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              <text>Phase B</text>
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              <text>F.11576</text>
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              <text>Late Bronze IIB</text>
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              <text>l. 3.1; w. 2.1; th. 1.9 cm</text>
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                <text>Complete hanging sealing, drop-shaped, with a pierced hole on the top for the string encased into the lump of clay, from the eastern room in the Seal-house. Hanging sealings (or bulla in literature), cone-, pyramid-, drop- and cylinder-shaped, are mainly known from Hittite contexts in Anatolia (see Cat. no. 26), secured to written documents by means of tiny strings (Herbordt 2005: 33-34, fig. 18.a-b; Waal 2023: 138-142). The sealing presents, on one side and the base, four impressions of the same signet ring bearing the owner’s name, Piradu, both in cuneiform and hieroglyphic writing, respectively [pi/pí]-ra-du and pi (L66)+ra/i (L383)-tu (L88), accompanied by his title, AULA (L254) “loyal (noble)man” and likely profession, MAGNUS?.X?. While the name Piradu, probably of Hurrian origin, is common in Middle Assyrian sources, it is possible that we are here dealing with the same person attested at Emar, if the Mutri-Teshub of two documents from that site (Beyer 2001: 136, B46, Msk 73.1019 and Arnaud 1986: 261, Msk 7441) is actually one and the same person, because in one Piradu is mentioned and in the other one Ewri-Teshub, a diviner whose seal is known both from Karkemish (with Sunaili and Zinni I; cf. Cat. nos. 1, 4 and see Peker 2023a: 128 no. 7, figs. 6-7) and Emar (Beyer 2001: 56-57, A14).</text>
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              <text>h. 1.7; w. 3.6; th. 1.2 cm</text>
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                <text>The study of the back of these sealings reveals that three of them were originally fastened to a cylindrical wooden-peg (closing a door or a lid) with at least four laps of twisted string around it (Cat. nos. 27-29), as shown by the concave surface on the reverse and the negative impressions of string (four laps in Cat. no. 27, two in Cat. no. 29, while Cat. no. 28 presents the string imprint on the obverse, probably as the return part of the string). One sealing had been likely secured to a wooden box or lid, as indicated by the negative trace of flat wooden strips on the base (Cat. no. 30). Traces of fingerprints are visible on the obverse of two sealings (Cat. nos. 27-28). They were found within a deposit of one hundred sealings spread over the floor of room L.11115 of an Iron I building, built immediately above the Late Bronze II Seal-house, of which it seems to have kept the same administrative functions. 67 very fragmentary sealings had been impressed with the same circular stamp seal (the original diameter of which was 3.5 cm, see the graphic reconstruction) and Cat. nos. 27-30 each show some parts of its iconography and legend. A female figure holding a rod (a symbol of authority) is depicted standing with extended arms, the right one bent upwards. The details are rendered in a very fine manner, such as the lips and the ear. The woman seems to wear a hairy cap (unless it is a render of hair with a head-band) and has a strand of long hair on the back. The long robe, with a belt and a tassel at the bottom, has sleeves and its fabric is rendered with vertical strokes. There are two women’s names on the reconstruction of this seal. Behind the figure, there is the standard hieroglyphic Iron Age Seal Inscription formula (but without phonetic complements for the personal names in genitive), possibly the earliest attested one. Its transcription runs: zi/a-wa/i BONUS2 SIGILLUM ma-ti-i(a) BONUS2 FEMINA, and in front of the figure: DARE-ma-á-la-zu(wa/i) BONUS2 FEMINA. The translation is: This good seal (is of) Matiya, the wealthy woman / (and of) Piyama-Al(l)anzu(wa) the wealthy woman. Matiya is attested both as a male name in cuneiform sources (Laroche 1966: 790; Gelb, Purves and MacRae 1943: 96-97), as well as a female one at Nuzi (Gelb, Purves and MacRae 1943: 97). Al(l)anzu(wa) is a goddess, one of the granddaughters of Hebat (Hawkins 2024: 14, cf. YAZILIKAYA no. 45; Hutter 2021: 185). The administrative prominence of the personage(s) using this seal (either one of the seal’s owners or a person acting on behalf of them) is shown by the simple fact that two thirds of the sealings in the deposit were impressed by this seal. That the seal belongs to two women is further proof of the economic role which women could have in Hittite society during the Empire (Weeden 2026) and - we have now learnt - also in the post-Empire periods.</text>
