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Several marble sarcophagi, including both plain or fluted coffins and chests decorated with garlands, friezes, and elaborate compositions framed by columns and covered with roof-shaped or kline lids, are attested in the Roman burial grounds at Hierapolis in Phrygia (Turkey). Because of their repetitive, standardized pattern, fluted sarcophagi have been dismissed by scholars as the formulaic, more affordable output of local workshops. Contrary to the apparent simplicity, however, each item is highly individual with respect to the morphology of its mouldings and flutes, surface treatment, and decorative details. The majority of the pieces from the North Necropolis seem to have been carved in response to individual requirements. While rationalized modes of production likely dominated the economic landscape of the Roman sarcophagus industry, customers could exercise a significant degree of control over the pieces carved by local quarry-based workshops. Exploration of these processes, operational flows, and histories may yield new perspectives on the social and economic relationships that underpinned the production and trade of Roman sarcophagi.

From the descriptions made by explorers and archaeologists of Palenque since the mid-nineteenth century, the idea that the spaces for the dead maintained presence and relevance scarcely reported for other Maya cities is outlined. The image that the city showed to its inhabitants and visitors was that of an omnipresence of spaces for the cult of the dead. This is evident in the mortuary chambers with sarcophagi inside, built on the facades of an important number of structures in the monumental area and the peripheral complexes. The intention of this article is to rescue that image of Palenque in which the spaces to render cult to the dead were part of its identity. [ABSTRACT FROM AUTHOR]

The tragic story of Marsyas has inspired many artifacts over many periods. This story is depicted in vase paintings, statues, sculpture groups, reliefs, sarcophagi, gems and coins. The inspiration for these descriptions is the Athena and Marsyas sculpture group of Myron, one of the Classical Period artists. After this group of sculptures, the artists dealt with and depicted the most tragic part of the Marsyas story, the music competition with the God Apollo and the punishment of Marsyas. Within the scope of the study, first of all, the story of Marsyas and its reflection on artifacts are discussed. Then, the main subject of the study, a coin belonging to Maximinus Thrax I, which was recovered from Tarsus, is unpublished scientifically and dated back to the 3rd century AD, depicting the musical contest between Apollo and Marsyas, is examined in detail. Later, a comparative evaluation is made of the coin and the Marsyas statue, which has the same subject, recovered from Tarsus and is currently exhibited in the Istanbul Archaeological Museums, and a new composition proposal is made for the statue. [ABSTRACT FROM AUTHOR]

The 'Samaritan sarcophagi' are a cohesive group of stone coffins with unique characteristics from the 2nd-3rd centuries CE. Due to their unique form, non-figurative decorations, their distribution that corresponds to the area of Samaritan settlement, and several inscriptions of Samaritan names engraved on them, Rachel Barkay previously proposed attributing the production and use of this group of coffins to the Samaritan population as an ethnic indicator. In contrast, Yitzhak Magen suggested that the entire population of Samaria used this group of sarcophagi; therefore they have no cultural-material feature unique to the Samaritan population, and their presence at a site does not necessarily indicate the existence of a Samaritan population. In this paper I reexamine this question while analyzing several findings that cast doubt on Barkay's proposal and may support Magen's opinion, including the archaeological context in which Samaritan sarcophagi were discovered in the cemetery of the city of Sebastia, a Samaritan sarcophagus with a Latin inscription, and a coffin of this type found in the village of Jifna, outside the boundaries of the Samaritan settlement. [ABSTRACT FROM AUTHOR]

Copyright of Proceedings in Archeology & History of Ancient & Medieval Black Sea Region is the property of Cimmeria Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

