Endnote 1 – King Hezekiah’s Seal Revisited

Enrico Acquaro, “Scarabs and Amulets” in Sabatino Moscati, ed., The Phoenicians (New York: Abbeville Press, 1988), pp. 394–403. See also Moscati, “Arts and Crafts,” Phoenicians, pp. 244–247. Without minimizing local influences, the striding sphinx, the woman at the window and the Nimrud bowls show a “preponderance of Egyptian or Egyptianizing motifs.” See John E. Curtis and Julian E. Reade, eds., Art and Empire (London: British Museum Press, 1995), p. 135. See also Richard D. Barnett, “Layard’s Nimrud Bronzes and Their Inscriptions,” Eretz Israel 8, pp. 1–6. Further, Samarian ivories decorating the Ivory Palace of Ahab (1 Kings 22:39) and his Sidonian Queen Jezebel are closer in spirit to the Egyptian representations that inspired them than other ivories brought from neighboring localities. See Maria Luisa Uberti, “Ivory and Bone Carving,” in Moscati, The Phoenicians, p. 412.