The Sacrifice of Jephthah's Daughter - Icon in the Monastery of St. Catherine, Sinai.

	The Sacrifice of Jephthah's Daughter in an encaustic painting on marble decorating the right pilaster of the sanctuary apse in the main church (Bema) at the Monastery of St. Catherine. It dates to the 6th century. Source: Tour Egypt
	Referenced as figure 141 in The military technology of classical Islam by D Nicolle 141. Fresco, Sacrifice of Jeptha's Daughter, 7th-8th centuries AD, Byzantino-Egyptian, in situ, St. Catherine's Monastery, Sinai (Fors). Vol. 1 p22: The great majority of art sources, however, portray swords that have tips that are either so rounded as to make a thrusting blow impossible or are so regularly broad along their length as to be clearly designed for cut rather than thrust. In the 7th century (Figs. 111, 112, 113, 114, 116 and 141), 8th century (Figs. 118, 102 and 470), 9th century (Figs. 143, 202, 447 and 502), 10th century (Figs. 213A, 316, 317, 347, 350, 354, 496, 505 and 507) and 11th century (Figs. 153, 194, 361, 363, 497, 499, 517 and 597) these forms of sword clearly predominated throughout the Muslim world. Vol. 2. p.287: Meanwhile, Coptic visual sources show the troops of Egypt to be basically Byzantine in their equipment, though with minor local variations. The Iranian sword-belt does not, for examples appear. On the other hand the originally Iranian scabbard-slide, long hilt and fundamentally Central Asian angled pommel do. One possible local variation may be the wearing of the scabbard across the back (Fig. 14). This seems to reappear in 9th and 10th century Coptic manuscripts (Figs. 143 and 145). As elsewhere in the Middle East, the long, round-ended sword-blade grew in popularity towards the end of the pre-Islamic period (Figs. 18, 137 and 141) and, given the uncertain dating of much Coptic art, may in fact have resulted from the Muslim conquest. Such uncertain dating is a particular problem in Egypt.