It is the same with the two silver jugs which accompany the two gold vases: they have a common origin, and an equal importance for oriental toreumatology. One of them, unfortunately, was broken, and we do not possess all the pieces; but we have enough to be sure that it resembled the one that has come to us intact. The bowl is covered to two-thirds of its height with longitudinal rows of fruits, sitting one on the other like the scales of a pine cone. Here again it is not ordinary repoussé work, but the outline of each scale has been marked round and the metal then pressed down from outside to inside. The smooth belt which lies between the embossing and the rise of the neck carries round the whole of the vase a single line of hieroglyphics expressing a wish for the eternal life and prosperity of the royal cupbearer, Toumoumtaouneb, then a vignette and the owner in worship before a goddess, who is pacific and Egyptian on the perfect vase, but bellicose and foreign on the broken vase, armed with lance and buckler. Toumoumtaouneb was a person of importance in his time: not only was he entitled chief cupbearer, but he is proclaimed the king’s messenger in all barbarous lands, and he doubtless brought back his pious regard for the bellicose goddess from one of his journeys in Syria. That is the only exotic element found in the decoration of the two vases. The top of the neck is ornamented with a rim of light gold. It has two rows of subjects, one on top of the other: episodes of hunting or fishing. A fragment of the broken vase shows a troop of wild horses running towards a marsh with lotuses, where birds are flying. The intact vase is unfortunately encrusted in places with oxide, which obscures the detail of the scenes: we distinguish outlines of boats, tufts of aquatic plants, men drawing nets or shooting arrows, beasts at full gallop; in the upper row there are imaginary trees with palm-leaves or volutes, among which griffins fight with lions. If we do not owe the silver vases to the same artist who fashioned the gold vases, he was at least endowed with the same admirable skill. He has greatly simplified the outline of his figures, but the lines are firm, even, sunk in the metal with the precision of a master: the craft had no secrets from him. But that is not the chief merit of his work: twenty others would have been capable of so much among the goldsmiths who worked for the king and the great nobles. What specially distinguishes it is the originality of the design he chose for the handle, and the manner in which he treated it. A kid, attracted by the fumes of the wine contained in the vase, had climbed the bowl, and boldly standing on its hind feet, the legs strained, the spine rigid, the knees leaning against two gold calyxes which spring horizontally from the silver face, the muzzle pressed against the moulding, he looks greedily over the edge: a ring passing through the nostril serves for hanging up the vase.