• Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.  Black background.
  • Cycladic ceramic kernos with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 6185.  Grey background.<br />
<br />
<br />
Composed of 8 small pyxides with painted linear decoration, this complex vessel was probably for ritual use.
  • Cycladic ceramic spherical pyxis with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5170
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5188.   Gray background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 6180.   Gray background.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.  White background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788.  Grey background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic beaked nippled jug with monstrous creature decoration.   Cycladic (18th-17th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.   Gray background.
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.   Grey background.
  • Cycladic footed necked jar with impressed decration.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6168.  Grey background.<br />
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<br />
During this period pottery was often monochrome with polised slip finishes sometimes with incised or impressed decorations.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831.  White background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831. Black background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Spherical jug spiral and floral decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5818.<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768. Black background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using bird patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769.  White background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012.  Grey background.<br />
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<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Black background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974. Black background.<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. Black background.<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. <br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • Marble female Cycladic statue figurine with folded arms. Early Cycladic Period II (2800-2300 BC) from Chalandriani, Syros. National Archaeological Museum, Athens.   Grey background.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens. Black background.<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Grey background.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Head of a Cycladic statue with remnants of painted eyes and right cheek, Parian Marble, Amorgos, Early Cycladic II period (2800-3200BC). National Archaeological Museum, Athens.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.   Grey Art Background<br />
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The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean pictorial Krater decorated with a two horses and chariot, Tiryns Acropolis - 13-12th cent BC. National Archaeological Museum Athens. Cat No 1511.<br />
<br />
This larfe Mycenaean pictorial Krater depicts a two horse Mycenaean chariot with two riders. Two men holding spears and circular shields walk in front of the chariot and a dog scampers under the horse. This style is typical of the 'painter of the shiled bearers' of the Tiryns workshop from the late 13th to 12th cent BC
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens. <br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens.  White Background.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens.<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • Mycenaean ivory figure of eight shield from the Palace workshops of Mycenae. National Archaeological Museum Athens. Cat No 1027, 7102. White Background.
  • Mycenaean fresco wall painting of a marine scape. National Archaeological Museum Athens. Cat No 5844. White Background.<br />
<br />
The Mycenaean fresco fragments depict a marine scape with flying fish diving and swimming with sponges attached to rocks.
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Black Background<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Close up of a Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC. Grey Background<br />
<br />
The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Close up of a Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC. Black Background<br />
<br />
The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens. White Background.<br />
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The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens.<br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens. Grey art Background <br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey art Background <br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Black Background<br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. White Background.<br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey art Background <br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean Funerary Stele made of Porus stone with a chariot relief, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1429.16th Cent BC.<br />
<br />
The upper register of the Mycenaean Funerary Stele are filled with spiral reliefs while the central register panel has a relief of galloping horses driven by a charioteer. In front of the galloping horse stands a man with a spear who appears to attacking the chariot.
  • Mycenaean Funerary Stele made of Porus stone with a chariot relief, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1429.16th Cent BC.  Grey art Background <br />
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The upper register of the Mycenaean Funerary Stele are filled with spiral reliefs while the central register panel has a relief of galloping horses driven by a charioteer. In front of the galloping horse stands a man with a spear who appears to attacking the chariot.
  • Seated Mycenaean female figurine with raies arms, from Mycenae tomb 91, Archaeological Museum Athens. Cat No 3193.  Grey Background<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Mycenaean Gold decrated bands and circuar gold foilsd from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC. Grey Background
  • Mycenaean Gold decrated bands and circuar gold foilsd from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC.
  • Top leaf shapes of a Mycenaean gold diadem from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. Grey Background<br />
<br />
Cat No 3,5. 16th century BC.<br />
<br />
Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Mycenaean bull figurine from from Mycenae tomb 65 , Archaeological Museum Athens. cat no 3032.  Black Background
  • Mycenaean bull figurine from from Mycenae tomb 65 , Archaeological Museum Athens. cat no 3032.  Grey art Background
  • Mycenaean silver cup from the Tomb 78 of the Mycenae chamber tombs, Greece. National Archaeological Museum Athens. Black Background<br />
<br />
This Mycenaean silver cup has a repousse  scale pattern with wish bone handles. Cat No 3121. 16th Cent BC
  • Mycenaean Gold diadems from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC. White Background.<br />
<br />
Top: Mycenaean Gold diadem with repousse circles and rosettes Cat No 232<br />
<br />
Bottom: Elegant Mycenaean gold daidem with fastening loops and dotted decoration. Three diamond shaped pendant hung from chains. Cat no 236.
  • Mycenaean Gold diadem from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. Black Background<br />
<br />
An impressive Mycenaean gold diadem with repousse rosettes and thin sheets applied to the top. .Cat No 1. 16th century BC.<br />
<br />
Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Mycenaean Fresco wall painting of a Mycanaean footman leading a horse & hunting dog,  Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Cat No 5878.  White Background.
