world more than once; the other is a bearded personage, whose face is framed in by his abundant hair; he appears to be dressed in a close-fitting garment, made of a material folded in narrow plaits.  We do not know what name to give the personage.  Each of the figures is repeated twice.  The rest of the field is occupied by four distinct subjects, two of them being scenes of adoration.  In one may be recognised the figure of Isis-Athor, seated on a sort of camp-stool, and giving suck to the young Horus;[774] on an altar in front of the goddess is placed the disk of the moon, enveloped (as we have seen it elsewhere) by a crescent which recalls the moon’s phases.  Behind the altar stands a personage whose sex is not defined; the right hand, which is raised, holds a patera, while the left, which falls along the hip, has the ankh or crux ansata.  Another of the scenes corresponds to this, and offers many striking analogies.  The altar indeed is of a different form, but it supports exactly the same symbols.  The goddess sits upon a throne with her feet on a footstool; she has no child; in one hand she holds out a cup, in the other a lotus blossom.  The personage who confronts her wears a conical cap, and is clothed, like the worshipper of the corresponding representation, in a long robe pressed close to the body by a girdle a cordeliere; he has also the crux ansata, and holds in the right hand an object the character and use of which I am unable to conjecture.  We may associate with these two scenes of homage and worship another representation in which there figure three musicians.  The instruments are the same as usual—­the lyre, the tambourine, and the double pipe; two of the performers march at a steady pace; the third, the one who beats the metal(?) disk, dances, as he plays, with much vigour and spirit.  In the last compartment we come again upon a group that we have already met with in one of the cups from Idalium.[775] . . .  A beardless individual, clothed in the shenti, has put his foot upon the body of a griffin, which, in struggling against the pressure, flings its hind quarters into the air in a sort of wild caper; the conqueror, however, holds it fast by the plume of feathers which rises from its head, and plunges his sword into its half-open beak.  It is this group, drawn in relief, and on a larger scale, that we meet with for a second time on the Athenian patera; but in this case the group is augmented by a second personage, who takes part in the struggle.  This is an old man with a beard who is armed with a formidable pike.  Both the combatants wear conical caps upon their heads, similar to those which we have noticed as worn by a number of the statues from Cyprus; but the cap of the right-hand personage terminates in a button, whereto is attached a long appendage, which looks like the tail of an ox.”  The Egyptian character of much of this design is incontestable.  The ankh, the lotus blossom in the hand, the