But, in fact, Phoenician influence continued to be felt up to the end of the seventh century B.C. Passing by the so-called Corinthian vases, or the antiquities exhumed by General di Cesnola in Cyprus, where the Phoenician element was strong, we have numerous evidences of the fact from all parts of Greece. Two objects of bronze discovered at Olympia may be specially signalized. One of these is an oblong plate, narrower at one end than at the other, ornamented with _repousse_ work, and divided into four compartments. In the first compartment are figures of the nondescript birds so often seen on the "Corinthian" pottery; in the next come two Assyrian gryphons standing, as usual, face to face; while the third represents the contest of Herakles with the Kentaur, thoroughly Oriental in design. The Kentaur has a human forefront, covered, however, with hair; his tail is abnormally long, and a three-branched tree rises behind him. The fourth and largest compartment contains the figure of the Asiatic goddess with the four wings at the back, and a lion, held by the hind leg, in either hand. The face of the goddess is in profile. The whole design is Assyro-Phoenician, and is exactly reproduced on some square gold plates, intended probably to adorn the breast, presented to the Louvre by the Duc de Luynes. The other object to which I referred is a bronze dish, ornamented on the inside with _repousse_ work, which at first sight looks Egyptian, but is really that Phoenician modification of Egyptian art so common in the eighth and seventh centuries B.C. An inscription in the Aramaic characters of the so-called Sidonian branch of the Phoenician alphabet is cut on the outside, and reads: "Belonging to Neger, son of Miga."[36] As the word used for "son" is the Aramaic _bar_ and not the Phoenician _ben_, we may conclude that the owner of the dish had come from northern Syria. It is interesting to find a silver cup embossed with precisely the same kind of design, and also bearing an inscription in Phoenician letters, among the treasures discovered in a tomb at Palestrina, the ancient Praeneste, more than a year ago. This inscription is even briefer than the other: "Eshmunya'ar son of 'Ashta,"[37] where, though _ben_ is employed, the father's name has an Aramaic form. Helbig would refer these Italian specimens of Phoenician skill to the Carthaginian epoch, partly on the ground that an African species of ape seems sometimes represented on them;[38] in this case they might be as late as the fifth century before the Christian era.