  • Mycenaean fresco wall painting of a women in a procession, Mycenae, Greece Cat No 11651. National Archaeological Museum, Athens.<br />
<br />
The Mycenaean fresco fragment depicts a women in a procession. Her head is in profile and her body is depicted frontally. She holds a lily as a gift to a goddess.
  • Mycenaean fresco wall painting of a women in a procession, Mycenae, Greece Cat No 11651. National Archaeological Museum, Athens. Grey art Background <br />
<br />
The Mycenaean fresco fragment depicts a women in a procession. Her head is in profile and her body is depicted frontally. She holds a lily as a gift to a goddess.
  • Top leaf shapes of a gold diadem from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. Black Background<br />
<br />
Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Top leaf shapes of a gold diadem from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. Grey art Background <br />
<br />
Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Mycenaean gold necklaces from the Mycenae chamber tombs, Greece. National Archaeological Museum Athens. White Background.<br />
<br />
From top to bottom: <br />
<br />
Top four  necklaces in the shape of papyrus flowers .<br />
<br />
Fifth necklace down in the shape of Ivy leaves from tomb 91 Cat No 3186<br />
<br />
<br />
Bottom necklace with beads in the shape of hangimng scrolls from tomb 25 Cat No 2478.
  • Mycenaean gold necklaces from the Mycenae chamber tombs, Greece. National Archaeological Museum Athens. Grey Background<br />
<br />
From top to bottom: <br />
<br />
Top four  necklaces in the shape of papyrus flowers .<br />
<br />
Fifth necklace down in the shape of Ivy leaves from tomb 91 Cat No 3186<br />
<br />
<br />
Bottom necklace with beads in the shape of hangimng scrolls from tomb 25 Cat No 2478.
  • Mycenaean gold necklace from the Mycenaean cemetery of Midea tholos tomb , Dendra, Greece. National Archaeological Museum Athens. White Background.<br />
<br />
Inside mycenaean necklace has gold ivy leaf beads, Cat No 7354. The outer mycenaean necklace has rosette shaped gold beads, Cat No 7342. 15th-14th century BC.
  • Mycenaean gold necklace from the Mycenaean cemetery of Midea tholos tomb , Dendra, Greece. National Archaeological Museum Athens. Black Background<br />
<br />
Inside mycenaean necklace has gold ivy leaf beads, Cat No 7354. The outer mycenaean necklace has rosette shaped gold beads, Cat No 7342. 15th-14th century BC.
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  Black Background<br />
<br />
This goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Mycenaean metal rhyhon hammered into the shape of a lions head, Grave IV, Grave Circle A, Mycenae, Greece, Cat no 273, National Archaeological Museum Athens .  White Background.<br />
<br />
Rytha (Rhython singular) were ritual vessels used to drink libations to the gods during religious ceremonies. 16th century BC
  • Mycenaean gold cup with horizontal grooves found buried in Grave IV Mycenae, Greece. National Archaeological Museum of Athens.
  • Vapheio type Mycenaean gold cup depicting a wild bull hunt side C , Vapheio Tholos Tomb, Lakonia, Greece. National Archaeological Museum of Athens. <br />
<br />
 Two masterpieces of Creto - Mycenaean gold metalwork were excavated from a tholos tomb near Lakonia in Sparta in 1988. Made in the 15th century BC, the gold cups are heavily influenced by the Minoan style that was predominant in the Agean at the time. The bull hunt was popular with  Mycenaean  and Minoan artists and symolised power and fertility. The distinctive shape of the cup is kown as 'Vapheio type'.
  • Vapheio type Mycenaean gold cup depicting a wild bull hunt , Vapheio Tholos Tomb, Lakonia, Greece. National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
 Two masterpieces of Creto - Mycenaean gold metalwork were excavated from a tholos tomb near Lakonia in Sparta in 1988. Made in the 15th century BC, the gold cups are heavily influenced by the Minoan style that was predominant in the Agean at the time. The bull hunt was popular with  Mycenaean  and Minoan artists and symolised power and fertility. The distinctive shape of the cup is kown as 'Vapheio type'.
  • Vapheio type Mycenaean gold cup depicting a wild bull hunt , Vapheio Tholos Tomb, Lakonia, Greece. National Archaeological Museum of Athens.  White background.<br />
<br />
<br />
 Two masterpieces of Creto - Mycenaean gold metalwork were excavated from a tholos tomb near Lakonia in Sparta in 1988. Made in the 15th century BC, the gold cups are heavily influenced by the Minoan style that was predominant in the Agean at the time. The bull hunt was popular with  Mycenaean  and Minoan artists and symolised power and fertility. The distinctive shape of the cup is kown as 'Vapheio type'.
