General Index
3D modelling
15, 16, 20–21, 161, 167–168
“digital tools in archaeology”
3D scanning
see “structured light scanning”
abstract art, Late Roman
7
acoustic spectrogram
187–189, figs. 9.5, 9.6
Actor-Network Theory (ANT)
50, 56–57, 174, 180
administration, Late Bronze Age
161–164, 167–168
“Linear B”
Aeneis = Aeneid of Vergilius
arms and armour
177–180
authorial intervention
178
composition
174, 177
echoing Homeric epic
177, 180
Messapus’ helmet
179–180
raid of Nisus and Euryalus
178–180
Turnus with armour of Pallas
177–178, 180
aerial surveying
7
“archaeology, practical (fieldwork)”
Aerospace Corporation, The
125, 127
aesthetics (ancient)
3, 14, 20, 137–139, 146–153
colour
146–148, 150–153
light
137–138, 146–153
shine/gleam
147–149, 153
afterlife of antiquities
82, 94–95
afterlife of ROM Bull-Leaper
82–95
agency, of artefacts see “object agency”
Akhilleus = Achilles see “Ilias”
Algeria, conquest by French
4
“antiquities, use of”
Altertumswissenschaft
6
Annales School
10
Antiokheia = Antioch, Syria
52
antiquities, use of
“collecting antiquities”
19th century
4–7, 23–24
20th century, first half
4, 7, 24–25
21st century
18
Ancient Greek world
2, 21
as commemoration
2, 15
as cultural imperialism
2–6, 18, 83
as excuse for conquest
4
as inspiration
2–5
as political tool
2, 4–5, 7, 18
Byzantine world
2, 21–22
Enlightenment
2–5, 22–24
Medieval World
2, 22
Renaissance
2, 22–23
Roman world
2, 21–22
applied arts (ancient)
19, 20, 138, 141–142
appropriation of Classical Antiquity see “antiquities, use of”
archaeological data
“archaeology, practical (fieldwork)”; “Big Data”; “context, archaeological (excavation)”
collection methods
9–10, 16, 68–70, 103–108, 113–114
digital technology see “digital tools in archaeology”
incompleteness of
8, 17, 48, 54, 58, 65, 74
problems with
64–66, 72–74
quantification and large-scale analysis of
8, 17, 19, 63–64, 68–70, 73–75
archaeology, practical (fieldwork)
“aerial surveying”; “archaeological data”; “context, archaeological”; “digital tools in archaeology”; “Geographical Information Systems”; “photogrammetry”; “photography”; “Pompeii & Herculaneum”
archaeology in Eastern Europe
9–10
Athens metro excavations
9
‘big digs’
5, 17, 74
Boeotia Survey
9
Bronze Age Messenia Survey by Minnesota University
9
excavation
9–10
excavation as treasure-hunting
5, 83
keyhole archaeology
17
landscape archaeology
9, 15
Pylos Regional Archaeological Project
9
rescue excavations
9, 74
Roman Peasants Project
17
surveys
9, 17
stratigraphic excavation, introduction of
5
Tiber Valley project
17
underwater archaeology
16
Western Argolid project
17
Archaic Greek period
2, 8, 10, 13–14, 21–50–51, 54, 108–120
Archanes, Crete see “Arkhanes”
architectural terracottas see “roof tiles”
architecture (ancient)
8, 20
“energetics”; “labour organisation (ancient)”; “temple-building, Greek”; “Vitruvius”
economic analysis of
16, 113–120
labour required
104
monumental architecture
15, 20, 108–109, 118
polychromy
16
space studies/use of space
8, 15
Ares see “Ilias”
Arkhanes = Archanes, Krete
excavation of
89
ivory figurines from
89, 91–92
Art Institute of Chicago
136–137, 152–153
Ashmolean Boy God (Ashmolean Museum, Oxford, AN1938.692)
87–88, 90
“Evans, Sir Arthur”; “Lapatin, Kenneth”
Athena see “Ilias”
Athenai = Athens (ancient)
119
“Athenian vase painting”
Athenian Agora
American excavations
5
as a context
12
Athenian vase painting
4, 14, 23–24, 124–134
“clay slip”; “contour line”; “kiln firing”; “miltos”; “pottery, ancient Greek”; “relief line”
attributions of vase painters
6, 9, 133;
“connoisseurship of Greek vases”
black gloss, analysis of
127–131
iconography, study of
8–9, 15
production
19, 124–134
red-figure vases
126–133
restoration of (historic)
125
scientific analysis
124–134
thought to be Etruscan
4, 125
workshops & craftsmen
6, 14, 104, 133–134
Athens (ancient) see “Athenai”
Athens (modern)
4
Athens, National Archaeological Museum see “National Archaeological Museum of Athens”
Attic vase painting see “Athenian vase painting”
Augustan period see “Roman Imperial period”
Ausonius
194–195
authentication of antiquities
86–88, 93, 95
“Evans, Sir Arthur”
authority
16, 19
“authentication of antiquities”; “interpretation”
archaeological
73–75, 86
editorial
166–167, 169
museum
16, 18–19
Bacon, Kevin
48
