but perhaps the grandee is intended to be enjoying himself in a marshy part of his domain, where he might ride, drive, or boat, according to his pleasure. The whole scene is rather Egyptian than Phoenician or Cypriot, and one cannot help suspecting that the _patera_ was made for an Egyptian customer. There is a _patera_ at Athens,[772] almost certainly Phoenician, which may well be selected to introduce the more elaborate and complicated of the Phoenician works of art in this class. It has been figured,[773] and carefully described by MM. Perrot and Chipiez in these terms:--“The medallion in the centre is occupied by a rosette with eight points. The zone outside this, in which are distributed the personages represented, is divided into four compartments by four figures, which correspond to each other in pairs. They lift themselves out of a trellis-work, bounded on either side by a light pillar without a base. The capitals which crown the pillars recall those of the Ionic order, but the abacus is much more developed. A winged globe, stretching from pillar to pillar, roofs in this sort of little chapel; each is the shrine of a divinity. One of the divinities is that nude goddess, clasping her breasts with her hands, whom we have already met with in the Phoenician world more than once; the other is a bearded personage, whose face is framed in by his abundant hair; he appears to be dressed in a close-fitting garment, made of a material folded in narrow plaits. We do not know what name to give the personage. Each of the figures is repeated twice. The rest of the field is occupied by four distinct subjects, two of them being scenes of adoration. In one may be recognised the figure of Isis-Athor, seated on a sort of camp-stool, and giving suck to the young Horus;[774] on an altar in front of the goddess is placed the disk of the moon, enveloped (as we have seen it elsewhere) by a crescent which recalls the moon’s phases. Behind the altar stands a personage whose sex is not defined; the right hand, which is raised, holds a _patera_, while the left, which falls along the hip, has the _ankh_ or _crux ansata_. Another of the scenes corresponds to this, and offers many striking analogies. The altar indeed is of a different form, but it supports exactly the same symbols. The goddess sits upon a throne with her feet on a footstool; she has no child; in one hand she holds out a cup, in the other a lotus blossom. The personage who confronts her wears a conical cap, and is clothed, like the worshipper of the corresponding representation, in a long robe pressed close to the body by a girdle _à cordelière_; he has also the _crux ansata_, and holds in the right hand an object the character and use of which I am unable to conjecture. We may associate with these two scenes of homage and worship another representation in which there figure three musicians. The instruments are the same as usual--the lyre, the tambourine, and the double pipe;