  • Vapheio type Mycenaean gold cup depicting a wild bull hunt , Vapheio Tholos Tomb, Lakonia, Greece. National Archaeological Museum of Athens. <br />
<br />
 Two masterpieces of Creto - Mycenaean gold metalwork were excavated from a tholos tomb near Lakonia in Sparta in 1988. Made in the 15th century BC, the gold cups are heavily influenced by the Minoan style that was predominant in the Agean at the time. The bull hunt was popular with  Mycenaean  and Minoan artists and symolised power and fertility. The distinctive shape of the cup is kown as 'Vapheio type'.
  • Vapheio type Mycenaean gold cup depicting a wild bull hunt , Vapheio Tholos Tomb, Lakonia, Greece. National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
 Two masterpieces of Creto - Mycenaean gold metalwork were excavated from a tholos tomb near Lakonia in Sparta in 1988. Made in the 15th century BC, the gold cups are heavily influenced by the Minoan style that was predominant in the Agean at the time. The bull hunt was popular with  Mycenaean  and Minoan artists and symolised power and fertility. The distinctive shape of the cup is kown as 'Vapheio type'.
  • Mycenaean gold cup with spiral decorations, Grave V, Grave Circle A,  Mycenae, Greece. National Archaeological Museum of Athens. <br />
<br />
An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • painted Mycenaean stirrup jars fro perfume, Mycenae Chamber Tomb 80, 14th-13th Cent BC.  National Archaeological Museum Athens. Cat no 3106.  White Background.
  • painted Mycenaean stirrup jars fro perfume, Mycenae Chamber Tomb 80, 14th-13th Cent BC.  National Archaeological Museum Athens. Cat no 3106. Grey art Background
  • painted Mycenaean stirrup jars fro perfume, Mycenae Chamber Tomb 80, 14th-13th Cent BC.  National Archaeological Museum Athens. Cat no 3106.
  • painted Mycenaean two handled jug with a tall neck, Mycenae Chamber Tomb 80, 14th-13th Cent BC.  National Archaeological Museum Athens. Cat no 3228.  White Background.
  • Three handled Palace Style pictoral Mycenaean amphora with aquatic bird motifs, Mycenaean cemetery, Argive Deiras, 15 cnt BC, National Archaeological Museum Athens. Cat no 5650.  Grey Background<br />
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This Mycenaean vase is one of the first examples of Mycenaean pictoral pottery created from Minoan influences.
  • Three handled Palace Style pictoral Mycenaean amphora with aquatic bird motifs, Mycenaean cemetery, Argive Deiras, 15 cnt BC, National Archaeological Museum Athens. Cat no 5650.  Grey art Background <br />
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This Mycenaean vase is one of the first examples of Mycenaean pictoral pottery created from Minoan influences.
  • Three handled Palace Style Mycenaean amphora with palm tree floral motifs, Mycenaean cemetery, Argive Deiras, 15 cnt BC, National Archaeological Museum Athens. Cat no 7107.  Grey Background<br />
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This Mycenaean vase is distinguished by the high quality of clay and paint as well as the naturalistic rendition of the palm tree decorations
  • Mycenaean conical rhython with an octopus design from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7386.  White Background.
  • Mycenaean conical rhython with an octopus design from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7386.  Grey art Background
  • Mycenaean styrup jar from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7626.  White Background.
  • Mycenaean styrup jar from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7626.  Black Background
  • Mycenaean styrup jar from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7626.
  • Mycenaean jug decorated with ivy leaves , Grave I, Grave Circle A, Mycenae 16-15 Cent BC. National Archaeological Museum Athens. Cat No 199.  Grey Background
  • Mycenaean pot with cycladic style design , Grave Circle B, Mycenae 17-16thj Cent BC. National Archaeological Museum Athens.  Grey Background<br />
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Bichromatic Cycladic style depicying circles. Cat No 8614
  • Mycenaean pot with cycladic style design , Grave Circle B, Mycenae 17-16thj Cent BC. National Archaeological Museum Athens.  White Background.<br />
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Bichromatic Cycladic style Mycenaean pot depicting birds. Cat No 8615
  • Mycenaean pot with cycladic style design , Grave Circle B, Mycenae 17-16thj Cent BC. National Archaeological Museum Athens. <br />
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Bichromatic Cycladic style Mycenaean pot depicting birds. Cat No 8615
  • Mycenaean silver rhyhon of a bulls head with gold horns, Grave IV, Grave Circle A, Mycenae, Greece, Cat no 273, National Archaeological Museum Athens . <br />
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Rytha (Rhython singular) were ritual vessels used to drink libations to the gods during religious ceremonies. 16th century BC
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Burnished monochrome Cycladic animal shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.  White background.<br />
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<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8. Black background.<br />
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Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Cycladic ceramic spherical pyxis with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5170.   Grey background.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.  White background.<br />
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<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829. Black background.<br />
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<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic cylindrical vase illustrated with a fisherman (1600 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat No 5782.<br />
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The vase has a procession of 4 fishermen illustrated on iy running all the way round it.
