Due to the rigid and simple forms of this relief from 540 BCE, we can date it to the archaic period of the Greek art when the influence of the Egyptian art was quite strong. When I looked at this relief for the first time, I had very strange mixed feelings. At a first glance, I had a sense of stiffness and flatness of this relief, it looked to me more like an Egyptian piece of art. But the more you look, the more you feel a Greek touch in it. The artist was not very much content to follow any formula,he tried to experiment a bit, the relief is full of artistic conventions. The artist depicted two main seated figures of a man and a woman facing to the right in some way similar to the Egyptian pose: the torso of a man looking in front, legs - in profile, the woman's head is in profile but with a full face eye. Unlike the Egyptian figures, hair has a simple geometric pattern, the face has wide-open almond shaped eyes and that archaic dump smile which makes the face more sensitive. Looking at the shape of the ears, we can feel the artist's attempt to express and investigate some human form.There is quite slight but still some sense of anatomy in this relief along with unnatural figure poses and the sense of body disproportions: the arms and fingers are overly too long, the face is too small in ratio to the body,very big and long noses with no nose bridge. The eyes and noses of the two figures of worshippers, depicted in the hieratic scale at the right bottom, are also huge and planted on the oddly shaped heads. In spite of the rigidity and unsophisticated impression of this relief , the artist paid attention to some details and decorative moments, legs of a chair resembling lion's legs,a rosette on top of it, the sacrifice items in worshipper's hands: a pomegranate (known as the "fruit of dead" in Ancient Greece), a blossom, a cock and an egg in worshipper's hands, a large snake,a symbol of immortality, depicted with more curvy lines. This relief is a vivid example of a blend of the Egyptian and Greek artistic conventions.