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                <text>The study of the back of these sealings reveals that three of them were originally fastened to a cylindrical wooden-peg (closing a door or a lid) with at least four laps of twisted string around it (Cat. nos. 27-29), as shown by the concave surface on the reverse and the negative impressions of string (four laps in Cat. no. 27, two in Cat. no. 29, while Cat. no. 28 presents the string imprint on the obverse, probably as the return part of the string). One sealing had been likely secured to a wooden box or lid, as indicated by the negative trace of flat wooden strips on the base (Cat. no. 30). Traces of fingerprints are visible on the obverse of two sealings (Cat. nos. 27-28). They were found within a deposit of one hundred sealings spread over the floor of room L.11115 of an Iron I building, built immediately above the Late Bronze II Seal-house, of which it seems to have kept the same administrative functions. 67 very fragmentary sealings had been impressed with the same circular stamp seal (the original diameter of which was 3.5 cm, see the graphic reconstruction) and Cat. nos. 27-30 each show some parts of its iconography and legend. A female figure holding a rod (a symbol of authority) is depicted standing with extended arms, the right one bent upwards. The details are rendered in a very fine manner, such as the lips and the ear. The woman seems to wear a hairy cap (unless it is a render of hair with a head-band) and has a strand of long hair on the back. The long robe, with a belt and a tassel at the bottom, has sleeves and its fabric is rendered with vertical strokes. There are two women’s names on the reconstruction of this seal. Behind the figure, there is the standard hieroglyphic Iron Age Seal Inscription formula (but without phonetic complements for the personal names in genitive), possibly the earliest attested one. Its transcription runs: zi/a-wa/i BONUS2 SIGILLUM ma-ti-i(a) BONUS2 FEMINA, and in front of the figure: DARE-ma-á-la-zu(wa/i) BONUS2 FEMINA. The translation is: This good seal (is of) Matiya, the wealthy woman / (and of) Piyama-Al(l)anzu(wa) the wealthy woman. Matiya is attested both as a male name in cuneiform sources (Laroche 1966: 790; Gelb, Purves and MacRae 1943: 96-97), as well as a female one at Nuzi (Gelb, Purves and MacRae 1943: 97). Al(l)anzu(wa) is a goddess, one of the granddaughters of Hebat (Hawkins 2024: 14, cf. YAZILIKAYA no. 45; Hutter 2021: 185). The administrative prominence of the personage(s) using this seal (either one of the seal’s owners or a person acting on behalf of them) is shown by the simple fact that two thirds of the sealings in the deposit were impressed by this seal. That the seal belongs to two women is further proof of the economic role which women could have in Hittite society during the Empire (Weeden 2026) and - we have now learnt - also in the post-Empire periods.</text>
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                <text>Complete hanging sealing, drop-shaped with a circular hole on the top left by the encasement of a double rope and with flattened sides. It bears five impressions of a stamp seal, one for each of the four sides and one on the base, alongside fingerprints. The seal impressions show possible geometric motifs on both sides of a dividing line, although they are too faint for a more accurate interpretation. Despite the lack of traces of the original carrier, it is possible to suggest that the hanging sealing was knotted to a written document, perhaps a wooden board, based on typological comparisons from the region (Waal 2023: 138-142; 2026: 747-748). This follows the Anatolian tradition of the Late Bronze age of sealing wooden writing boards and cuneiform tablets with strings and lumps of clay, testified by the large deposits of sealings from Nişantepe (Herbordt 2005; 2011) and Kayalıpınar (Maner et al. 2024: 442-443; see also Cat. no. 10). This practice appears in substitution of the Mesopotamian tradition of impressing the seals directly on the clay of the cuneiform documents (Waal 2026: 752-753). The presence of this type of sealing in the Iron I levels provides further evidence for the continuity of administrative practices at Karkemish after the fall of the Hittite empire (one may perhaps also compare a signet ring impression on a sealing from a layer, Cat. no. 11).</text>
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                  <text>Karkemish - 2026 Ankara exhibition</text>
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      <elementContainer>
        <element elementId="106">
          <name>3D Model</name>
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          <elementTextContainer>
            <elementText elementTextId="16650">
              <text>&lt;iframe width="100%" height="800" style="border:0px #ffffff none;" src="https://www.orientlab.net/digital_museum/3dhop_models/sigillo.html?obj=KH_19_O_113"&gt;&lt;/iframe&gt;</text>
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          <name>Site</name>
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              <text>Karkemish</text>
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          <name>Area</name>
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              <text>C East</text>
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        <element elementId="119">
          <name>Context Date</name>
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              <text>Early Iron I</text>
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              <text>l. 2.7; w. 2.2; th. 1.3 cm</text>
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        <element elementId="111">
          <name>Context Type</name>