  • Cycladic ritual kernos with painted motif  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 822-833.<br />
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A complec ritual vessel with multiple pithos for offerings.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5258.   Gray background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5188.  Black background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5188.   White background.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.  Gray background.<br />
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<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757.  Black background.<br />
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<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic ceramic jug with linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5147.
  • Cycladic ceramic jug with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 4969
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.   White background.<br />
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<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.   Grey background.<br />
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Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic amphora with bird decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. cat no 5748.   Grey background.<br />
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<br />
During this Ctcladic period pottery was predominatly monochrome and brnished , this amphora is a rare example of bird decorated pottery from the era
  • Cycladic beak spouted jug.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5726.<br />
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During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Spherical jug spiral and floral decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5818.  White background.<br />
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<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery.
  • Small Cycladic amphora.  Early Cycladic III (2300-200 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5813.<br />
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During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Small Cycladic amphora.  Early Cycladic III (2300-200 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5813.  Gray background.<br />
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<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Spherical jug spiral and floral decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5818. Black background.<br />
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<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769. Black background.<br />
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During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769.  Gray background.<br />
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<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172.<br />
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These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153.  White background.<br />
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<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.<br />
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In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012. Black background.<br />
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These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,<br />
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These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.  Gray background.<br />
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<br />
The incisions depict a boat below spiral patternes. <br />
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These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974.   Gray background.<br />
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<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
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These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens.   Gray background.<br />
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<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. <br />
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This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • Marble female Cycladic statue figurine with folded arms. Early Cycladic Period II (2800-2300 BC) from Chalandriani, Syros. National Archaeological Museum, Athens.   White background.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.<br />
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This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.<br />
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<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens. Black background.<br />
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This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens. <br />
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This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Head of a Cycladic statue with remnants of painted eyes and right cheek, Parian Marble, Amorgos, Early Cycladic II period (2800-3200BC). National Archaeological Museum, Athens.   Gray background.
  • Mycenaean pots and vases depicting octopuses and Mycenaean chariots, National Archaeological Museum Athens.<br />
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Left: Three handled Palace Style Mycenaean amphora with octpuses and marinescape decorations motifs, Mycenaean cemetery, Argive Prosymna, tomb 2, 15 cnt BC,  Cat no 6725. <br />
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Middle: Mycenaean three handled styrup jar with painted zig zag  and double axesdesigns, Tholos tomb 2 , Myrsinochori, Messenia, 15th cent BC. Cat No 8376.<br />
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Right:Mycenaean pictorial Krater decorated with a horse and chariot, Tiryns Acropolis - 12-14th cent BC.  Cat No 115.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  Black Background<br />
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The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean pictorial Krater decorated with a two horses and chariot, Tiryns Acropolis - 13-12th cent BC. National Archaeological Museum Athens. Cat No 1511. Grey Background<br />
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This larfe Mycenaean pictorial Krater depicts a two horse Mycenaean chariot with two riders. Two men holding spears and circular shields walk in front of the chariot and a dog scampers under the horse. This style is typical of the 'painter of the shiled bearers' of the Tiryns workshop from the late 13th to 12th cent BC
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens.  Black Background<br />
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The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • Mycenaean fresco wall painting of a marine scape. National Archaeological Museum Athens. Cat No 5844.<br />
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The Mycenaean fresco fragments depict a marine scape with flying fish diving and swimming with sponges attached to rocks.
  • Mycenaean  Boars tusk helmet from Chamber tomb 515, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 6507. Grey Background<br />
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Ths Mycenaean  Boars tusk helmet has cheek guards and a bone hook ontopExcavated by Christos Tsountas 1887-1898 from the tomb cemeteries that developed on the hillsides surrounding the Acropolis of Mycenae. These tombs were for high ranking officials and ordinary civilians. Most of tese graves were intact with their grave goods un touched.
  • Mycenaean  Boars tusk helmet from Chamber tomb 515, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 6507. Grey art Background <br />
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Ths Mycenaean  Boars tusk helmet has cheek guards and a bone hook ontopExcavated by Christos Tsountas 1887-1898 from the tomb cemeteries that developed on the hillsides surrounding the Acropolis of Mycenae. These tombs were for high ranking officials and ordinary civilians. Most of tese graves were intact with their grave goods un touched.
