#Cycladic civilization

[whimsimarion]

Hatsune Miku as a Cycladic idol from the Neolithic period. Reference used:

[sane-human]

Re-Drew these three! Gave them some animals ! Kri-Kri - "The kri-kri is not thought to be indigenous to Crete, most likely having been imported to the island during the time of the Minoan civilization."

Alosa macedonica -"The specific name means "of Macedonia", the refion of Greece to which thuis fish is endemic." (I just wanted to take an endemic fish of Greece to also use later for Macedonia) Mammuthus creticus- "an extinct species of dwarf mammoth endemic to Crete sometime during the Early Pleistocene to early Middle Pleistocene." Decided to make then the Mycenaen Civilization's animal because of the fact that Fossils of prehistoric elephants may have inspired the Greek myth of the Cyclope! A copy and paste of the previous post with them: The Cycladic culture was a Bronze Age culture (c. 3100–c. 1000 BC) found throughout the islands of the Cyclades in the Aegean Sea. Being a Culture between islands I decided to make them dolphins , (the current national animal of Greece!) to make then swim around the islands !

The Minoan civilization was a Bronze Age culture (3100 – c. 1100 BC) which was centered on the island of Crete.

Decided to keep them a Minotaur!

Mycenaean civilization was the last phase of the Bronze Age in ancient Greece, spanning the period from approximately 1750 to 1050 BC. It represents the first advanced and distinctively Greek civilization in mainland Greece with its palatial states, urban organization, works of art, and writing system.

Kept them as a Cyclop for Cyclopean masonry: "...Pausanias attributes all of the fortifications of Tiryns and Mycenae, including the Lion Gate, to the Cyclopes..." also : "Mycenaean Greek is the earliest attested form of the Greek language, dating back to the Mycenaean civilization (16th to 12th centuries BC) on the Greek mainland and Crete. It was written in the Linear B script, a syllabic system, and was primarily used for administrative and economic records rather than literary works."

[blueiscoool]

A CYCLADIC MARBLE FOOTED CUP EARLY CYCLADIC II, CIRCA 2700-2200 B.C.

[lossis]

Helena Mycenae, Nation of Greeks

Welp, I gave in and drew her! Some things there are spoilers for my fic, The foam that rolls between the waves, so be aware under the cut.

For symbolism I have the pomegranates as an important symbol for ancient greece, on the top right corner I've drawn cycladic statues, minoan patterns and at the end, ancent greek trims.

The colors are based on red amphorae and the eyes on Helena's hair are like the ones drawn on triremes, only green, because... she has green eyes!

The doll's names are in linear A and B! Linear A hasn't been translated, sooo it's just random symbols.

On the olive tree three dolls are hung, Helena, Minos and Delos. Delos' doll is burned, like he did, Minos' is missing its heart, like the way he died, and Helena hangs beside them, the only one remaining.

[whencyclopedia]

Mycenaean Civilization

The Mycenaean civilization flourished in the Late Bronze Age (c. 1700-1100 BCE), peaking from the 15th to the 13th century BCE. The Mycenaeans extended their influence throughout the Peloponnese in Greece and across the Aegean from Crete to the Cycladic islands. They are named after their chief city of Mycenae in the Argolid of the northeast Peloponnese.

The Mycenaeans were influenced by the earlier Minoan civilization (2000-1450 BCE) which had spread from its origins at Knossos, Crete to include the wider Aegean. Architecture, art and religious practices were assimilated and adapted to better express the perhaps more militaristic and austere Mycenaean culture. The Mycenaeans came to dominate most of mainland Greece and several islands, extending trade relations to other Bronze Age cultures in such places as Cyprus, the Levant, and Egypt. The culture made a lasting impression on later Greeks in the Archaic and Classical periods, most tangibly in their myths of Bronze Age heroes like Achilles and Odysseus and their exploits in the Trojan War.

