Of other gems equally well engraved the following are specimens. No. 1 is a scarab of cornaline found by M. de Vogüé in Phoenicia Proper.[7101] Two male figures in Assyrian costume face each other, their advanced feet crossing. Both hold in one hand the _ankh_ or symbol of life. One has in the left hand what is thought to be a lotus blossom. The other has the right hand raised in the usual attitude of adoration. Between the figures, wherever there was space for them, are Phoenician characters, which are read as {...}, or _l’Beka_--i.e. “(the seal) of Beka.”[7102] No. 2, which has been set in a ring, is one of the many scarabs brought by General Di Cesnola from Cyprus.[7103] It contains the figure of a hind, suckling her fawn, and is very delicately carved. The hind, however, is in an impossible attitude, the forelegs being thrown forwards, probably in order to prevent them from interfering with the figure of the fawn. Above the hind is an inscription, which appears to be in the Cyprian character, and which gives (probably) the name of the owner. No. 3 introduces us to domestic life. A grand lady, of Tyre perhaps or Sidon,[7104] by name Akhot-melek, seated upon an elegant throne, with her feet upon a footstool, and dressed in a long robe which envelops the whole of her figure, receives at the hands of a female attendant a bowl or wine-cup, which the latter has just filled from an _oenochoë_ of elegant shape, still held in her left hand. The attendant wears a striped robe reaching to the feet, and over it a tunic fastened round the waist with a belt. Her hair flows down on her shoulders, while that of her mistress is confined by a band, from which depends an ample veil, enveloping the cheeks, the back of the head, and the chin. We are told that such veils are still worn in the Phoenician country.[7105] An inscription, in a late form of the Phoenician character, surrounds the two figures, and is read as {...} or _l’Akhot-melek ishat Joshua(?)_--i.e. “(the seal) of Akhot-melek, wife of Joshua.”[7106] No. 4 contains the figure of a lion, cut with much spirit. MM. Perrot et Chipiez say of it--“Among the numerous representations of lions that have been discovered in Phoenicia, there is none which can be placed on a par with that on the scarab bearing the name of ‘Ashenel: small as it is, this lion has something of the physiognomy of those magnificent ones which we have borrowed from the bas-reliefs of the Assyrians. Still, the intaglio is in other respects decidedly Phoenician and not Assyrian. Observe, for instance, the beetle with the wings expanded, which fills up the lower part of the field; this is a _motive_ borrowed from Egypt, which a Ninevite lapidary would certainly not have put in such a place.”[7107] The Phoenician inscription takes away all doubt as to the nationality. It reads as {...}, or _’Ashenêl_, and no doubt designates the owner. No. 5 is beautifully engraved on a chalcedony. It represents