#Honestly it's a pet peeve of mine when papers reference a physical artifact and dont include an image

[bijoumikhawal]

The tender and compassionate side of the divine nature, especially the penchant for weeping, was often related to the Shekinah. The love-aspect of God was also related to the Shekinah which filled the Temple like Solomon's palanquin inlaid with love (Pesiqta di Rab Kahana, ed. Mandelbaum, 4; cf. Patai, 152 and 313n81). The Shekinah also represented the divine punitive power, as indicated by a Tannaitic passage which mentioned ten occasions on which the Shekinah descended for punitive purposes, and predicted another descent in the future in the days of the battle of Gog and Magog.(Aboth di Rabbi Nathan, ed. Schechter, 102. J. Goldin [1955], 140f.) The mixture of vengeful and compassionate traits of the Shekinah, Patai (153) discerned in the legends in which she took the souls of six exceptional individuals whom the Angel of Death could not overcome, Abraham, Isaac, Jacob, Moses, Aaron, and Miriam, who died only through a kiss of the Shekinah (TB Baba Bathra 17a; cf. Midrash Canticles Rabbah i 2[5]).

Moses, after his death, whether by a kiss of God or a kiss of the Shekinah, was carried on the wings of the Shekinah a distance of four miles to his burial spot (TB Sota 13; Sifre Deut 355). Since in the Zohar Moses is said to have given up carnal contact with his wife in order to be always ready to communicate with the Shekinah (cf. Patai, 153, 194), Patai suggested that a notion clearly stated in the Zohar was already present in rudimentary form in Talmudic times, that Moses and the Shekinah were like husband and wife. An interesting parallel was suggested by Patai between the Shekinah carrying her dead husband, Moses, to his burial place, and Anat carrying the body of her brother-consort, Baal, to his burial place on Mount Zaphon (Patai, 153). A possible parallel to this motif may be adduced from another source: An oenochoe (jug) of the Bibliotheque National of Paris shows a winged and armed goddess, no doubt Athena who was identified with Anat, carrying the body of a defunct male over undulations which may be either waves or hills (cf. Denyse Le Lasseur, 1919, fig. 126, p.336). Although there is nothing in the Iliad about such an episode, Le Lasseur opined (p.337) that there is no ground to rejecta priori the hypothesis of Athena carrying the body of one of her favorite warriors. The identification of Athena and Anat suggests that the scene depicts Anat with the corpse of her brother-consort Baal, rather than that of an earthly hero. See Plate XIII.

160-161, Song of Songs (commentary) by Marvin Pope

The plates don't seem to have actually been reproduced in the commentary, just referenced in text, though it has separately categorized line drawings that do appear? Anyway I looked up the paper the print was recorded as being from (Les déesses armeés dans I'art classique grec et leurs origenes orientates) and found it there.