Figures

2.1 A page from Syriopoulos’ massive, yet relatively unappreciated, site catalogue data (Syriopoulos, 1995: Vol. II 783). Courtesy of the Archaeological Society at Athens 69

3.1 The ROM chryselephantine Bull-Leaper (registration number 931.21.1), front and back in 2017

Courtesy of the Royal Ontario Museum © ROM. Photo: Brian Boyle, MPA, FPPO 84

3.2 Photograph showing the ROM Bull-Leaper before it was restored to be sent to the ROM in 1931. This photograph accompanied the description by Seltman, received Jan 16th 1931 and quoted on pages 85–86

Courtesy of the Royal Ontario Museum, © ROM 85

3.3 An X-ray taken in 2013 of the ROM Bull-Leaper

Courtesy of the Royal Ontario Museum © ROM. Photo: Heidi Sobol 93

4.1 Schematic reconstruction of the Protokorinthian roof at Korinthos

© the author, 2020 109

4.2 Surface markings common on the undersurface of roof tiles: (a) gravel parting agent, (b) marks from trimming leather-hard clay, (c) chiselling after firing

© the author, 2020 110

4.3 Tile replications: (a) hypothetical tile-forming apparatus versus (b) the experimental implementation. A wooden board was used to strike the upper surface of both (c) the base mould, and (d) the replica tile © the author, 2020 114

4.4 Estimated timings for workers to produce a regular tile alone or in pairs

© the author, 2020 116

4.5 Daily work schedule for producing ca. 25 tiles (D indicates assistance by a donkey)

© the author, 2020 117

5.1 Athenian red-figure skyphos fragment, attributed to the Kleophrades Painter, 490–470 BCE. Los Angeles, J. Paul Getty Museum, 95.AE.31.2.

Photo: J. Paul Getty Museum 128

5.2 Athenian black-gloss cup with a sketch of an Amazon on Horseback, ca. 450–430 BCE. The Art Museum, Princeton University, Museum Purchase, Classical Purchase Fund, y1987_70. Photo: Princeton University Art Museum 129

5.3 Athenian red-figure kalpis (detail), attributed to the Kleophrades Painter, 490–470 BCE. Los Angeles, J. Paul Getty Museum, 82.AE.7. White arrows point to starts and stops in the relief lines; numbers give the length of lines in cm.

Photo: Jeffrey Maish, J. Paul Getty Museum 130

5.4 TEM images of samples taken from the skyphos fragment 95.AE.31.2 (fig. 5.1)

left: relief line

right: the background gloss

Detail of fig. 2 from Walton et al., 2013 131

5.5 Athenian red-figure hydria fragment, attributed to the Berlin Painter, 490–470 BCE. Los Angeles, J. Paul Getty Museum, 81.AE.206.D.2005:

top: underside of mouth. Photo: J. Paul Getty Museum.

bottom: cross-section of removed sample. Fig. 1b from Cianchetta, et al., 2015 132

6.1 Millefiori dish. Mid-2nd/early 1st Century BCE. Hellenistic or early Roman, Eastern Mediterranean.

The Art Institute of Chicago, Katherine K. Adler Memorial Fund, 2004.722. Photo: The Art Institute of Chicago 137

6.2 Glass beaker. 2nd half of 1st Century CE. Roman. The Metropolitan Museum of Art, 17.194.232

Photo: The Metropolitan Museum of Art (CC0) 150

6.3 Glass jug. 1st half of 1st Century CE. Roman. The Metropolitan Museum of Art, 17.194.226

Photo: The Metropolitan Museum of Art (CC0) 151

6.4 Left to right: mosaic glass ribbed bowl (millefiori bowl) (17.194.561); bluish green ribbed glass bowl (81.10.33); dark blue ribbed glass bowl (81.10.38). Late 1st Century BCE to 1st half of 1st Century CE. The Metropolitan Museum of Art

