Unit One
The Beginnings of Civilization
1
Primitive Art/Paleontology
Timeline of Human Events
2
Hominid Species Timeline
The chronological chart below shows the main Hominid species (apes in blue,
human species in red) and their approximate relationships in time, based on
currently available evidence. Click timeline for more information.
3
4
5
Venus of
Willendorf
c. 24,00022,000 BCE
Oolitic limestone
43/8 inches
(11.1 cm) high
(Naturhistorisch
es Museum,
Vienna)
6
Laugerie Basse Venus, 'Impudique'
(Immodest Venus)
Discovered in 1864 by the Marquis Paul de
Vibraye. It was the first Venus figure found
in France. The Marquis was playfully
reversing the appellation of "Venus pudica"
("modest Venus") that is used to describe a
statue type of the Classical Venus which
shows, in many statues the goddess
attempting to conceal her breasts and pubic
area from view. The inference the Marquis
makes is that this prehistoric Venus makes
no attempt to hide her sexuality. This ivory
venus is 8 cm high, and has lost the head.
The stomach is flat, and could be of a young
7
girl.
Femme a la Corne. This low relief venus is
from Laussel, Dordogne. 44 cm (17.5
inches) high. Musee d'Aquitane, Bordeaux.
The body swells out towards the viewer
from this convex block of limestone. It
formed one of a set, a frieze which
included other female figures and a male
figure.
It probably dates to 27 000 - 22 000 b.p.
Although now detached, it should be
classed as parietal (non portable, in place)
rock art since it was originally carved on a
block of 4 cubic metres (140 cubic feet).
The horn and the series of lines on it have
often been linked with the moon or
menstruation.
8
23,000-21,000 BC Limestone H 10.2 cm Kostenky
settlement
This figurine represents the Palaeolithic 'Venus',
with overlarge breasts and belly. The faceless head
bends towards the chest while the arms are pressed
to the body with hands on the belly. Covering the
surface of the head are rows of incisions indicating a
hair style or cap. Relief work in the form of a tight
plait convey a breast ornament tied up at the back.
There are bracelets on the arms.
9
Four small venuses about 15 cm high from the open air Avdeevo site in
Russia, dating to 20 000 years B.P.
10
The western edges of the Massif Central
and the northern slopes of the Pyrenees
are noted for an exceptional
concentration of Palaeolithic caves. In
fact, there are no fewer than one hundred
and thirty sanctuaries, the most renowned
of which is Lascaux.
Located on the left bank of the river
Vézère, Lascaux is set a little apart
from the traditional prehistoric sites
further downstream, between Moustier
and Bugue.
The excellent state of conservation of
our prehistoric heritage is due to the
numerous rock-shelters and natural
caves in limestone, which dot the
landscape.
11
The research carried out during the past decades has placed the
iconography of Lascaux at the beginning of the Magdalenian Age,
that is, 17,000 years before today. However, certain indications, both
thematic and graphic, suggest that certain figures could belong to a
more recent period. This is borne out by dating with Carbon 14
(around 15,000 years old)
12
Cave Paintings at Lascaux, France
Map of the cave
13
Great Hall of the Bulls
The wall decorations in the Great Hall of the Bulls are the most
impressive of all Palaeolithic art. they extend on both sides of
the vaulted walls of a sloping floored rotunda.
The vast fresco, covering some twenty metres, is composed of
three groups of animals : horses, bulls and stags. In fact these
themes recur repeatedly in the different areas of this
underground sanctuary...
14
...This composition is introduced by a strange
figure, the ...
15
... which seems to be chasing a herd of horses
linked with a large, partially drawn bull towards
the back of the Hall...
16
...In the opposite direction, a similar illustration
made up of three more large aurochs balances
this composition...
17
...The meeting point of these two groupings is a group
of small stags painted in ochre...
18
...The few signs are limited to isolated or grouped dots, often
black, and to variously coloured dashes...
19
...The colour black dominates the figurative works: only
the group of stags, three bovines and four horses, of
which three are incomplete, are coloured red.
20
The Painted Gallery
The Painted Gallery is
justifiably considered to be
the pinnacle of Palaeolithic
cave art.
The figures cover the entire
upper reaches of the walls as
well as, in the first third of the
Gallery, the surface of the
vault...
21
...The iconography of this prehistoric "Sistine Chapel" is based
on classical prehistoric animal themes : aurochs, horses,
ibexes, a reminder of the stag at the entrance to this gallery
and at the back, the bison.
