read from left to right. The Phrygian language remains only partially deciphered, belonging to the Indo-European family but with many unresolved vocabulary and grammar questions.

The Phrygian Inscription Corpus: Epigraphic Details

The inscriptions on the Midas Monument and surrounding facades constitute one of the most important corpora of Old Phrygian writing. Specific epigraphic details include:

The Main Inscription (M-01a): The principal inscription on the upper-left panel of the facade reads (in transliteration): "Ates arkiaevais akenanogavos Midai lavagtaei vanaktei edaes" -- a dedicatory formula that has been partially translated. The key terms include:

Ates -- the dedicant's name (possibly a priest or king)
arkiaevais -- interpreted as a title or epithet, possibly meaning "chief priest"
Midai -- the epithet of the goddess
lavagtaei -- related to Greek "lawagetas" (leader of the people), suggesting a military-religious title
vanaktei -- related to Greek "wanax" (lord/king), indicating royal authority
edaes -- a verb form meaning "dedicated" or "set up"

The Phrygian Alphabet: The Phrygian script contains approximately 19-20 distinct letters, most borrowed from the early Greek alphabet (itself derived from Phoenician). Unique Phrygian letter forms include a reversed "E" shape and certain vowel signs not found in contemporary Greek. The script was used from approximately the 8th century BC to the 3rd century BC for Old Phrygian, after which Neo-Phrygian inscriptions used the Greek alphabet.

Comparative Inscriptions at Other Facades:

The Areyastis Monument (another facade near Midas City) bears an inscription mentioning "Matar Areyastin" (Mother Areyastis), demonstrating that the goddess was worshipped under multiple epithets at different facades.
The Bahsayis facade inscription references specific ritual acts, providing rare evidence for Phrygian ceremonial vocabulary.
At least 10 distinct Old Phrygian inscriptions have been documented within the Midas City complex alone, forming the densest concentration of Phrygian writing at any single site.

Phrygian Religion: The Cult of Matar in Context

Understanding the religious context of the Midas Monument requires examining the broader Phrygian theological system:

The Nature of Matar Kubileya:

Matar was not merely a fertility goddess; she was a cosmic deity associated with mountains, wild nature, lions, birds of prey, and the regenerative power of the earth.
Her name "Kubileya" likely derives from "kubela" meaning "mountain" or "summit," reinforcing her identification with elevated places and rock-carved sanctuaries.
Archaeological evidence from Gordion shows that her worship involved musical processions featuring drums, cymbals, and flutes -- the same instruments later associated with the ecstatic Cybele cult in Greece and Rome.

The Facade as Theological Statement:

The rock-cut facade represents the goddess's dwelling place within the mountain. The niche is a symbolic doorway through which she could be accessed by worshippers.
The geometric patterns covering the facade may represent the cosmic order maintained by the goddess -- the regular, repeating patterns symbolizing divine harmony.
The east-facing orientation connected the monument to sunrise and renewal, linking the goddess to agricultural cycles and seasonal rebirth.

Ritual Practice at the Facade:

Worshippers approached the facade and made offerings at the stepped altars located nearby, not at the facade itself.
The cult image placed in the niche during festivals may have been a wooden xoanon (archaic carved wooden statue), which would explain why no stone cult statue has been found -- wood does not survive in the archaeological record.
Evidence from Gordion suggests rituals included feasting (large quantities of food preparation vessels found in ritual contexts) and libation (pouring of liquids, possibly wine or milk, at the stepped altars).
The annual festival at Midas City likely drew pilgrims from across the Phrygian kingdom, much as Delphi drew Greeks from across the Hellenic world.

The Journey from Matar to Cybele:

The Greek adoption of the Phrygian goddess began in the 7th-6th centuries BC, when Greek colonists in western Anatolia encountered Phrygian religious practices.
The first Greek temple of the "Mother of the Gods" (Meter Theon) was built in Athens in the Agora during the 5th century BC, designed as a small structure called the Metroon.
In 204 BC, during the Second Punic War, Rome formally imported the cult of Cybele/Magna Mater by bringing a sacred black meteorite from Pessinus (another major Phrygian cult center) to Rome. A temple was built on the Palatine Hill.
The ecstatic self-castration of Cybele's priests (the Galli) in the Roman period represents a dramatic transformation of what was originally a more restrained Anatolian mountain cult.