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens. <br />
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This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Grey Background<br />
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<br />
 This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean fresco wall painting of three women, Ramp House, Mycenae Acropolis, Greece Cat No 1015. National Archaeological Museum, Athens. Black Background<br />
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This 14th Cent BC Mycenaean fresco fragment depicts three women looking out of a window. The scene is festive and the veneration gestures of the women suggest that they are watching a religiuos procession through the window.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey Background<br />
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14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Black Background<br />
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14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum.<br />
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14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean ovoid rhython with spiral design , Grave II, Grave Circle A, Mycenae 16-15 Cent BC. National Archaeological Museum Athens. Cat No 221.
  • Body shaped Mycenaean gold cut outs from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens.<br />
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Cat No 146. 16th century BC.<br />
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A unique gold body covering and face of an infant child mad out of pieces of gold foll<br />
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Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC.<br />
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The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC. Grey art Background <br />
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The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Mycenaean Funerary Stele with painted scenes of Mycenaean warriors, Mycenae Chamber Tomb Archaeological Museum Athens. Cat No 3256.12th Cent BC. White Background.<br />
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In this Mycenaean Funerary Stele the main panel depicts Mycenaean warriors marching armed with spears and shields. In the lower panel are depictions of 4 deer and a hedgehog. In the upper panel is a badly damaged seated figure
  • Mycenaean Funerary Stele with painted scenes of Mycenaean warriors, Mycenae Chamber Tomb Archaeological Museum Athens. Cat No 3256.12th Cent BC.<br />
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In this Mycenaean Funerary Stele the main panel depicts Mycenaean warriors marching armed with spears and shields. In the lower panel are depictions of 4 deer and a hedgehog. In the upper panel is a badly damaged seated figure
  • Hollow Mycenaean female figurine, adorant, wearing a necklace, from Mycenae tomb 40, Archaeological Museum Athens. Cat No 2494. <br />
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Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Upper part of a Mycenaean female figurine with stylised arms wearing a necklace, from Mycenae tomb 101, Archaeological Museum Athens. Cat No 4690.  Grey art Background <br />
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Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Mycenaean Gold circular buttons from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC. Grey Background
  • Mycenaean Gold circular buttons from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC.
  • Mycenaean Gold circular buttons from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC. Grey Background
  • Mycenaean Gold decrated bands and circuar gold foilsd from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC.
  • Mycenaean Gold decrated bands  from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC.
  • Mycenaean  Bronze dagger with inlaid lion hunt scene from Grave V, Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. 16th Cent BC. Cat No 394,  White Background.
  • Mycenaean  Bronze dagger with inlaid lion hunt scene from Grave V, Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. 16th Cent BC. Cat No 394.  Grey Background
  • Mycenaean bull figurines from Prosymna and Mycenae, Archaeological Museum Athens.  White Background.<br />
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Left: Mycenaean bull figurines from Prosymna cat no 11184<br />
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Right Mycenaean bull figurine from Mycenae tomb 65 cat no 3032
  • Mycenaean bull figurines from Prosymna and Mycenae, Archaeological Museum Athens.  Grey art Background <br />
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Left: Mycenaean bull figurines from Prosymna cat no 11184<br />
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Right Mycenaean bull figurine from Mycenae tomb 65 cat no 3032
  • Mycenaean gold cup with ivy leaf decoration from the Mycenaean cemetery of Midea tomb 10, Dendra, Greece. National Archaeological Museum Athens Cat no 8743.
  • Mycenaean silver cup from the Tomb 78 of the Mycenae chamber tombs, Greece. National Archaeological Museum Athens.<br />
<br />
This Mycenaean silver cup has a repousse  scale pattern with wish bone handles. Cat No 3121. 16th Cent BC
  • Mycenaean silver cup from the Tomb 78 of the Mycenae chamber tombs, Greece. National Archaeological Museum Athens. Grey art Background <br />
<br />
This Mycenaean silver cup has a repousse  scale pattern with wish bone handles. Cat No 3121. 16th Cent BC
  • Mycenaean ring shaped Kernos with painted serpentine bands , Mycenae Acropolis, 12th Cent BC.  National Archaeological Museum Athens. Cat no 5437.  Black Background<br />
<br />
This Mycenaean ring shaped Kernos was a ritual vessel with a conical rhtyhon for pouring liquids. A bovine head adorns the base of the rhython while a serpentine band and painted rosettes decorate the body
  • Mycenaean ring shaped Kernos with painted serpentine bands , Mycenae Acropolis, 12th Cent BC.  National Archaeological Museum Athens. Cat no 5437.  Grey Background<br />
<br />
This Mycenaean ring shaped Kernos was a ritual vessel with a conical rhtyhon for pouring liquids. A bovine head adorns the base of the rhython while a serpentine band and painted rosettes decorate the body
  • Mycenaean Gold diadems and cut outs from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC.<br />
<br />
Top: Mycenaean Gold diadem with repousse circles and rosettes Cat No 234<br />
<br />
Bottom . Gold cut outs depicting tripartite shrines crowned with horns of consecration and birds. Cat No 242-244
  • Mycenaean Gold diadems from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC. Grey art Background <br />
<br />
Top: Mycenaean Gold diadem with repousse circles and rosettes Cat No 232<br />
<br />
Bottom: Elegant Mycenaean gold daidem with fastening loops and dotted decoration. Three diamond shaped pendant hung from chains. Cat no 236.