Major Mycenaean Centres

The Mycenaeans were indigenous Greeks who were likely stimulated by their contact with Minoan Crete and other Mediterranean cultures to develop a more sophisticated sociopolitical culture of their own. Major Mycenaean centres included Mycenae (traditional home of Agamemnon), Tiryns (perhaps the oldest centre), Pylos (traditional home of Nestor), Thebes, Midea, Gla, Orchomenos, Argos, Sparta, Nichoria, and probably Athens. In time, the Mycenaeans would even establish themselves on Crete and especially at Knossos, thus superseding the Minoans as the dominant culture in the southern Aegean by the second half of the 15th century BCE.

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[doglike-devotee]

Delphi: museum.

Warning: long post, many images.

A while ago, I went to Greece with my dad and while there, we stopped at Delphi. It was an amazing experience. I've been wanting to share the images and I'm now getting to it! This will be split into two parts, the first (this post) about the museum and the second about the site.

This post will include the images of the statues and the explanation boards next to them in text form, as with the images of them it is more than 30 images. Message or comment if you'd like a picture of the explanation boards! It won't include everything in the museum, just what I thought was interesting. I'll try to seperate things into "chapters" to make them more easily digestible. I will add image ID in the ALT to almost every pic. If there is no ALT attached, it means I'm not entirely sure which part is being depicted, but the text below explaining the scene should contain it, I just can't attach it.

East Side: beginnings of Trojan War.

An assembly of the gods is represented on the east side of the frieze. Gods protecting the Trojans are seated to the left: Ares, Aphrodite, Artemis, Apollo and Zeus in a luxurious throne. The (now lost) figure of Thetis, mother of Achilles, would be touching Zeus's knees, pleading for her son's safety. Goddesses-protecting the Achaeans (Athena, Hera and Demeter) are seated to the right. A little further starts the vivid narration of the Trojan War. Round the body of a dead warrior Trojan heroes (to the left) fight against Achaeans (to the right). Closing the scene, the elderly figure of Nestor urges the Achaeans to win the battle.

North Side: Gigantomachy.

Subject-matter of the north side is the Gigantomachy, the battle of the Olympian gods against the Giants, children of Gaia. The myth of the conflict, which was victorious for the gods, is a favourite theme in ancient Greek art, symbolizing the triumph of order and civilization over savagery and anarchy. The gods fight hard to subdue the giants, who attack from the right with spears, swords and stones. Some of them from the left, Hephaistos - dressed in a short chiton, typical of craftsmen - stands in front of his bellows preparing fire-balls. Nearby are Demeter and Kore, then Dionysus in a panther's skin and Cybele on a chariot drawn by lions. The pair of gods whose helmet-crest is shaped like a kantharos (vase) and he is named after this. The inscription on the shield of the fourth giant refers to the sculptor of the relief but, unfortunately, his name is not preserved. Following would be Zeus on his chariot, then Hera, Athena, Ares armed with helmet and shield, and Hermes wearing the conical pilos, characteristic of Arcadian shepherds. The last figure is fragmentary - probably Poseidon accompanied by his wife, Amphitrite.

West Side: Judgment of Paris (probably).

The few figures preserved from the west side of the frieze lead to the assumption that here the subject was the judgment of Paris at the beauty contest among Athena, Aphrodite and Hera. He voted for Aphrodite and, in return, earned the most beautiful woman in the world, Helene, the wife of king Menelaos. It was her abduction that triggered the Trojan War. First of the contestants is goddess Athena, who appears as if she is mounting her winged chariot. Hermes frames the scene to the left. Aphrodite is graciously stepping of her own chariot, touching her necklace with a coquettish gesture. The missing part of the frieze would feature Hera, ready for departure after her unsuccessful participation. Last would be the judge Paris.

Sphinx.