Baltimore Snake Goddess (Walters Art Museum, Baltimore, 71.1090)
87, 90
Baths of Agrippa, Rome
142
Baths of Caracalla, Rome
2, 103, 119
Baths of Claudius Etruscus, Rome
143
Beazley, John see “connoisseurship of Greek vases”
Beazley Archive online
10, 17
“Digital Humanities”
Berlin Painter
131–134, fig. 5.5
“Athenian vase painting”
Bieber, Margaret
7
Big Data
approaches used in archaeology
63–75
as a means of control
65
definition and examples
63
‘big digs’ (archaeological) see “archaeology practical (fieldwork)”
Binford, Lewis
8
Blegen, Carl
162
Boardman, John see “connoisseurship of Greek vases”
boar’s-tusk helmet see “Ilias”
Boeckh, August
6
Boscoreale, Italy, frescoes
149
Boston Snake Goddess (Boston Museum of Fine Arts, 14.863)
87–90
“Evans, Sir Arthur”; “Lapatin, Kenneth”; “Museum of Fine Arts, Boston”
Brendel, Otto
7
bricks
production, ethnographic parallels
111–112
Roman industry
47, 52, 104
British Hellenism
5
British Museum, London
4, 5
“History of the World in 100 Objects”; “Naukratis research project”
Bronzes (ancient)
techniques
9, 16
Bronze Age period see “Early Bronze Age”; “Late Bronze Age”
Broodbank, Cyprian
54
Brown, Bill see “Thing Theory”
bull leaping (Minoan)
86
“Ivory Deposit acrobat figurines”; “ROM Bull-Leaper”; “Royal Academy London exhibition, 1936”
frescoes, from Knossos
83, 86–87
gender of participants
86–87
ritual
87–88
burial practice (ancient)
8, 15
Byzantine Egypt
47, 52
Byzantine period see “Late Antique period”
Calvert, Frank see “Troia”
Cambridge, Fitzwilliam Museum see “Snake Goddess, Fitzwilliam Museum”
Campania, frescoes
139, 150
“Boscoreale”; “Pompeii & Herculaneum”
categorisation
57–59, 72–74
“authority”; “ceramics (archaeological)”
Caylus, Comte de (Anne Claude de Caylus)
2
Centre for Historical-Archaeological Research and Communication at Lejre
187
Centre for Textile Research (CTR), Copenhagen
183 n.1, 187, figs. 9.1, 9.2, 9.3
ceramics (archaeological)
“brick”; “Linear B”; “pottery, ancient Greek”; “pottery, Roman”; “roof tiles”; “vase painting”
chronology
68, 72–73
classification/typology
57, 72–73
visibility in the material record
72, 74
chaîne opératoire
“reverse engineering”
as determined from reverse engineering
104–105
in ceramics
104–08, 109–110, 116–118, 134
uncertainty in
107
Chandler, Richard
4
Chaptel, Jean-Antoine
125
Chicago, Art Institute see “Art Institute of Chicago”
Childe, Gordon
7
chryselephantine
79, 82, fig. 3.1
“Ashmolean Boy God”; “Baltimore Snake Goddess”; “Boston Snake Goddess”; “Palaikastro Kouros”; “ROM Bull-Leaper”; “Seattle Boy God”
Classics & Classical Archaeology see “disciplinary relationships”
Classical Archaeology
diversity of
1, 10–12, 19, 21
separation of sub-specialisms within
1, 6, 10–11
unity of
1, 6–7, 10–12, 19, 21
and
see “disciplinary relationships”; “interdisciplinarity”
Classical Archaeology, development of the discipline
“antiquities, use of”
19th-century development
4–7
20th century, first half
6–7
20th century, late
7–10
21st-century approaches
11–21
beginning of discipline, 18th century
2–4
scholarship about the history of discipline
18
Classical Art History
138, 142
“Classical Archaeology”; “disciplinary relationships”
Classical Greek period
8, 12–15, 51, 144, 125–126, 128–133
classification see “categorisation”
Claudianus = Claudian
191, 193
“Epithalamium Laurentii”
clay slip (Athenian vase painting)
124–128
added zinc
128
production
125–126
sources
134
clay tablets, Linear B see “Linear B”
climate change in Antiquity
15
cognition
15
collaboration see “interdisciplinarity”
collecting antiquities
“antiquities, use of”; “Caylus, Comte de”; “Elgin, Lord”; “Evans, Sir Arthur”; “Grand Tour”; “Hamilton, Sir William”; “looting antiquities”
19th century
4–5, 23–24
ancient world collecting in the
2, 21–22
Arundel, Earl of, Thomas Howard
2
British collectors
2–5, 24
collection history
13, 18, 20;
“provenance”
Cultural Ownership laws, Krete
94
Enlightenment
2–4, 22–24
French kings of 16th and 17th centuries
2
imperialism through collecting
5, 18, 83
Italian Renaissance, nobles and popes
2
King Charles I of England
2
Medieval
22
modern attitudes to
18, 20, 83, 95
museum collecting
18, 83, 94–95;
“ROM Bull-Leaper”
Napoleon
5
South Italian towns
4
smuggling antiquities
84, 94
collecting natural history
“Hamilton, Sir William”