22
...This is a continuous series of important works among which
we note the Chinese Horses...
23
... a triad surrounded by large red cows...
24
...Further along, two panels face each other.
The one on the left is dominated by the Great Black Bull which partially
hides two red cows. At the back a horse seems to be dashing towards the
inmost depths of the gallery...
25
The Lateral Passage
This corridor, which is still relatively low, was
subsequently lowered during the early development
of the site to enable visitors to circulate more easily.
Only a few painted or engraved traces of the
iconography of this gallery survive today. Of these,
the engravings are more numerous...
26
The Chamber of Engravings
The Chamber of Engravings, a rotunda which is smaller
than the Great Hall of the Bulls, stands out because of
the extremely high number of painted and, especially,
engraved figures, more than 600 in all...
27
...They cover the walls and ceiling and are in
three, tiered, sections each with its own specific
theme: aurochs in the lower frieze, then deer,
then, covering the entire dome, the horses...
28
...Here there is maximum overlapping of subjects.
Superimposition, scraping, and obliteration, the
many traces of activities make it particularly difficult to
interpret the figures.
29
Main Gallery
Adjacent to the Chamber of Engravings, the Main Gallery is
larger. It is made up of a series of adjoining chambers which
gradually become smaller. The walls on either side of the axis
are perfectly symmetrical. Five panels, each with its own
characteristics, and unequally distributed on either side
distinguish this space...
30
...The Panel of the Imprint is composed of horses, bison and
quadrangular signs...
31
...The Black Cow Panel, more fragmented than the Panel of
the Imprint which is composed of horses, bison and
quadrangular signs, is placed after the linear composition of
seven ibexes...
32
...This hieratic figure, whose lines have been
redrawn a great many times is looking towards the
back of the cave and seems to be dominating a group
of horses most of which are facing in the opposite
direction...
33
...We note, at the base of the centre of this panel,
three polychromatic quadrangular signs, or
"blazons" each divided into geometric units...
34
...The panel of the Back-to Back Bison completes the panels on
the left wall. It is certainly the most typical example of the rendering
of three dimensions in this sanctuary. Reserves around the limbs in
the background, distortion of shapes, choice of surface,
symmetrical composition, are all used to create a three dimensional
effect...
35
...The opposite wall features only one group of figures, made up of
stags' heads and shoulders reflecting the preceding iconography.
They have been described by some as five stags crossing a river,
whence the name, the "Swimming Stags" for this panel.
Nevertheless, this type of composition is not unique to the stags,
several other groups with different themes, ibex or bulls, are
similarly constructed without a similar interpretation being proposed.
36
The Chamber of Felines
At the far end of the Main Gallery a long, straight corridor
which is at times very narrow, opens up. This is the Chamber
of Felines, the furthest recess of this site.
Here, in comparison to the big compositions in the preceding
galleries, the graphic treatment on walls which were more
difficult to access, is more modestly proportioned...
37
...The animals here are somewhat different from what
has already been described, we see horses and bison
side by side, but we also note on the one hand the
presence of six felines, and, on the other hand, the
absence of aurochs...
38
...Due to the extreme fragility of the rock face the figures are
poorly preserved. As in the Chamber of Engravings and the
Main Gallery, engraving has been used effectively for most of
the works, however, some are also painted. As in the rest of the
sanctuary, horses are the dominant feature...
39
... The decorative work ends in a double line
consisting of three sets of two red dots. On seeing
this motif we cannot help but remember the one in
black in the Scene of the Dead Man. This graphic
analogy suggests a topographical boundary marking
the extremities of the sanctuary.
40
The Shaft of the Dead Man
At the back of the Chamber of Engravings the ground falls away, giving
access to the Shaft of the Dead Man on the lower level. A descent of a few
metres is enough to reach the foot of one of the most outstanding works of
cave art : The Scene of the Dead Man.
This panel's originality lies in its narrative possibilities, expressed just as
much by the liveliness of the different players as by the distribution of the
figures and principal themes expressed: man bison, rhinoceros...
41
...This triptych centred on anthropomorphic
representation portrays the confrontation between
the man and the bison with a fleeing rhinoceros on
the left...
42
...We should note the stick crowned with the profile of a bird whose
head resembles the human silhouette: a strange comparison.
There are several other secondary elements in this composition, in
particular, the hook sign, which perhaps represents a spear-thrower, as
well as a long spear, drawn obliquely and situated level with what has
been identified as the entrails of the disembowelled bison...