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              <text>Lower Palace</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>KH.19.O.113</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="16693">
                <text>Fragmentary sealing applied to a container, either a wooden box or a flat lid. The reverse of the sealing is flat and shows the negative trace of wooden slats, while along the broken section there are negative marks of the rope and knot fastening the container, against which the lump of clay was placed. An impression of a cylinder seal is only partially preserved: it shows a standing male figure facing to the right with stretched arms and finely rendered fingers (cf. the posture of the personage in Cat. 27-30) and a thick strand of hair on the nape, which is very similar to Cat. no. 25. Of the name of the seal’s owner, written hieroglyphically, only the last syllable is readable: á (L19)-[...]-sa (L415), with -sa being the genitive case for the Iron Age Seal Inscription formula “This seal is of PN” (compare Cat. nos. 25 and 27-30). The importance of the Iron I corpus of sealings from Karkemish is made clear by the very limited amount of comparable material from other sites (Mazzoni 2013: 571-573): after the collapse of the trade networks and administrative structures of the Late Bronze age, their reorganization which followed in Iron I is still poorly known (Genz [2009: 312-313; 2011: 355] stresses that no evidence for administrative activities is to be found in Anatolia during the early Iron age) and the new evidence from Karkemish shows that - notwithstanding the urban and political continuity at Karkemish itself - new formulae, both visual and epigraphical, were devised.</text>
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              <description>A name given to the resource</description>
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                  <text>Karkemish - 2026 Ankara exhibition</text>
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      <name>3D Model</name>
      <description>A resource requiring interaction from the user to be understood, executed, or experienced. Examples include forms on Web pages, applets, multimedia learning objects, chat services, or virtual reality environments.</description>
      <elementContainer>
        <element elementId="106">
          <name>3D Model</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16648">
              <text>&lt;iframe width="100%" height="800" style="border:0px #ffffff none;" src="https://www.orientlab.net/digital_museum/3dhop_models/sigillo.html?obj=KH_19_O_110"&gt;&lt;/iframe&gt;</text>
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          </elementTextContainer>
        </element>
        <element elementId="107">
          <name>Site</name>
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          <elementTextContainer>
            <elementText elementTextId="16700">
              <text>Karkemish</text>
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        </element>
        <element elementId="108">
          <name>Area</name>
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          <elementTextContainer>
            <elementText elementTextId="16701">
              <text>C East</text>
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        <element elementId="110">
          <name>Locus</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16702">
              <text>F.9632</text>
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        <element elementId="119">
          <name>Context Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16703">
              <text>Early Iron I</text>
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        <element elementId="113">
          <name>Sealing Measures</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16704">
              <text>h. 1.9; w. 0.7; th. 0.7 cm</text>
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        </element>
        <element elementId="111">
          <name>Context Type</name>
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          <elementTextContainer>
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              <text>Lower Palace</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="16647">
                <text>KH.19.O.110</text>
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            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="16699">
                <text>Fragmentary clay sealing, placed against the neck of a vessel, although no traces of cloth cover or string are preserved on its back. The sealing was impressed with a cylinder seal, featuring two standing male figures facing at the edge of the central scene, not preserved (the hieroglyphic inscription stands as a divider). Of one of them only a thick strand of hair on the back of the head remains, while of the opposite figure a powerfully rendered body, sporting a belt at the waist, and a horizontal left arm may be discerned. The hieroglyphic inscription actually supplies the name of the owner: [...] mwa/i-su-na-sa “[This seal (is)] of Wasuna,” which is the same formula as in the contemporary seal impressions Cat. nos. 24 and 27-30. All these sealings were found in different parts and phases of the early Iron I reconstruction (with several inner refurbishments) of the Late Bronze II Seal-house (for which see above under Cat. nos. 3-4, 14), when a sector for the processing of food was added to the east, featuring benches and circular ovens and siloses. A room farther to the West, along the presumable limit of the building and directly above the earlier rooms which had already that same function, seems to have been used as a storeroom judging from the number of sealings found there (Cat. nos. 27-30).</text>