  • Mycenaean Gold diadem from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. Grey art Background <br />
<br />
An impressive Mycenaean gold diadem with repousse rosettes and thin sheets applied to the top. .Cat No 1. 16th century BC.<br />
<br />
Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Mycenaean Fresco wall painting of a Mycanaean acrobat leaping over a bull, Early Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey Background<br />
<br />
14th  Cent BC.. Cat No 1595. The Mycenaean Fresco depicts an acrobat leaping over a charging bull whilst holding onto its horns. This ritual symbolised the struggle of domination of man over wild nature.
  • Mycenaean Fresco wall painting of a Mycanaean footman leading a horse & hunting dog,  Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Cat No 5878.  Black Background
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum.<br />
 Black Background
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Grey art Background
  • The 'Mycenaean Lady' fresco wall painting depicting a women in a procession, Mycenae, Greece Cat No 11670. National Archaeological Museum, Athens. White Background.<br />
<br />
The 'Mycenaean Lady' fresco depicts a women with a serious and pensive expression of a goddess in a solemn moment during which she accepts a gift of a necklace which she hold tightly in her right hand. she wears a short sleeved bodice over a sheer blouse which deliniates her bosom. She has an  intricate hairstyle and wears rich jewellery.
  • The 'Mycenaean Lady' fresco wall painting depicting a women in a procession, Mycenae, Greece Cat No 11670. National Archaeological Museum, Athens.<br />
<br />
The 'Mycenaean Lady' fresco depicts a women with a serious and pensive expression of a goddess in a solemn moment during which she accepts a gift of a necklace which she hold tightly in her right hand. she wears a short sleeved bodice over a sheer blouse which deliniates her bosom. She has an  intricate hairstyle and wears rich jewellery.
  • The 'Mycenaean Lady' fresco wall painting depicting a women in a procession, Mycenae, Greece Cat No 11670. National Archaeological Museum, Athens. White Background.<br />
<br />
The 'Mycenaean Lady' fresco depicts a women with a serious and pensive expression of a goddess in a solemn moment during which she accepts a gift of a necklace which she hold tightly in her right hand. she wears a short sleeved bodice over a sheer blouse which deliniates her bosom. She has an  intricate hairstyle and wears rich jewellery.
  • Mycenaean pottery sacral knots from Grave IV, Circle Grave A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 569.  Grey art Background <br />
<br />
These pottery sacral knots were a religious symnol of Minoan Crete
  • Mycenaean pottery sacral knots from Grave IV, Circle Grave A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 553.  Grey Background<br />
<br />
These pottery sacral knots were a religious symnol of Minoan Crete
  • Top leaf shapes of a gold diadem from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens.<br />
<br />
Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Mycenaean gold necklace with waz lily shaped beads from the Mycenaean cemetery of Midea tomb 10, Dendra, Greece. National Archaeological Museum Athens Cat no 8748. Black Background
  • Mycenaean gold cup depicting octupuses in a marinescape from the Mycenaean cemetery of Midea, Dendra, Greece. National Archaeological Museum Athens Cat no 7341.  Grey art Background
  • Mycenaean gold cup depicting octupuses in a marinescape from the Mycenaean cemetery of Midea, Dendra, Greece. National Archaeological Museum Athens Cat no 7341.
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  This goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  <br />
<br />
Black BackgroundThis goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Mycenaean metal rhyhon hammered into the shape of a lions head, Grave IV, Grave Circle A, Mycenae, Greece, Cat no 273, National Archaeological Museum Athens . <br />
<br />
Rytha (Rhython singular) were ritual vessels used to drink libations to the gods during religious ceremonies. 16th century BC
  • Vapheio type Mycenaean gold cup depicting a wild bull hunt side D, Vapheio Tholos Tomb, Lakonia, Greece. National Archaeological Museum of Athens. Black Background<br />
<br />
 Two masterpieces of Creto - Mycenaean gold metalwork were excavated from a tholos tomb near Lakonia in Sparta in 1988. Made in the 15th century BC, the gold cups are heavily influenced by the Minoan style that was predominant in the Agean at the time. The bull hunt was popular with  Mycenaean  and Minoan artists and symolised power and fertility. The distinctive shape of the cup is kown as 'Vapheio type'.