During the excavations of the team of the University of Chieti in the area of Ain Hofra, in the East necropolis of Cyrene, several interesting sculptures were found in tombs A and C, also called the Tomb of the Sarcophagi and the Tomb of the Sculptures. In this paper a specific find from Tomb A is presented, as it is a rare example of a Mithraic relief from a private funerary context. The find has only previously been published for the translation and presentation of the inscription; however, an analysis and interpretation of the relief together with the inscription has never been tackled. The very fragmentary lid is made of white marble, presenting a very lively iconographic sequence of Mithraic schemata, in combination with a metrical inscription within a central tabula ansata. The find context is particularly monumental and is characterized by two Temple Tombs built in ashlar masonry located on the plateau of Ain Hofra overlooking the wadi (canyon) and the fertile terraces below. This multidisciplinary article looks at the iconographic elements, the epigraphic implications and the monumental context of the Mithraic reliefs. [ABSTRACT FROM AUTHOR]

In a previous article, in Crusades 17 (2018), I examined the recent discovery of a sarcophagus at the church of San Fermo Maggiore in Verona, which could potentially be identified with the tomb of Arnau of Torroja, Master of the Knights Templar (c. 1118–84). That article gave a brief outline of Arnau's career and explained why he came to Verona in 1184; it then followed the scientific trail linking him to the bones found in the tomb of San Fermo Maggiore. This article provides an update on the results of the analysis and research, which largely confirm this link. [ABSTRACT FROM AUTHOR]

The oral literary tradition, which lasted for centuries among different tribes and peoples, preceded the art of the written word, the written literature that was born much later. Thus, written literature was based on the types of oral literature for many important elements of the design of literary works. Of course, writing enabled literature and its types to take a different course and development compared to the creations - works of oral literature, which were passed down orally from one person to another, from one generation to another, and over time many of them were forgotten and disappeared. The poetic language used by the writers in their texts conditioned not only the value of the works they created, but also the way they were accepted and communicated to the recipient not only of the time they were created but also of later times. In the Book of the Dead, Toti, the ruler of heaven, earth, and the underworld, the creator of life and of all nations, says: "I gave breath (air) to him who was in the secret place by the power of the magic words of my discourse, and Osiris triumphed over the enemies". One of the first forms with literary elements is the Book of the Dead, of Egyptian tradition, consisting of hymns, litany and religious texts and which belongs to the time of the reign of Semt, king of the first Dynasty, which, according to connoisseurs of this work was copied, re-copied and added from generation to generation over a period of close to 5000 years ". Indeed, the book consists of various creations which the Egyptians wrote on tombs and sarcophagi, on coffins and on immortal slabs, on papyri, talismans and pyramid walls to ensure the well-being of their dead in the afterlife. Works that come to us from a distant past, such as the "Egyptian Book of the Dead", testify, in one way or another, the course of the change of the art of speech over time, the enrichment and importance it has had for man and its existence. [ABSTRACT FROM AUTHOR]

In the Roman world a wide variety of funerary architecture was erected along the access roads of cities to catch the eye of passersby. In Hippos (Sussita in Aramaic) of the Decapolis, the most notable funerary structures stood along the city's main approach within the Saddle Necropolis. The most distinctive elements of the necropolis's architectural remains were a series of 13 large funerary podia -- the focus of the 2020 excavations. The Hippos podia are unique in the Roman world, in their dating, their architecture, and their multiplicity. The architectural design of this series of structures may be the first evidence of necropolis planning and erection of funerary monuments by the polis itself within the Roman world. The article describes the freshly exposed Hippos podia, proposes reasoning for the choice of this particular type of construction, and analyzes similar funerary structures throughout the Roman world, with emphasis on the Roman East, where sarcophagi were widespread. [ABSTRACT FROM AUTHOR]

Copyright of Zgodovinski Casopis is the property of Zveza Zgodovinskih Drustev Slovenije and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A diachronic, multi-analytical approach combining EDXRF, µFTIR, µRaman, SEM-EDS, and Py-GC/MS has been adopted with the aim to study for the first time the painting materials used to decorate Egyptian funerary masks and sarcophagi ranging from the Late Period to the Roman Period and stored in the Archaeological National Museum (MNA) and the Carmo Archaeological Museum (MAC) of Lisbon and the Natural History Museum of the University in Oporto (MNH-FCUP). Results indicate that yellow and red ochres, realgar, cinnabar, Egyptian blue, and Egyptian green were used as pigments while chalk served as the preparatory layer. Over the 1000-year timeline of the studied artifacts, the palette remained remarkably consistent with previous findings as exemplified by cinnabar being used for red pigments in samples only dated after the Ptolemaic period. The presence of Sn in Egyptian blue and Egyptian green pigments used in one sample suggests the use of recycled bronze scraps during pigment production. Black pigments in two Late Period masks were found to be produced by mixing Egyptian blue with red ochre suggesting either a hitherto unknown method for production of purple pigments in the Egyptian palette or, alternatively, an attempt to create a specific hue or shade of dark brown or black. The results of this study contribute to further expand the database of Ancient Egyptian painting materials while at the same time helping to valorize three important Egyptian collections in Portugal. [ABSTRACT FROM AUTHOR]