43
...This animal's aggressiveness is portrayed by
the lowered head, as if it were ready to gore its
adversary, and the stiff tail.
44
Stonehenge
45
Timetable Time 2
46
Summary of Egyptian Gods
Gods of Sun, Sky, Earth, and Procreation
Gods of Life, Death, and Resurrection
(Other Egyptian Gods)
47
Ankh seated with hands clasped
Third Dynasty, reign of Djoser
Gray porphyroid granite
Height: 62.5 cm (24 5/8 in)
Width: 20.5 cm (8 1/8 in)
Depth: 32.5 cm (12 7/8 in)
Musee du Louvre, Paris
48
Relief of Hesi-re
Third Dynasty, reign of Djoser
Acacia wood
Height: 86 cm (33 7/8 in)
Width: 41 cm (16 1/8 in)
Egyptian Museum, Cairo
49
Stela of King Qahedjet
Third Dynasty
Fine-grained limestone
Height: 50.5 cm (19 7/8 in)
Width: 31 cm (12 1/4 in)
Depth: 2.8 cm (1 1/8 in)
Musee du Louvre, Paris
50
Relief block with the figure of Aa-akhti
Late Third Dynasty
Fine-grained limestone with traces of paint
Height: 184 cm (72 1/2 in)
Width: 83 cm (32 3/4 in)
Depth: 18 cm (7 1/8 in)
Musee du Louvre, Paris
51
Saqqara
The Step Pyramid of King Djoser of the Old Kingdom
52
As you enter the pyramid complex you approach the south side
of the pyramid across a great courtyard. This courtyard used to
serve as a running field for the King's Sed Festival during which
the king would demonstrate to the people his continuing physical
prowess and ability.
53
As you round the right side of the pyramid you face its east side.
In later pyramids this side would contain the Mortuary temple. In
this prototype pyramid complex there is no Mortuary temple.
54
The north side contains the opening of the pyramid. Throughout
the pyramid age, most pyramids would continue this pattern of
an opening on the north side.
55
At the far north of the enclosure wall are several structures.
Pictured here is the remains of an altar.
56
Here is the pyramid as it appears from the west side.
57
Standing man
Early Fourth Dynasty
Painted quartzite
Height 89.5 cm (35 1/4 in)
The Metropolitan Museum of Art, New
York
58
Head of King Djedefre
Fourth Dynasty, reign of Djedefre
Red quartzite with remains of paint
Height: 26.5 cm (10 3/8 in)
Width: 28,8 cm (11 3/8 in)
Depth: 38.5 cm (15 1/4 in)
Musee du Louvre, Paris
59
The Pyramids at Giza
Necropolis from a Golden Age
60
The Great Pyramid of Khufu
The Great Pyramid of the 4th Dynasty King, Khufu,
was the first pyramid constructed on the plateau and
many consider that it represents the pinnacle of the
pyramid age. This pyramid contains ascending
chambers and passageways not found in any other
pyramids. This is how it appears from the south face.
Khufu
61
The Pyramid of Khafre
Khafre was a son of Khufu and his is the second largest
known pyramid in Egypt, only approximately 10 meters
shorter that the Great Pyramid. This is how the pyramid
appears from its eastern face with several tombs in the
foreground. Remnants of its original casing are still
apparent at the top of the structure.
62
The Great Sphinx
The most popular and current theory of the builder of the Sphinx
holds that it was commissioned by the 4th Dynasty King, Khafre
(2558-2532 BCE). Khafre was one of the sons of Khufu (AKA
Cheops). The Sphinx lines up with the Pyramid of Khafre at the foot
of its causeway. As one rounds the northeast corner to the front of the
Sphinx, the alignment of the two structures becomes more apparent.
63
From the north side the profile of the Sphinx reveals the proportion of the
body to the head. It would appear as though the head is small in proportion
to the body. Because of the changing desert terrain, the body of the Sphinx
has been buried several times over the past several thousand years. Most
recently in 1905, the sand has been cleared away to expose the magnitude
and beauty of the entirety of the Sphinx. The paws themselves are 50 feet
long (15m) while the entire length is 150 feet (45m). The head is 30 (10m)
feet long and 14 feet (4m) wide. Because certain layers of the stone are
softer than others, there is a high degree of erosion that has claimed the
original detail of the carved figure.