In about 560 BC, preceding the construction of the luxurious Siphnian treasury, another rich island of the Cyclades, Naxos, sends a grandiose offering to Apollo of Delphi: the statue of the mythical Sphinx, whose the colossal size, imposing outlook and location in the sanctuary (near the rock of Sibylla and in the foreground of the polygonal retaining wall of the temple) commemorates the political and artistic supremacy of Naxos in the archaic era. The daemonic creature with the female face and the enigmatic smile, the body of a lion and wings of a bird, was supposed to be warding off the evil. It was seated on the capital of the very tall Ionic column, regarded as the oldest element in the Ionic order at Delphi. In total, the Naxian dedication reached 12.50m in height. Carved in a huge block of Naxian marble, the Sphinx combines the solid and firm structure with a tendency for decoration in rendering the hair, breast and wings, which reduces the impression of massive volume. As we learn from an inscription of the 4th c. BC incised on the column base, the priests of Apollo honoured the people of Naxos with the privilege of promanteia, that is, priority in receiving an oracle.

Intermission: random pic and text from a banner.

The dispute between Heracles and Apollo for the Delphic tripod was a very popular illustrated theme in ancient times, a fact that underlines the gravity of the Delphic oracle and its prophecies. In fact, Apollo is recognized as the most important oracular god, who responded to the inner need of humans to know their future and make the right decisions. At Delphi, consultations took place once a month in the temple's adyton, where the god's will was expressed through the inarticulate cries of Pythia, which the priests then interpreted and most probably put into verse. Six hundred and fifteen prophecies have been saved in literary sources and on a very limited number of inscriptions. They were in answer to various questions of a military, religious, state-related or personal nature, such as forming a family, winning at the games etc. The interpretation of these prophecies (oracles) was always ambiguous, which meant that they could be interpreted by the person asking the question; this is why Apollo was also known as Loxias, which meant oblique or ambiguous.

West Pediment of the Temple of Apollo: archaic and classical.

The west pediment of the archaic temple of Apollo, depicting the Gigantomachy (battle between the Olympian gods and giants). From the left part of the composition the figures have been preserved of a giant on his knees (Enceladus?), Athena wearing a breastplate and charging, the lower part of a male figure (perhaps Dionysus) and fragments of two horses from Zeus' chariot which occupied the centre of the pediment. Traces of rich colour decoration are preserved on the stuccoed poros figures (510-500 BC). This is the pediment admired by the women of the chorus in Euripides' lon:

But also here in this temple of divine Loxias [Apollo], son of Leto ... observe the battle of the Giants painted on the stone walls. ... See there, where the goddess Athena strikes Enceladus and brandishes her openwork gorgon shield. (Eur. Ion 190 et seq.)

The west pediment of the classical Temple of Apollo, depicting Dionysus among the Thyiads (women in the god's entourage who, according to poetic tradition, held dances on Mt. Parnassus). In the centre stands Dionysus, in the rare iconographic type of the cithara (type of lyre) player. He is wearing a tunic (chiton) girt below the chest, a mantle (himation) draped over his shoulders and the characteristic mitra (headband) of the initiated. The cithara he holds in his left hand places him on equal terms with the god of music, Apollo, and reconciles the different realms of the two deities who are both depicted on the same temple. Work of the Athenian sculptors Praxias and Androsthenes, circa 330 BC.

East Pediment of the Temple of Apollo: archaic and classical.

The east pediment of the archaic temple of Apollo, a work of Parian marble. The centre of the pediment was occupied by Apollo's four-horse chariot framed by kouroi (young men) and korai (young women). In both corners are animal groups depicting a lion mauling a gentle beast. The interpretation of the subject is based on verses from Aeschylus' Eumenides, in which the Pythia stands before the temple of Apollo and narrates the god's arrival at Delphi from Athens. Apollo is seen off by the Athenians and greeted with great honours by the people of Delphi and their king, Delphos (510-500 BC).

And thence he (Apollo) came unto this land of Parnassus and at his side, with awe revering him, were the children of Hephaestus, preparing the way and taming the land that once was wilderness. And he was received with honour by all the people and Delphos, their chieftain-king. (Aesch. Eumenides 12-16)

The east pediment of the classical Temple of Apollo, depicting Apollo, Leto and Artemis among the Muses. The god is seated on a tripod in the centre, wearing a mantle (himation) that leaves his chest bare. He is holding a branch of laurel and a wide shallow cup (phiale), symbols of his oracle. The Muses, some standing and others seated in a rocky place, provide the link between the deity and the world of arts and letters. Wark of the Athenian sculptors Praxias and Androsthenes, circa 330 BC.

