Research concerning transactions in the early first millennium bc in the westernmost Mediterranean has tended to focus on colonial coastlands occupied by scattered Levantine outposts, whereas cross-cultural interactions in hinterland regions have remained ill-defined. This article presents an assemblage of Egyptian vitreous artefacts, namely beads, a Hathor amulet, and further items from the seventh-century bc rural village of Cerro de San Vicente (Salamanca) in the interior of Spain. Macroscopic and chemical analyses demonstrate their likely manufacture in Egypt during the Middle and New Kingdom (second millennium bc), attesting to a far-reaching Phoenician maritime network that connected both ends of the Mediterranean. The authors interpret the items as liturgical objects, rather than mere high-status trinkets, that formed part of a widely shared Mediterranean world view and associated ritual mores. They consider the impact of cultural syncretism, which reached even remote and allegedly isolated peripheral settings in Iberia.
The Tyrolean ice mummy known as Ötzi presents some of the earliest direct evidence of tattooing in the human past. Despite decades of study, it remains unclear how the Iceman's tattoos were created and what tools and methods were used. Popular discussions of the Iceman describe his tattoos as having been made by incision, first cutting the skin and then rubbing in pigment from the surface. The authors review the scholarly literature on the Iceman's tattoos and summarize ethnographic, historic, and anthropological research on global patterns of tattooing to contextualize the Iceman's marks within pre-electric tattooing traditions. The results of recent experimental tattooing studies are then compared to the physical signature of the Iceman's marks to evaluate existing claims and provide informed hypotheses as to how those tattoos were created.
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