Late Antique and Early Medieval sculpture in the Iberian Peninsula does not have a complete corpus, but a large number of dispersed studies that allow us to establish a state of the art. We have corpora for regions, cities or museum collections, such as Badajoz, Córdoba, Tarragona or Toledo, as well as thematic directories, such as figurative sculpture, liturgical altars or funerary sculpture. However, specific studies on the prestige spolia concerning sculpture and epigraphy are lacking, distinguishing them from material of an exclusively constructive nature, as well as good analyses of liturgical furniture, local workshops, imports and a good chronological sequence of productions. The objective of this presentation is to offer a state of knowledge on this material, on iconography and production, in order to identify future work mechanisms, especially archaeometric analysis.

Copyright of Dirassat in Humanities & Social Sciences is the property of Research & Development of Human Recourses Center (REMAH) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Dating from the fifth century bce, two Phoenician anthropoid sarcophagi, a male and a female, found in Gadir (Cadiz, Spain), are so far the most ancient marble sculptures found in the Iberian Peninsula. The identification of the source of the marble used to produce them has been a subject of controversy for several decades and has recently resurfaced when it was published that they were made by Phoenician artisans using Iberian marble from Macael. This identification is not only unreasonable from an archaeological point of view but also unsupported by any analytical data. On the contrary, as the sarcophagi belong to an Eastern Mediterranean Sidonian production, their raw material is most likely to be Greek–Minor Asian in origin. In order to shed a light on this dispute and objectively resolve the provenance of the marble, a multi‐method analytical approach was carried out. Optical microscopy, cathodoluminescence analyses, and C and O stable isotopes clarify the provenance of the marble, confirming that both singular sarcophagi were carved in a Cycladic marble, in accordance with their Sidonian style. [ABSTRACT FROM AUTHOR]

Summary: Beliefs, social rules, and food taboos influence the emotions we feel about food, determining our attitudes and consumption behaviors. The more a product represents values considered important to individuals, the greater the chance of being chosen for consumption. This article aimed to investigate levels of zoophagy and sarcophagy to propose an index to understand consumers' attitudes towards beef. Three hundred and eighty-five people answered a structured questionnaire that allowed them to assess personality traits and attitudes that can explain beef consumption, as well as its rejection. Factor analysis was the analytical model chosen to construct the attitude determination index. For the construction of the General Degradation Index (GDI), an attitude determination index associated with the degree of zoophagy was built first. The results indicate that extroversion, individualism, festivity, and immediacy were the traits that best characterized positive attitudes towards beef. On the other hand, negative attitudes of introspection, reflection, emotional character, and concern for the future marked the responses of those who answered.

The article examines a possible interpretation of the iconography of concordia apostolorum, engraved on the left side of the late antique sarcophagus called “Pignatta”, found in the suburb of the late antique sedes imperialis Ravenna (Italy). The sarcophagus has been the subject of continuous scientific discussion related to its Eastern provenance and various iconographical interpretations. The article points an implicit interrelation between the theme of the ecclesiastical concordia of principes apostolorum and the imperial political propaganda emphasizing the unity and inseparability of the Empire and it illustrates this connection on examples and iconographical comparison with other late antique artefacts (e.g. sarcophagi, gold glasses, coinage). It demonstrates that the meaning of concordia apostolorum fits into the framework of mental and political paradigm of the turn of the 4th and 5th centuries when an effort to express the unity of the Church strongly reflected the imperial program and that a common veneration of S. Peter and Paul was broadly diffused also in the East, in Constantinople – a presumed place of origin of the sarcophagus. [ABSTRACT FROM AUTHOR]