  • Vapheio type Mycenaean gold cup depicting a wild bull hunt side D, Vapheio Tholos Tomb, Lakonia, Greece. National Archaeological Museum of Athens. <br />
<br />
 Two masterpieces of Creto - Mycenaean gold metalwork were excavated from a tholos tomb near Lakonia in Sparta in 1988. Made in the 15th century BC, the gold cups are heavily influenced by the Minoan style that was predominant in the Agean at the time. The bull hunt was popular with  Mycenaean  and Minoan artists and symolised power and fertility. The distinctive shape of the cup is kown as 'Vapheio type'.
  • Vapheio type Mycenaean gold cup depicting a wild bull hunt , Vapheio Tholos Tomb, Lakonia, Greece. National Archaeological Museum of Athens.  Black Background<br />
<br />
 Two masterpieces of Creto - Mycenaean gold metalwork were excavated from a tholos tomb near Lakonia in Sparta in 1988. Made in the 15th century BC, the gold cups are heavily influenced by the Minoan style that was predominant in the Agean at the time. The bull hunt was popular with  Mycenaean  and Minoan artists and symolised power and fertility. The distinctive shape of the cup is kown as 'Vapheio type'.
  • Vapheio type Mycenaean gold cup depicting a wild bull hunt , Vapheio Tholos Tomb, Lakonia, Greece. National Archaeological Museum of Athens. <br />
<br />
 Two masterpieces of Creto - Mycenaean gold metalwork were excavated from a tholos tomb near Lakonia in Sparta in 1988. Made in the 15th century BC, the gold cups are heavily influenced by the Minoan style that was predominant in the Agean at the time. The bull hunt was popular with  Mycenaean  and Minoan artists and symolised power and fertility. The distinctive shape of the cup is kown as 'Vapheio type'.
  • Vapheio type Mycenaean gold cup depicting a wild bull hunt , Vapheio Tholos Tomb, Lakonia, Greece. National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
 Two masterpieces of Creto - Mycenaean gold metalwork were excavated from a tholos tomb near Lakonia in Sparta in 1988. Made in the 15th century BC, the gold cups are heavily influenced by the Minoan style that was predominant in the Agean at the time. The bull hunt was popular with  Mycenaean  and Minoan artists and symolised power and fertility. The distinctive shape of the cup is kown as 'Vapheio type'.
  • 'House of Warriors Vase' : Pictoral Mycenaean Krater depicting Mycenaean soldiers in full armour, Mycenae Acropolis, 12th Cent BC.  National Archaeological Museum Athens. Cat no 1426. <br />
<br />
This large pictoral Mycenaean Krater depicts Mycenaean soldiers full armed with helmet, cuirass, greaves, shield and spaer as they depart for war. This is a superb example of Mycenaean pictoral pottery
  • painted Mycenaean stirrup jars fro perfume, Mycenae Chamber Tomb 80, 14th-13th Cent BC.  National Archaeological Museum Athens. Cat no 3106.  Black Background
  • painted Mycenaean two handled jug with a tall neck, Mycenae Chamber Tomb 80, 14th-13th Cent BC.  National Archaeological Museum Athens. Cat no 3228.  Black Background
  • Mycenaean stirrup jar with painted octopus designs, Mycenae Chamner Tombs, 14th-13th Cent BC.  National Archaeological Museum Athens. Cat no 2772.  Grey Background
  • Three handled Palace Style Mycenaean amphora with octpuses and marinescape decorations motifs, Mycenaean cemetery, Argive Prosymna, tomb 2, 15 cnt BC, National Archaeological Museum Athens. Cat no 6725.  Black Background<br />
<br />
This Mycenaean vase is an imitation of the Minoan Marine Style
  • Three handled Palace Style Mycenaean amphora with octpuses and marinescape decorations motifs, Mycenaean cemetery, Argive Prosymna, tomb 2, 15 cnt BC, National Archaeological Museum Athens. Cat no 6725. <br />
<br />
This Mycenaean vase is an imitation of the Minoan Marine Style
  • Mycenaean conical rhython with an octopus design from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7386.
  • Mycenaean pictorial Krater decorated with a horse and chariot, Tiryns Acropolis - 12-14th cent BC. National Archaeological Museum Athens. Cat No 115. Black Background<br />
<br />
A large Mycenaean Krate decorated with a two horse chariot and two riders. The style is typical of the painting style known as ;painter of the shield bearers' of the Tiryns workshop producing pictorial pottery from the late 13th to 12th century BC
  • Mycenaean jug with stylised snakes , Grave VI, Grave Circle A, Mycenae 16-15 Cent BC. National Archaeological Museum Athens. Cat No 946.  Black Background
  • Mycenaean spouted clay pithos decorated with spirals and bands, Grave VI, Grave Circle A, Mycenae 16-15 Cent BC. National Archaeological Museum Athens. Cat No 8580.  White Background.
