Wall Paintings and Social Context: The Northeast Bastion at Ayia Irini (Keos)

This book presents the results of the study of the wall paintings from the Northeast Bastion at Ayia Irini, situating them within the wider social context of Kea and the Aegean world. Like the spectacularly well-preserved Akrotiri on Thera, with which these paintings are contemporary, Ayia Irini thrived 3,500 years ago. But unlike Akrotiri, Ayia Irini was not protected by a layer of volcanic ash. When the site was excavated in the 1960s-1970s by the University of Cincinnati under the auspices of the American School of Classical Studies at Athens, the paintings had long since collapsed, fractured into thousands of small pieces. This study attempts to bring the wall paintings back to life. Within the Northeast Bastion was a miniature frieze and, in the adjacent room, large-scale panels of plants. Human action set within townscapes, landscapes, and the sea presents a vivid account of the social life and environment of the people for whom this harbor town was vital within the trading network of the time. This book explores the social implications of the fascinating and often unique iconography of the paintings whose setting within a fortification wall is quite extraordinary. The volume is profusely illustrated with color drawings, visualizations, and photographs. Figure 1.1. Map showing sites mentioned in the book. Image R. Robertson. Figure 1.2. Map of northern Kea. Image R. Robertson. Figure 1.3. View of Ayia Irini and the bay looking south. Photo L. Morgan. Figure 1.4. Ayia Irini in Period VI (LC I/LM IA), showing the locations of wall paintings. Adapted by the author from the site plan by R.L. Holzen, showing the walls according to the current state of research on stratigraphy. Figure 1.5. Site plan of Ayia Irini showing the locations of representational wall paintings in Period VII (LC II/LM IB). Adapted from the site plan by R.L. Holzen. Figure 1.6. Northern Sector in Periods V and VI: (a) Period V, Phase 1; (b) Period V, Phase 2; (c) Period VI. Adapted from Davis 1986, pls. 2, 3, 5, 15 and the site plan by R.L. Holzen . Figure 1.7. Northeast Bastion: (a) version of upper floor plan with proposed windows; (b) version of upper floor plan with hypothetical dividing wall and cupboards; (c) ground floor with surviving walls. Images L. Morgan and S. Laidlaw (a, b); adapted fro Figure 2.1. Details from the Miniature Frieze, Room 5, West House Akrotiri: (a) “Meeting on the Hill,” north wall; (b) woman with a pot, north wall; (c) men meeting across a river, south wall. Scale ca. 1:2. Doumas 1992, pls. 27, 28, 44, details. Figure 2.2. Fragments of the Miniature Frieze, Ayia Irini, Kea (2, 6, and detail of 67). Scale 1:2 (for 1:1 scale, see Pls. 1, 2, and 7). Figure 2.4. Men in the Tylissos miniature painting. Scale ca. 1:2. After Evans 1921–1935, III, 35–36, figs. 17, 19. Figure 2.5. Seal impression from Haghia Triada. Seal area ca. 2.35 x 1.3 cm. CMS II.6, no. 29. Figure 2.6. Sealstone (a) and seal impression (b): (a) Vapheio, sardonyx amygdaloid, 1.1 x 2.2 cm, CMS I, no. 226; (b) Knossos (LM I), surviving seal area 1.25 x 1.25 cm, CMS II.8:1, no. 266. Figure 2.7. Sealstone (a, b) and ring impression (c): (a) Knossos(?) jasper amygdaloid, 3.5 x 1.3 cm, CMS VI, no. 318; (b) Vapheio, jasper lentoid, 0.9 x 1.85 cm, CMS I, no. 225; (c) Hagia Triada, surviving area 1.45 x 1.2 cm, CMS II.6, no. 12. Figure 3.2. Flagship, detail from the south wall of the Miniature Frieze, Room 5, West House, Akrotiri, Thera. Scale ca. 1:4. Doumas 1992, pl. 36, detail. Figure 3.3. Early Cycladic depiction of a boat on a ceramic pan. Not to scale. After Coleman 1985, 199, ill. 5, no. 27. Figure 3.4. Seal impression from Knossos (LM I–II). Seal area ca. 2.8 x 2.1 cm. CMS II.8:1, no. 133. Figure 3.6. Scenes of chariots on rings and a sealstone: (a) gold ring from Shaft Grave IV (LH I), 3.45 x 2.1 cm, CMS I, no. 15; (b) clay impression from a ring found in Delta 18b at Akrotiri (LM I), originally 3.0 x 1.85 cm, CMS V, Suppl. 