The Gordion Connection: Terracotta Tiles and Design Parallels

The relationship between the Midas Monument's decoration and actual Phrygian architecture is confirmed by archaeological evidence from Gordion:

Terracotta Revetment Tiles from Gordion:

Excavations at the Megaron buildings (large halls) of Gordion's citadel, particularly the Megaron 3 and Terrace Building, recovered hundreds of painted terracotta tiles dating to the 8th-7th centuries BC.
These tiles display meander patterns, lozenges, chevrons, and interlocking geometric motifs nearly identical to those carved on the Midas Monument facade.
The tiles were originally attached to the exposed wooden beams and eaves of the timber-frame buildings, protecting the wood from rain while adding decorative splendor.
The color scheme of the Gordion tiles includes red, blue, black, and cream/white -- suggesting that the Midas Monument facade may originally have been painted in polychrome to match the colorful originals it imitated.

The King Midas Tomb (Tumulus MM) at Gordion:

Excavated in 1957 by Rodney S. Young of the University of Pennsylvania Museum, the Great Tumulus (Tumulus MM) at Gordion is 53 metres high and 300 metres in diameter -- the largest ancient tumulus in Anatolia.
The burial inside contained a male individual approximately 60-65 years old at death, along with 166 bronze vessels, the largest collection of Iron Age bronze vessels ever found.
Wooden furniture in the tomb (three inlaid serving tables and two cedar screens) displayed geometric patterns in inlaid wood that closely match the patterns on the Midas Monument facade, confirming a unified Phrygian decorative vocabulary across media.
Dendrochronological dating of the tomb's timber chamber gives a date of approximately 740 BC for the wood cutting, placing the burial in the late 8th century BC -- consistent with the reign of a historical King Midas mentioned in Assyrian sources as "Mita of Mushki."

Comparative Scale of Phrygian Cult Facades: The Midas Monument's dominance over other Phrygian facades is clear from comparative measurements:

Facade	Height	Width	Location
Midas Monument	17 m	16.5 m	Yazilkaya/Han
Areyastis Monument	~8 m	~7 m	Near Yazilkaya
Maltash Monument	~7 m	~5 m	Seyitgazi area
Aslantash (Lion Stone)	~6 m	~4 m	Near Deger
Bahsayis	~5 m	~4 m	Phrygian Valley

The Midas Monument is thus more than twice the height of any other known Phrygian facade, representing a quantum leap in monumental ambition.

The Phrygian Language: Current State of Decipherment

The Phrygian language, preserved on the Midas Monument and other sites, remains one of the important partially-deciphered languages of the ancient world:

Classification:

Phrygian belongs to the Indo-European language family, most closely related to Greek (both deriving from a hypothetical "Greco-Phrygian" ancestor language that split before 2000 BC).
Key shared features with Greek include the treatment of Proto-Indo-European labiovelars and certain verb forms, supporting the ancient tradition (recorded by Herodotus) that the Phrygians migrated from the Balkans (Thrace/Macedonia).

Corpus Size:

Approximately 395 Old Phrygian inscriptions (8th-3rd centuries BC) are currently known, most from central-western Anatolia.
Approximately 120 Neo-Phrygian inscriptions (1st-3rd centuries AD) survive, written in the Greek alphabet and mostly consisting of funerary curse formulas.
The Midas City complex alone has produced approximately 10-12 Old Phrygian inscriptions, making it one of the richest single sources for the language.

Key Vocabulary Understood:

Matar = Mother (cognate with Latin "mater," Greek "meter")
Ates/Attis = Father/personal name (related to the cult figure Attis)
edaes = dedicated/erected (a verb form)
vanaktei = to the king (dative case, cognate with Greek "wanax")
proitavos = first/foremost (cognate with Greek "protos")

Unsolved Problems:

Many words remain untranslatable, particularly religious and administrative vocabulary specific to Phrygian culture.
The grammar is only partially reconstructed -- verb conjugation patterns and noun declension systems are incomplete.
New inscription discoveries continue to provide data for advancing decipherment.

Midas City: The Broader Complex

The Midas Monument is the centrepiece of a larger archaeological site known as Midas City (Midas Sehri), which occupies the entire Yazilkaya plateau and its surrounding cliffs. This complex represents the most important religious centre of the Phrygian kingdom and contains a remarkable concentration of rock-cut architecture.

