In a recent article in Mus6on' Professor Drijvers has given an excellent description of the latest mosaic to be discovered at Urfa (Edessa), Turkey. This mosaic, like much else found at Urfa, seems to have been destroyed; but its reproduction represents a very important accession to our knowledge of the work of the mosaicists of Edessa in, probably, the third century A.D. At one point, however, we should, I believe, view Drijvers's analysis with some scepticism-his 'identification' of the personage in the centre of the upper row of portraits as King Abgar the Great (A. D. 177-212). This bust is certainly that of a person of distinction. He is depicted prominently in the foreground, and Barsimya, whose tomb this is, is evidently paying him honour. We may assume from his graying beard that he is, as Drijvers points out, in, or slightly beyond, middle age. His costume, especially the cloak, is more ornate than those of the other men in the mosaic, including that of Barsimya himself. Like Barsimya and the more simply dressed 'SD/RW-probably Barsimya's father-he wears a Phrygian bonnet. This bonnet is turned to the left, unlike those of the other two men in the upper row, perhaps to indicate that he is not a member of Barsimya's family2. His right hand rests upon the top of a staff. Drijvers considers this staff to be a sceptre3, but it does not fully resemble the sophisticated sceptre portrayed on coins of King Abgar the Great. The Syriac text alongside this bust reads simply 'Abgar son of Maenu'. So far, then, we have found only one feature that may enable us to regard this bust as possibly that of a king-the staff which may be a sceptre. The headdress, a Phrygian bonnet, is unlike the headdress on extant coins of Abgar VIII, Abgar IX and Abgar X. These kings are shown with a tiara and diadem, usually decorated with crescent moon and stars that were