3.2, no. 391; ( Figure 3.7. Reconstruction of a wall painting from Knossos. Cameron 1967b, fig. 12. Figure 4.1. Details of buildings in the Ayia Irini Miniature Frieze: (a) from Figure 7.1; (b, c) from Figure 7.2. Scale 1:2. Drawings L. Morgan. Figure 4.2. View of Chora, Kea. Photo L. Morgan. Figure 4.3. Details of buildings in the Thera Miniature Frieze, Room 5, West House, Akrotiri, Thera: (a) Town II building and man, north wall, scale 1:2; (b) Town II and warrior, north wall, scale 1:2; (c) Town II at coast, north wall, scale 1:2; (d) Tow Figure 4.4. Departure Town (Town IV), detail from the south wall of the Miniature Frieze, Room 5, West House, Akrotiri, Thera. Scale ca. 1:4. Doumas 1992, pl. 35, detail. Figure 4.5. Arrival Town (Town V), detail from the south wall of the Miniature Frieze Room 5, West House, Akrotiri, Thera. Scale ca. 1:4. Doumas 1992, pl. 35, detail. Figure 4.6. Town Mosaic faience plaques from Knossos, visualized as a group by C. Palyvou (2005b, pl. 50). Figure 4.7. Silver Siege Rhyton, Shaft Grave IV at Mycenae: detail of the town. After Smith 1965, fig. 84, detail. Drawing S.E. Chapman. Figure 4.8. Ivory plaque from the Royal Road, Knossos. After Palyvou 2005b, pl. 53:2a. Figure 4.9. Fragment of a building from the Tylissos Miniature Frieze. After Evans 1921–1935, III, fig. 49. Figure 4.10. “Master Impression” sealing from Chania, original ring area 2.75 x 2.0 cm. CMS V, Suppl. 1A, no. 142. Figure 4.13. Syrian fortifications, Tomb of Amenmose (TT 42). After de Garis Davies 1933, 30, pl. XXXVI, detail. Figure 4.14. Details of a house on Kea with projections on the roof: (a) seen from the front; (b) seen from an angle. Photos L. Morgan. Figure 4.15. Reconstruction of Building P at Kommos. Shaw and Shaw, eds., 2006, 962, pl. 1.12. Figure 5.1. Color drawings of the deer and dogs, reconstructed from fragments 178–181 (right) and 182, 183, 189–191 (left); cf. Figure 7.17. Scale 1:2. L. Morgan. Figure 5.2. Details of deer from the Miniature Frieze, Room 5, West House, Akrotiri, Thera: (a) deer (hunted by griffin) in riverine landscape, east wall; (b) deer (hunted by lion) on hilltop, south wall. Scale 1:2. Doumas 1992, pls. 32, 36, details. Figure 5.3. Sealstone (a) and seal/ring(?) impressions (b–d) with deer and dogs: (a) Knossos, Hogarth’s tombs, amethyst lentoid, LM I–II, 1.05 x 1.2 cm, CMS II.3, no. 74; (b) Pylos, LB I–II, 2.0 x 2.4 cm, CMS I, no. 308; (c) Akrotiri, Thera, LM I, origina Figure 5.4. Herding scene, detail from the north wall of the Miniature Frieze, Room 5, West House, Akrotiri, Thera. Scale 1:2. Doumas 1992, 28, detail. Figure 6.1:a, b. Reeds and stream, details from the Reed Bed painting, Xeste 3, Akrotiri. Photos L. Morgan. Figure 6.2. A view toward Ayia Irini through coastal reeds. Photo L. Morgan. Figure 7.1A. Visualization of the town by a river. Scale 1:3. Watercolor L. Morgan. Figure 7.1B. Fragments from the town by a river. Scale 1:3. Outline L. Morgan. Figure 7.2. Watercolor visualization (top) and outline (bottom) of buildings. Scale 1:3. Image L. Morgan. Figure 7.3. Watercolor visualization (top) and outline (bottom) of women and buildings. Scale 1:3. Image L. Morgan. Figure 7.4. Watercolor visualization (top) and outline (bottom) of thistles and descending rocks. Scale 1:3. Image L. Morgan. Figure 7.5. Watercolor visualization (top) and outline (bottom) of