Stepped Altars

Among the most important structures on the plateau are the monumental stepped altars carved into the rock. These multi-tiered platforms were used for making offerings and conducting rituals in honour of the Mother Goddess. The altars are large enough to have accommodated significant gatherings of worshippers and likely served as the primary locations for animal sacrifice, libation pouring, and other ceremonial activities. Their rock-cut construction ensured permanence -- these altars have survived virtually intact for over 2,700 years.

Additional Rock-Cut Facades

Several other rock-cut facades are found in the vicinity of the Midas Monument:

Smaller cult facades with simpler decoration, possibly dedicated to lesser aspects of the goddess or to other deities in the Phrygian pantheon
Unfinished facades that provide invaluable evidence for the carving techniques used by Phrygian stonemasons -- they reveal the sequence of work, from rough blocking to finished detail, essentially preserving the construction manual
Facades of different stylistic periods, allowing scholars to trace the evolution of Phrygian rock-cut architecture over several centuries, from simpler early examples to the fully elaborated Midas Monument

Rock-Cut Tunnels

The plateau contains two large rock-cut tunnels covered with vaults. These tunnels provided access to different areas of the complex and may have played a role in religious processions or ritual movement through the sacred landscape -- the faithful moving through darkness before emerging into the light of the goddess's presence.

Cisterns and Water Management

On the lower terrace to the southwest, large cisterns were carved into the rock to collect and store rainwater. In the semi-arid highland environment, water management was critical for sustaining both the resident population and the pilgrims who visited the religious centre. The cisterns demonstrate sophisticated hydraulic engineering, with carefully carved channels to direct rainfall into the storage chambers.

Chamber Tombs

The steep volcanic cliffs surrounding the settlement contain numerous chamber tombs carved into the rock. These burial chambers, some with elaborately carved facades echoing the cult facades in miniature, served the community that maintained the religious complex. The tombs range in date from the Phrygian through Roman periods and provide evidence for the long continuity of settlement on the plateau.

The Fortified Settlement

Beyond its religious function, Midas City was also a fortified settlement. The plateau's natural defensibility was enhanced by rock-cut defences, and the caves, tunnels, and cisterns could sustain a population during sieges. This dual religious-military function is characteristic of Phrygian highland centres and reflects the volatile political conditions of the Iron Age Anatolian plateau.

The Phrygian Way

The Phrygian Way (Frig Yolu) is a 506-km long-distance hiking trail that connects Phrygian archaeological sites across Afyonkarahisar, Eskisehir, and Kutahya provinces. Midas City/Yazilkaya is one of the trail's principal destinations and highlights.

The trail passes through a remarkable landscape of volcanic tuff formations, rolling steppe, pine forests, and traditional Anatolian villages, connecting sites including:

Midas City (Yazilkaya) -- the grandest Phrygian cult centre
Aslankaya (Lion Rock) -- a lion-carved monument near Deger, Afyonkarahisar
Ayazini -- an extensive rock-cut settlement and Byzantine church complex
Deger and surrounding Phrygian valley monuments
Numerous smaller rock-cut facades, tombs, and settlements

For hikers, Midas City provides both a culturally rich destination and a dramatic landscape setting. The trail is waymarked and can be walked in segments. Detailed trail information is available from Phrygian Way associations and hiking guides.

Archaeological Work

William Martin Leake (1800)

British traveller and antiquarian William Martin Leake (1777--1860) was the first Western scholar to document the Midas Monument. During his journey through Anatolia in 1800, Leake visited the plateau, noted the carved facade and inscriptions, and produced a preliminary sketch. His account brought the monument to the attention of the European scholarly community for the first time.

Charles Texier (1834)

French architect, archaeologist, and explorer Charles Texier (1802--1871) visited the site in 1834 and produced detailed engravings of the Midas Monument that were far more accurate than Leake's initial sketch. Texier's publication introduced the monument to a wider audience and established its place in the canon of ancient Anatolian art. His meticulous architectural drawings remain useful references.

Albert Gabriel (1937--1939)

Art historian Albert Gabriel (1883--1972) conducted the first systematic archaeological excavations at Yazilkaya in 1937--1939, establishing the scientific foundation for understanding the site. Gabriel's campaigns documented the full extent of the plateau's archaeological features and provided the first comprehensive analysis of the monument's architecture and decoration.

French Archaeological Institute Campaigns

The French Archaeological Institute (Institut Francais d'Archeologie) conducted excavation campaigns at Midas City immediately before and after the Second World War. These campaigns uncovered much of the plateau's settlement archaeology, including the tunnels, cisterns, and additional facades, and established the basic typology of Phrygian rock-cut architecture that scholars still use today.

