By analogous processes was formed a true alphabet, in which, however, each of the phonetic elements was represented at first by several different characters derived from several different words having the same initial syllable. Here was, therefore, an _embarras de richesses_, which could be got rid of only by a judicious process of elimination, that is, by discarding all like-sounding symbols but one for the same sound. When this final process of reduction was completed by the scribes, in other words, when all the phonetic signs were rejected except 23, _i.e._ one for each of the 23 phonetic elements, the Phoenician alphabet as we now have it was completed. Such may be taken as the real origin of this system, whether the scribes in question were Babylonians, Egyptians, Minaeans, or Europeans, that is, whether the Phoenician alphabet had a cuneiform, a hieroglyphic, a South Arabian, a Cretan (Aegean), Ligurian or Iberian origin, for all these and perhaps other peoples have been credited with the invention. The time is not yet ripe for deciding between these rival claimants[116]. But whatever be the source of the Phoenician, that of the Persian system current under the Achaemenides is clear enough. It is a true alphabet of 37 characters, derived by some selective process directly from the Babylonian cuneiforms, without any attempt at a modification of their shapes. Hence although simple compared with its prototype, it is clumsy enough compared with the Phoenician script, several of the letters requiring groups of as many as four or even five "wedges" for their expression. None of the other cuneiform systems also derived from the Sumerian (the Assyrian, Elamite, Vannic, Medic) appear to have reached the pure alphabetic state, all being still encumbered with numerous complex syllabic characters. The subjoined table, for which I have to thank T. G. Pinches, will help to show the genesis of the cuneiform combinations from the earliest known pictographs. These pictographs themselves are already reduced to the merest outlines of the original pictorial representations. But no earlier forms, showing the gradual transition from the primitive picture writing to the degraded pictographs here given, have yet come to light[117].