Matthew Lloyd is from the UK, but lives in Canada. He has a BA in Literae Humaniores (2008), an MStud in Classical Archaeology (2009), and a DPhil in Archaeology (2014), all from the University of Oxford. His focus is on Early Iron Age Greece, particularly burials with weapons and other evidence for warfare. He has a steadily growing bibliography of works focusing on various aspects of Prehistoric and early Greek history, and can be found most summers working at the British School at Athens to study the excavations at Xeropolis-Lefkandi.
Matthew is a contributing editor to Ancient World Magazine.
The site of Lefkandi flourished in the aftermath of the collapse of the Mycenaean Palaces. Among the pottery found at the settlement on the Xeropolis tell is an alabastron on which griffins are depicted not as monsters, but in a loving family scene. What does it mean for the changing contexts of pottery production in the postpalatial Aegean?
If it’s okay for modern protestors to topple statues commemorating dubious historical figures, some argue, why shouldn’t we wipe the monuments of ancient slave-owning societies like the Romans from the face of the Earth?
The pediments of the Temple of Aphaia on Aegina were once said to represent the contrast between Archaic and Classical sculpture in their contrasting depictions of two sackings of Troy. But more recent excavation suggests that the situation is a lot more nuanced than that.
The century following the collapse of the Mycenaean Palaces in Greece is marked by successive destructions, but also revival. The Cycladic Islands of Naxos and Paros offer a compelling case study of these times.