Intermission: more banners.

In ancient Greek mythology, Apollo is presented as the patron of musical creation, poetry and the arts, a representative of moderation and harmony. According to Hesiod, singers and guitarists originated from Apollo himself, just like kings did from Zeus. Apollo accompanied the song and dance of the Muses with his lyre, which is why he was called Mousagetes (Leader of the Muses). It is also why Apollo is often depicted as a Kitharoidos holding his lyre with seven strings, both in the art of ancient Greece and western Europe. Delphi was inextricably tied to music. According to the tradition, when Apollo returned from the north in spring, he was serenaded by the song of the cicadas, nightingales and swallows, and nature was appeased. Very important musical contests also took place at the sanctuary; evidence of those games consist the inscribed verses of two hymns to Apollo from the Athenian Treasury, considered to be the oldest surviving "musical compositions" of classical antiquity, dating back to the 2nd century BC.

Nike.

In antiquity, the winged goddess Nike was considered to be the one who expressed the will of the gods: she announced, rewarded and glorified the victors. We often encounter the figure of Nike in the plastic arts, pottery, coroplasty and goldsmithing. The Nikes found at the sanctuary of Delphi come from public buildings, where they were used as symbols of victory in literal or metaphorical battlefields. The topic of the founding myth behind the Delphi oracle was the slaying of the dragon, namely the victory of Apollo against Python, son of the first goddess of the sanctuary, Gaea. In memory of this victory, panhellenic festivals were held in Apollo's honour, the infamous Pythian Games. Every four years, crowds arrived in Delphi from every corner of the ancient world, since the games constituted an excellent opportunity to interact socially, to practice diplomacy and to exhibit political power. Their focal point were the music and athletic games, which conferred unprecedented fame and glory upon the winners and their cities.

The Tholos.

The most impressive monument in the sanctuary of Athena Pronaia, the tholos, stands out for its unusual circular shape and partial reconstruction, in tvis celebrated treatise De architectura ('On architecture"), Vitruvius attributes the design of the building to Theodoros of Phocaea or Phocis. All orders of classical dungn are successfully represented in the structure. The 20 columns of the outer doric peristyle are crowned by a frieze with metopes in relief. The circular sekos, the central part of the edifice with built walls, is also crowned by a doric frieze with triglyphs and metopes in relief, but smaller in size. A bench which ran along the inner circumference of the sekos supported 10 engaged half-columns in the corinthian order. The material used for the building was white marble from the quarries of Mt. Penteli and the island of Paros (particularly for the metopes in relief), an well as dark limestone from Eleusis for highlighting certain structural details. Marble was also used for the roof, the form of which has long been a subject of debate, especially after two series of simas (eaves troughs) were attributed to it, and it is theoretically restored as conical or octagonal, its ends were decorated with acrofena-statues of female figures in vivid, almost dancing movement. The tholos, one of the most beautiful buildings of antiquity, was erected circa 380 BC. Its actual function remains unknown and many hypotheses have been put forward. It has been associated with chthonic cult and variously interpreted as a heroon, temple, armoury, etc. It is worth noting that Pausanias does not refer to the tholos as a temple and in fact makes no mention whatsoever to the building in his Description of Greece. The subjects of the large exterior metopes of the tholos were the Amazonomachy and Centauromachy, rendered with impressive realism and plasticity. With the contortion of the bodies, the sculptor manages to impart a sense of momentary motion, while the style and clothing of the warriors bring to mind the relief sculptures that adormed the temple of Apollo at Bassai near the ancient city of Phigalia and the temple of Asklepios at Epidauros. The smaller interior metopes of the thelos possibly depicted a congregation of the gods, to which the static or motionless figures have been attributed, and a battle scene, to which the more active figures belong. The sculptors of the metopes displayed incomparable skill in working the marble and rendering details. The high relief, freedom of movement and intensity of action bring the scenes to life, while at the same time introducing a pioneering artistic movement to the iconographic tradition of the 4th century BC, which competes with sculpture in the round.

