to prop up the frame at its corners. The four-sided frame was carved as a series of panels, connected by double bars, and inlaid with geometric patterns such as fields of squares or diamonds, configurations of hooks, rosette-like designs, and mazes. Some of these patterns appear elsewhere as markings on early figurines and clothing, and survive on women’s dowry textiles and ritual cloths in Europe and Anatolia up to the present. Evidence suggests that these designs were protective and empowering, with connotations of procreation and fertility. The inlaid table was thus decorated with apotropaic and magical imagery, suggesting that it may have had a ritual function. It was also a practical, portable banquet table, with four handles and a tray-shaped top. Boxwood was used for the frame and legs, juniper for the inlay, and walnut for the table top. In 1983, the table was reconstructed for display in the Museum of Anatolian Civilizations, where it could be seen assembled for the first time in 2700 years. The mount was refurbished and the display reinstalled in 1989. The plain tables, Tumulus MM The other eight tables found in the tomb were simpler versions of the inlaid table. Each had three curved boxwood legs and a tray-shaped top. The tops of seven of the tables were made of walnut; the wood of the top of the eighth table was probably maple or cherry. Contrary to Young’s earlier supposition, the legs were not steam bent but were made from naturally curved or trained branches. Tenons at the tops of the legs were fit into “collars” that extended down from the lower surface of the table tops. Research has shown that this system of joinery was widespread in antiquity, attested in the Middle Bronze Age tombs of Jericho and in the Pazyryk burials of the fourth century BC. The serving stands, Tumulus MM Young's “screens” were made of boxwood, inlaid with juniper, with walnut top pieces and curved “legs” set into the front faces. At the center of each face was an inlaid rosette, supported by two curved legs with stylized lion-paw feet. These elements were set within a grid of inlaid square designs surrounded by thousands of tiny diamonds and triangles. Most of the square designs were symmetrical with respect to rotations of 180 degrees, which allowed several basic designs to be turned and flipped to form derivative versions, adding complexity and obscuring