A Cretan Landscape through Time: Priniatikos Pyrgos and Environs

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A Cretan Landscape through Time:

Priniatikos Pyrgos and Environs

Edited by

Barry P. C. Molloy Chloë N. Duckworth

BAR International Series 2634

2014

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Published by Archaeopress

Publishers of British Archaeological Reports Gordon House

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BAR S2634

A Cretan Landscape through Time: Priniatikos Pyrgos and Environs

ISBN 978 1 4073 1271 2

Printed in England by 4edge, Hockley

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Forewording Note

M. Tsipopoulou iii

Preface v

Background and Introduction

Of What is Past, or Passing, or to Come: Five Thousand Years of Social, Technological and Environmental Transformations at Priniatikos Pyrgos

B.P.C. Molloy, J. Day, V. Klontza-Jaklova and C.N. Duckworth 1

Priniatikos Pyrgos in 1912: The Last Foreign Archaeological Excavation in Independent Crete

P.P. Betancourt 8

Priniatikos Pyrgos and its Territory: Results of Survey and Excavation

B.J. Hayden 15

Environment

Prehistoric and Historic Climate and Weather in (East) Crete

J. Moody 23

Miscellaneous Notes on the Geology, Geomorphology and Stratigraphy of the Istron Area, Northeastern Crete

C. Athanassas 31

Geoarchaeological Studies in Istron-Kalo Chorio (Gulf of Mirabello- Eastern Crete):

Palaeoenvironmental Reconstruction and Palaeogeographic Evolution

K. Theodorakopoulou 35

The Site

Of Tephra and Tsunamis: A Secondary Deposit of Tephra Sealing LM IA Activity at Priniatikos Pyrgos

B.P.C. Molloy, F.W. McCoy, R. Megarry, D.J. Govantes Edwards and M. Pavlacký 43 Grave 1: A Key Early Byzantine Feature

S. Bridgford, S. Desmond, V. Klontza-Jaklova and I. Moutafi 54

Complexity and Representation

Contribution of Geophysical Approaches to the Study of Priniatikos Pyrgos

A. Sarris, N. Papadopoulos and P. Soupios 61

Representing Complexity at Priniatikos Pyrgos

F. Lynam 70

Archaeology, Architecture and Digital Adaptation: Developing a GIS for Archaeological Excavation on Crete

W. Megarry 78

Developing Photogrammetry at Priniatikos Pyrgos

M. Wiśniewski 85

i

Coroplastic studies, the study of terracotta figures and figurines, includes zoomorphic figurines, models of buildings/objects, and anthropomorphic statuettes. The latter particularly draw our attention, since they carry a sense of bringing us ‘face to face’ with the past. The meaning and function of terracotta representations, however, can only be understood through their archaeological context, and the majority of scholars now embrace a contextual approach to coroplastic studies. This involves a consideration of the position of the object on the site; the type of site (such as grave, settlement, or shrine), and the nature of the objects in its closest proximity. Terracottas might be found in the context of production (creation), usage (communication), or discard (consumption) (Glassie 1999, 48). Statuettes are only occasionally found within their context of usage, for example due to sudden abandonment of a settlement or sanctuary: this can offer direct access to the function of the particular figures or figurines. Figures and figurines are more frequently found within their discard context. For a long time, scholars tended to consider the discard context as less important for studies of past societies, as if it provided a less valuable insight into the characteristics and everyday life of particular cultures than production and, especially, contexts of use. As recently demonstrated by Tzonou-Herbst in her study of the Mycenaean figurines from Tiryns (2009, 161-173), however, the discard context can also provide valuable data.

Coroplastic art in Priniatikos Pyrgos is represented by eight fragmentary examples dating from the Late Minoan (LM) to the Hellenistic period. They form a very diverse and interesting group and represent almost all periods of habitation on the site. They consist of: one boat model; two zoomorphic; and fragments of four anthropomorphic figurines and an animal-head rhyton. The wide date range and noticeably different character of the figurines necessitates their individual rather than group consideration, with the exception of two fragments probably made from the same mould. This paper presents the preliminary examination of terracottas from Priniatikos Pyrgos, discussing their context and preliminary dating.

The boat model (cat# 05-1153) is of small dimensions (W 4cm, H 2.1cm, L 8.2cm), and is oval leaf-shaped, with a flat bottom (Figure 1). It has a pinched prow and a stern with a broken edge. On the exterior, red (10R 5/8) slip delineates the top and bottom edges of the boat. Three vertical lines in a ladder-like design are found in the centre of the left side of the vessel, directly adjacent to a diagonal line that links the upper and lower bands. Red slip also delineates the interior rim of the boat and a vertical line runs through the centre of the interior base of the vessel. It was made to stand alone. The boat model was found within a dump beside a kiln

(G1010.11), which included burnt stones, clay, possible fragments of a potter’s wheel, and pottery fragments of MM and LM IA date (Hayden and Tsipopoulou 2012, 517-522). The kiln itself is most probably dated to LM IA.