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          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="16633">
                  <text>Karkemish - 2026 Ankara exhibition</text>
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              </elementTextContainer>
            </element>
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      <name>3D Model</name>
      <description>A resource requiring interaction from the user to be understood, executed, or experienced. Examples include forms on Web pages, applets, multimedia learning objects, chat services, or virtual reality environments.</description>
      <elementContainer>
        <element elementId="106">
          <name>3D Model</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16646">
              <text>&lt;iframe width="100%" height="800" style="border:0px #ffffff none;" src="https://www.orientlab.net/digital_museum/seals+imp/YU_25_O_5/index.html"&gt;&lt;/iframe&gt;</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="107">
          <name>Site</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16724">
              <text>Karkemish</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="108">
          <name>Area</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16725">
              <text>Area 26</text>
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          </elementTextContainer>
        </element>
        <element elementId="110">
          <name>Locus</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16726">
              <text>F.15017</text>
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          </elementTextContainer>
        </element>
        <element elementId="119">
          <name>Context Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16727">
              <text>Early Iron II</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="112">
          <name>Sealing Type</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16728">
              <text>Steatite or chlorite cylinder seal</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="111">
          <name>Context Type</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16748">
              <text>Younus Necropolis</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="16645">
                <text>YU.25.O.5</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="16723">
                <text>Cylinder seal found in the upper fill of a grave from the Hellenistic period (G.15015) in the Yunus necropolis. The grave, dug in a narrow and deep pit, had been robbed in antiquity of its rich contents (but a few of them remained, such as some golden leaves under the skull): rather than being a heirloom within the funerary assemblage, we think that this much earlier seal must have fallen into the robber’s pit as deriving from another robbed, nearby grave of the Iron age, as so many other examples prove that was the case in the cemetery area. The seal is quite exceptional both in its dimensions, and in its careful and detailed execution over two registers: above, the kneeling archer, with a dagger at the waist and wearing a kilt, aims at an ibex looking backwards and at a deer, while below a lion attacks a charging bull (both motifs closely recall the King’s Gate reliefs by the ruler Katuwa of the end of the 10th century BCE, Woolley and Barnett 1952: pls. B.57-60). A scorpion, a fish and a star are fillers (probably also charged with vague symbolic meanings) introduced to better give a tapestry effect to the whole scene. The seal shares several features (such as the notched borders) with other specimens from the area, which contributes to the definition of the main glyptic workshop active at the site (see above pp. xx-xx).</text>
              </elementText>
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          </element>
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          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="16633">
                  <text>Karkemish - 2026 Ankara exhibition</text>
                </elementText>
              </elementTextContainer>
            </element>
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      <name>3D Model</name>
      <description>A resource requiring interaction from the user to be understood, executed, or experienced. Examples include forms on Web pages, applets, multimedia learning objects, chat services, or virtual reality environments.</description>
      <elementContainer>
        <element elementId="106">
          <name>3D Model</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16644">
              <text>&lt;iframe width="100%" height="800" style="border:0px #ffffff none;" src="https://www.orientlab.net/digital_museum/seals+imp/KH_21_O_500/index.html"&gt;&lt;/iframe&gt;</text>
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          </elementTextContainer>
        </element>
        <element elementId="107">
