"... The nature and function of the cones is still a matter of debate, with some scholars considering them to be symbolic of (myrrh-based) perfume or abstract concepts, and others suggesting that they were physical objects. Recent research and excavations have indicated that the cones were at least in some cases actual mounds of perfumed fat placed on the hair or wig, though the practicality of such an object on the head of a bald man, a dancer, or an attendant is questionable. Perhaps the importance of creating a perfumed atmosphere within the restrictions imposed by two-dimensional representation superseded realism in these cases. In banquet scenes, the cones are shown being produced by moulding unguent directly onto the hair/wigs of seated guests. The celebrants are also anointed with oil (Fig. 5), which stains their white linen in a manner reminiscent of descriptions in love poetry. Bicoloured clothing was introduced around the reign of Thutmose IV (the same period as unguent cones: Padgham 2010) and continued into the Ramesside period. Norman de Garis Davies asserted that the discolouration was caused by unguent (1927, 44–5), and Lise Manniche (1999, 95) also suggests that scented oil was responsible for the shading, noting that although linen does not absorb dye easily, „the fibres would absorb the fatty matter and make them supple and shiny. The yellow colour is a means for the artist to show that large amounts of scent have been applied. It is a sign of wealth and opulence‟. While this may be true to an extent, it does not explain why the tomb owner is shown with bicoloured garments less frequently than his guests. ..."