Antinoos.

Cult statue of Antinoos, a youth of extraordinary beauty from Bithynia, beloved companion of the Emperor Hadrian. Antinoos had barely reached adulthood when he drowned in the Nile. He was thereafter heroised and worshipped as a demigod in many parts of the Eastern Empire by order of the emperor. One of the most beautiful statues of the youth was erected in the sanctuary at Delphi. It was found very well preserved during excavations, still shining thanks to the special oil used in antiquity to polish the 'skin' of marble cult statues. Holes are still visible in the profuse hair, which were used to attach a bronze wreath of laurel leaves on the head. The work is representative of classicism at the time of the philhellene Emperor Hadrian (117-138 AD). With its heroic-divine nudity, the statue follows the stylistic traditions of the great 5th and 4th century BC artists, but lacks the inner vitality of the archetypes.

[likethestarsatnight]

Good Afternoon

I've been reading A Companion to Greek Religion. Pretty interesting!!!! Here are my notes so far!! This is half of the first part.

A little bit got cut off the second pic, so you'll have to click on it!!

Also note: that Aegean refers to the bronze age civilizations of the Greek mainland (aka the Myceneans), the Cyclades, and Crete (aka the minoans).

I'm not gonna post all my notes in the future but if you want them, pls dm me and I will try my best to regularly send you some!!!

[skywalking-through-life]

HIII i love waterbound sooo much! i was wondering if you have any references for what andromeda was wearing in the most recent chapter. i can’t seem to picture it in my head (not your fault im just bad at visualizing lol)

Ohhhhhh ancient material culture, my love, the bane of my existence. 😭

So, because you didn't sign up for a lecture on how incredibly frustrating it has been to try and find (and then put) Andromeda in period and place accurate clothing, I will try SO hard to keep this brief, lol. In short: the women in the Anatolian kingdom that she comes from would likely have dressed subtly differently than the women in mainland Mycenean Greece, who would likely have also dressed differently from the Minoan civilization on Crete. The Cycladic islands, where I have set this tale, are smack dab in the middle of all of these places, and trade with all of them. There is very little extant information about how women at the height of Cycladic culture would have dressed, or, which of their neighbors' styles they most preferred - Mycenean, Minoan, or something else entirely?

For Andromeda, I've decided to start her in Anatolian clothes, which were, generally speaking, long, woven dresses or combinations of woven tunics and long pleated skirts, typically made of wool or linen. They usually belted at the waist, and covered most of the body. Here's a link to a historian's attempt at a reconstruction:

I've decided to go with one of those long woven dresses for for this chapter, mainly because it is simple to put on alone and she has not yet been exposed to other styles. I've fastened it at the shoulders with pins, which is, admittedly, a more Mycenean and/or Classical Greek style, but so many articles of clothing were fastened with pins and brooches in this time and place that I've decided its fine for my purposes. 💀

Eventually, Andromeda will probably wear lighter or less modest versions of Anatolian dresses/skirts (a little more Mycenean in style), and perhaps the MUCH less modest Minoan styles for noblewomen - but I think she may work up to that, lol. There's few examples of both in this article, but I have honestly had a hard time finding information that I feel is accurate, and I am still in the throes of research, so take this with a grain of salt:

Hope that this helps you start to visualize things, but if not, let me know, and I'll find you some more sources! 💙

[octotomo]

Splatoon: The Vestigial Species - Design Ideas (Europe)

If you have not viewed the main post first, please do so. Otherwise, here is a list of archaeological cultures which you are free to choose from to use as an inspiration when designing your human society!