16th-17th centuries
2
Enlightenment
3
colonisation (Archaic Greek)
10, 50–51
commemoration through ancient material culture
2, 15
computing see “digital …”
connectivity see “network approaches”
connoisseurship of Greek vases
6, 8–9, 11, 23–24, 34
“Athenian vase painting”; “Beazley Archive online”; “Corpus Vasorum Antiquorum”
criticisms of
9
context, archaeological (excavation)
12–13
“looting antiquities”; “provenience”
destruction of
13, 83, 94–95
‘ungrounded’ antiquities
13, 94
contour line (Athenian vase painting)
128–129, figs. 5.1, 5.2
“relief lines”
Cook’s tours
5
“collecting antiquities, 19th century”
copies, Roman
6, 9, 14
“sculpture (ancient)”; “replica antiquities”
coral-red (Athenian vase painting)
131
Corinth see “Korinthos”
Corpus Vasorum Antiquorum (CVA)
“Digital Humanities”
online, hosted by Beazley Archive
17
Pottier, Edmund, initiated by
7
craft production (ancient)
9, 14
“Athenian vase painting”; “bricks”; “labour organisation (ancient)”; “pottery, ancient Greek”; “roof tiles”
ancient literary attitudes toward
103
epigraphic sources
104
ethnographic parallels
105–106, 110–112
insights from practising artists
106, 129, 133
Crete see “Krete”
culture-diffusion model
8
Currelly, Charles Trick
83–86, 88, 96
Curtius, Ernst
5
Dark Age Greece see “Early Iron Age Greece”
data-mining of texts
139, 190
decorative arts see “applied arts”
Delphoi = Delphi
5, 108
‘democratisation’ of Classics see “authority”
de Montfaucon, Bernard
2
‘dense’ objects see “object biography”
destruction of archaeological sites and contexts see “context, archaeological”
D’Hancarville, Baron
4
digital databases used within this volume
68–72, 139, 190–191
“Digital Humanities”
Digital Humanities
“digital publication”; “digital tools in archaeology”
20th century beginning and approaches
10
21st century approaches
16–17
digital publication
16–19, 161, 164–167, 169
“Digital Humanities”
digital tools in archaeology
databases of archaeological data
10, 16–17, 64
fieldwork (collection of data)
16, 65, 161
and
see “3D modelling”; “Geographical Information Systems”; “photogrammetry”; “Reflectance Transformation Imaging”; “structured light scanning”
Diomedes see “Ilias”
disciplinary relationships
Ancient History and Classical Archaeology
7, 10–11
Classical Art History and Classical Archaeology
1–21, 79–96, 124–134, 136–153
Classical Literature and Classical Archaeology
5–6, 136–153, 172–180, 183–197
Classics and Classical Archaeology
1, 6
Text (ancient) and Material Culture (ancient)
6, 14, 20–21, 136–153, 161–169, 172–180, 183–197
Doloneia see “Ilias”
domestic textile production (ancient)
184–186, 196–197; and
see “weaving”
Dörpfeld, Wilhelm
5
EAGLE network
16
“Digital Humanities”
Early Bronze Age
54
Early Iron Age Greece
8, 18–19, 63–64, 66–68, 70–74, 174
ekphrasis
14, 151–152
electronic see “digital …”
elemental analysis see “scientific analysis”
elephant ivory
92
Elgin, Lord (Thomas Bruce, 7th Earl of Elgin)
5
Elgin Marbles see “Parthenon marbles”
emic understanding
20, 80, 138–139
energetics
16, 19, 20, 107–08
craftsperson-hours
107, 115–118
economics analysis
119–20
in ancient Mediterranean archaeology
107, 115–120
in New World archaeology
107, 119
minimum effective crew
107–108, 118–119
of Protokorinthian roof tiles
115–119
EpiDoc
16
“Digital Humanities”
epigraphy
“Boeckh, August”; “Digital Humanities”; “disciplinary relationships, Text (ancient) and Material Culture (ancient)”
Corpus Inscriptionum Latinarum (CIL)
6
epigraphic evidence used
52–53, 104, 107, 116, 144–145, 149 n.8
Inscriptiones Graecae (IG) and Corpus Inscriptionum Graecarum (CIG)
6
inscriptions as artefacts
6, 14
Epithalamium Laurentii
191–193
ethnicity, concepts in antiquity
10, 13–14, 51–53
ethnographic analogy
104–06, 110–112
“experimental archaeology”
brick and tile production
105, 110–112
pottery production
105–106
Etruria
4, 12, 53, 125
European Synchrotron Radiation Facility (ESRF), Grenoble
127, 133
Euryalus see “Aeneis”
Evans, Sir Arthur
“Ashmolean Boy God”; “Boston Snake Goddess”; “fake antiquities”; “Minoan civilisation”; “ROM Bull-Leaper”; “Royal Academy London exhibition, 1936”; “Seattle Boy God”
creation of demand for Minoan fakes and ‘Minoica’
87–91, 95–96
discovery of the Minoan civilisation and excavations
7, 83, 86, 89; and
see “Knossos”
