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261 only some time after the LMIB destructions did a true Mycenaean art evolve, before that, it was too Minoan-derived to be able to securely identify a list of distinctly Mycenaean characteristics
262 no fortification wall at Pylos; plus some different techniques
To ensure that the citadel had a secure water supply in times of siege, a covered staircase was built inside the fortification walls to reach down to the cistern, as at Mycenae and Athens. Such measures were necessitated by the troubles that afflicted Greece in the later part of LH IIIB.
265 In LH IIIB the rulers at Mycenae completed a planned building program that included the rebuilding of the palace, the construction of a new citadel entrance with an enclosure for the Circle A precinct, and the erection of the greatest three tholoi on the road up to the citadel: the Treasury of Atreus, the Tomb of Clytemnestra, and the Tomb of the Genii.
268 The most secure evidence for a Mycenaean road system comes from the Argolid, though sections of roads are known from Phokis, Messenia, and Boeotia. Near Tiryns, the Manessi River caused a disastrous flood in late LH IIIB-early IIIC, so they built a dam an da canal to channel the river safely away to the south. Near Thebes the most ambitious, and the most successful, drainage works of the Aegean Bronze Age were constructed to drain the Kopaic Basin and provide a greatly enlarged arable area.
269 At Pylos, the Mycenaeans excavated an artificial harbor, with a constant flushing system
270 sculpture and painting predominantly architectural adornments. concentrated on relief architecture. No direct evidence for sculpture in the round, though maybe some of wood/clay
Late development of the painting technique is seen on the LH IIIB larnakes (clay coffins) from Tanagra.
271 Some of the scenes develop out of the fresco tradition, but others show new motifs: the pouring of the libation, mourning women, and the prothesis (mourning the deceased on a bier)
272 terracotta figurines: phi, psi, and tau shaped
273 Mycenaeans may have been the first to employ oared galleys
274 LH IIIB pottery decorations include the human figure for the first time
No intact shields have been found, but Early Mycenaean illustrations show both the tower and eight shields in use
275 lots of good ivory carving, interacting with Near Eastern traditions of ivory carving
280 It appears that the Mycenaeans were quite selective in what the took from the rich Minoan iconographic vocabulary. They left behind the images closely associated with Minoan nature religion but took up, and kept using to the end, those images which they saw as associated with Minoan prestige and power. The selectivity on the part of the Mycenaean elites who are doing the choosing points to two conclusions about Mycenaean iconography. First, the Mycenaeans must have chosen images conducive to their outlook, so it is likely that the meaning is not much changed when used on the Greek mainland. Second, the Mycenaean elites had a vested interest in keeping alive the images of Minoan power and prestige, because these images proclaimed them legitimate heirs to the grandeur of the Minoan tradition. Only such a preference can explain the extremely slow rise of indigenous iconographic motifs. Similarly, only such a predisposition can explain the use of images such as bull leaping three centuries after the spectacle likely ceased in Crete. Yet, the peril to the leaper in the confrontation with the bull, so evident in the Minoan portrayals, is not shown and the true hunt and war dueling motifs with all their mortal danger are not continued beyond the early period. These scenes of personal prowess and bravery give way to scenes where the Mycenaean rulers are distanced from injury, driving their chariots or performing in processions or enjoying banquets. The warrior chieftains who forged the Mycenaean states may have identified with the victorious duelist, but the later rulers desired images of power and control.
262 no fortification wall at Pylos; plus some different techniques
To ensure that the citadel had a secure water supply in times of siege, a covered staircase was built inside the fortification walls to reach down to the cistern, as at Mycenae and Athens. Such measures were necessitated by the troubles that afflicted Greece in the later part of LH IIIB.
265 In LH IIIB the rulers at Mycenae completed a planned building program that included the rebuilding of the palace, the construction of a new citadel entrance with an enclosure for the Circle A precinct, and the erection of the greatest three tholoi on the road up to the citadel: the Treasury of Atreus, the Tomb of Clytemnestra, and the Tomb of the Genii.
268 The most secure evidence for a Mycenaean road system comes from the Argolid, though sections of roads are known from Phokis, Messenia, and Boeotia. Near Tiryns, the Manessi River caused a disastrous flood in late LH IIIB-early IIIC, so they built a dam an da canal to channel the river safely away to the south. Near Thebes the most ambitious, and the most successful, drainage works of the Aegean Bronze Age were constructed to drain the Kopaic Basin and provide a greatly enlarged arable area.
269 At Pylos, the Mycenaeans excavated an artificial harbor, with a constant flushing system
270 sculpture and painting predominantly architectural adornments. concentrated on relief architecture. No direct evidence for sculpture in the round, though maybe some of wood/clay
Late development of the painting technique is seen on the LH IIIB larnakes (clay coffins) from Tanagra.
271 Some of the scenes develop out of the fresco tradition, but others show new motifs: the pouring of the libation, mourning women, and the prothesis (mourning the deceased on a bier)
272 terracotta figurines: phi, psi, and tau shaped
273 Mycenaeans may have been the first to employ oared galleys
274 LH IIIB pottery decorations include the human figure for the first time
No intact shields have been found, but Early Mycenaean illustrations show both the tower and eight shields in use
275 lots of good ivory carving, interacting with Near Eastern traditions of ivory carving
280 It appears that the Mycenaeans were quite selective in what the took from the rich Minoan iconographic vocabulary. They left behind the images closely associated with Minoan nature religion but took up, and kept using to the end, those images which they saw as associated with Minoan prestige and power. The selectivity on the part of the Mycenaean elites who are doing the choosing points to two conclusions about Mycenaean iconography. First, the Mycenaeans must have chosen images conducive to their outlook, so it is likely that the meaning is not much changed when used on the Greek mainland. Second, the Mycenaean elites had a vested interest in keeping alive the images of Minoan power and prestige, because these images proclaimed them legitimate heirs to the grandeur of the Minoan tradition. Only such a preference can explain the extremely slow rise of indigenous iconographic motifs. Similarly, only such a predisposition can explain the use of images such as bull leaping three centuries after the spectacle likely ceased in Crete. Yet, the peril to the leaper in the confrontation with the bull, so evident in the Minoan portrayals, is not shown and the true hunt and war dueling motifs with all their mortal danger are not continued beyond the early period. These scenes of personal prowess and bravery give way to scenes where the Mycenaean rulers are distanced from injury, driving their chariots or performing in processions or enjoying banquets. The warrior chieftains who forged the Mycenaean states may have identified with the victorious duelist, but the later rulers desired images of power and control.