Copyright of Revue Archéologique de Picardie is the property of Revue Archeologique de Picardie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper offers some preliminary considerations concerning the distribution, composition, and orientation of the elements comprising the decoration of the burial chamber of Meru, TT 240. The tomb, situated within the North Asasif slope, dates to the last phase of the reign of Mentuhotep II Nebhepetra. The repertoire of the decorative elements found in Meru's burial chamber may be traced back to the Old Kingdom, while some peculiarities in their distribution and orientation seem to be a consequence of the introduction of the Pyramid Texts, a post-Old Kingdom novelty in the decoration of a non-royal burial space. [ABSTRACT FROM AUTHOR]

The Greek myth of Niobe was known in the ancient world both by literary sources and visual representations. Both in Ancient Greece and in Ancient Rome, the myth was represented, alongside a variety forms of art, in funerary art, but in a different manner during each period of time. In Ancient Greece, the myth was represented on Apulian and South Italian vases, portraying the finale scene of the myth: Niobe’s petrification. In Ancient Rome, a shift is visible: the portrayal of the scene of the killing of Niobe’s children on sarcophagi reliefs. The aim of this paper is to follow the iconography of each culture and to understand the reason for the shift in representation, while comparing the two main media forms. [ABSTRACT FROM AUTHOR]

Copyright of Archeologia Postmedievale is the property of Edizioni all'Insegna del Giglio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Paleoparasitological analysis was carried on 4 Merovingian skeletons, dated from the late-5th to the late-9th centuries, and recovered in the church of Saint-Martin-au-Val in Chartres (Center region, France). The corpses were buried in stone sarcophagi, which were still sealed at the time of excavation. Parasite marker extraction was conducted on sediment samples taken from the abdominal and pelvic regions, but also on samples taken from under the head and the feet as control samples. Microscopic observation revealed the presence of 3 gastrointestinal parasites, namely the roundworm (Ascaris lumbricoides), the whipworm (Trichuris trichiura) and the fish tapeworm (genus Diphyllobothrium). This analysis contributes to a better knowledge of the health status and the lifestyle of ancient medieval populations during the Merovingian period, for which very few paleoparasitological data were available, up until now. It demonstrates the presence of the fish tapeworm for the first time during this period. [ABSTRACT FROM AUTHOR]

Based on data contained in Constantine Porphyrogenitus’s De Administrando Imperio, local written sources, and fragments with inscriptions, the article offers new insight about the original position of the relics of St. Tryphon, the patron saint of Kotor from the first decades of the 9th century. Also, the foundations of a church with a quincuncial (cross-in-square) plan, erected in the same period and discovered below the city’s cathedral, can be seen as an early and important example of the dispersion of this architectural type in lands that belonged to the Byzantine cultural sphere. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177015: Hrišćanska kultura na Balkanu u srednjem veku: Vizantijsko carstvo, Srbi i Bugari od IX do XV veka and Grant no. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst]

The main objective of this archaeological note is to present to the scientific community the most comprehensive data available on a spectacular new find from the territory of the Roman province of Thrace--a brass balsamarium shaped as a male head in a felineskin cap. By providing a detailed description of the balsamarium, the results of its metallographic analysis, and an accurate account of its archaeological context and its date, we hope to clarify some still unsolved problems related to the function and production of such vessels. [ABSTRACT FROM AUTHOR]

In 2016, a burial chamber hewn into limestone was discovered at Khirbet Aqabet Al Qadi on the northwestern slope of Mount Ebal, 2km north of the city center of Nablus. The floor of the chamber is 3.15 × 2.9 m and the height averages 1.8 m. A movable closure at the entrance consists of a limestone slab. The burial chamber houses four sarcophagi. The aim of this case study is to give information not only on the burial chamber but also, for the first time in the region, on human remains. Stable isotope analysis of a human bone sample enabled us to obtain dietary information on one individual. Due to low collagen content, the sample did not allow precise dating but it can be placed between 50 BC and 50 AD. Systematic illegal excavation and looting at funerary sites in the Nablus area has caused material for potential information to be missing at the site. Nonetheless, the dietary information obtained supports other material finds indicating Mediterranean agricultural use of the land. Our evidence demonstrates that the site dates to between the 1st and 3rd centuries AD. [ABSTRACT FROM AUTHOR]