preconceptions about the Minoan civilisation
86–87, 89
reputation, negative
89, 91, 95–96
reputation, positive
83, 86–88
smuggling antiquities
94
experimental archaeology
15–16, 20–21, 104–108
“replication projects”; “reverse engineering”
appreciation of glass
142, 150–153
Athenian vase painting
125–127, 129, 133
Protokorinthian roof tiles
104, 108–118
relationship with energetics
16, 107–108
weaving methods
183, 186–189
fake antiquities
95
“Ashmolean Boy God”; “Baltimore Snake Goddess”; “Boston Snake Goddess”; “Gilliérons, Émile & Émile”; “Lapatin, Kenneth”; “replica antiquities”; “restoring antiquities”; “Ring of Minos”; Ring of Nestor”; “ROM Bull-Leaper”; “Seattle Boy God”; “Seltman, Charles”; “Snake Goddess, Fitzwilliam Museum”
artificial aging of ivory
90
Etruscan Warriors, Metropolitan Museum of Art
95
forgery workshops staffed by Sir Arthur Evans’ workmen, Krete
90
Minoan fakes
89–91, 95–96
Saitaphernes tiara, Louvre
95
Faliscan vase painting
128
Fascist use of Antiquity see “Mussolini”
Fiorelli, Giuseppe see “Pompeii & Herculaneum”
firing, pottery see “kiln firing”
feminist theory applied to ancient material culture
in the 20th century
10
in the 21st century
18
Fenn, Julia
89, 91
Feuerdent Frères, Paris
84, 87
Fitzwilliam Museum, Cambridge see “Snake Goddess, Fitzwilliam Museum”
Foreign Schools of Archaeological Research, Athens and Rome
5, 103 n.1
funerary customs (ancient) see “burial practice”
Furtwängler, Adolf
6
“connoisseurship of Greek vases”; “sculpture (ancient)”
Gargiulo, Raffaele
125
gender biases in Classical Archaeology
18
gender studies in Antiquity
18
geo-archaeology
15
geodatabase
68–73
Geographical Information Systems (GIS)
9, 16, 53, 64
“Digital Humanities”; “digital tools in archaeology”
Geometric Greece see “Early Iron Age Greece”
Gilliérons, Émile & Émile
90, 95
glass (ancient)
20
aesthetics of
137–138, 146–149
as temple dedications
141, 144–145
blown glass
137, 138, 141, 145
Byzantine glass
137–138, 153
candidus (colourless) glass
147, 150
colour of
147, 149, 150–153
frescoes depicting glass
139, 149
in Greek literature
140–141, 143–146
inlays for furniture
152–153
in Roman literature
139–149, 152–153
iridescence
138
lighting effects
136, 146–148, 150–153
magnification
145–146, 150
millefiori glass
136–137, 152–153
mosaic glass see “millefiori glass”
mosaics depicting glass
139
mould-blown glass see “vitrum sigillatum”
perlucidus
147–148, 150
reflecting light
146–153
splendidus
147, 150
tableware
143–144, 149–152
terms for
139–141
to produce fire
146
translucidus
148
ὓαλος
140–141
used as personal adornment
143
used in architecture
142–143
value of glass
138, 140–141, 142–146
vitrum
139–140
vitrum sigillatum
143, 153
globalisation (Roman) see “Roman Empire”
GlobalXplorer©
64
“Digital Humanities”
Gombrich, Ernst
7
Gosden, Chris & Marshall, Yvonne
80–82
“object biography”
Grand Tour
2–3, 5, 22–23
“collecting antiquities”
Greek literature
139–149, 174–177
Greek Revival style
4
Greek War of Independence
4–5
Hadrian’s Villa see “Villa Adriana”
Hamilton, Sir William
3–4, 23
Hartwig, Paul see “connoisseurship of Greek vases”
Hektor see “Ilias”
Hellenistic Greece
13, 52–53, 104, 112–113, 116, 136, 144–145
Heraklion Archaeological Museum, Krete see “Ivory Deposit acrobat figurines”; “Pisokephalo terracotta figurines”; “Snake Goddess, Temple Deposits”
Herculaneum see “Pompeii & Herculaneum”
hierarchy of art
138
“Winckelmann, Johann Joachim”
Hirsch, Jacob
88
historiography see “history of scholarship”
history of scholarship
Athenian vase painting
6, 23–24, 125–126
Classical Archaeology see “Classical Archaeology, development of the discipline”
Dark Age/Early Iron Age Greece
66–67, 69–71
History of the World in 100 Objects (British Museum)
17, 82
“object biography”
Homer see “Homeros”
Homeros = Homer
6
“Ilias”; “Odysseia”
composition of epics
174–175
objects in epics
80, 174–177
warriors, armour, and weaponry in epics
175–177, 179–180
Hood, Sinclair see “Royal Road figurines (Knossos)”
Horden, Peregrine & Purcell, Nicholas
48
Hoskins, Janet see “object biography”
identity
10, 14
Archaic Greek
50
Classical Greek
51
indicated by pottery
12–14
indicated by sculpture
13
Late Bronze Age Italy
53
Roman see “Roman Empire”
and
see “religion (ancient)”
Ilias = Iliad of Homeros