          <name>Site</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16673">
              <text>Karkemish</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="108">
          <name>Area</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16674">
              <text>C North</text>
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          </elementTextContainer>
        </element>
        <element elementId="110">
          <name>Locus</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16675">
              <text>F.12300</text>
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          </elementTextContainer>
        </element>
        <element elementId="119">
          <name>Context Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16676">
              <text>Late Bronze IIB</text>
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          </elementTextContainer>
        </element>
        <element elementId="113">
          <name>Sealing Measures</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16677">
              <text>diam. 3.0; th. 1.1 (perf. diam. 0.4)</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="112">
          <name>Sealing Type</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16692">
              <text>Hematite stamp seal</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="111">
          <name>Context Type</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16740">
              <text>Lower Palace</text>
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        </element>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="16643">
                <text>KH.21.O.500</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="16729">
                <text>Complete, perforated biconvex seal found in a debris layer above roadway L.12301 along the Seal-house, together with a cylinder seal (KH.21.O.501), thirteen bowl fragments with DEUS marks (e.g. Cat. no. 14) and a painted pithos (Cat. no. 12). The seal is engraved on one side with Anatolian hieroglyphs, giving us the name of the seal owner, framed by a simple ladder motif, typical of the Empire period (see Cat. no. 18). The hieroglyphs of the name form the sequence wa/i? (L439 without central stroke and squares with open bottom) -ni? (L411 unexpected periods at the open ends) -ti? (L90? with a longer ankle) -*a? (L450), which can be read very tentatively as Awa/initi, a hapax however. All hieroglyphic signs, with the exception of ti (L90?), are either made in a sketchy and unusual way or they are unknown signs. On the opposite side there is a sketched figure of a worshiper (?) with a pointed nose and bob hair. The personage is bent slightly forward with stretched arms; legs are depicted with wide upturned feet. The figure is framed by a simplified irregular ladder motif. Iconographic parallels can be found with cloaked worshipers among the seal impressions from the Nişantepe deposit at Hattusha (Herbordt 2005: 58-60, fig. 40) and from Gözlü Kule/Tarsus (Gelb 1956: 252, cat. no. 50, figs. 403, 407). When compared to those specimens, the Karkemish seal shows a less refined execution, representing a local product of the Late Empire period (late 13th century BCE).</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Karkemish - 2026 Ankara exhibition</text>
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      <name>3D Model</name>
      <description>A resource requiring interaction from the user to be understood, executed, or experienced. Examples include forms on Web pages, applets, multimedia learning objects, chat services, or virtual reality environments.</description>
      <elementContainer>
        <element elementId="106">
          <name>3D Model</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16642">
              <text>&lt;iframe width="100%" height="800" style="border:0px #ffffff none;" src="https://www.orientlab.net/digital_museum/seals+imp/KH_21_O_186/index.html"&gt;&lt;/iframe&gt;</text>
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          </elementTextContainer>
        </element>
        <element elementId="107">
          <name>Site</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16685">
              <text>Karkemish</text>
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          </elementTextContainer>
        </element>
        <element elementId="108">
          <name>Area</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16686">
              <text>AA</text>
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        <element elementId="110">
          <name>Locus</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16687">
              <text>F.11703</text>
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        </element>
        <element elementId="119">
          <name>Context Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16688">
              <text>Late Bronze II</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="112">
          <name>Sealing Type</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16689">
              <text>Stone cylinder seal</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="113">
          <name>Sealing Measures</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16690">
              <text>diam. 1; h. 2.2 cm (perf. diam. 0.4 cm)</text>
