Showing papers in "American Journal of Archaeology in 1974"
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TL;DR: The typical western Anatolian burial custom in the third millennium B.C. was pithos burial in extramural cemeteries as mentioned in this paper, which was defined by the excavations of Gaudin at Yortan,1 and Bittel2 and K6kten3 at Babak6y.
Abstract: The typical western Anatolian burial custom in the third millennium B.C. was pithos burial in extramural cemeteries. General characteristics of the custom were defined by the excavations of Gaudin at Yortan,1 and Bittel2 and K6kten3 at Babak6y, as well as through surface observations of plundered cemeteries in the Burdur and Balikesir areas. (See ill. I for locations of all sites mentioned in the text.) Results of the Bryn Mawr College excavations at Karata?-Semayiik4 in the highlands of Lycia have provided specific details on each phase of the burial procedure since over 500 tombs
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TL;DR: Olausson as mentioned in this paper showed that there actually are three or four tephra layers of different ages in the cores, the youngest of which is not less than 5,000 years old.
Abstract: I. The problem: According to studies on Mediterranean deep-sea cores by Ninkovich and Heezen,' tephra from two violent volcanic eruptions must have fallen on Crete in prehistoric times. The first of these eruptions occurred at least 25,000 years ago, and its tephra apparently fell on all parts of Crete. The other was in the Bronze Age ("Minoan") eruption of Santorini (Thera) about 3,500 years ago, whose tephra (referred to in this paper as the "Minoan tephra") covered at least the eastern end of Crete, possibly to an average depth of about io centimeters (pl. 5, fig. I). The latter evidence lent substantial support to the theory, enounced a quarter of a century earlier by Marinatos,2 that the sudden collapse of Minoan civilization was a direct consequence of that eruption. Olausson,3 also on the basis of studies of deep-sea cores, disputes Ninkovich and Heezen's identification of the upper tephra; he claims that there actually are three or four tephra layers of different ages in the cores, the youngest of which is not less than 5,000 years old. Some archeologists, finding no signs of a layer of volcanic ash in their excavations, remained unconvinced that tephra from the Thera eruption even reached Crete in significant amounts. Moreover, according to the currently accepted archeological dating, the general destruction on Crete occurred toward the end of the Late Minoan I B stage, in about 1450 B.c. (or, at the very earliest, 1470 B.C.4), whereas the ruins on Thera have so far yield d only one example of Marine Style pottery typical of Late Minoan I B, and a very early example at that.' The problem, therefore, is to find traces of volcanic tephra on Crete, to identify it conclusively as t e product of the "Minoan" eruption, and if possible to determine the exact time of its fall with respect to the stages of Minoan culture as defined by pottery sequences.
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TL;DR: In the Late Helladic period and until the end of the thirteenth century B.C. as discussed by the authors, the population of the agriculturally rich plain of Argos steadily increased and Mycenaeans lived in the vicinity of the major citadels, such as Tiryns, Argos, Midea, Berbati, Asine, and numerous other settlements.
Abstract: During the Late Helladic period and until the end of the thirteenth century B.C., the population of the agriculturally rich plain of Argos steadily increased and Mycenaeans lived in the vicinity of the major citadels of Mycenae, Tiryns, Argos, Midea, Berbati, Asine, and numerous other settlements. Through expanded agricultural production and developing prosperity, the populations of these villages rose in number and Mycenaeans inhabited virtually every rise on the plain, of which twentythree scattered settlements have been uncovered.'
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TL;DR: The modern Turkish village of Uzuncaburg is situated approximately 25 km. north of Silifke in the pine-forested highlands of the southern Taurus mountains as discussed by the authors.
Abstract: The modern Turkish village of Uzuncaburg is situated approximately 25 km. north of Silifke in the pine-forested highlands of the southern Taurus mountains. The name Uzuncaburg, meaning Long Tower, was no doubt inspired by the Hellenistic fortification tower which forms a conspicuous landmark in the area.' In the Imperial period, the site was known as Diocaesarea and evidence for fairly extensive habitation exists in the theatre, triplearched gateway, and colonnaded street. In the Hellenistic period, however, this area seems to have formed the sacred precinct for the ancient city of Olba, 4 km. away. The inhabitants of Olba attributed the founding of their city to Aias, the son of Teukros, and the local ruling family of priest-kings were known as the Teukridai. Their domination apparently extended over an area stretching to the coast.2 In the Hellenistic period, Seleucid penetration of Cilicia brought with it the cult of Zeus, who seems to have been assimilated with a local deity. A typically Greek temple in the Corinthian order was erected for the Hellenized local cult and the temple was dedicated to Zeus Olbios. It no doubt rests on the spot once sacred to the local deity whose worship had been administered by the Teukridai. Many early travellers to Cilicia visited the site and recorded their observations on the well-preserved ruins. Around 1890, J.T. Bent saw the temple at Uzuncabur? while on a journey through Cilicia Tracheia. He commented on the fine effect of the building and suggested a date in the second century A.D., comparing it with other buildings erected at Palmyra and Pompeiopolis.3 A few years later, R. Heberdey and A. Wilhelm travelled throughout Cilicia recording the inscriptions they found at various sites. From Uzuncaburg they published an inscription naming Seleucus I Nicator
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TL;DR: Granulation, long considered to have been made by a unique process, decorates some of the most spectacular monuments of the ancient goldsmith jeweler as discussed by the authors, such as the great fibula from the Regolini-Galassi Tomb, 31.5 centimeters high and heavily ornamented with quantities of minute, metal globules.