armour of Akhilleus
176
Athena against Ares
176–177
Bellerophon’s gold cup
175
boar’s-tusk helmet of Odysseus
176, 179
Doloneia (Odysseus & Diomedes)
176, 178–180
krater as a prize at funerary games of Patroklos
175
Oineus’ belt
175
shield of Akhilleus
80
staff of Agamemnon
175
Illiffe, J.H
83, 85
imaging technology
16, 21
“3D modelling”; “aerial surveying”; “digital tools in archaeology”; “Geographical Information Systems”; “photogrammetry”; “photography”
Ingold, Tim see “meshwork”
interdisciplinarity
1, 7–21, 47–60, 91–96, 124–134, 161–169, 172–180, 183–197
“Classical Archaeology”; “disciplinary relationships”
interpretation (subjectivity)
19–20, 65
“authentication”; “authority”; “categorisation”; “reception studies, Classical Archaeology”
archaeological
50, 57–60, 65–67, 72–75
editorial
166, 168
modern responses to antiquities
15, 20
postprocessual understanding
8, 10
iron oxides (Athenian vase painting)
126, 132–133
“Athenian vase painting”; “kiln firing”
Islamic world, Classical tradition in
18
Isthmia
108–109, 115–116
Ivory Deposit acrobat figurines (Heraklion Archaeological Museum)
87, 92
“Boston Snake Goddess”; “Knossos”; “Seattle Boy God”
ivory figurines (Minoan or said to be Minoan)
with legitimate excavation findspot see “Arkhanes”; “Ivory Deposit acrobat figurines”; “Palaikastro Kouros”; “Royal Road figurines”
without legitimate excavation findspot see “Ashmolean Boy God”; “Baltimore Snake Goddess”; “Boston Snake Goddess”; “ROM Bull-Leaper”; “Seattle Boy God”
Jacobsthal, Paul
7
Joy, Jody see “object biography”
Jupiter Dolichenus
51
Kant, Immanuel
3, 138, 153
kiln firing
9, 20, 117–118, 124, 127
bisque firing
133
multiple firings
131–133
temperatures
129–133
three-stage process
20, 125–126
Kingdom of Italy see “Risorgimento”
Kleophrades Painter
128–131, figs 5.1, 5.3, 5.4
“Athenian vase painting”
Knappett, Carl
47, 54–55, 59
“network approaches”; “object agency”
Knossos, Krete
7
“bull leaping”; “Evans, Sir Arthur”; “Ivory Deposit acrobat figurines”; “Minoan civilisation”; “Snake Goddess”
excavation by Evans
12, 83, 86, 89
frescoes
83, 86–87
Ivory Deposit
87–88
Linear B tablets from
168
‘reconstitution’ (restoration) by Evans
89, 96
Temple Repositories
87
Theatral area
87
Kopienkritik see “sculpture (ancient)”
Kopytoff, Igor
80–81
“object biography”
Korinthian vase painting
128, 133
Korinthos = Corinth
“Korinthian vase painting”; “pottery, ancient Greek”; “roof tiles, Protokorinthian”
American excavations
5
Archaic clay sources
113, 117
Archaic patronage of architecture
119
Archaic pottery making
112–113
Archaic social complexity
119–20
Archaic tile making
109–110, 112–113, 117–118
Old Temple, 7th century BCE
108–09, 115, 118–20
Krete = Crete
71–73, 107
“Herakleion Archaeological Museum”; for Cultural Ownership laws
see “collecting antiquities”
Arkhanes see “Arkhanes”
Knossos see “Knossos”
Palaikastro
91–92
Petsophas
85
Pisokephalo open-air sanctuary
91
Siteia see “Palaikastro Kouros”
Kyrenia shipwreck
15–16
labour, quantification of see “energetics”
labour organisation (ancient)
9, 14, 103–104, 111–119, 133–134, 162–164
“craft production (ancient)”; “energetics”
lamps, Roman
150–151
Lapatin, Kenneth
89–91, 96, 142
“Ashmolean Boy God”; “Baltimore Snake Goddess”; “Boston Snake Goddess”; “ROM Bull-Leaper”; “Seattle Boy God”
large-scale data see “archaeological data”
Laser Ablation-Inductively Coupled Plasma Mass Spectrometry (LA-ICPMS)
126–127, 129, 131
Late Antique period
21–22, 47, 52, 137–138, 140–141, 145, 149–150, 191–193, 194–196
Late Bronze Age (LBA)
7–9, 13, 15, 20–21, 47–48, 54–56, 58–59, 66, 68–73, 79, 82–83, 86–89, 94, 107, 161–169, 174, 185
“Minoan civilisation”
collapse
66, 72, 162
Late Bronze Age to Early Iron Age transition
66–67, 70–73
Latin literature
139–153, 177–180, 186, 189–197
Latium
53
Latour, Bruno see “Actor-Network Theory”
Lefkandi, Euboia
67, 70
Leipen, Neda
89
Le Roy, Julien-David
3
Lexicon Iconographicum Mythologiae Classicae (LIMC)
8
Libya, conquest by Italians
4
Linear B
20–21
“Knossos”; “Late Bronze Age”; “Pylos”
character of text
161–164
decipherment by Michael Ventris
161
findspots of
162, 168
nature of the clay tablets
162, 164, 166–168
preservation of tablets
162, 164, 168, fig. 7.5
publication, traditional
163 n. 3, 162–164, 166 fig. 7.3
scribes
162, 164, 168