64
The Pyramid of Menkaure
Menkaure was the son of Khafre. Although much smaller
than the other two pyramids on the plateau, the lower
courses were originally encased in granite. It has three
subsidiary pyramids and some of its Mortuary temple
remains intact.
65
King Menkaure and a Queen
Fourth Dynasty, reign of Menkaure
Graywacke with faint remains of paint
Height: 139 cm (54 3/4 in)
Width: 57 cm (22 1/2 in)
Depth: 54 cm (21 1/4 in)
Museum of Fine Arts, Boston
66
Relief of Itush
Fifth Dynasty, reign of Djedkare-Isesi
Limestone
Height: 42.6 cm (16 7/8 in)
Width: 74.4 cm (29 3/8 in)
Depth: 9.5 cm (3 3/4 in)
Brooklyn Museum of Art
67
Ni-ka-re, his wife, and their daughter
Fifth Dynasty, reign of Nuiserre or later
Painted limestone
Height: 57 cm (22 1/2 in)
Width: 22.5 cm (8 7/8 in)
Depth: 32.5 cm (12 3/4 in)
The Metropolitan Museum of Art, New York
68
Scribe
Fifth Dynasty
Painted limestone
Height: 49 cm (19 3/8 in)
Egyptian Museum, Cairo
69
Tomb Relief -- Farming Scene
Middle Era
2181BC to 1782BC
70
East Wall of Khumhotep Funerary Chapel
Dynasty 12
71
Queen Hatshepsut
Dynasty 18, c.1473-1458 B.C.
Painted indurated limestone
Height: 76 3/4 in. (194.9 cm)
Metropolitan Museum of Art, New York
72
Hatshepsut's Temple
73
Nefertiti, Akhenten's wife.
74
Tutankhamun's Solid Gold
Funerary Mask
1334BC to 1325BC
Dynasty 18
75
Tutankhamun's Stone Sarcophagus
Solid Gold Inner Coffin
Second Coffin Wood with gold covering
76
Roberts:
Temple at Abu Simbel
77
Ramesses II as a Child
Dynasty 19
Tomb of Ousirhat
Dynasty 19
Nobleman Worshiping
Osiris and Isis
Dynasty 19
Dynasty 19
Large Statue of
Ramesses II
as a Boy protected by
Horus
Dynasty 19
Deniu Enkhons
Offering
to the god ReHarakhty
around Dynasty 18
78
Mesopotamian Art and Architecture
Mesopotamian Gods, Goddesses, Demons, and Monsters
Cuniform Writing
79
Mesopotamian Art and Architecture
80
Mesopotamian Art and Architecture
81
Mesopotamian Art and Architecture
82
Early Dynastic Sumer
(2900-2370 B.C.)
Limestone and shale mosaic frieze framed in copper from the
Ninhursag temple facade al-`Ubaid. To right of farm shed temple
staff milks a cow, and to the left it strains and stores the milk or
makes butter. Ca. 2500 B.C.
83
The Ziggurat of Ur
Around 2100 B.C. king Ur-Nammu built a ziggurat
in honour of the god Sin(moon god) in the city of
Ur. It was called 'Etemennigur', which means
'House whose foundation creates terror'.
84
85
A lyre detail from the royal
cemetery at Ur, ca. 2600 B.C.
showing a bull's head of gold
and lapis lazuli. Partially
restored (London: British
Museum).
86
A support in the form of a
ram made of gold, lapis
lazuli, etc. on a wooden
core. From the royal tomb at
Ur. Ca. 2600 B.C. It
symbolizes fertility. 50 cm.
(London: British Museum).
87
The so-called "Standard of Ur," which was an inlaid work found crushed in a royal
tomb at Ur. Ca. 2600 B.C. The original shape and purpose of this object is unknown,
but depicted a victory celebration at court. Drinking wine with musical
accompaniment; bringing food and booty to court (London: British Museum).
88
A detail from the "Standard of
Ur" showing a fisherman
89
Inlaid decoration of restored
Sumerian lyre from Ur, 2600
B.C. British Museum. The two
deer mirrored on either side of a
sacred tree is a common theme.
90
During the Akkad
period, cuneiform
matured and ended its
use of pictographs, and
also it developed a
grammar and
individual perspective.
Here is such a tablet
with a message signed,
"Your loving wife who
has had a child."
