Figure 2.1. A Late Protogeometric belly-handled amphora (storage jar) (c. 950–900 BC) from the Ceramicus cemetery in Athens with compass-drawn concentric circles foreshadowing the Geometric style. Athens, Ceramicus, Oberländer Museum.

Figure 2.2a. Artist’s plan and drawing of the ninth-century “village chieftain’s house” at Nichoria.

Figure 2. 2b. Artist’s rendition of Figure 2. 2a Figure 2.2b. Artist’s rendition of Figure 2.2a. Note the small difference between this chief’s house and an ordinary house (Figure 2.2c).

Figure 2.2c. Artist’s conception of an “ordinary” Dark Age house.

Figure 2.2d. Axiometric reconstruction of the “chief’s house” at Lefkandi, showing the grave of the basileus of Lefkandi and his consort (c. 950 BC). This is the largest Dark Age building yet discovered.

Figure 2.2e. Ink drawings of the contents of the two burial shafts cut into the rock in the center of the “chief’s house.” On the left, the remains of four horses, some with iron bits in their mouths, sacrificed and thrown headfirst into their pit. On the right, the skeleton of a women elaborately adorned with gilt hair coils, a gold pendant and necklace of gold and faience beads on her neck, gold discs with spiral design on her breasts, an iron knife suspiciously?) next to her head; to her right are the cremated remains of a warrior in a bronze amphora decorated with hunting scenes.

Figure 2.3. Gold jewelry from the cremation grave of a wealthy Athenian woman (c. 850 BC). In addition to the jewelry, she was buried with a number of fine vases, bronze and iron pins, ivory seals, and a faience necklace. (See Plate IIIa.)

Figure 2.4. Blind Homer. Roman marble copy of the head of a Hellenistic imaginary portrait (c. 200 BC). Boston, Museum of Fine Arts.

Figure 2. 5. Bronze statuette of lyre player Figure 2.5. Bronze statuette of lyre player. A seated bard, or rhapsode, is shown singing while he plays his stringed instrument. For the Greeks, values were reinforced by listening to such singers. Late eighth or early seventh century BC. Heraclion, Archaeological Museum.

Figure 2.6. Drawing of a Late Geometric crater (mixing bowl) showing a shipwreck (c. 725–700 BC) from Pithecusae (Ischia), Italy. Ischia Museum.

Figure 2. 7a. Examples of graffiti on eighth-century pottery Figure 2.7a. Examples of graffiti on eighth-century pottery. The readable portion of inscription (a) says: “He who, of all the dancers, now dances most gracefully” [? will win this pot?]. Inscription (b) identifies the owner: “I am the cup of Qoraqos.” Inscription (c) reads: “I am the drinking cup of Nestor, good to drink from. Whoever drinks this cup, immediately the desire will seize him of beautiful-crowned Aphrodite.”

Figure 2. 7b. Late Geometric oinochoe (jug) from Athens (c Figure 2.7b. Late Geometric oinochoe (jug) from Athens (c. 740 BC), on which graffito (a) was inscribed. Athens, National Archaeological Museum.

Figure 2. 8. Middle Geometric crater from Athens (c Figure 2.8. Middle Geometric crater from Athens (c. 800 BC) with meander, zigzag, and other geometric patterns. Note the fl anking horses, which enliven the severe geometric decoration, and the jug-shaped knob on the lid. Paris, The Louvre.

Figure 2. 9. Late Geometric amphora (c Figure 2.9. Late Geometric amphora (c. 750 BC) that was used as a monument on the grave of a woman in the Dipylon cemetery at Athens. At the level of the vase’s handles is a scene with human figures: mourners surrounding the body of the deceased woman, who is lying on a funeral bier. Height 61 inches. Athens, National Archaeological Museum.

Figure 2. 10. Clay model of house or temple from Argos (c. 725–700 BC) Figure 2.10. Clay model of house or temple from Argos (c. 725–700 BC). Athens, National Archaeological Museum.