Thus, it was found within a discard context, in which it might have been placed accidently, since the only damage encountered was the broken edge of the stern, possibly a result of post depositional processes. We can date this object to MM III - LM IA, and it is thus possible that it was originally fired in the kiln beside which it was found.

According to Wedde (1991, Pl. XXIV) the shape of the hull of the Priniatikos Pyrgos model can be classified as type IV bis, thus suggesting it is of LM IA date. At nearby Mochlos a boat model was also recorded, but was of a different shape than our example (Soles and Davaras 1994, 408–409, Figure 10; Betancourt 1985, 51). Boat models are known in the Aegean from the Early Bronze Age. Though in the Early and Middle Bronze Age they were produced only in Crete and the Cyclades, seals and sealings with ship imagery are also known almost exclusively from Crete (Wedde 2000, 307-312, 331-349). A boat model is also being carried by one of the men depicted on the Ayia Triada sarcophagus. This shows the importance of this motif to Minoan culture. Most of the models, however, including the model from Priniatikos Pyrgos depict small boats rather than large cargo ships.

Another artefact which can be dated to LM IA (or MM III) is a zoomorphic figurine (cat# 08-5302) (Figure 2). It is of small dimensions (W 2.5cm, H 3.4cm, L 4.9cm), chipped and very worn, and there are visible traces of a black band on the back. The animal represented is four legged (the two back legs are broken), with a partially broken, small tail, two ears or horns with broken edges, and two eyes created by drilling. The animal’s posture is very interesting: its front legs are straight, and though the back legs are missing, the sloping body could suggest that the animal is sitting or about to sit. This pose is characteristic for dogs and cats.

The small tail and posture thus suggest a dog, although the modelling is too schematic to define it securely. It was found within a settlement context, with material located just above bedrock (H2030.1) and including mixed pottery of EM, MM, to MM III-LM I date, mostly cooking wares. The object was found within its discard context, together with domestic debris. The second zoomorphic figurine (cat# 08-5090) is very worn, and is made of coarse fabric (Figure 3). It is of small dimensions (W 1.8cm, L 4.1cm), and had four legs, a tail, neck and head, all broken off. The legs were probably set apart, with the head held upright.

The posture and short tail might suggest that it represents a bovid figurine, although the fragment is too small and too worn, and the modelling too schematic to define it securely.

This figurine was found within topsoil (C33, the topsoil covering Trench III) with mixed Greek-Byzantine material.

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Terracotta Figurines from Priniatikos Pyrgos: Some Preliminary Notes Katarzyna Zeman-Wiśniewska

^a

aInstitute of Archaeology, Cardinal Stefan Wyszyński University, Warsaw.

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Zoomorphic figurines, most often bovine, are part of an assemblage of finds found at virtually all Minoan peak sanctuaries (Briault 2007; Jones 1999, 45), and many caves with signs of ritual activity (Zaro 2008, 133). Deposition of animal figurines in urban shrines was also a widely known practice, from the Protopalatial period through the Neopalatial (Gesell 1985, 1987). Moreover, it seems this practice was never monopolized by élites, even in larger settlements (Adams 2004, 35-36). It is thus possible that a Minoan shrine where such figurines were deposited was located somewhere in the vicinity.

The first example of an anthropomorphic figurine to be discussed is a fragment representing a right hand down to

the wrist (cat# 05-1139) with – most interestingly – six fingers (L 5.7cm, W 3.5cm) (Figure 4). It is made of fine reddish yellow (5YR 7/8) clay. It was formed from three fragments, smoothed together only on the outside: a core fragment for the middle four digits, one fragment just for the thumb and another smaller lump of clay for two digits.

The hand was apparently formed along with the rest of the arm. It was modelled by hand, and there are visible finger prints. The lines of the fingers were defined when the whole front was smoothed out. The hand was painted in black, including the digits. Only the outside of the hand was designed to be viewed: the inside of the palm is crudely made and not rendered at all. It might have been placed K. Zeman-Wiśniewska ‘Terracotta Figurines from Priniatikos Pyrgos’

Figure 1. Boat model (cat# 05-1153): side view (a), view from above (b) and drawing (c). Photographs by Mariusz Wisniewski; drawings courtesy of INSTAP.