Photo: The Metropolitan Museum of Art (CC0) 151

6.5 Millefiori dish lit from above. Mid-2nd/early 1st Century BCE. Hellenistic or early Roman, Eastern Mediterranean.

The Art Institute of Chicago, Katherine K. Adler Memorial Fund, 2004.722. Photo: The Art Institute of Chicago 152

6.6 Millefiori dish lit from below at table height. Mid-2nd/early 1st century BCE. Hellenistic or early Roman, eastern Mediterranean. The Art Institute of Chicago, Katherine K. Adler Memorial Fund, 2004.722

Photo: The Art Institute of Chicago 152

7.1 Pylos tablet Cn 655. Black and white photograph, line drawing, and transcription.

Courtesy of the Department of Classics, University of Cincinnati and the Program in Aegean Scripts and Prehistory 163

7.2 Pylos tablet Cn 655, with various RTI visualisations: (a) default colour, (b) specular enhancement, (c) Overlay of default colour and specular enhancement (d) normals visualisation.

Courtesy of the Department of Classics, University of Cincinnati 165

7.3 Pylos tablet Cn 45, showing a standard colour photograph (left) and specular enhancement (right). Courtesy of the Department of Classics, University of Cincinnati 166

7.4 Pylos tablet An 35. Still image of the three-dimensional model.

Courtesy of the Department of Classics, University of Cincinnati 167

7.5 Colour photograph of Pylos tablet Ad 295. Note the enlarged size of the left side of the tablet due to firing variation. Courtesy of the Department of Classics, University of Cincinnati 168

9.1 The warp-weighted loom with a tabby weave, using one heddle rod and two rows of loom weights.

Drawing: Annika Jeppsson, created for academic purposes for the Centre for Textile Research. © The Centre for Textile Research, University of Copenhagen 184

9.2 The two-beam loom with a tabby weave, using one heddle rod. Note that some Roman representations of this type of loom are narrower.

Drawing: Annika Jeppsson, created for academic purposes for the Centre for Textile Research. © The Centre for Textile Research, University of Copenhagen 185

9.3 Detail of the starting border for a weave on the warp-weighted loom, showing the border sewn onto the cloth beam.

Drawing: Annika Jeppsson, created for academic purposes for the Centre for Textile Research. © The Centre for Textile Research, University of Copenhagen 185

9.4 Detail of the heddling process: Heddle leashes are looped around individual warp threads and attached to the heddle rod.

Drawing: Gerassimos Bissas for the author. © the author 186

9.5 Weaving Sequence 1.

Acoustic spectrogram of experimental weaving of a wool tabby using 26 loom weights, conducted by Anna Rosa Tricomi and Ida Demant. Audio recorded by the author. Sound frequency (kHz) is indicated on the vertical axis, whereas sound intensity (dB) is expressed through a colour scale, with bright green and bright turquoise indicating sounds of 70 dB and 80 dB respectively. Time is indicated on the horizontal axis. © the author 188

9.6 Weaving Sequence 2.

Acoustic spectrogram of experimental weaving of a wool tabby using 12 loom weights, conducted by Anna Rosa Tricomi and Ida Demant. Audio recorded by Marie Louise Nosch. The spectrogram shows one repetition from shed change to shed change. Sound frequency (kHz) is indicated on the vertical axis, whereas sound intensity (dB) is expressed through a colour scale, with bright green and bright turquoise indicating sounds of 70 dB and 80 dB respectively. Time is indicated on the horizontal axis. © the author 188

Tables

2.1 Explanation of fields in Site Database 69

2.2 Results of a Nearest Neighbour Analysis for excavated sites in the IIIB, IIIC, PG, and G periods on the Greek mainland and on Krete 72

2.3 Consistency in site locations over the LBA-EIA transition 73

4.1 A hypothetical forming and finishing sequence for regular Protokorinthian tiles at Korinthos inferred from surface markings 111

4.2 Individual time cost (minutes) for preparing paste and shaping one tile 115

4.3 Minimum times to manufacture up to 2,000 tiles for the Old Temple roof 115