Paleolithic/Mesolithic

Bohunician Culture

Aurignacian Culture

Gravettian Culture

Epigravettian Culture

Solutrean Culture

Magdalenian Culture

Azilian Culture

Maglemosian Culture

Kongemose Culture

Ertebølle Culture

Dnieper-Donets Culture

Pitted Ware Culture

Neolithic

Sesklo Culture

Neolithic Greece

Starčevo–Körös–Criș Culture

Vinča Culture

Karanovo Culture

Gumelniţa Culture

Linear Pottery Culture

Stroke-Ornamented Ware Culture

Rössen Culture

Lengyel Culture

Cardium Pottery Culture

Cucuteni-Trypillia Culture

Michelsberg Culture

Funnelbeaker Culture

Tisza Culture

Globular Amphora Culture

Ozieri Culture

Baden Culture

Bronze Age

-Pastoral

Samara Culture

Khvalynsk Culture

Repin Culture

Yamnaya Culture

Catacomb Culture

Vučedol Culture

Poltavka Culture

Fatyanovo Culture

Abashevo Culture

Sintashta Culture

Srubnaya Culture

-Sedentary

Corded Ware Culture

Bell Beaker Culture

Únětice Culture

Tumulus Culture

Nordic Bronze Age

Terramare Culture

Apennine Culture

Wessex Culture

Atlantic Bronze Age

Hallstatt Culture

Urnfield Culture

Helladic Culture

Cycladic Culture

-Civilizations

Minoan Civilization

Mycenaean Civilization

[mariacallous]

Two new important archeological discoveries have emerged in Greece – a gate sanctuary found at the Minoan palace of Archanes on the island of Crete and a tomb believed to date from the time of Philip II, father of Alexander the Great, found in Pthiotis, Thessaly.

The gate sanctuary at the Minoan palace of Archanes will help shed more light on the site’s religious and architectural importance, experts say.

“Archaeologist Dr Efi Sapouna-Sakellarakis continued the archaeological research to complete the image of the three-storey building, which along with Knossos [the biggest Minoan palace on Crete], played an important role in the development of the Minoan civilization,” the Greek Ministry of Culture said on October 23.

“It is a gate sanctuary, a unique element, found for the first time in a Minoan palace, outside its main entrance, in the same place where four altars have been uncovered, as well as the two arms of the stone construction of the platform, which as a whole indicate the religious importance of the place,” the ministry added.

The Minoan city of Archanes and palace complex, built around 1900 BC, lies in a small closed valley, 15 km south of Knossos palace. The site was discovered in the 1960s.

Various findings from Archanes and the wider area confirm the existence of continuous habitation. Columns, figurines and statues are examples of important art that developed in the area.

The bronze age Minoan Civilization flourished from around 3000 to 1450 BC in Crete and other Aegean islands, especially in the Cyclades. It was one of the first advanced civilizations in Europe, which left behind large building complexes, tools, works of art, writing systems, and an extensive trading network reaching both Cyprus and Egypt.

The media outlet Lamia Report reported meanwhile that on October 23, construction works at the village of Echinos, in Fthiotis, had revealed a large tomb, alleged to be a Macedonian one.

Echinos was a town in ancient Thessaly founded by the Thebans during the period of Theban hegemony. Philip II took control of Echinos to facilitate his passage from Thermopylae.

The construction works have been stopped to enable archeologists to uncover the burial monument. Objects from the tomb unfortunately have been stolen already, probably long ago.

[whimsimarion]

It's been a long time ever since I last drew a Cycladic idol, so here we have a double-pipe player as I re-imagine him. The ones following me for some time now may have noticed the changes in my art style. I still try to figure out myself, OK?

[sane-human]

Been Reading some stuff about Bronze Age Greece, I've drawn these guys :D The Cycladic culture was a Bronze Age culture (c. 3100–c. 1000 BC) found throughout the islands of the Cyclades in the Aegean Sea.

Being a Culture between islands I decided to make them dolphins , (the current national animal of Greece!) to make then swim around the islands !

The Minoan civilization was a Bronze Age culture (3100 – c. 1100 BC) which was centered on the island of Crete. (The History of the Minoans)

Decided to make them both a Minotaur and a Centaur!

Mycenaean civilization was the last phase of the Bronze Age in ancient Greece, spanning the period from approximately 1750 to 1050 BC. It represents the first advanced and distinctively Greek civilization in mainland Greece with its palatial states, urban organization, works of art, and writing system.

