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?

Alaric, the commander who led the sack of Rome in AD 410, is often depicted as a wild barbarian. In truth, he had had a long and distinguished career as a general in the Roman army.

The debate about identification is front and centre of discussions about the Artemision god. But is there anything more to say about this statue than “Zeus or Poseidon”?

As is our custom every year, we’re taking a break for a few weeks to relax without the pressure of writing for the website. We’ll be back on the 10th of August!

An interesting look at archaeological research that focuses on all aspects of the production process, from the procurement of raw materials to the use of finished products.

A fragmentary fresco from Pylos has been reconstructed as depicting a warrior with a round shield with armband and grip. A closer look reveals that this fresco most likely depicts something else.

When it comes to the history of warfare in the Late Bronze Age Aegean, an important find is the bronze panoply recovered by Swedish archaeologists from a tomb at Dendra in 1960.

This book, based on a workshop on fortifications and sieges, features a collection of papers that deal with siegecraft among the ancient Assyrians, Egyptians, Greeks, and Romans.

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?

During the Early Iron Age, people dwelled among the ruins of the palace at Knossos in what we may refer to as a “landscape of memory”, one imbued with the collective memories of a bygone era.