building and plants. Scale 1:3. Image L. Morgan. Figure 7.6. Watercolor visualization (top) and outline (bottom) of horse and building. Scale 1:3. Image L. Morgan. Figure 7.7 Watercolor visualization (top) and outline (bottom) of herder with goat. Scale 1:3. Image L. Morgan. Figure 7.8. Watercolor visualization (top) and outline (bottom) of cauldrons and ships scene. Scale 1:4. Image L. Morgan. Figure 7.8:detail. Overlapping men (59) in cauldron and ships scene at 1:2 scale. Image L. Morgan. Figure 7.9. Paddlers (63). Scale 1:3. Image L. Morgan. Figure 7.10. Chariot: (a) simple box type, curved; (b) simple box type, straight; (c) dual type; (d) outline. Scale 1:3. Image L. Morgan. Figure 7.11. Watercolor visualization (top) and outline (bottom) of procession of men. Scale 1:3. Image L. Morgan. Figure 7.12. Watercolor visualization (top) and outline (bottom) of men by river. Scale 1:3. Image L. Morgan. Figure 7.13. Watercolor visualization (top) and outline (bot-tom) of men by rocks or sea. Scale 1:3. Image L. Morgan. Figure 7.14. Watercolor visualization (top) and outline (bottom) of men by rocks. Scale 1:3. Image L. Morgan. Figure 7.15. Fragments of men: (a) man with upraised arms (18); (b) man wearing kilt or shorts (47). Scale 1:3. Image L. Morgan. Figure 7.16. Hunter with prey (44). Scale 1:3. Image L. Morgan. Figure 7.17A. Visualization of deer and dogs. Scale 1:3. Watercolor L. Morgan. Figure 7.17B. Deer and dogs. Scale 1:3. Outline L. Morgan. Figure 7.18. Watercolor visualization (top two) of alternative orientations of scene with rocks: (a) sea and rocks with men; (b) sky and descending rocks; and outline (bottom) of upper orientation. Scale 1:3. Image L. Morgan. Figure 7.19. Watercolor visualization (top) and outline (bottom) of Marsh A: descending rock, river, marsh, and sea with inlets. Scale 1:4. Image L. Morgan. Figure 7.20. Watercolor visualization (top) and outline (bottom) of Marsh B: river, marsh, and sea with spray. Scale 1:3. Image L. Morgan. Figure 7.21. Watercolor visualization (top) and outline (bottom) of Marsh C: river, marsh, and sea. Scale 1:3. Image L. Morgan. Figure 7.22. Marsh landscape (Figs. 7.19–7.21 joined). Scale 1:8. Image L. Morgan. Figure 7.23. Watercolor visualization (top) and outline (bottom) of Marsh D: marsh and grasses. Scale 1:3. Image L. Morgan. Figure 7.24. Watercolor visualization (top) and outline (bottom) of Marsh E: marsh and sea. Scale 1:3. Image L. Morgan. Figure 7.25. Watercolor visualization (top) and outline (bottom) of rocky landscape. Scale 1:4. Image L. Morgan. Figure 7.26. Visualization of the cauldrons and ships scene with the rocky landscape. Scale 1:8. Image L. Morgan. Figure 7.27. Visualization of the way Room N.20 might have looked, viewed toward the southeast. Design and watercolor paintings L. Morgan; computer realization N. Math. Figure 7.28. Rooms N.18 and N.20, showing the angle of viewing for Figure 7.27. Figure 8.1A. Visualization of bramble and myrtle A. Scale 1:3. Watercolor L. Morgan. Figure 8.1B. Bramble and myrtle A. Scale 1:3. Outline L. Morgan. Figure 8.2A. Watercolor visualization of bramble and myrtle B. Scale 1:3. L. Morgan. Figure 8.2B. Outline of bramble and myrtle B. Scale 1:3. L. Morgan. Figure 8.3A. Watercolor visualization of bramble and myrtle C. Scale 1:3. L. Morgan. Figure 8.3B. Outline of bramble and myrtle C. Scale 1:3. L. Morgan. Figure 8.4. Watercolor visualization (left) and outline (right) of bramble and myrtle border. Scale 1:3. Image L. Morgan. Figure 8.5. Watercolor visualization (top) and outline (bottom) of blue and yellow reeds with red stream. Scale 1:3. Image L. Morgan. Figure 8.6. Watercolor visualization (top) and outline (bottom) of blue