Several Roman marble sarcophagi (2nd–4th centuries AD) have been investigated in a first systematic research effort to detect (pigments and) gilding techniques employed in the Imperial Rome. A comparative study was performed on a conspicuous group (no. eighty) of Roman sarcophagi identified in the Vatican Museums, the Capitoline Museums and the National Roman Museum collections. A focused in situ campaign of non-invasive analytical investigations have performed by multispectral imaging, spectroscopic and elemental analysis, followed by aimed micro-invasive techniques. As for the main issue of the gilding and its application techniques, the microscopy still remains one of the most efficient tools for their characterization. Therefore, some micro-samples of three sarcophagi chosen as case studies were examined by means of optical petrographic microscopy (OPM) and scanning electron microscope and energy dispersive X-ray spectrometer (SEM–EDS). The results of archaeological data and scientific analyses show that the leaf gold was applied by two different techniques. In the most attested method, the gold leaf was applied on a ground layer of colour (yellow and/or red ochre, Egyptian blue, etc.); on the other hand, in the other technique, the gold leaf was applied directly onto the marble surface or more probably on top of a thin ground layer of kaolin. [ABSTRACT FROM AUTHOR]

Niello, a bluish black metal sulphide, was widely used for decoration of metal objects by artisans of the Roman Empire. Our knowledge, however, concerning the exact Roman-period niello technique, the appearance of binary silver–copper sulphide niello-decorated silver objects in particular is very scarce. An extensively nielloed silver augur staff (lituus), a unique find from the territory of the Roman Empire, was analysed non-destructively with SEM–EDS and micro-X-ray diffraction techniques. Five niello types were identified, their chemical compositions range from silver sulphide (Ag2S, acanthite) to binary silver–copper sulphide of Ag:Cu ratio 1:1 (stromeyerite). The augur staff decorated with such heterogeneous niello inlays is the first object ever analysed in this manner. Mineralogical and archaeological arguments link niello heterogeneity to the primary production of the object rather than to any post-production repair. Texture-related mineral phase observations allow closer insight into Roman niello technology. The variable copper content is not to be attributed to some technological innovation. The silversmith simply employed not only silver, but in order to make up for the shortage of silver, also differently debased silver, possibly scrap materials for producing niello. Both production (260–280s AD) and burial (early fourth century AD) periods of the lituus are well-dated, and the object was excavated from an undisturbed sarcophagus. Therefore, our data imply that silver–copper sulphide niello reaching the composition of stromeyerite was used by the Roman craftsmen 200 years earlier than previously studied finds had indicated. [ABSTRACT FROM AUTHOR]

This paper considers place as a constitutive co-ingredient of records, of community recordkeeping systems and of community collective memory. In light of new understanding of the essential place of "place" in all elements of archival and recordkeeping processes, the impact of removal of records from within communities is discussed in terms of its potential for damage both to the community and the records. The significance of place to records and community memory highlights the importance of incorporating "place" as an element in archival and recordkeeping models, to make sure that it is taken into account when developing systems and carrying out processes. It also highlights the importance of ensuring that community records continue to be maintained in places of belonging for the community. [ABSTRACT FROM AUTHOR]