  • Mycenaean spouted clay pithos decorated with spirals and bands, Grave VI, Grave Circle A, Mycenae 16-15 Cent BC. National Archaeological Museum Athens. Cat No 8580
  • Mycenaean pot with cycladic style design , Grave Circle B, Mycenae 17-16thj Cent BC. National Archaeological Museum Athens.  White Background.<br />
<br />
Bichromatic Cycladic style depicying circles. Cat No 8614
  • Mycenaean pot with cycladic style design , Grave Circle B, Mycenae 17-16thj Cent BC. National Archaeological Museum Athens.  Black Background<br />
<br />
Bichromatic Cycladic style depicying circles. Cat No 8614
  • Mycenaean pot with cycladic style design , Grave Circle B, Mycenae 17-16thj Cent BC. National Archaeological Museum Athens. <br />
<br />
Bichromatic Cycladic style depicying circles. Cat No 8614
  • Mycenaean pot with cycladic style design , Grave Circle B, Mycenae 17-16thj Cent BC. National Archaeological Museum Athens.  Black Background<br />
<br />
Bichromatic Cycladic style Mycenaean pot depicting birds. Cat No 8615
  • Mycenaean silver rhyhon of a bulls head with gold horns, Grave IV, Grave Circle A, Mycenae, Greece, Cat no 273, National Archaeological Museum Athens .  White Background.<br />
<br />
Rytha (Rhython singular) were ritual vessels used to drink libations to the gods during religious ceremonies. 16th century BC
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Burnished monochrome Cycladic animal shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8. Black background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3. Black background.<br />
<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.  Gray background.<br />
<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.  Gray background.<br />
<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic ceramic jug with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 4969.  Black background.
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.   White background.
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.
  • Cycladic footed necked jar with impressed decration.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6168.<br />
<br />
During this period pottery was often monochrome with polised slip finishes sometimes with incised or impressed decorations.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058. Black background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. Black background.<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens. <br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Naxos. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Mycenaean pictorial Krater decorated with a two horses and chariot, Tiryns Acropolis - 13-12th cent BC. National Archaeological Museum Athens. Cat No 1511. White Background.<br />
<br />
This larfe Mycenaean pictorial Krater depicts a two horse Mycenaean chariot with two riders. Two men holding spears and circular shields walk in front of the chariot and a dog scampers under the horse. This style is typical of the 'painter of the shiled bearers' of the Tiryns workshop from the late 13th to 12th cent BC
  • Mycenaean pictorial Krater decorated with a two horses and chariot, Tiryns Acropolis - 13-12th cent BC. National Archaeological Museum Athens. Cat No 1511.<br />
<br />
This larfe Mycenaean pictorial Krater depicts a two horse Mycenaean chariot with two riders. Two men holding spears and circular shields walk in front of the chariot and a dog scampers under the horse. This style is typical of the 'painter of the shiled bearers' of the Tiryns workshop from the late 13th to 12th cent BC
  • Mycenaean pictorial Krater decorated with a two horses and chariot, Tiryns Acropolis - 13-12th cent BC. National Archaeological Museum Athens. Cat No 1511. Grey art Background <br />
<br />
This larfe Mycenaean pictorial Krater depicts a two horse Mycenaean chariot with two riders. Two men holding spears and circular shields walk in front of the chariot and a dog scampers under the horse. This style is typical of the 'painter of the shiled bearers' of the Tiryns workshop from the late 13th to 12th cent BC
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens. White Background.<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens. Black Background<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  White background.<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens. <br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean fresco wall painting of three women, Ramp House, Mycenae Acropolis, Greece Cat No 1015. National Archaeological Museum, Athens.<br />
<br />
This 14th Cent BC Mycenaean fresco fragment depicts three women looking out of a window. The scene is festive and the veneration gestures of the women suggest that they are watching a religiuos procession through the window.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum.<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Funerary Stele made of Porus stone with a chariot relief, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1429.16th Cent BC. White Background.<br />
<br />
The upper register of the Mycenaean Funerary Stele are filled with spiral reliefs while the central register panel has a relief of galloping horses driven by a charioteer. In front of the galloping horse stands a man with a spear who appears to attacking the chariot.
  • Upper part of a Mycenaean female figurine with stylised arms wearing a necklace, from Mycenae tomb 101, Archaeological Museum Athens. Cat No 4690<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Mycenaean Gold decrated bands  from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC. White Background.
  • Mycenaean Gold decrated bands  from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC. Grey Background
  • Mycenaean  Bronze dagger with inlaid lion hunt scene from Grave V, Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. 16th Cent BC. Cat No 394.  Black Background

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