reeds with grasses. Scale 1:3. Image L. Morgan. Figure 8.7. Watercolor visualization (top) and outline (bottom) of yellow grasses and blue leaves. Scale 1:3. Image L. Morgan. Figure 8.8. Fragments of leaves from the panel of grasses and reeds: (a) 706, 707; (b) 708; (c) 729, 730; (d) 899, 900, 731, 901, 732; (e) 733, 902, 734, 735; (f) 736, 903; (g) 737; (h) 739, 738; (i) 740; (j) 741; (k) 742, 743; (l) 744, 904; (m) 745. Scal Figure 10.1. Diagram of the proposed process of painting using a detail of the Cauldrons and Ships scene (67): (a) impressed string lines and drawn guide line on plaster; (b) yellow ground; (c) blue (sea and rocks); (d) brown the red ocher (buildings, fig Figure 10.2. Diagram of the proposed process of painting using detail of men in robes (6, 13, 32): (a) yellow ground, red sketch line; (b) white garment; (c) red ocher head and limbs; (d) white eye, black pupil, hair, and marks on robe. Scale 1:2. Image L Figure 11.1. Miniature Frieze of Akrotiri Thera: (a) north wall; (b) east wall; (c) left half of south wall (d) right half of south wall. Scale ca. 1:10. Doumas 1992, pls. 26, 30, 35; for 1:4 scale, see Morgan 1988, pullout. Figure 11.2. Plans showing relative scale: (a) proposed first floor of the Northeast Bastion, Ayia Irini as seen in Figure. 1.7:b; (b) existing first floor of the West House, Akrotiri (after Palyvou 2005a, fig. 62). Figure 11.3. Comparative distribution of paintings in: (a) the Northeast Bastion at Ayia Irini; (b) the West House at Akrotiri. Adapted by the author from: (a) Figures 1.7b, 7.17, 7.26, 8.9; (b) Palyvou 2005a, fig. 62; Doumas 1992, pls. 30, 36, 50 (detail Figure 11.4. Plan of House A at Tylissos (to the same scale as Fig. 11.2). After Cadogan 1976, fig. 15. Figure 11.5. Miniature Frieze of Tylissos. Reconstruction by M. Shaw in Shaw 1972, fig. 13. Figure 11.6. Plan of part of the northwest section of the palace of Knossos showing the Early Keep, with the area in which the miniature paintings were found outlined in red. Adapted from Evans 1921–1935, III, figs. 1B, 9 inset. Figure 12.1. The cauldron scene fragment 67: (a) original and (b) reconstructed, detail from Figure 7.8. Scale 1:4. Figure 12.2. Seal impressions from Knossos: (a) original seal area ca. 1.2 cm, CMS II.8:1, no. 275; (b) original seal area 1.6 cm, CMS II.8:1, no. 242. Figure 12.3. Cooking in cauldrons at the harvest festival in Plougoulm, Brittany, 2009. Photo R. Robertson. Plate 1. Women in the Miniature Frieze (1–5). Scale 1:1. Plate 2. Men in the Miniature Frieze (6–15). Scale 1:1. Plate 3. Men in the Miniature Frieze (16–31). Scale 1:1. Plate 4. Men in the Miniature Frieze (32–41). Scale 1:1. Fragments 32, 33, 35, and 36 appear in Figure 7.12, fragments 38 and 39 in Figure 7.14, and fragments 40 and 41 in Figure 7.13. Plate 5. Men in the Miniature Frieze (42–54). Scale 1:1. Plate 6. Men in the Miniature Frieze (55–66). Scale 1:1. Plate 7. Men in the Miniature Frieze (67). Scale 1:1. Plate 8. Ships in the Miniature Frieze (68–74). Scale 1:1. Fragments 68–70 appear in Figure 7.8. Plate 9. Ships (75–80) and chariots (81–86) in the Miniature Frieze. Scale 1:1. Plate 10. Buildings in the Miniature Frieze (87–92). Scale 1:1. Fragments 89–92 appear in Figure 7.1. Plate 11. Buildings in the Miniature Frieze (93–103). Scale 1:1. All fragments arranged in three groups as in Figure 7.1: 93–95, 96–99, and 100–103. Plate 12. Buildings in the Miniature Frieze (104–121). Scale 1:1. Fragments 104–109 appear in Figure 7.3. Plate 13. Buildings in the Miniature Frieze (122–132). Scale 1:1. Fragments 123–127 appear in Figure 7.8. Plate 14. Buildings in the Miniature Frieze (133–152). Scale 1:1. Fragments 139–152 appear in Figure 