176 A History of Art in Sardinia and Jud^a. small roundels, which we incline to think are but reduced copies of the discs in Fig. 330 ; whilst the importance of the crescent as a religious symbol throughout Asia- Minor, and seen here about sceptres, is too universally acknowledged to need further comment (Fig- 335)- The nature of the creed embodied in these images is far more difficult to unravel than at Baghaz-Keui. This partly arises from their being on a much smaller scale, and consequent soft indistinct Fig. 343.— Two-headed Eagle. Eyuk. Plate LXVIII. outline, and partly from the state in which they are found, as w^ell as the discrepancies that here and there occur. The conjecture, however, which we think must present itself to the mind of every observer is the following : The procession, which extends on the facade and the walls of the outer vestibule, is divided into two distinct parts, which counterbalance each other, albeit each forms a perfect unit. The priests in two rows, the civilians in single file, move towards the seated goddess, seen twice on the eastern wall ; whilst the bull on the left, or west, is evidently the symbol to which homage is paid. Nor should it cause surprise to
