Abstract
This study makes an inventory of the patterns chosen and the processes implemented in the decoration of the Neopunic stelae of Maktar, by comparing them to those of Carthage. It establishes a typology of the monuments to suggest a relative chronology and, more importantly, it suggests answers to recurring questions: what is the nature of the character featured on the funerary stelae, i. e., symbolic representation or portrait of the deceased? what was the date of the discontinuation of the use of the Tophet of Carthage? Or was there a resurgence of a remote heliolatric cult in the area of Maktar?
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