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        </element>
        <element elementId="111">
          <name>Context Type</name>
          <description/>
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              <text>Acropolis</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="16641">
                <text>KH.21.O.186</text>
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          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Cylinder seal retrieved from the fill (F.11703) of a Hellenistic period pit (P.11704), cut into the a mudbrick wall (W.11388) of the Late Bronze II monumental building. The surface of the seal, made of calcareous stone, appears quite worn and, thus, only a tentative interpretation of the engraved scene can be proposed. A possible schematic standing figure with a long robe can be recognized between two spears or vegetal elements. This latter kind of oblique strokes pointing downwards can be seen on a group of seals from Ugarit (Amiet 1992: fig. 24, nos. 125-127). Next, there are two rampart quadrupeds, possibly equids with their calves next to them. Schematic theories of animals are also found among the Syrian style seals from Ugarit (ibid., 41-44, figs. 14-18). Overall, based on stylistic and iconographic comparisons, it is possible to ascribe this seal to the local Syrian glyptic production of the later second millennium BCE, quite different in quality of execution and style from the other cylinder seal found in area AA (see Cat. no. 20).</text>
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              <text>&lt;iframe width="100%" height="800" style="border:0px #ffffff none;" src="https://www.orientlab.net/digital_museum/seals+imp/KH_20_O_132/index.html"&gt;&lt;/iframe&gt;</text>
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              <text>F.10753</text>
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          <name>Context Date</name>
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              <text>Late Bronze</text>
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          <name>Sealing Measures</name>
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              <text>diam. 1.0; h. 2.1 cm (perf. diam. 0.3 cm)</text>
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        </element>
        <element elementId="112">
          <name>Sealing Type</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16691">
              <text>Faiance cylinder seal</text>
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        <element elementId="111">
          <name>Context Type</name>
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          <elementTextContainer>
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              <text>Acropolis</text>
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            <name>Title</name>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Cylinder seal retrieved from the second phase of use in the Late Bronze II monumental building in the north-western sector of the acropolis mound (the other seal from the area is Cat. no. 21). It was found in the collapse layer (F.10753) over a floor (L.9839) in the south-western wing. The seal is made of whitish faience (a silica-based vitreous material) and features a complex scene, in a style of the so-called Common-style glyptic tradition (see Salje 1990; Porada and Collon 2016: 87-90, pls. 16-18). This includes a standing, apparently naked hero, bearded, wearing a rounded cap and a chignon on the back of the neck. He holds, with his left hand, an oryx with long horns by one hind leg. In front of the personage, on the upper register, there is a schematic winged sun (or a bird with spread wings), next to a couchant winged griffin and a couple of recumbent four-legged quadrupeds, an ibex looking backwards to the left and a gazelle to the right. In the lower register, there are two slain (?) male figures. The head and eyes of the animals are made by centre-dot circles, while the bodies and legs are formed by slender lines that contribute to the general dynamism of the scene. Overall, the iconography, style and composition are close to Mittani style seals and seal impressions from Tell Munbaqa (Werner 2004: 10-14, pls. 9-11), Alalakh (Collon 1982: 87-90, nos. 64-67) and Ugarit (Schaeffer-Forrer 1983: 150-155, nos. RS.25.254-255, 380,385; Amiet 1992: 35-36, nos. 53-54).</text>
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                  <text>Karkemish - 2026 Ankara exhibition</text>
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      <elementContainer>
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              <text>&lt;iframe width="100%" height="800" style="border:0px #ffffff none;" src="https://www.orientlab.net/digital_museum/seals+imp/KH.17.O.448/index.html"&gt;&lt;/iframe&gt;</text>
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        <element elementId="107">
          <name>Site</name>
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              <text>Karkemish</text>
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          <name>Area</name>
          <description/>
          <elementTextContainer>
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              <text>C East</text>
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          <name>Level</name>