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alongside the body as the smoothing and paint terminate in a clear line along the sides of the hand. It was found within tumble along with habitation debris (G2026.01) over a pebble-packed floor, with pottery, which can be dated to the Late Archaic-Classical period. The peculiarity of the additional digit has probably a deeper meaning, and is not a mere accident. It was one of the characteristics of Chiron – the most famous of centaurs; the sixth finger was also considered a sign of wisdom. An example of a terracotta depicting Chiron is a centaur from Lefkandi, dated to the 9^thcentury BC (Hurwit 1987, 61). This figurine also has its arms alongside the body, with only the outer part of hand visible to the viewer; its right hand has got six fingers.

However, the palm is far less rendered, with fingers indicated only in paint.

Two examples (cat# 07-1721 and cat# 09-6475) of figurines most probably made in the same mould were found in the western part of the site in different contexts (Figure 5). They both show bare feet (toes are indicated with incisions) on a pedestal, and the lower folds of a long garment, based on which it is possible to identify the figure as a standing female (‘kore’). The figurines were designed for frontal viewing, either standing next to something or possibly hung on a wall, because they are unable to stand alone (the base is too small and the edge of the back is rounded). The first example (cat# 07-1721), of which a larger part is preserved (H 5.6cm, W 6.0cm), is of coarse fabric. It was found in slope wash (H4002.01), in an area downslope from the place that the second figurine (cat# 06-1600, described below) was found. Other material from this area included cobble sized stones, Greek pottery, loom weights, and iron and stone tools. The area was thus labelled as a workshop area of the Greek period (Hayden and Tsipopoulou 2012, 544).

The second example (cat# 11-6229) is of a finer fabric, and a smaller part of it is preserved (W 3.8cm, H 3.7cm). The find was located above a plaster floor of Hellenistic date (C 597, SC 003-619), with pottery dating from the Archaic to the Hellenistic period; its contents are highly mixed due to its proximity to the topsoil. It is likely that these figurines were produced at Priniatikos Pyrgos itself, perhaps even in the workshop of Area H. The mould itself was most likely in use for some time, as indicated by the employment of different clays; it was one-sided with the figure being impressed on a lump of clay and then smoothed by hand on the other side. The goddess Demeter was usually depicted seated on a throne, since at least the 6^thcentury BC. Classical terracottas were usually similar to those of the Archaic period and the type remained highly conservative until the Hellenistic period (Merker 2000, 42, 157). In Demeter sanctuaries figurines were usually numerous. In Knossos in the sanctuary of Demeter and Core, terracottas were found dating from 8^th to 2^nd century BC. Moulded figurines rendered at the front and with flat backs were typical for the Late Archaic – Classical periods; in the Hellenistic period

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A Cretan Landscape Through Time: Priniatikos Pyrgos and Environs

Figure 2. Animal figurine (cat# 08-5302): side view (a), frontal view (b) and drawing. Photographs by Mariusz Wisniewski; drawings courtesy of INSTAP.

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they were hollow inside (Higgins 1973, 56-57). Thus, the examples from Priniatikos Pyrgos can be initially dated to the Archaic-Classical period.

Another example of a mould made figurine is the middle part of a terracotta female torso (cat# 06-1600) (Figure 6).

It is broken at both ends and on the right side. One shoulder and most of the waist remain, as does part of the left arm positioned alongside the body (W 2.8cm, L 4.5cm). The bottom of the figurine was possibly hollow. Traces of red slip are visible on the dress. It was found within slope wash in the same area as the aforementioned mould-made figurines, but this one was made in a different mould, and seems more skilfully rendered. It was designed to be viewed from all sides, with equally careful rendering on the front and back, and could thus be moved about or stand alone. As mentioned before, hollow mould made figurines rendered from all sides were popular since the Late Classical to Early Hellenistic period (Higgins 1973, 56-57).

The final fragment of anthropomorphic coroplastic work to be discussed consists of the head and neck of a mould made figurine, with well-preserved features (cat# 05-1110) (Figure 7). It is of small dimensions (W 2.5cm, L 3.6cm) and probably depicts a beardless male figure, wearing a tall pilos hat, pulled up and showing his hair above the forehead. Facial features include large, round bulging eyes and slightly smiling lips. Some traces of brown slip were observed. It was designed for a frontal viewing, as shown by the fine rendering of the front of the figurine. This fragment was found within a tumble of domestic debris (G2018.01), alongside pottery of mixed dates (Greek to Venetian periods). A young male wearing a pilos is usually interpreted as the god Hermes - if he would be bearded and enthroned (the latter we can not attest) it could also be Hades (Merker 2000, 79-80). Facial characteristics, especially the large protruding eyes probably indicate an earlier Classical date for this terracotta (Higgins 1973, 43).