Kept them as a Cyclop for Cyclopean masonry: "...Pausanias attributes all of the fortifications of Tiryns and Mycenae, including the Lion Gate, to the Cyclopes..."

(Also made them bigger since they conquer the rest, The EPIC musical Cyclop saga hyped me)

[blueiscoool]

A CYCLADIC GRAY CHLORITE PYXIS EARLY CYCLADIC II, CIRCA 2700-2500 B.C.

[lossis]

Hey you! Yeah, you, do you like an exploration of adulthood and generational trauma? How about, what it means to be a parent? How kindness can be crushed and then reinstilled? Grief and what it is to be human?!?!

If yes, then BOY DO I HAVE THE FIC FOR YOU.

The Foam that Rolls Beteen the Waves, is a Hetalia Ancients fic concerning the Nation of Mycenae, AKA Ancient Greece, and her thousands years old mental breakdown!

It has a lot of crying and a lot of betrayal and a lot of overtly inhuman Nations. That's what the Eldritch Nations tag is for!

With our dear protagonist we have:

Minoooooan dad! (caused trauma)

Cycladic daaaaaad! (also caused trauma)

Egyptian lady! (likes wine a bit too much)

Hittite child from the 'a knife!' vine! (hangs out with horses more than people)

A short Sumerian gremlin! (oh my fucking god this man has so much trauma and PTSD I did not mean to be this cruel to him I am so sorry guys-)

AND MANY MORE TO COME!

Here are some of my favourite (non spoilery) excerpts:

1 “Fine, in which yard do you want me to wai-” 

“The central, now leave ” And he slammed the door on her face.

2 Obviously, she couldn’t understand a word, but it was still suspicious...

3 The guard groaned. “It’s... nice. But one shouldn’t stay in for long. It can lead into dangerous paths. The women there are especially...” he paused for a moment. “... they always frightened me. Maenads. Priestesses of Dionysus. That’s why I only slept with men there.”  

Anyways I'll drop art of the fic soon enough ok bye!

[whencyclopedia]

Mycenaean Civilization

The Mycenaean Civilization flourished in the Late Bronze Age (c. 1700-1100 BCE), peaking from the 15th to the 13th century BCE. The Mycenaeans extended their influence throughout the Peloponnese in Greece and across the Aegean from Crete to the Cycladic islands. They are named after their chief city of Mycenae in the Argolid of the northeast Peloponnese.

The Mycenaeans were influenced by the earlier Minoan civilization (2000-1450 BCE) which had spread from its origins at Knossos, Crete to include the wider Aegean. Architecture, art and religious practices were assimilated and adapted to better express the perhaps more militaristic and austere Mycenaean culture. The Mycenaeans came to dominate most of mainland Greece and several islands, extending trade relations to other Bronze Age cultures in such places as Cyprus, the Levant, and Egypt. The culture made a lasting impression on later Greeks in the Archaic and Classical periods, most tangibly in their myths of Bronze Age heroes like Achilles and Odysseus and their exploits in the Trojan War.

Major Mycenaean Centres

The Mycenaeans were indigenous Greeks who were likely stimulated by their contact with Minoan Crete and other Mediterranean cultures to develop a more sophisticated sociopolitical culture of their own. Major Mycenaean centres included Mycenae (traditional home of Agamemnon), Tiryns (perhaps the oldest centre), Pylos (traditional home of Nestor), Thebes, Midea, Gla, Orchomenos, Argos, Sparta, Nichoria, and probably Athens. In time, the Mycenaeans would even establish themselves on Crete and especially at Knossos, thus superseding the Minoans as the dominant culture in the southern Aegean by the second half of the 15th century BCE.

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[iononelive]

Museum collections

Museum of Prehistoric Thira

Fira, Santorini, Greece

#Akrotiri #Minoan #frescoes #pottery #tools #prehistoric #Aegean #Neolithic #Cycladic #ancient #civilization #Santorini #Greece #Museum #Thira #ionone