Abstract: Granulation, long considered to have been made by a unique process, decorates some of the most spectacular monuments of the ancient goldsmithjeweler. Pieces such as the great fibula from the Regolini-Galassi Tomb, 31.5 centimeters high, and heavily ornamented with quantities of minute, metal globules,' have made Etruscan jewelry and its most typical decoration-granulation-well known to all who admire fine metalwork. The ornamentation looks as though it would be difficult to do. Problems connected with the making of granulation were called to public attention over a hundred years ago by Alessandro Castellani,2 a professional jeweler who wrote and lectured extensively on the techniques used in ancient jewelry. In the wake of Castellani's revelations came countless speculations about this "lost" art. The belief spread that all granulation owed its construction to a single process, once "lost," but recently "found."3 Early in the course of this study it became apparent that a one-process theory was not supported by the evidence. Differences in the grainwork on objects from different sources were noted. What gave every appearance of, not one, but sever l types of granulation were detected, including a number of kinds of decoration that produced th superficial effect of granulation. The variations observed concern certain features
TL;DR: The methods still used by contemporary village potters in the Mediterranean and Near Eastern countries, mostly older people, are now being recorded and published with increasing frequency as discussed by the authors, and a sampling of such reports is appended to this summary.
Abstract: Potters working in villages today are rapidly diminishing in number, so an adequate record of their craft practices must be made now if the contemporary ceramic record is to serve archaeologists who must perforce place emphasis on the detailed study and interpretation of the durable ceramic artifacts of past cultures. Today compulsory schooling as well as more economically attractive job opportunities in other trades have caused potential apprentices to reject the potters' craft of their fathers. The methods still used by contemporary village potters in the Mediterranean and Near Eastern countries, mostly older people, are now being recorded and published with increasing frequency. A sampling of such reports is appended to this summary. Talking with the potters and their families can provide some understanding of the traditional and economic pressures influencing the shapes they produce, the clays and fuels used, kiln maintenance, variations in production through the year, and the ways in which the fired wares are distributed. The variety and number of vessels in use in village households and the frequency with which they are replaced can also provide archaeologists with useful information. Cheap metal and plastic containers are supplanting ceramic wares, and their colorful encroachment in the village markets is worth checking annually as archaeologists return to their field headquarters. The consumer acceptance of these newer products is also a matter of archaeological interest.
TL;DR: The House of the Ship Europa as discussed by the authors was one of the first houses to be excavated by the University of Maryland during the 1972 season, and is known as the "House of the ship Europa" because of the large graffito of a ship (1.50 x 1.05 m).
Abstract: The garden of the "House of the Ship Europa," located in the SE part of the city, to the W of the amphitheater, in Region I, insula xv, is one of the large open areas excavated by the University of Maryland during the 1972 season.' The two houses in insula xv2 (Europa at entrance 3, with its shop at 2, and the house at i) appear to be a single property, and have a common open area at their rear, which occupies much of the insula (ill. i). The "House of the Ship Europa" takes its name from the large graffito of a ship (1.50 x 1.05 m.) labeled Europa (ill. 2), found on the north wall of the peristyle in 1957 during the excavation of this once beautiful and noble house.3 This much studied graffito is so carefully drawn that it could have been made only by an experienced sailor, or by a person who was intimately acquainted with the large merchant ships in use at the time.4 The name Europa probably refers t a sp cific ship.' It is commonly believed t at the graffito reflected he commercial activity of the occupant of the house, which had been converted to such use by the time of the erupt on of Vesuvius, but the exact nature of the com ercial activity is not known. A hearth had been installed in the N portico of the peristyle, and at the time of excavation some dolia were found in the area that had once been a
TL;DR: The polygonal construction at San Mauro, Buccino (Salerno) was all but unknown before the investigations made by Brown University in 1968 and i969 as mentioned in this paper, and it became clear that the polygonals had been built to create the artificial terrace of a small sanctuary.
Abstract: The polygonal construction at San Mauro, Buccino (Salerno) was all but unknown before the investigations made by Brown University in 1968 and i969.' As a result of this work it became clear that the polygonal walls had been built to create the artificial terrace of a small sanctuary. The sanctuary was built in the second century B.C. and was replaced by other structures on the terrace in the first half of the first century A.D.
TL;DR: The lack of stratified sites dating to the EBA remains a great problem, but it is alleviated somewhat by detailed studies of the cemeteries, and by the availability of a greater range of comparative material from neighboring areas.
Abstract: Since the second edition of Chronologies' there has been considerable progress in our knowledge of the Cyclades. The Neolithic site of Saliagos has revealed a wholly new period of occupation and much useful work has been carried out, notably by Renfrew and Doumas. The lack of stratified sites dating to the EBA remains a great problem, but it is alleviated somewhat by detailed studies of the cemeteries, and by the availability of a greater range of comparative material from neighboring areas.
TL;DR: The Sculpture of the Hellenistic Age (2nd rev. ed., New York 1961) as mentioned in this paper ) is a collection of paintings from the ancient Greek Vase paintings.
Abstract: Arias, Policleto P. Arias, Policleto (Florence 1964) Arias and Hirmer P. Arias and M. Hirmer, A Thousand Years of Greek Vase Painting (New York 1962) Becatti G. Becatti, Problemi Fidiaci (Florence 1951) Becatti, Ninfe G. Becatti, Ninfe e Divinita Marine, Ricerche Mitologiche iconografiche e stilistiche, Studi Miscellanei no. 17 (Rome 1971) Bieber M. Bieber, The Sculpture of the Hellenistic Age (2nd rev. ed., New York 1961)