It shows us two persons, a man and a woman, in the act of presenting a dove to a female, who is probably the goddess Astarte, and who willingly receives it at their hands.

Behind Astarte a seated lion echoes the approval of the goddess by raising one of his fore paws, while a griffin, who wholly disapproves of the offering, turns his back in disgust.
On another cylinder, which is certainly Phoenician, a rude representation of a sacred tree occupies the central position.

To the left stands a worshipper with the right hand upraised, clad in a very common Assyrian dress.

Over the sacred tree is a coarse specimen of the winged circle or disk, with head and tail, and fluttering ends of ribbon.[794] On either side stand two winged genii, dressed in long robes, and tall stiff caps, such as are often seen on the heads of Persians in the Persepolitan sculptures, and on the darics.[795] In the field is a Phoenician inscription, which is read as {...} or _Irphael ben Hor'adad_, "Irphael, the son of Horadad."[796] Phoenician cylinders are in glass, green serpentine, cornaline, black haematite, steatite, and green jasper.[797] They are scratched rather than deeply cut, and cannot be said ever to attain to any considerable artistic beauty.

Those which have been here given are among the best; and they certainly fall short, both in design and workmanship, of many Assyrian, Babylonian, and even Persian specimens.
The gems, on the other hand, are in many cases quite equal to the Assyrian.