7.5, and fragments 135–138 appear in Figure 7.6. Plate 15. Buildings and plants in the Miniature Frieze (153–177). Scale 1:1. All fragments appear in Figure 7.5. Plate 16. Deer and dogs in the Miniature Frieze (178–183) Scale 1:1. All fragments appear in Figure 7.17. Plate 17. Deer and dogs (184–191) and unidentified animals (192–201) in the Miniature Frieze. Scale 1:1. Fragments 189–191 appear in Figure 7.17. Plate 18. Unidentified animals in the Miniature Frieze (202–216). Scale 1:1. Plate 19. Horses (217–219, 221–223) and unidentified animals (220, 224–232) in the Miniature Frieze. Scale 1:1. Plate 20. Plants in the Miniature Frieze (233–246). Scale 1:1. Plate 21. Plants in the Miniature Frieze (247–266). Scale 1:1. Fragments 247–256 and 258–262 appear in Figure 7.4. Plate 22. Rocks in the Miniature Frieze (267–273). Scale 1:1. All fragments appear in Figure 7.25. Plate 23. Rocks in the Miniature Frieze (274–280). Scale 1:1. All fragments appear in Figure 7.25. Plate 24. Rocks in the Miniature Frieze (281–291). Scale 1:1. Fragments 281–285, 287, and 290 appear in Figure 7.25. Plate 25. Rocks in the Miniature Frieze (292–299). Scale 1:1. All fragments appear in Figure 7.25. Plate 26. Rocks in the Miniature Frieze (300–309). Scale 1:1. Fragments 300, 302, and 303 appear in Figure 7.14, and fragment 309 appears in Figure 7.18. Plate 27. Rocks in the Miniature Frieze (310–323). Scale 1:1. Plate 28. Rocks in the Miniature Frieze (324–326). Scale 1:1. All fragments appear in Fragment 7:18. Plate 29. Rocks in the Miniature Frieze (327–337). Scale 1:1. Fragments 330–333 appear in Figure 7.18. Plate 30. Marsh elements in the Miniature Frieze (338–349). Scale 1:1. Fragments 340–349 appear in Figure 7.19. Plate 31. Marsh elements in the Miniature Frieze (350–362). Scale 1:1. All fragments appear in Figure 7.19. Plate 32. Marsh elements in the Miniature Frieze (363–379). Scale 1:1. All fragments appear in Figure 7.20. Plate 33. Marsh elements in the Miniature Frieze (380–392). Scale 1:1. Fragments 380–382 appear in Figure 7.20, fragments 383–387 in Figure 7.23, and fragments 388–392 in Figure 7.21. Plate 34. Marsh elements in the Miniature Frieze (393–404). Scale 1:1. All fragments appear in Figure 7.21. Plate 35. Marsh elements in the Miniature Frieze (405.1–416). Scale 1:1. Fragments 405.1–413 appear in Figure 7.23, and fragments 414–416 appear in Figure 7.24. Plate 36. River and plants in the Miniature Frieze (417–426). Scale 1:1. All fragments appear in Figure 7.1. Plate 37. River and plants in the Miniature Frieze (427–435). Scale 1:1. Fragments 427 and 428 appear in Figure 7.1, and fragments 429–434 appear in Figure 7.19. Plate 38. River and plants in the Miniature Frieze (436–446). Scale 1:1. Fragments 436–445.1 appear in Figure 7.20, and fragment 446 appears in Figure 7.12. Plate 39. River and plants in the Miniature Frieze (447–454.1). Scale 1:1. All fragments appear in Figure 7.21. Plate 40. Sea and land in the Miniature Frieze (455–462). Scale 1:1. All fragments appear in Figure 7.19. Plate 41. Sea and land in the Miniature Frieze (463–473). Scale 1:1. Fragments 463–469 appear in Figure 7.20, and fragments 470–473 appear in Figure 7.21. Plate 42. Sea and land in the Miniature Frieze (474–484). Scale 1:1. All fragments appear in Figure 7.17. Plate 43. Sea and land in the Miniature Frieze (485–495.1). Scale 1:1. Fragments 485–487 appear in Figure 7.1, fragments 488–492 in Figure 7.17, and fragments 494 and 495 in Figure 7.24. Plate 44. Sea and land(?) in the Miniature Frieze (496–502). Scale 1:1. Plate 45. Sea in the Miniature Frieze (503–512). Scale 1:1. All fragments appear in Figure 7.18. Plate 46. Sea in the Miniature Frieze (513–523). Scale 