Last but not least, a highly distinctive find was an animal head rhyton, most probably dated to LM IA (Figure 8). It was made of fine fabric, with some traces of dark on light decoration and red pigment in the area of the nostrils; it was first covered with white paint and darker paint was subsequently applied. It was modelled with feeling for muscle and sinew, and has a very naturalistic look. Only the front part of the rhyton is preserved, with a hole in the muzzle. It was found in three closely located pieces, and was associated with fine ware pottery, numerous conical cups fragments, an obsidian blade fragment, tripod legs, bones, and shell in what appears to have been one of a series of LM I refuse pits cut into MM II habitation layers. The LM IA date is further supported by the strikingly naturalistic manner of rendering and the dark-on-white painted decoration (Koehl 2006, 32). Determination of the species of the animal represented is not entirely clear from the surviving fragments. The elongated shape of the profile, wide nostrils and a small protrusion under the muzzle suggest that it might be a caprid/goat. There are no other Bronze Age Aegean examples of a goat-head rhyton, however, although there are ones representing swine or even beetles (Koehl 2006, 39). On the other hand, de Mot (1904, 209) and Kantor (1947, 47) suggest that canine and griffin rhyta existed in the LBA Aegean, based largely on depictions of Aegean-style head-shaped rhyta in 18^th Dynasty Egyptian tombs. Caprid imagery was also present in different kinds of representation connected with ritual and cult in LBA Crete, including small bronze sculptures, relief stone vases, ivory reliefs, wall- and vase-paintings, and glyptics (Hiller 2001, 293). This motif became especially popular from the MM III period, usually in a context of hunting or sacrifice or as animals flanking a female or male deity (the latter has been observed predominantly on the mainland) (Higgins 2001, 294-297). In any case, the find from Priniatikos Pyrgos is most probably unique, being the only known example of a caprid head rhyton in the whole Aegean region.

K. Zeman-Wiśniewska ‘Terracotta Figurines from Priniatikos Pyrgos’

Figure 3. Animal figurine (cat# 08-5090): side view (a) and drawing (b). Photographs by Mariusz Wisniewski; drawings courtesy of INSTAP.

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The terracottas from Priniatikos Pyrgos offer an interesting insight into several of the most significant periods and phases of the Cretan past represented at this complicated site, from the Bronze Age through the Archaic, and up to the Classical period.

The assemblage itself is highly varied, and represents different types of contexts: production for the boat model; usage and/or discard for the mould made figurines; and discard context for the zoomorphic terracottas and the unusual rhyton. However, all of the discussed terracottas were connected with the cult activity that was taking place on site or in the nearest vicinity.

Figurines give a fascinating opportunity to showcase snapshots of the religious life and artistic tastes of the inhabitants of ancient Priniatikos Pyrgos. The simple boat model and zoomorphic figurines, which were probably destined to be offered at a nearby LM I shrine and a unique, the astonishingly rendered caprid- head rhyton, illustrate together both the popular and élite rituals of the Late Bronze Age. Yet, another exceptional find – a nicely modelled hand with six digits – also opens up possibilities of interpretation leading to a mythological figure of the centaur Chiron. In the Classical and Hellenistic period the production of mould-made figurines might have taken place on site and have been related with the cult of Demeter and Hermes. Further research should concentrate on the verification of dating and interpretation of the terracottas, and integrating it with interpretation of their archaeological contexts.

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A Cretan Landscape Through Time: Priniatikos Pyrgos and Environs

Figure 4. Terracotta hand (cat# 05-1139): frontal view (a), back view (b) and drawing (c). Photographs by Mariusz Wisniewski; drawings courtesy of INSTAP.

Figure 5. Mould-made figurines (cat# 07-1721 and cat# 09-6475): frontal view (a), side view (b). Photographs by Mariusz Wisniewski.

Figure 6. Mould-made figurine torso (cat# 06-1600).

Photograph by Mariusz Wisniewski; drawings courtesy of INSTAP.

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K. Zeman-Wiśniewska ‘Terracotta Figurines from Priniatikos Pyrgos’

Figure 7. Terracotta head (cat# 05-1110): frontal and side view (a), drawing (b) and side view (c). Photographs by Mariusz Wisniewski; drawings courtesy of INSTAP.

Figure 8. Bronze Age rhyton: side view (a), view from above (b) and frontal view (c). Photographs by Mariusz Wisniewski.

A Cretan Landscape through Time: Priniatikos Pyrgos and Environs