Eskisehir Museum Excavations (1990s)

In the 1990s, the Eskisehir Museum directed further archaeological investigations at the site. These campaigns focused on previously unexplored areas and contributed new data on the settlement's chronology, domestic architecture, and development through multiple periods.

Ongoing Research

The Midas Monument and Midas City remain active archaeological research sites. Turkish and international scholars continue to study the inscriptions (particularly as Phrygian language decipherment advances), architectural typology, and settlement history of the complex. The site is also the focus of heritage management and conservation discussions, given the fragility of the tuff material and the increasing visitor numbers. Efforts are underway to balance accessibility with preservation.

Conservation Challenges and Material Science

The volcanic tuff from which the Midas Monument is carved presents specific conservation challenges that have been the subject of ongoing scientific study:

Weathering Processes:

Aeolian erosion (wind-driven sand abrasion) has gradually worn the geometric decoration, particularly on the lower portions of the facade exposed to ground-level wind currents carrying grit.
Freeze-thaw cycling at over 1,300 metres elevation causes fracturing of the tuff surface during winter, as water penetrates pores and expands upon freezing.
Biological colonization by lichens, mosses, and plant roots progressively loosens surface layers. Root intrusion from above the cliff face poses a particular threat.
Salt crystallization from groundwater migration through the rock matrix causes surface flaking (haloclasty) in certain areas.

Case-Hardening: The tuff material undergoes natural case-hardening over time -- the exterior surface becomes harder than the interior as dissolved minerals migrate outward and precipitate at the surface. This creates a protective "shell," but once this shell is breached (by weathering or vandalism), the softer interior erodes rapidly, creating deeply undercutting cavities.

Documentation and Monitoring:

3D laser scanning and photogrammetric surveys have been conducted to create precise digital records of the facade's current condition, allowing future comparison and deterioration tracking.
The detailed geometric patterns carved on the facade are measured at depths of 3-8 cm into the tuff surface, meaning that erosion of even a few centimetres would result in permanent loss of decorative detail.
Climate monitoring stations on the plateau record temperature, humidity, wind speed, and rainfall to understand the environmental forces acting on the monument.

Visitor Information

Getting There

By Car from Eskisehir: Drive southwest on the Afyon highway and turn off at Han district. From Han, follow signs to Yazilkaya village (approximately 70 km total from Eskisehir, about 1--1.5 hours). The final approach is on a paved road with adequate signage.
From Afyonkarahisar: Drive north toward Eskisehir and turn off at the Han/Yazilkaya junction (approximately 90 km, 1.5 hours).
From Ankara: Approximately 280 km, about 3.5 hours via Polatli and Eskisehir. Consider combining with a visit to Gordion (Phrygian political capital, near Polatli) for a comprehensive Phrygian experience.
Public Transport: Minibuses run from Eskisehir to Han; from Han, local transport or taxi to Yazilkaya village. Service frequency is limited; confirm schedules locally.

Best Time to Visit

Late Spring (May--June) and Early Autumn (September--October) offer the best conditions: warm days, cool evenings, and clear skies ideal for photography. The steppe wildflowers in May add colour to the volcanic landscape.
Summer is warm but manageable; the altitude moderates the heat compared to lowland cities. Midday sun can be intense on the exposed plateau.
Winter can bring snow and ice, making the plateau paths slippery and potentially hazardous. However, the monument looks dramatic against winter skies, and snow-covered tuff formations create an otherworldly atmosphere.

Time Needed

Minimum: 1.5--2 hours for the Midas Monument itself plus a quick circuit of the plateau's main features.
Recommended: 3--4 hours to explore the full Midas City complex, including stepped altars, tunnels, cisterns, chamber tombs, and the fortified settlement perimeter.
Full Day: Combine with other Phrygian Valley sites (Aslankaya, Ayazini, Deger) for a comprehensive tour of Phrygian civilization.