1:1. All fragments appear in Figure 7.8. Plate 47. Sea in the Miniature Frieze (524–531). Scale 1:1. All fragments appear in Figure 7.17. Plate 48. Sea in the Miniature Frieze (532–539). Scale 1:1. Fragments 532, 534, and 539 appear in Figure 7.19, and fragments 535–538 appear in Figure 7.20. Plate 49. Sea in the Miniature Frieze (540–552). Scale 1:1. Plate 50. Sky in the Miniature Frieze (553–562). Scale 1:1. All fragments appear in Figure 7:1. Plate 51. Sky in the Miniature Frieze (563–575). Scale 1:1. Fragment 565 appears in Figure 7.1, and fragments 570–573 appear in Figure 7.17. Plate 52. Plant Panel fragments: bramble and myrtle (611–622). Scale 1:1. Fragments arranged according to Figures 8.1–8.8. Plate 53. Plant Panel fragments: bramble and myrtle (623–636). Scale 1:1. Fragments arranged according to Figures 8.1–8.8. Plate 54. Plant Panel fragments: bramble and myrtle (637–646). Scale 1:1. Fragments arranged according to Figures 8.1–8.8. Plate 55. Plant Panel fragments: bramble and myrtle (647–658). Scale 1:1. Fragments arranged according to Figures 8.1–8.8. Plate 56. Plant Panel fragments: bramble and myrtle (659–668). Scale 1:1. Fragments arranged according to Figures 8.1–8.8. Plate 57. Plant Panel fragments: bramble and myrtle (669–674). Scale 1:1. Fragments arranged according to Figures 8.1–8.8. Plate 58. Plant Panel fragments: bramble and myrtle (675–682). Scale 1:1. Fragments arranged according to Figures 8.1–8.8. Plate 59. Plant Panel fragments: bramble and myrtle (683–692). Scale 1:1. Fragments arranged according to Figures. Plate 60. Plant Panel fragments: grasses and reeds (693–703). Scale 1:1. Fragments arranged according to Figures 8.1–8.8. Plate 61. Plant Panel fragments: grasses and reeds (704–715). Scale 1:1. Fragments arranged according to Figures 8.1–8.8. Plate 62. Plant Panel fragments: grasses and reeds (716–728). Scale 1:1. Fragments arranged according to Figures 8.1–8.8. Plate 63. Plant Panel fragments: grasses and reeds (729–745). Scale 1:1. Fragments arranged according to Figures 8.1–8.8. Plate 64. Miscellaneous fragments (930–946). Scale 1:1. Plate 65. Miscellaneous fragments (947–959). Scale 1:1. Plate 66. Miscellaneous fragments of bands (960–963). Scale 1:1. Plate 67. Miscellaneous fragments of bands (964). Scale 1:1. Plate 68. Cross sections of painted plaster samples using polarizing microscope with reflected light at 100x magnification. Photos V. Perdikatsis. Plate 69. Planning stages of the painting process (Miniature Frieze: a, b, g; Plant Panels: c–f). Details (a, b, g) at ca. 4x magnification; macrophotography (c–e), scale 2:1. Photos L. Morgan (a, b, g) and Ch. Papanikolopoulos (c–e). Plate 70. Application and preservation of paints on fragments with heads (women: a, b; men: c–h). Impasto white eye was painted over red skin, which was painted over yellow ground (c–f) or blue sea (g, h). Magnification at ca. 3x. Photos L. Morgan. Plate 71. Application and preservation of paints (Miniature Frieze: a–g; Plant Panels: h–j). Magnification at ca. 3x for a–d and h–j; ca. 4x for e–g. Photos L. Morgan. Plate 72. Chart of colors produced by drawing with pigments found at Ayia Irini (labeled by context and field number). Image L. Morgan. Plate 73. Some of the pigments found at Ayia Irini (labeled by context and field number). Photos L. Morgan. Plate 74. Pigments from Ayia Irini and photos from their possible source, the Trypospilies ocher mine in northern Kea. Photos L. Morgan. Preface Acknowledgments List of Abbreviations Perception and Interpretation: The Process Art in Context, Art as Text Experiencing Wall Paintings Images and Memory A Personal Journey Visualization: Reconstructing the Fragmentary