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            <elementText elementTextId="16662">
              <text>Phase A</text>
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            <elementText elementTextId="16663">
              <text>F.8867</text>
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        <element elementId="119">
          <name>Context Date</name>
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          <elementTextContainer>
            <elementText elementTextId="16664">
              <text>Late Bronze IIB</text>
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        <element elementId="113">
          <name>Sealing Measures</name>
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          <elementTextContainer>
            <elementText elementTextId="16665">
              <text>diam. 1.45; h. 3.75 cm</text>
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              <text>"Seal House"</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>KH.17.O.448</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>This is the only seal actually associated with the large deposit of discarded, impressed sealings found below the floor of the so-called Seal-house in area C East (for which see under Cat. nos. 3-4, 14). Of it, quite exceptionally, we also possess an impression (KH.17.O.671) on a sealing applied to a small container, thus showing that the seal was actually one of those involved in the control of the (sealed) goods of the storeroom. The inscribed cylinder is outstanding, both for its dimensions and for the quality of its engraving, which belongs to a court workshop most likely based at Karkemish itself. The scene features a standing Storm-god, who can be identified as such by the horned high cap – horns being a symbol of divinity – and by the thunderbolt held in his left hand (which is, as customary, tripartite but actually here more W-shaped, as in the hieroglyphic logogram for the god’s name, L199 TONITRUS, Tarhunna in Hittite, Tarhunza in Luwian, Teshub in Hurrian, Hadad in North-west Semitic). The right hand holds a mace against the shoulder and a dagger is suspended to his short kilt, while the shoes with upturned toes are a typical Hittite rendering. In front of the god, the Great King - wearing a hairy (which usually is plain, instead, but see the contemporary royal seal in Waal 2026: fig. 33.3) skull cap and a long, tasseled robe - extends his right arm in a prayer’s gesture with an ‘ankh life symbol above his hand and with the left holds the curved staff of his high office known in Hittite texts as kalmuš, while a winged sun disk hovering above confirms the visual identification for this personage assimilated to the Sun-god (who is actually the emperor and not the king of Karkemish, see Aro 2022: 516-518, figs. 11.3b,5a; Beyer 2001: 341-347, figs. 60-61). A guilloche frames the visual field on both edges, with the lines of the cuneiform legend serving as scene divider. Some fillers are placed behind the sovereign: they are not actual writing although they must represent a landscape of symbolic meaning, even if their connective interpretation remains elusive. Some of them are in fact well known motives, such as the (here much stylized and repeated twice, another one appears next to the emperor’s right hand) ‘ankh life-symbol (L440-441 VITA; Herbordt 2006: 104, fig. 12) as well as the rosette, which is often associated with royalty in imperial Hittite glyptic (cf. Dinçol and Dinçol 2008: pls. 6.56b, 7.66b); on the other hand, the bird of prey, a falcon or an eagle rendered in fine detail, does not seem a hint to the goddess Kubaba because her logogram does not have the outstretched wing (cf. L130 AVIS3), while the X may be the sign for 100 (L399 CENTUM). Overall, they must evoke well-wishing and/or an idea of strength in relation to the Great King. The inscription, both in cuneiform and Anatolian hieroglyphs, gives the name and profession of the owner. The hieroglyphs of the name form the sequence su (L370)-L392-li (L278), while in cuneiform it is written as mŠu-na-DINGIR-LÌ, thus ensuring a reading of the name as Sunaili (Peker 2023a: 131 sub 19, fig.19). In the Karkemish seal, he bears - but only in hieroglyphic writing - the title AULA (L254) “loyal man/loyal nobleman” and his profession is indicated with the sign MAGUS/MEDICUS (L135.2), to be translated as “physician”. It has been suggested (Dinçol and Dinçol 2008: 68) that the latter sign is a depiction of a snake: in fact, if one examines the MAGUS/MEDICUS (L135.2) sign intently on this perfectly carved and preserved seal, the depiction supports the idea that, with its blunt muzzle and horn like protrusions, it looks more like a snake than a bird (which somehow suggests a possible, fascinating connection with the snake rod of the Greek healing god Asclepius).</text>
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      <elementContainer>
        <element elementId="106">
          <name>3D Model</name>
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          <elementTextContainer>
            <elementText elementTextId="16635">
              <text>&lt;iframe width="100%" height="800" style="border:0px #ffffff none;" src="https://www.orientlab.net/digital_museum/3dhop_models/sigillo.html?obj=KH_17_O_89"&gt;&lt;/iframe&gt;</text>