Linear B pa-i-to Epigraphic Project
168
Linked Open Data (LOD)
17
“Digital Humanities”
literary studies see “Greek literature”; “Latin literature”
London, British Museum see British Museum, London
London, Museum of London see Museum of London
London, Royal Academy see “Royal Academy, London”
longue durée
10
loom, two-beam
184–186, fig. 9.2
archaeological evidence from antiquity
185–186
literary evidence, Roman
186
loom, warp-weighted
184–185, figs 9.1, 9.3
archaeological evidence from antiquity
185–186
literary evidence, Roman
186, 193
looting antiquities
13, 18, 83, 94–95
“collecting antiquities”; “GlobalXplorer©”; “provenance”; “provenience”
Louvre, Paris
5
Lycurgus Cup (British Museum, 1958.1202.1)
149–150
Magna Graecia
4
Malkin, Irad
47, 50–51
“network approaches”
Mayan architecture
119
Meisterforschungen see “sculpture (ancient)”
memory see “commemoration”
meshwork
51, 56–57
Messapus see “Aeneis”
metrical analysis of Latin verse
191–196
micro-history
17, 59, 68
miltos (Athenian vase painting)
131–133, fig. 5.5
Minoan civilisation
“bull leaping”; “Evans, Sir Arthur”; “fake antiquities”; “ivory figurines”; “Krete”; “Royal Academy London exhibition, 1936”; “Snake Goddess”
architecture
15, 107
Boy God
88;
“Ashmolean Boy God”; “Seattle Boy God”,
drinking cups
55–56
Great Goddess
87–88;
“Boston Snake Goddess”; “ROM Bull-Leaper”
modern attitudes to
20, 90–91, 96
naming of the civilisation
86
palace of Knossos see “Knossos”
religion, according with Evans’ ideas
86–89, 96
minor arts and crafts (ancient) see “applied arts”
Morelli, Giovanni see “connoisseurship of Greek vases”
multi-scalar analysis
17–19, 50, 59
multi-vocality
10, 13–14, 16, 18–19, 65, 96
Museum of Fine Arts, Boston
83–84
“Boston Snake Goddess”
Museum of London
136
museums
“ROM Bull-Leaper, reputation in museum”
collection acquisition see “collecting antiquities”
display strategies
79, 82, 91, 136–137, 153
foundation of public museums (18th & 19th centuries)
4–5
visitor engagement strategies
16, 18-19, 82–93, 91, 93–94, 96
Mussolini, use of Antiquity
4
Mycenae see “Mykenai”
Mykenai = Mycenae
7, 86, 107
“Late Bronze Age”; “Schliemann, Heinrich”
Napoleonic France
4, 5
National Archaeological Museum of Athens
162
Naukratis research project (British Museum)
17
Nearest Neighbour Analysis (NNA)
71–72
Neoclassical movement
4
network approaches
13, 19, 47–60
definition
48–50
everyday examples
47, 49
formal network analysis
48, 50, 52–55
geographic networks
53–55
networks as metaphors
48, 50–52
nodes in a network
49–50, 53
problems
48–50, 57–60
Proximal Point Analysis (PPA)
48, 50, 54
scale-free network model
49
scales of analysis
49, 58–59
six degrees of separation phenomenon
48
small-world network model
49–50
Social Network Analysis (SNA)
50, 51–53
ties in a network
49–50, 53–54
use in popular science and sociology
48
New Archaeology see “processual archaeological movement”
New Art History
8
New Materialism
65, 172–173
“object agency”; “object biography”; Object-Oriented Ontology”; “Thing Theory”
Nisus see “Aeneis”
North Africa
139
“Algeria”; “Libya”
object agency
13, 21, 55–57, 173, 180
“object biography”
object biography
13, 20, 79–83, 175–176, 178–179
“afterlife of antiquities”; “Ilias, shield of Akhilleus”; “object itinerary”; “object life paths”; “ROM Bull-Leaper”
criticisms of
81–82
‘dense’ textual objects
175–176, 178–179
museums, use in
82–83
object itinerary
81
object life paths
81–82
Object-Oriented Ontology (OOO)
174, 177, 179–180
Odysseia = Odyssey of Homeros
bow of Odysseus
175
Odysseus see “Ilias” and “Odysseia”
Olympia, German excavations
5
“Curtius, Ernst”; “Dörpfeld, Wilhelm”
Olympias see “replication projects”
ORBIS
64
“Digital Humanities”
orientalising, rethinking approaches to
18
Ottomans in Greece
3, 5, 23
Our Lady of Sports see “ROM Bull-Leaper”
Oxford, Ashmolean Museum see “Ashmolean Boy God”
Oxford, Pitt Rivers Museum see “Pitt Rivers Museum, Oxford”
painters (ancient Greek), see “Athenian vase painting”; “pottery, ancient Greek”
palace of Knossos see “Knossos”
palace of Nestor see “Pylos”
palaeography
20–21, 164, 169
Palaikastro Kouros (Minoan) (Siteia Archaeological Museum)
91
Pallas see “Aeneis”
Panovsky, Erwin
7
papyrological evidence
47, 52, 141, 144–145
papyrus rolls from Herculaneum, decipherment
16