Part IThe Place Ayia Irini and the Northeast Bastion Kea and the Aegean Islands The Fortified Town of Ayia Irini and Its Surroundings The Northeast Bastion Contexts and Chronology of the Northeast Bastion Paintings Wall Paintings at Ayia Irini Part IIAMiniature Frieze Human Figures: Body and Society The Gendered Body Individuality, Movement, and Gestures Dressing the Body Social Roles of Gender Occupations and Actions Community, Status, and Role Summary Catalog of Human Figures Vehicles: Ships and Chariot Ships Chariot Summary Catalog of Vehicles buildings: Urban Space Comparative Images Scale and Spatial Organization Facades and Walls Doorways and Windows Rooftops Shipsheds? Summary Catalog of Buildings Animals: Hunting and Herding Deer Dogs Goats, Sheep, and Unidentified Animals Horses Summary Catalog of Animals Landscape, Seascape, and The Sky Miniature Landscape and the Ambiguity of Blue Plants and the Land Rocks and Hills Marsh and Streams River, Reeds, and Grasses Sea and Sky Summary and Conclusions Catalog of Landscape Visualizing the Past: The Composition of the Miniature Frieze Figure 7.1: Town by a River Figure 7.2: Buildings Figure 7.3: Women and Buildings Figure 7.4: Thistles and Descending Rocks Figure 7.5: Building and Plants Figure 7.6: Horse and Building Figure 7.7: Herder with Goat Figure 7.8: Cauldrons and Ships Scene Figure 7.9: Paddlers Figure 7.10: Chariot Figure 7.11: Procession of Men Figure 7.12: Men by River Figure 7.13: Men by Rocks or Sea Figure 7.14: Men by Rocks Figure 7.15: Fragments of Men Figure 7.16: Hunter with Prey Figure 7.17. Deer and Dogs Figure 7.18: Sea and Rocks with Men, or Sky and Descending Rocks Figures 7.19–7.24: Marsh Landscape with River and Sea Figure 7.25: Rocky Landscape Figure 7.26: Cauldrons and Ships Scene with Rocky Landscape Figures 7.27 and 7.28: A View of the Room with the Miniature Frieze Conclusions: Structure and Meanings Part IIBPlant Panels Plant Panels The Plant Panels in Their Architectural Setting Bramble and Myrtle Grasses, Reeds, and Leaves Visualizing Room N.18 Summary and Conclusions Catalog of Plant Panels Part IIITechnique and Color Materials, Techniques, and Pigments Plaster and the Surface of the Wall Paint to Plaster: Fresco versus Secco Pigments Used in the Paintings Pigments Found on The Site Summary Color and Artistic Performance: The Process of Painting Color Planning the Scenes Applying the Paints Choosing and Using the Colors Summary Part IVPaintings as Cultural Signifiers Intercultural Connections: The Aegean World Miniature Paintings and Architectural Space Craft and Visual Planning Iconography Cultural Interrelationships The Social Role of Miniature Wall Paintings Artists and Patrons The Power of Paint: Community and Trade Summary Feasts, Festivals, and Social Context Feasting and Social Dynamics in the Ancient World Iconography of Feasts, Festivals, and Gift Exchange Feasting and Social Context at Ayia Irini: The Iconographic Program Inside and Outside the Northeast Bastion Drink, Food, and Vessels Participants: Hosts and Guests Summary Wall Paintings and Memory Festivals and Ritualized Action Pageantry and Paintings Landscape and Memory Concluding Thoughts Appendices and Concordances Scientific Analysis of Painted Plasters from Ayia Irini Background to the Sampling Analytical Data and Results Fragments of the Miniature Frieze by Context Fragments of the Miniature Frieze by Catalog Number Concordance of Past and Present Catalog Numbers References Index Plates _GoBack _GoBack _GoBack _GoBack _GoBack _GoBack _GoBack _GoBack _GoBack OLE_LINK3 OLE_LINK4 _GoBack OLE_LINK3 OLE_LINK4 _GoBack _GoBack _GoBack _GoBack _GoBack _GoBack _GoBack _GoBack _GoBack _GoBack _GoBack _GoBack OLE_LINK3 OLE_LINK4 _GoBack "This book presents the results of the study of the wall paintings from the Northeast Bastion at Ayia Irini, situating them within the wider social context of the island of Kea and the Aegean world. Like the spectacularly well-preserved town of Akrotiri on Thera, with which these paintings are contemporary, Ayia Irini thrived 3,500 years ago. But unlike Akrotiri, Ayia Irini was not protected by a layer of volcanic ash. When the site was excavated in the 1960s-1970s by the University of Cincinnati under the auspices of the American School of Classical Studies at Athens, the paintings had long since collapsed, fracturing into thousands of small pieces and becoming mixed with stones, broken pottery, and accumulated debris. This study attempts to bring the wall paintings back to life through the best-preserved fragments. Within the Northeast Bastion was a miniature frieze and, in the adjacent room, large-scale panels of plants. Human action set within townscapes, landscapes, and the sea presents a vivid account of the social life and environment of the people for whom this harbor town was vital within the trading network of the time. In this book the social implications of the fascinating and often unique iconography is explored, and the setting within a fortification wall is quite extraordinary. The volume contains many catalog entries, which contain color images of the fragments, and it is also abundantly illustrated with color drawings, visualizations, and photographs"-- Provided by publisher This book presents the results of the study of the wall paintings from the Northeast Bastion at Ayia Irini, situating them within the wider social context of the island of Kea and the Aegean world. Like the spectacularly well-preserved town of Akrotiri on Thera, with which these paintings are contemporary, Ayia Irini thrived 3,500 years ago. But unlike Akrotiri, Ayia Irini was not protected by a layer of volcanic ash. When the site was excavated in the 1960s?1970s by the University of Cincinnati under the auspices of the American School of Classical Studies at Athens, the paintings had long since collapsed, fracturing into thousands of small pieces and becoming mixed with stones, broken pottery, and accumulated debris. This study attempts to bring the wall paintings back to life through the best-preserved fragments. Within the Northeast Bastion was a miniature frieze and, in the adjacent room, large-scale panels of plants. Human action set within townscapes, landscapes, and the sea presents a vivid account of the social life and environment of the people for whom this harbor town was vital within the trading network of the time. In this book the social implications of the fascinating and often unique iconography is explored, and the setting within a fortification wall is quite extraordinary. The volume contains many catalogue entries, which contain colour images of the fragments, and it is also abundantly illustrated with colour drawings, visualizations, and photographs This is the first volume on the Late Minoan III Necropolis of Armenoi in western Crete. It sets the scene, introduces the site and its topography, and offers the results of site surveys and their finds. A chapter on the Linear B discovery from the necropolis is also included. The necropolis is the most important and extensive, and the only intact, cemetery that dates to Late Bronze Age III on Crete. This publication will augment our knowledge of Minoan burial practices, craft production, and religion. It will elucidate Minoans as a people: what they ate and drank, how they lived their lives, what diseases caused them suffering, and how they died