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              <text>Karkemish</text>
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              <text>C East</text>
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              <text>F.8051</text>
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        <element elementId="119">
          <name>Context Date</name>
          <description/>
          <elementTextContainer>
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              <text>Late Bronze II or Early Iron I</text>
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        <element elementId="113">
          <name>Sealing Measures</name>
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            <elementText elementTextId="16671">
              <text>h. 3.6; w. 5.2; th. 2.4 cm</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>KH.17.O.089</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Because the sealing was found within the fill of an Iron II pit (P.8050) cutting into the Late Bronze IIB and Iron I layers, we cannot date it by stratigraphic means and it may well belong to an immediately post-Imperial phase. It was applied against the neck and rim of a juglet (diam. ca. 5 cm), probably markedly outturned, covered with a piece of fabric, perhaps an open weaved gauze made out of fine threads, bound with two rows of cord (0.2 cm diam.), the negative signs of which can be seen along the broken section of the sealing. On the obverse it bears two impressions of the same signet ring engraved with Anatolian hieroglyphs giving the owner’s name: i(a) (L209) – zi/a (L376) – tá (L29) which can be read as Iz(z)ita, a name hitherto not attested. This seal is distinct from other 13th century BCE signet ring examples (as Cat. nos. 2, 8, 10) and it may also date from a slightly later period having no decoration and a simple linear arrangement of the signs, thus its date can be broadly determined as between the late 13th and the mid-12th centuries BCE (in the latter case, being contemporary with Cat. nos. 24-30).</text>
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      <elementContainer>
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              <text>Karkemish</text>
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              <text>C East</text>
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          <name>Level</name>
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              <text>F.8867</text>
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          <name>Context Date</name>
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          <elementTextContainer>
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              <text>LB IIB</text>
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        <element elementId="112">
          <name>Sealing Type</name>
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          <elementTextContainer>
            <elementText elementTextId="15162">
              <text>C.1 (Wooden box)</text>
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        <element elementId="113">
          <name>Sealing Measures</name>
          <description/>
          <elementTextContainer>
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              <text>2.3 x 5.3 x 4</text>
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              <text>Y</text>
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              <text>2</text>
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              <text>2</text>
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              <text>Taya C2 </text>
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              <text> Taya S2</text>
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              <text>&lt;iframe width="100%" height="800" style="border:0px #ffffff none;" src="https://www.orientlab.net/digital_museum/3dhop_models/sigillo.html?obj=KH_17_O_531"&gt;&lt;/iframe&gt;</text>
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            <name>Title</name>
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                <text>KH.17.O.531</text>
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                <text>Large sized sealing. On the obverse it presents two impressions of the the same cylinder seal with cuneiform legend on a vertical line and hieroglyphic signs among the figures. The scene is framed by a double guilloche (3.3 reconstructed height). From the reverse was possibly applied on a bag tied with a large stripe of cloth and several rows of rope?</text>
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                <text>Medium sized sealing fragment. On the obverse there are at least four impression of the same stamp (signet?) seal with hieroglyphic signs (1.3 x 1.8). On the reverse there are the negative traces of folds and, possibly, fabric. Along the broken section the sign of a rope can be distinguished. Bag sealing.</text>
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                <text>Small sized sealing fragment. On the obverse part of a seal impression is preserved (2.1 x 1.4). The reverse presents a slightly curved shape. Possibly applied to a vessel?</text>
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