Paris, Louvre see “Louvre, Paris”
Parthenon Marbles
5, 82
Parthenon, Nashville Tennessee
15–16
Patroklos = Patroclus see “Ilias”
Pausanias
6
Perseus online library project
10
“Digital Humanities”
phenomenology
7, 15
philology
6, 172
photogrammetry
16, 65
“digital tools in archaeology”
photography
5–6, 65
Piranesi, Giovanni Battista
3
Pisokephalo terracotta figurines (Minoan) (Herakleion Archaeological Museum)
91
Pitt Rivers Museum, Oxford
80, 82
“object biography”
plaster casts
24, 95
Pleiades project
16, 64
“Digital Humanities”
Plinius the elder = Pliny the elder
6, 128, 143–144, 146–149, 152
polychromy (ancient) see “architecture (ancient)”; “sculpture (ancient)”
Polynomial Texture Mapping (PTM) see “Reflectance Transformation Imaging”
Pompeii & Herculaneum
24
“papyrological evidence”; “prostitution”
excavations
3, 5
excavations beneath the 79 CE ruins
17
Fiorelli, Giuseppe
5
frescoes
149
glass inlays from House of the Golden Cupids
152–153
pottery assemblage from Insula of Menander
12
replicas
95
post-colonial approaches to Classical Archaeology
10, 13–14, 18
postmodern approaches in Classical Archaeology
8, 11, 16, 18
postprocessual archaeological movement
8–10, 18, 80, 89
potters (ancient Greek), see “Athenian vase painting”; “Korinthos”; “pottery, ancient Greek”
pottery
production, ethnographic analysis
104–106, 111
pottery, ancient Greek
“Athenian vase painting”; “Beazley Archive online”; “ceramics (archaeological)”; “connoisseurship of Greek vases”; “Corpus Vasorum Antiquorum”; “roof tiles”; “trade”
customers & patrons
14
dipinti & inscriptions
14
Early Iron Age
73–74, 104
firing process see “kiln firing”
function
12
kilns, excavated
9; and
see “kiln firing”
pigments used
16
regional styles
9
scientific analysis of
9, 16, 20; and
see “Athenian vase painting”
techniques
9, 16, 19
trade
13–14, 124
workshops & craftsmen
9, 14, 104, 133–134; and
see “labour organisation (ancient)”
pottery, Roman
12, 17, 47, 57–58, 64, 104, 107
“ceramics (archaeological)”
Pottier, Edmund see “Corpus Vasorum Antiquorum”
Prehistory see “Bronze Age period”; “Early Iron Age Greece”
processual archaeological movement (New Archaeology)
8, 18, 104
Programs in Aegean Scripts and Prehistory (PASP), University of Texas, Austin
162–163, fig.7.1
prostitution in antiquity (material culture)
18
Protogeometric Greece see “Early Iron Age Greece”
provenance (collecting history)
83
creation of false provenance
84, 89–90
provenience (archaeological findspot)
83
“collecting antiquities”; “fake antiquities”; “looting antiquities”
creation of false provenience
84, 88
dangers of lack of
13, 83, 94–96
‘ungrounded’ antiquities
13, 94
Proximal Point Analysis (PPA) see “network approaches”
Pylos
“Ring 2, Tomb of the Griffin Warrior, Pylos”
destruction of ‘palace of Nestor’
162, 168
findspots of Linear B tablets
162
Linear B tablets from
20–21
Pylos Tablets Digital Project (PTDP)
162
pXRF see “X-ray Fluorescence”
quantification see “archaeological data”
racism see “antiquities, use of”
radiocarbon dating
7, 90
raking light
164
“Reflectance Transformation Imaging”
reception studies, Classical Archaeology
10, 18, 96
red-figure pottery see “Athenian vase painting”
Reflectance Transformation Imaging (RTI)
164–167, fig. 7.2
“digital tools in archaeology”
relational theory
49, 55–56, 172–180
relief line (Athenian vase painting)
figs. 5.1, 5.3, 5.4
analysis of
129–130
application of
129
religion (ancient) and religious identity
8, 51–53
Renfrew, Colin
8
repatriation of antiquities
13, 18
replica antiquities
3, 95
“Gilliérons, Émile & Émile”; “plaster casts”; “restoration of antiquities”
replication projects
20, 21, 106
“experimental archaeology”; “reverse engineering”
Athenian vase painting
127, 131, 133
Kyrenia shipwreck
15
Nashville Parthenon
16
Olympias (trireme)
15
Protokorinthian roof tiles
108–109, 113–118
restitution of antiquities see “repatriation”
restoration of antiquities
3, 94, 125
“Gilliérons, Émile & Émile”; “Knossos”
pastiches
94
reuse of antiquities
2, 15, 82
reverse engineering from artefacts
105, 109–111, 114
“chaîne opératoire”; “experimental archaeology”; “replication studies”
Richter, Gisela
125
Riegl, Alios
7
Ring 2, Tomb of the Griffin Warrior, Pylos
92
Ring of Minos
89, 92
Ring of Nestor
89, 92
Risorgimento
4
Robinson, David M.
