4. In the upper region, or what we might call the sky of the picture, are presented to us, apparently in very rough outline, the sun and a thinly horned moon.[10] Below them is an uneven band, forming rudely an arc of a circle. This, I am led to suppose, is an indication of mother-earth, with its uneven surface of land and its rippling sea, in the proper place, beneath the sun and moon. If this be so, it greatly confirms the conjecture of Mr. Newton respecting the six objects on the rim of the picture to the right. He asks whether these can be the _teirea_ (_Il._ XVIII. 485), the stars of heaven, which are described by Homer as placed upon the Shield of Achilles, together with the sun, moon, sky, earth, and sea. Schliemann assigns to this _sestetto_ heads and eyes: Mr. Newton says they are thought to be heads of lions. That they should be things animate is not, I imagine, in conflict with the conjecture that they may be stars. The spirit of Hellenism transmuted the older Nature-worship by impersonations, of which we have an Homeric example in the astral Orion (_Il._ XVIII. 486, _Od._ XI. 572). Should these conjectures be confirmed, the matter will be of peculiar interest: for we shall then have before us, in actual collocation, the very objects, which people the first compartment of the god-wrought Shield of Achilles: the earth (of land and sea), sun, moon, and all the stars of heaven. The _ouranos_ or heaven itself, which the Poet also includes, is here in all likelihood represented by the curvature of the picture. 5. The goblet (No. 346 of the volume) has on each of its two handles, we are told, the carved figure of a dove in gold. Schliemann observes on the correspondence with the goblet of Nestor (_Il._ XI. 632-635). We are not indeed told that this was of gold; probably a different material is to be supposed from the mention of gold as the material of these parts or appendages. But it had four handles, and on each handle were two doves. We are also told that he did not get it in Troy, which may remind us of the argument already presented, but brought it from home. It was probably a foreign work; for the Phœnician associations of Nestor are attested by his descent from Poseidon (_Od._ XI. 254). This is fairly to be noted for an instance of equable development in art, as between the discoveries and the Poems.