A striking example of this kind of work may be seen in a figure now at New York, which appears to represent a priest, whereof a front view is given by Di Cesnola in his "Cyprus," and a side view by Perrot and Chipiez in their "History of Ancient Art." The head and neck are in good proportion, but the rest of the figure is altogether unduly thin, while for some space above the feet it is almost literally a slab, scarcely fashioned at all.
This fault is less pronounced in some statues than in others, and from a certain number of the statuettes is wholly absent.

This is notably the case in a figure found at Golgi, which represents a female arrayed in a long robe, the ample folds of which she holds back with one hand, while the other hand is advanced, and seems to have held a lotus flower.
Three graceful tresses fall on either side of the neck, round which is a string of beads or pearls, with an amulet as pendant; while a long veil, surmounted by a diadem, hangs from the back of the head.

This statue is in no respect narrow or flat, as may be seen especially from the side view given by Di Cesnola;[77] but it is short and inelegant, though not wanting in dignity; and it is disfigured by sandalled feet of a very disproportionate size, which stand out offensively in front.

The figure has been viewed as a representation of the goddess Astarte or Ashtoreth;[78] but the identification can scarcely be regarded as more than a reasonable conjecture.
The general defects of Phoenician statuary, besides want of finish and flatness, are a stiff and conventional treatment, recalling the art of Egypt and Assyria, a want of variety, and a want of life.

Most of the figures stand evenly on the two feet, and have the arms pendant at the two sides, with the head set evenly, neither looking to the right nor to the left, while even the arrangement of the drapery is one of great uniformity.