91
Classical Akkad (2370-c. 2004)
Life-size bronze or copper
head of an Akkadian king,
perhaps Sargon of Akkad
(2370-2316), found as loot at
Ishtar Temple in Nineveh. 30
cm. (Baghdad: Iraq
Museum). Sargon I
(Sharrukin), king of Semitic
Agade, created a fully
developed absolute
monarchy with hegemony
over surrounding peoples.
92
Impression from the cylinder seal of Secretary Kalki.
The king's brother is followed by two officials and led
by two figures, including a soldier, which suggests a
foreign expedition c. 2300 B.C. British Museum, UK.
93
Fragment of an
Akkadian relief
showing prisoners of
war. No provenance.
Iraq Museum,
Baghdad.
94
The Guti and rise of Girsu dynasty in Sumer
(end of 3rd millenium)
Diorite statue found hear Telloh, probably of King Gudea
of Lagash. 105 cm. tall. Le Louvre, Paris. The Sargonid
era experienced deepening contradictions associated with
the ethnogenesis of a pastoral people known as the Guti,
but then, starting with King Gudea of Lagash, there was a
Neo-Sumerian revival that culminated in the Third
Dynasty of Ur.
95
Third Dynasty of Ur (c. 2112-2004 B.C.)
Detail of a reconstructed relief on the Stela of Ur-Nammu, Ur.
King instructed by seated gods to build a temple or ziggurat.
304 cm. tall. The Sumerian revival owed much to this king.
University Museum, Univ. of Pennsylvania, US.
96
Old Babylonian period
(c. 2004 - 1595 B.C.)
Old Babylonia
Stele of Hammurabi
bearing the Code of
King Hammurabi of
Babylon. The code
inscribed on it
recognized social
classes and sought to
regulate private life.
At the top,
Hammurabi
approaches the seated
sun god, Shamash,
who was also the god
of justice
97
One of two large
guardian lions that
flanked the entrace to
the main temple at Tell
Harmal. Now at the
Iraq Museum,
Baghdad.
98
Clay plaque of a
musician. About 12
cm. tall. From the
Diyala excavations of
the Oriental Institute,
Chicago. The
Amorites were West
Semitic Pastoralists
who interacted with
Mesopotamian
agriculturalists until
absorbed into the
culture of
Mesopotamia about
mid millenium.
99
Kassite Dynasty of Bablylon
(c. 1720-1157 B.C.)
Boundry stones (kudurru) such as this
are the most characteristic survival of
Kassite era Babylonia. This one
records a 12th century land grant by a
father to his son. In the top register are
the divinities of Sin (moon), Ishtar
(planet Venus), Shamash (sun), and
horned crowns representing Anu and
Enlil and the goat-fish of Ea. In the
third register are the dragon and spade
of Marduk.
100
Mesopotamian Art and Architecture
101
Assyria (14th c. to 612 B.C.)
102
Assyria (14th c. to 612 B.C.)
Altar of TukultiNinurta I (1244-1208
B.C.), in Ashur. The
god, Nusku, is
represented here on
the altar as a symbol
rather than in
anthropomorphic
form, which is
considered an
important feature of
emerging Assyrian
culture
103
Human-headed
winged bull and
winged lion
(lamassu), 883–859
B.C.; Neo-Assyrian
period, reign of
Ashurnasirpal II
Excavated at
Nimrud (ancient
Kalhu), northern
Mesopotamia
Alabaster (gypsum);
H. 10 ft. 3 1/2 in.
(313.7 cm)
Gift of John D.
Rockefeller, Jr.,
1932 (32.143.1-.2)
104
Relief of winged god receiving jpgt-bearers. From
Palace of Sargon II (d. 705) at Khorsabad. 3 m. tall.
Reliefs are a major Assryian art form. This example
shows an aesthic movement toward hierarchical
formality. Sargon built a new capital, Khorsabad, just
north of Ninevah, but it was abandoned after his death.
105
One of a pair of monolithic hybrid collosi lamassu guardian
figures typically found at Assyrian gateways and palaces, at
citadel gate, Khorsabad. Iraq Museum, Baghdad.
Hypernaturalistic fifth leg gives the figures two aspects.
106
Sandstone stele
commemorating
Assurbanipal's
rebuilding of Esaglila
temple, Babylon. Ca.
672. The king carries
the materials for ritual
moulding of first
brick. 37 cm. tall.
British Museum, UK.
Babylon was the
Assyrian base of
power and foreign
expeditions.
