No. viii. The next block is filled with the scene of a Ceremonial Feast.[658] Two figures, clearly man and woman, are seated facing one another on opposite sides of a low table filled with provisions. The man is on the left, and his seat is a square-framed chair, with high back. He wears a close round skull-cap, and the Hittite lock falls behind his neck. He is represented with both beard and moustache; his nose is prominent and straight. His dress is a long robe reaching to his ankles, and the toes of his shoes are upturned as usual. His right arm is by his side and holds a long crooked staff, while with his left he is raising some object to his mouth. The figure opposite presents several differences. Her hat is cylindrical, and is covered with a long slender wavy object reaching down behind her back almost to the ground; this may be taken for a veil pushed back from before the face. Her dress also is a long robe, and her girdle, like that worn by the man, is broad, and composed of six or more strands, as of cord. Her hair is dressed in the usual curling lock or pigtail. Her features are sharp, but not so prominent as in her counterpart. Like him, with her right hand she holds up some object towards her mouth, and in her left hand, which is by her side, she holds two seemingly edible objects on stalks. She has bracelets on both her wrists. Her seat is a low stool, which, in contrast to that of the man, is seemingly without a back. For want of space the table between them is set back from the picture. Only two legs are seen, and these are curved as usual. The top of the table also is curved downwards, suggesting that it was round; so too are the provisions piled upon it, which cannot, however, be identified.[659] We have previously described several sculptures of like kind, and to some extent discussed their character. The closest analogy to the present instance is one from Malatia,[660] and here as there we take the subject to be a feast on the part of the royal pair. In spite of the incongruous scenes around, the religious origin of this class of sculpture seems to be perpetuated in the priestly dress in which the male figure is clad.