Practical Tips

The site has basic visitor facilities including a small parking area, some interpretive signage, and seasonal vendors. A modest entrance fee may be charged (check locally with the Eskisehir Midas Yazilkaya Archaeological Site administration).
Sturdy walking shoes are essential -- the plateau has uneven rock surfaces, steps carved into stone, and steep drops near cliff edges.
Bring water, sunscreen, and a hat -- there is limited shade on the exposed plateau, and the tuff rock reflects heat.
The monument faces east and is best photographed in morning light when the rising sun illuminates the facade's geometric details, creating dramatic shadow patterns that emphasise the carved decoration. Late afternoon light is also excellent for the western-facing features of the plateau.
The Eskisehir Midas Yazilkaya Archaeological Site is officially registered as a museum-site by the Turkish Ministry of Culture.
Allow time to simply sit on the plateau and absorb the panoramic landscape -- the setting, with its rolling steppe, volcanic outcrops, and vast sky, is as important as the monuments themselves.
Bring a flashlight for exploring the rock-cut tunnels, which can be quite dark inside.
The village of Yazilkaya has limited but hospitable facilities; basic refreshments are available.

Frequently Asked Questions

Is this the tomb of King Midas?

No. Despite its popular name, the Midas Monument is definitively not a tomb. It is a cult facade -- a symbolic temple front carved into rock to honour the Mother Goddess Matar (Cybele). The central niche is too shallow (approximately 30 cm deep) for a burial and was designed to hold a cult image, not a sarcophagus. The name "Midai" in the inscription is now understood to be an epithet of the goddess, not a reference to the legendary king. King Midas's actual burial site, if it was at Gordion, is represented by the Great Tumulus (Buyuk Tumulus) at Gordion, excavated in 1957.

What is the difference between this Yazilkaya and the Hittite Yazilkaya?

The name "Yazilkaya" (Inscribed Rock) is used for two entirely different archaeological sites in Turkey. This site, near Eskisehir, is a Phrygian monument dating to the 7th century BC. The other, more widely known Yazilkaya is a Hittite open-air sanctuary near Hattusa (Bogazkoy/Corum), dating to the 13th century BC and featuring processional relief sculptures of Hittite deities. They are separated by roughly 300 km and 600 years and represent completely different civilizations and religious traditions.

How was such a large facade carved?

Phrygian stonemasons worked from the top down, using scaffolding (likely wooden platforms anchored in the rock with sockets that are still visible in the cliff face). The soft volcanic tuff could be worked with iron chisels and picks when freshly exposed. Unfinished facades at the site reveal the carving sequence: first, the overall form was blocked out; then the geometric decoration was added from top to bottom; finally, the central niche and its framing were completed. The entire process may have taken years.

Who was Cybele/Matar?

Matar Kubileya (Mother of the Mountain) was the chief deity of the Phrygian religion -- a powerful mother goddess associated with nature, fertility, mountains, and wild animals. The Greeks adopted her as Cybele and the Romans as Magna Mater (Great Mother). Her worship spread from Phrygia across the Mediterranean, and in 204 BC, a sacred meteorite associated with her cult was formally brought to Rome. She became one of the most widely worshipped goddesses in the Roman Empire.

Can I enter the caves and tunnels?

The two large rock-cut tunnels on the plateau are generally accessible to visitors, though they may be dark inside (bring a flashlight). Some chamber tombs and smaller caves are also open. Exercise caution in any subterranean spaces -- surfaces may be uneven, ceilings low in places, and there are no handrails or artificial lighting.

Is Midas City connected to the Phrygian Way hiking trail?

Yes, Midas City/Yazilkaya is one of the principal destinations on the 506-km Phrygian Way (Frig Yolu) long-distance hiking trail. The trail connects Phrygian sites across Afyonkarahisar, Eskisehir, and Kutahya provinces and can be walked in segments. The section approaching Midas City offers some of the trail's most scenic walking through volcanic tuff landscapes.

What should I combine this visit with?

For a comprehensive Phrygian experience, combine Midas City with visits to:

Aslankaya (Lion Rock monument, near Deger, Afyonkarahisar) -- a striking lion-carved cult facade
Ayazini (rock-cut settlement and Byzantine churches, Ihsaniye, Afyonkarahisar)
Gordion (Phrygian political capital, near Polatli, Ankara) -- further afield but essential for a complete understanding of Phrygian civilization; includes the Great Tumulus of King Midas and the Gordion Museum
Eskisehir city -- a vibrant university city with excellent museums, the Porsuk River promenade, and Odunpazari historic district

Is the site accessible for visitors with mobility limitations?

The plateau terrain is uneven, rocky, and involves climbing carved stone steps. The Midas Monument itself can be viewed from a relatively flat area at its base, but exploring the broader Midas City complex requires moderate physical fitness and sure-footedness. The site is not wheelchair accessible.