We report the results of radiocarbon dating performed at the ETH laboratory on soft tissue of the mummified body found in September 1991 on the Hauslabjoch in the Ötztaler Alps (near the Similaun Mountain), South Tyrol. Over the past three decades, additional analyses of the sample, which had been stored frozen in a glass jar, have improved the precision of the first published radiocarbon ages. The frozen jar and the story of a mummified body found in the Alps fascinated visitors to the laboratory, mostly primary and high-school students. As part of educational projects, 11 samples were prepared and analyzed, yielding a combined radiocarbon age of 4525 ± 7 BP. This agreement with 4550 ± 27 BP, i.e., the very first results by Bonani et al. (1994), highlights the quality of the analysis performed decades ago. The combined age of all the 14C ages measured at the ETH laboratory is 4527 ± 7 BP.

The Tyrolean ice mummy known as Ötzi presents some of the earliest direct evidence of tattooing in the human past. Despite decades of study, it remains unclear how the Iceman's tattoos were created and what tools and methods were used. Popular discussions of the Iceman describe his tattoos as having been made by incision, first cutting the skin and then rubbing in pigment from the surface. The authors review the scholarly literature on the Iceman's tattoos and summarize ethnographic, historic, and anthropological research on global patterns of tattooing to contextualize the Iceman's marks within pre-electric tattooing traditions. The results of recent experimental tattooing studies are then compared to the physical signature of the Iceman's marks to evaluate existing claims and provide informed hypotheses as to how those tattoos were created.

Since his discovery in 1991 the iceman has been widely seen as meeting a dramatic end – mortally wounded by an arrow shot while attempting to flee through an Alpine pass. A careful study of all the located grave goods, here planned comprehensively for the first time, points strongly towards the scene as one of a ceremonial burial, subsequently dispersed by thawing and gravity. The whole assemblage thus takes on another aspect – not a casual tragedy but a mortuary statement of its day.