The 2008 excavations at the Necropolis of Antandros yielded eight lekythoi, four amphoriskoi, two terracotta alabastra, mouth and body fragments of an alabastron made of alabaster and fragments of a bronze pin, all discovered inside the stone sarcophagus no. 271 dated to the Classical period. One of the terracotta alabastra stands out with its decoration scheme. It is a white- ground alabastron, depicting a human figure made in the outline technique, a palm tree and a stool. The scene is framed by a horizontal band above, and a thin ground line below. The upper vertical band consists of alternating broken meanders and saltire squares with a dot between the arms. The neck, shoulder and bottom are completely black glazed. The figure depicted on the alabastron has a frontal pose with legs in profile, standing barefoot; the head is not preserved. The arms are extended to the sides, holding a battle axe in the right hand and a bow in the left. A cloak hangs over the left arm and a large gorytos is at the waist. The head of the figure is not preserved due to damage; some fragments of the body are also missing. The figure is garbed in black glazed anaksyrides and a long-sleeved tunic. A white cloth covering the thighs is placed at the waist like an apron. The black-glazed garment is decorated with horizontal rows of white dots. Though worn at the most part, the dots are partly preserved on the anaksyrides and the long-sleeved tunic. The figure is barefoot; a second white color, different from the ground color, is used on the hands, feet, cloak and apron-like cloth at the waist. The white paint used on these parts has a yellowish hue. A palm tree with a stool before it is depicted in front of the figure. The vases included in the pottery group known in the literature as "Negro Alabastra" depict a negro with wooly hair, snub nose, thick lips and black skin and a second figure with long wavy hair and white skin. Generally, just one or sometimes both figures are depicted on the same vase. Debates among scholars on the identity and gender of these two figures have been ongoing since the middle of the 19th century. The general opinion is that the negro identifies with Memnon, leader of the Ethiopians who took part at the Trojan war or one of his followers, while the white skinned figure is regarded as Penthesilea, the Queen of the Amazons, or one of her attendants who also participated in the Trojan War. Regarding the genders, some scholars define both figures as male and others as female; some scholars go on to identify them both as Amazons. The figure on the example from Antandros appears to be white-skinned on account of the white paint preserved on the bare feet and hands, hence identified as an Amazon. Some scholars indicate that alabastra were mostly used by women and that the Amazon figure highlights the heroism of women. Very few bones were preserved in the sarcophagus where the example from Antandros was discovered, preventing the identification of a gender. Comparing the example from Antandros to similar vases, the pose of the figure, its anatomical features, clothing and the decorations on the outfit, the decorative patterns of saltire squares and meanders on the upper bordering band suggest that this vase must be the work of the Syriskos painter or a painter from his workshop. Additionally, similar examples of the lekythoi unearthed with the alabastron give a date between 480 and 460 BC. [ABSTRACT FROM AUTHOR]

This article(a) deals with a new discovered and unpublished sarcophagus found inside an old kingdom tomb at Saqqara, describing that sarcophagus and its decoration, translating the accompanied texts, commenting and comparing it with the other sarcophagi relating to the relevant period. [ABSTRACT FROM AUTHOR]

In the middle ages, particularly between the 10th – 14th centuries, the Diocese of Salerno was among the most important ones in southern Italy. Its earliest records date back to the late 5th century and during the 10th it was elevated to archdiocese; so the city of Salerno became the center of a large diocese, among the largest of Southern Italy. This essay reconstructs the history of diocese and its public symbols (like the cathedral), demonstrating consistency with that of other Italian dioceses but, at the same time, also highlighting some specifi city resulting from more general historical dynamics of Salerno and the role it played in the southern part of Italy.

The case of Wahibreemakhet, son of Alexikles and Zenodote, is the most prominent example for the high status that Greeks – as mercenaries or advisors – could attain in Egypt under the Saite pharaohs. The present article argues that his final resting place should be identified in a tomb at Saqqara that was probably discovered by agents of Giovanni Anastasi in the 1820s and that contained not only Wahibreemakhet's elaborate stone sarcophagus (now in Leiden), canopic jars (in Stockholm) and shabtis (in various collections), but also a set of limestone tomb reliefs recording spells from the Book of the Dead that are today in the collection of the British Museum and that were once erroneously attributed to 'Campbell's tomb' at Giza. Wahibreemakhet's rich burial, dating to the decades around 600 BC, and his ranking title 'Royal Sealer' illustrate both his social status and his assimilation to Egyptian culture. [ABSTRACT FROM AUTHOR]