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.
In a shrine at Ayia Irini, a site on the island of Kea (ancient Keos), excavators have found a large number of clay sculptures that date back to the Late Bronze Age.
A great stone monument dated to the Archaic period (ca. 600 BC), the Lion of Kea is an impressive early Greek monument. But it is almost entirely ignored in the history of Greek art.
Poetic fragments attributed to Archilochus of Paros show him to have been a warrior. But was he also, as is often suggested, a mercenary?
Two depictions of the sack of Troy in Greek art give us different perspectives on how the ancient Greeks used the myth of the Trojan War.
The eighth century BC was a time of great change in the Early Iron Age Aegean. One of these changes is exemplified by the reorganization of settlements on the Cycladic island of Andros.
A large relief pithos (storage jar) from Mykonos features a rare early Greek depiction of the Wooden Horse used to capture Troy.
In the 1980s, excavations in Paroikia, the capital of the Cycladic island Paros, revealed the mass cremation burial of dozens of young men. It is believed to be the earliest Greek polyandrion, a grave for war dead.
Anthony Snodgrass associated changes in Greek fortifications over the course of the Archaic period with the rise of the polis, i.e. the “city-state”. Does that idea have merit?
Inspired by my postdoctoral research, I wonder whether the ancient Greeks built walls around (part of) their settlements primarily out of fear of attack.