served at the king’s funeral has been reconstructed by Dogfish Head Brewery as the award-winning “Midas Touch,” which is now widely available. This collaborative research allowed the funeral ceremony before the burial to be reconstructed in a painting by Greg Harlin. Tumulus P This rather complete picture has aided in the interpretation of the Tumulus P and Tumulus W burials. These tombs produced wonderful wooden finds, but they are largely fragmentary because the roofs of both chambers had collapsed, crushing the contents within. Tumulus P, excavated in 1956, covered the tomb of a small child, who was buried with bronze vessels, fibulae, and belts; iron implements; painted and monochrome pottery; and a glass bowl—as well as 21 or more pieces of furniture and 49 other wooden objects. The serving stand, Tumulus P The wood finds included a “screen,” which, like its Tumulus MM counterparts, was actually a serving stand. The top piece, back leg, and face of the stand were made of boxwood. The face was carved in openwork and inlaid with juniper and yew in a profusion of geometric patterns. As with the Tumulus MM serving stands, this stand too featured a large rosette at the center supported by abstract lion legs, suggesting that it had also represented a shrine of the Phrygian goddess Matar. The inlaid, studded stool, Tumulus P Found near the stand in the southwest corner of the tomb were pieces of a carved wooden stool, inlaid in geometric patterns and studded with bronze tacks. The stool was a colorful production, assembled from alternating strips of boxwood and yew. The boxwood strips, where inlaid, were inlaid with yew, and one yew strip was inlaid with boxwood. The two faces were joined at the top by undecorated strips, and at the bottom by two stretchers, carved on their top and outer faces. The stool was reconstructed on a Plexiglas mount (1993) and is now on display in the Museum of Anatolian Civilizations. The design of this stool is unusual, and can only be understood in reference to the Tumulus MM inlaid table. The two faces of the stool were conceived with such a table in mind, representing the main features of the three-dimensional table “collapsed” into two dimensions in a clever intellectual conceit. Not content with this amusing play with form and dimension, the cabinetmakers then negated the force of the metaphor by alternating the colored woods,