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 winged disk, are purely Egyptian forms; the Isis Athor with Horus in her lap speaks for itself; and the worshipper in front of Isis has an unmistakably Egyptian head dress.

But the contest with the winged griffin is more Assyrian than Egyptian; the seat whereon Isis sits recalls a well-known Assyrian type;[776] one of the altars has a distinctly Assyrian character, while the band of musicians, the Astarte figures standing in their shrines, and the pillars which support, and frame in, the shrines are genuine Phoenician contributions.
Artistically this _patera_ is much upon a par with those from Dali and Athienau, which have been already described.
Our space will not admit of our pursuing this subject much further.