88
Roman amphorae digital database (University of Southampton)
17
“Digital Humanities”
Roman Empire
identity in provinces/periphery
14, 18
identity, Roman
14
power expressed through material culture
9
‘Romanisation’
14, 18
Roman period
2, 4, 8–9, 12–21, 51–52, 57, 64, 104, 107, 116, 119, 136–153, 177–180, 183–196
Augustan period
9, 174, 177, 193
Romanisation see “Roman Empire”
ROM Bull-Leaper (Royal Ontario Museum, Toronto, 931.21.1)
82–96, figs 3.1, 3.2, 3.3
“afterlife of antiquities”; “Evans, Sir Arthur”; “Lapatin, Kenneth”; “Royal Ontario Museum, Toronto”
acquisition
83–86
aging of ivory
92
association with the Seattle Boy God
90
authentication and publication by Evans
83, 86–88
condition at discovery, alleged
84–86, fig. 3.2
conservation of
92
gold costume
83, 87, 92
identification as 20th century fake
88–91, 95–96
identification as a Minoan goddess of bull leapers
86–88
influence on academia
89, 96
ivory identification and condition
92
stylistic parallels with Minoan artefacts
91–92
reputation in the Museum
79, 84–86, 88–89, 91, 96
roof tiles, Greek
104, 116
“experimental archaeology”
ethnographic evidence
110–111
Protokorinthian system
108–119
roof tiles, Protocorinthian see “roof tiles, Protokorinthian system”
Rostovetzeff, Michael
7
Royal Academy London exhibition, 1936
88
Royal Ontario Museum, Toronto
79, 83–86, 89, 91
“Currelly, Charles Trick”; “Fenn, Julia”; “Illiffe, J.H.”; “Leipen, Neda”; “ROM Bull-Leaper”
Royal Road figurines (Knossos)
89
sanctuaries see “religion (ancient)”
Samothrake, Greece = Samothrace
52–53
Schliemann, Heinrich
6, 86
scientific analysis
9, 16
of Athenian vases
124–133
of ivory
90, 92
of Linear B tablets
162, 168–169
of roof tiles
105
sculpture (ancient)
17
criticism of Kopienkritik & Meisterforschungen
9, 14
Kopienkritik
6, 9, 11
Meisterforschungen
6
polychromy
16
portraits, Greek
13
quarries
9
regional styles
9
Roman adaptations of Greek models
9, 14
sculptors, identification of
9, 11
techniques
16
Seattle Boy God (Seattle Art Museum, 57.56)
87–88, 90
“Evans, Sir Arthur”; “Hirsch, Jacob”; “Lapatin, Kenneth”
Seltman, Charles
83–86, 96
“ROM Bull-Leaper”; “Snake Goddess, Fitzwilliam Museum”
Semantic Web
17
“Digital Humanities”
semiotics
8, 15, 55–56
sensory archaeology
187
sensory perception (ancient)
14–15, 20–21
settlement patterns (LBA to EIA)
71–73
“urban planning (ancient)”
Silk Route (ancient)
13
Siteia Archaeological Museum see Palaikastro Kouros
slavery in antiquity (material culture)
18
Snake Goddess
“Baltimore Snake Goddess”; “Boston Snake Goddess”
Fitzwilliam Museum, Cambridge
84
Temple Repositories, Knossos (now Heraklion Archaeological Museum)
87
Society of Antiquaries
3
Society of Dilettanti
3
soundscape studies
186–189
South Italian vase painting
133–134
Sparta, British excavations
5
Speculative Realism
174, 179–180
“Object-Oriented Ontology”
Stanford Synchrotron Radiation Lightsource (SSRL)
125, 127
state formation (ancient)
8
Strabo see “Strabon”
Strabon = Strabo
6, 145–146
structured light scanning
167
“digital tools in archaeology”
Stuart, James & Revett, Nicholas
3–4
stylus
81, 162, 168
subjectivity see “interpretation”
Symphosius
195–196
temple-building, Greek
16, 19–20, 108–109, 118–120
terminology in Classical Archaeology
18
Dark Age versus Early Iron Age
18–19, 63–64, 66–67, 69–71
of ancient glass
20, 139–141
of weaving
189–191
terra sigillata see “pottery, Roman”
textile manufacture see “weaving”
textual analysis
191–196
The Archaeology Data service (TAG)
64
“Digital Humanities”
Theatre of Scaurus, Rome
142
The Digital Archaeological Record (tDAR)
64
“Digital Humanities”
Theodoretos = Theodoret, bishop of Kyrrhos
52
Thing Theory
173–176, 180
three-dimensional
see “3D”
Tiber Valley, Italy
17, 52
Tibullus
193–194
Toronto, Royal Ontario Museum see “Royal Ontario Museum, Toronto”
trade (ancient)
13–14, 48–49, 53, 108, 124
“pottery, ancient Greek”
Transmission Electron Microscopy (TEM)
127, 131, fig. 5.4
Troia = Troy
5–7, 24–25, 86
“Dörpfeld, Wilhelm”; “Schliemann, Heinrich”
Troy see “Troia”
Turnus see “Aeneis”
typologies
6–7, 57, 73–74
United States of America, independence
4
urban planning (ancient)
15
US Southwest Social Networks Project
58
Vasari, Giorgio
3
vase painting see “Athenian vase painting”; Faliscan vase painting”; “Korinthian vase painting”; “South Italian vase painting”
Vauquelin, Louis-Nicolas
125
Ventris, Michael see “Linear B”
Vergilius = Virgil see “Aeneis”
Villa Adriana = Hadrian’s Villa, Tivoli
2
Virgil see “Vergilius”
visual theory
7, 15
vitriol
128
Vitruvius
6, 148
Walters Art Museum, Baltimore see “Baltimore Snake Goddess”
weaving
21
“loom, two-beam”; “loom, warp-weighted”
archaeological evidence for antiquity
184–186
exposure to weaving in Roman households
190, 196–197
heddle/heddle leash
185, fig. 9.4, 192–196
heddle rod/heddling
185, 188–189, 192, 196, fig. 9.4
in literature, Greek
184, 190
in literature Roman
184–186, 189–196
loom weights
184, 186–190, 193–196
process
184–185, 188–189
rhythms and sounds in Roman poetry
21, 189–196
shed change
188, 189, 192, 195;
“heddle rod”
soundscape of
187–195
weaving sword/comb/pin
185, 189–196
Winckelmann, Johann Joachim
2–3, 138, 142
Wölfflin, Heinrich
7
Wooley, Leonard
90
workshop structure (ancient) see “labour organisation (ancient)”
Wunderkammern
2–3
X-Ray
92, fig. 3.3
X-ray Absorption Near Edge Structure (XANES) see “X-ray Absorption Spectroscopy”
X-ray Absorption Spectroscopy (XAS)
127–128, 133
X-ray Fluorescence (XRF)
92, 126–127, 129, 131, 162, 168