How do the cultures of Crete and Cyprus, the two great islands of the eastern Mediterranean, compare in their history and development from the 3rd millennium to the 1st millennium BC? What was similar and what was different in their social and political, economic and technological, and religious and mortuary practices and behaviours, and in the natural settings and choices of places for settlements? Why, and how, did convergences and divergences come about? Why for instance did monumental buildings appear in Cyprus several centuries after they had emerged in Crete? And what was the impact on Cypriot society of the island's rich copper resources, while Crete as a rule had to import the metal? How and why did Cyprus manage an apparently much more peaceful transition from the Bronze Age to the Iron Age than Crete? These are among the important questions that a leading group of experts on the two islands addressed at Parallel Lives, a pioneering conference in Nicosia organised by the British School at Athens, the University of Crete and the University of Cyprus, to compare and discuss the islands' cultural trajectories diachronically from c. 3000 BC through their Bronze Ages and down to their loss of independence in 300 BC for Cyprus and 67 BC for Crete. Papers given then are now presented in fully revised form as chapters in this book, which is the first to bring together the study of Crete and Cyprus in this way, while starting with their insular geo-cultural identities. It will be a valuable resource for students of both islands, for all who are interested in ancient material cultures and mentalities in the Mediterranean, as well as those engaged in island studies across the world.

Knossos is one of the most important sites in the ancient Mediterranean. It remained amongst the largest settlements on the island of Crete from the Neolithic until the late Roman times, but aside from its size it held a place of particular significance in the mythological imagination of Greece and Rome as the seat of King Minos, the location of the Labyrinth and the home of the Minotaur. Sir Arthur Evans’ discovery of ‘the Palace of Minos’ has indelibly associated Knossos in the modern mind with the ‘lost’ civilisation of Bronze Age Crete. The allure of this ‘lost civilisation’, together with the considerable achievements of ‘Minoan’ artists and craftspeople, remain a major attraction both to scholars and to others outside the academic world as a bastion of a romantic approach to the past. In this volume, James Whitley provides an up-to-date guide to the site and its function from the Neolithic until the present day. This study includes a re-appraisal Bronze Age palatial society, as well as an exploration of the history of Knossos in the archaeological imagination. In doing so he takes a critical look at the guiding assumptions of Evans and others, reconstructing how and why the received view of this ancient settlement has evolved from the Iron Age up to the modern era.

Knossos is one of the most important sites in the ancient Mediterranean. It remained amongst the largest settlements on the island of Crete from the Neolithic until the late Roman times, but aside from its size it held a place of particular significance in the mythological imagination of Greece and Rome as the seat of King Minos, the location of the Labyrinth and the home of the Minotaur. Sir Arthur Evans’ discovery of ‘the Palace of Minos’ has indelibly associated Knossos in the modern mind with the ‘lost’ civilisation of Bronze Age Crete. The allure of this ‘lost civilisation’, together with the considerable achievements of ‘Minoan’ artists and craftspeople, remain a major attraction both to scholars and to others outside the academic world as a bastion of a romantic approach to the past. In this volume, James Whitley provides an up-to-date guide to the site and its function from the Neolithic until the present day. This study includes a re-appraisal Bronze Age palatial society, as well as an exploration of the history of Knossos in the archaeological imagination. In doing so he takes a critical look at the guiding assumptions of Evans and others, reconstructing how and why the received view of this ancient settlement has evolved from the Iron Age up to the modern era.

What is Classical Archaeology's place within the overall study of antiquity and the history of humanity? And what is its relationship to its kindred disciplines of ancient history, art history and Mediterranean prehistory? Forty or so years ago Classical Archaeology appeared to be a very conservative and rather niche area of scholarly endeavour. Then both prehistorians and ancient historians might have answered that Classical Archaeology had little to offer their respective fields of study. Since the late 1970s, however, the subject has been transformed, a transformation in which the example of Anthony Snodgrass has played a significant role. This volume brings together the work of Snodgrass's former students; scholars who, while they could be variously classified as prehistorians, ancient historians, Classical archaeologists, Classical art historians, Classicists and modern historians, are internationally recognised scholars in their respective fields. Each contribution brings a unique perspective to bear on the current state of Classical archaeology and its place in not only Mediterranean but global history, art history and archaeology.

In this innovative study, James Whitley examines the relationship between the development of pot style and social changes in the Dark Age of Greece (1100-700 BC). He focuses on Athens, where the Protogeometric and Geometric styles first appeared. He considers pot shape and painted decoration primarily in relation to the other relevant features--metal artifacts, grave architecture, funerary rites, and the age and sex of the deceased--and also takes into account different contexts in which these shapes and decorations appear. A computer analysis of grave assemblages supports his view that pot style is an integral part of the collective representations of Early Athenian society. It is a lens through which we can focus on the changing social circumstances of Dark Age Greece. Dr. Whitley's approach to the study of style challenges many of the assumptions that have underpinned more traditional studies of Early Greek art.

The Archaeology of Ancient Greece provides an up-to-date synthesis of current research on the material culture of Greece in the Archaic and Classical periods. Its rich and diverse material has always provoked admiration and even wonder, but it is seldom analyzed as a key to our understanding of Greek civilization. Dr. Whitley shows how the material evidence can be used to address central historical questions for which literary evidence is often insufficient, and he also situates Greek art within the broader field of Greek material culture.

The Archaeology of Ancient Greece provides an up-to-date synthesis of current research on the material culture of Greece in the Archaic and Classical periods. Its rich and diverse material has always provoked admiration and even wonder, but it is seldom analyzed as a key to our understanding of Greek civilization. Dr. Whitley shows how the material evidence can be used to address central historical questions for which literary evidence is often insufficient, and he also situates Greek art within the broader field of Greek material culture.