107
Map showing the expansion of the Assyrian Empire in 7-6th
century. After Seton Lloyd, The Archaeology of Mesopotamia
(Thames and Hudson, 1984).
108
Neo-Babylonian Empire
109
Neo-Babylonian Empire
The world seen from
Babylon. Babylon is
the central rectangle
through which runs
the Euphrates River,
which originates in the
mountains at the top
and flows into the
marshes below. This
land is surrounded by
the circle of salty sea,
beyond which is the
land in which the sun
never sets. 12.2 cm
tall. British Museum.
110
Glazed brick frieze
from the reconstructed
Ishtar Gate, Babylon.
Lion detail. Ca. 575
B.C. Vorderasiatisches
Museum, Berlin.
111
The Tower of Babel
Description : A Model of the Tower with the Esagila
temple and Euphrates river.
Created by : {unknown}
Found at : {unknown}
112
The Hanging Gardens
An interpretation of Hanging Gardens
overlooking a classical looking Tower of
Babel.
113
Persian Empire
114
Aegean Art
115
116
Cycladic Pottery
Pottery collared jar with sea-urchin-shaped
body and incised berringbone decoration. 32002800 BC. Found on Antiparos
117
Pottery 'sauceboat' of the KerosSyros culture. 2700-2200 BC. From
Chalandriani, Syros.
118
Pottery 'hedgehog' from
Chalandriani, Syros. 27002200 BC.
119
The Lady of Phylakopi, Melos.
120
Early Cycladic tomb types
Top: Cist grave of the Gotta-Pelos
culture.
Middle: Two-storeyed grave of the
Keros-Syros culture.
Bottom: Corbelled grave of the
Keros-Syros culture, of the type found
on Syros.
Cycladic Sculpture
121
Bone figurine of Cycladic type. 3rd
millennium BC.
122
Early cycladic figure types
Top: types of the Gotta-Pelos
culture.
Middle: types of the KerosSyros culture.
Bottom: types of the Phylakopi I
culture.
123
Harpist and double-flute player found together
in a single grave on Keros. 2700-2500 BC.
124
Female figurine of the Foldedarms type. White marble, 27002500 BC.
125
Cycladic Painting
Flying Fish fresco. Phylakopi. Melos, 16th cent. BC.
126
Minoan Art
127
Spherical vase from
Dimini, Late Neolithic.
The combination of
spirals, curved lines,
and polygons
decorating the vase
are characteristic of
Late Neolithic
pottery.
128
Jug from Ayios
Onoufrios. Early Minoan
I or beginning of Early
Minoan II, c. 2500.
Clay.
129
A beaker jug in
Kamares style; Middle
Minoan IIA, 1800 BC.
130
Snake Goddess. Crete. 16001580 BC. Faience.
131
A Sphinx from Mallia. Molded clay. 20001550 BC.
132
Late Minoan I or II bull's head
rhyton from the Little Palace at
Knossos. c. 1500-1450 BC.
Steatite and Limestone with
Rock Crystal.
133
THE PALACE OF KNOSSOS AT CRETE
134
THE PALACE OF KNOSSOS AT CRETE
135
Crete. Knossos. Palace of Minos, Antechamber of Throne
Room. 16th cent. BC.
136
"La Parisienne" on a
fragment of wallpainting from the
palace at Knossos.
Late Minoan IIIA,
c.1400 or later.
137
The famous bull-leaping fresco ("Toreador fresco") at
Knossos. Restored panel, one of a series. Probably Late
Minoan II, c. 1450.
138
Mycenaen Art
139
The Citadel, Mycenae,
1250 BC
140
Reconstruction of the megaron
141
Lion Gate,
1300-1250 BC
front view
142
Lion Gate
143
back view
144
Tiryns
1400-1200 BC Mycenaen citadel at Tiryns
view from the air
145
MYCENAEAN TOMBS
146
Treasury of Atreus
Facade of the doorway
147
Mask of Agamemnon
Mycenae. Gold. 1550-1500 BC
148
Two gold cups
found in a tomb at Vapheio, 15th cent. BC.
The first cup shows
escaping bull
trampling his captors
The second one shows
a bull being caught
peasfully by means of
a decoy cow.
149
Hexagonal gold-plated wooden box from
Shaft Grave V, Mycenae:
scenes of lions attacking their prey
150
Gold-hilted daggers of bronze inlaid with
gold, silver and niello. Mycenae, 16th cent. BC.
detail
151
152
153
154
155
156