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Watrous - New Pottery From Cave Psychro and Its Implications in Minoan Crete
Watrous - New Pottery From Cave Psychro and Its Implications in Minoan Crete
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4-10)
In memoryofMervynPopham
INTRODUCTION
IN 1999, while working in the storerooms of the Herakleion Museum, Mervyn Popham
discovered two boxes (labelled F 5 and F 6) containing pottery from David Hogarth's
1899 excavations in the Psychro Cave.' With typical courtesy, he wrote to me of his
discovery and suggested that I publish this new material as a supplement to my recent
study of the finds from the Cave.s
Following his advice, I examined this pottery in the Stratigraphical Museum at Knossos
duringJanuary 2000. I found that box F 5 held 265 individual sherds and a fragmentary
stone vase, and that box F 6 had 92 sherds or whole vases. Almost all of the pottery in
the two boxes was from high quality decorated vases, making it likely that they were
products of workshops connected with metropolitan centres. As Popham had realized, all
the pottery in F 6 was from the excavations at Psychro. Inside the box there was a single
piece of paper marked '"PXQ6'and a pithos (PLATE4 b) with 'ClkLtov WuXQ6'written in
dark paint on its inner rim. Several of the F 6 sherds joined with vases already published
from Hogarth's excavation at the cave, and thus corroborated this identification. On the
1 I should like to thank the British School at Athens for
permission to publish this pottery, and David Blackman
for suggesting that I submit this manuscript to the BSA.
Many people made this study possible. Eleni Hatzaki,
Curator at Knossos, and Eleni Banou of the Herakleion
Ephoreia of the Greek Archaeological Service helped
arrange my study of the pottery in the Stratigraphic
Museum at Knossos. David Wilson, Carl Knappett and
Eleni Hatzaki lent me their expertise on Early Minoan,
Protopalatial and LM III fabrics, respectively, while I was
working on the pottery. Several Knossos excavators,
including Peter Warren, and Nicholas Coldsteam showed
me pottery deposits they were studying in the
Stratigraphical Museum. At Malia, Olivier Pelon allowed
me to study pottery from the French excavations in and
around the palace that he is preparing for publication.
At Pacheia Ammos Philip Betancourt showed me a
number of examples of local fine ware from Pseira.
Aleydis Van de Moortel read a draft of this paper and
made several helpful suggestions. Drawings are by
Roxana Docsan. Photographs are by the author. The
Institute for Aegean Prehistory generously granted
financial support for this study in 2000 and 2oo01.
Abbreviations in addition to those in standard use:
Driessen-Macdonald =J. Driessen and C. Macdonald,
The Troubled Island: Minoan Crete before and after the
(1899-1900),
inclus = inclusions
int = interior
D. = diameter
DB = deep bowl
mono = monochrome
SB = slipped and
burnished
ext = exterior
frag. = fragment
HM = Herakleion Museum
2
Hogarth.
3 Psychro.
SJ = stirrup jar
TSR = Tortoise Shell
Ripple
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130
WATROUS
other hand, the pottery in box F 5 was not so straightforward.While F 5 had sherds that
joined with vases in F 6, the box also contained a wooden ticket labelled 'Hogarth Kvoooio
tirit' and two decayed pieces of paper reading 'Kvoi6bg Xrntrtr' and 'Kvwoo6q Xmttut
It seems, therefore, that F 5 held sherds from Psychro and bagged
Ayytxi EXoi1 1900oo'.
from
Hogarth's excavations of two LM I A houses on the Gypsades Hill at Knossos.4
pottery
With time, the individual bags had apparently disintegrated and the pottery from the two
sites became mixed.
Consequently, for box F 5, I needed to differentiate the Psychro pottery from that of
Hogarth's excavation at Knossos. Initially, I was able to identify some Psychro sherds
using the following criteria: (1) they joined with sherds in box F 6, (2) they were votives
(e.g. nos. 14, 15, 52, and 121 in the catalogue below), and (3) they retained traces of a
distinctive black mould characteristic of finds from the Psychro Cave.5 Nevertheless, most
of the F 5 pottery remained unidentified; the sherds could have come from the excavations
at Knossos or at Psychro Cave. Hence, in order to distinguish the sherds from Psychro, it
was necessary to identify the non-Knossian vases in the box.
For this reason, I arranged to study a large number of fine ware vases at Malia the
As the closest metropolitan centre to Psychro, Malia was an obvious
following year (20oo01).
candidate for the production source of some of the pottery dedicated at the Cave. That
same year I was also able to study examples of local Protopalatial and Neopalatial pottery
at Knossos. In my month-long examination of the pottery from Malia, Knossos and boxes
F 5 and F 6, I looked especially at the fabric and inclusions (under a io power lens) as
well as at the surface treatment, paint and motifs. I also returned to my own survey notes
on the MM III-LM I pottery from the Lasithi Plain.6On this basis, I was able to tentatively
identify the Neopalatial fine ware fabrics typical of Malia, Knossos, and the Lasithi Plain.
Of course, these groupings remain tentative, since the sherds have not been subjected to
petrographic analysis. These three fabric groups are described below.
At Malia, MM II-III vases are made in a fine clay that is red in colour (or grey,
depending on firing), slightly gritty, hard-fired, with tiny mica and haematite inclusions.7
This fabric continues into LM I and LM III when it usually is buff-slipped. However, the
primary fine ware LM I fabric at Malia is different: it varies from a light brown (creamy
coffee-coloured) to a pale yellow, and is soft, porous, and extremely finely sorted, except
for a few micaceous specks. Most small LM I shapes, e.g. cups, jugs, and bowls, are not
slipped or burnished on the exterior. On the other hand, the larger Malia vases, such as
flasks and jugs, are often given a distinctive high surface polish or burnish. Coarser shapes,
i.e. jars and pithoi, are made in a dark red or brown clay, with chunks of red schist,
quartz, and occasionally white slivers that look like shell fragments. Dark paint is normally
brown, light washy brown, or reddish-brown and has a matt surface. Unlike Knossian
products, the Maliote paint is not usually a thick glossy black and therefore does not
4 D. Hogarth, 'Knossos. Early town and cemeteries',
BSA 6 (1899-1900), 7o-84. Hogarth's excavations at
Psychro
(1899)
and
at Knossos
(1900)
were
both
NEW POTTERY
CAVE
131
effectively contrast with its background. Local Maliote LM II and III Ai vases imitate
Knossian examples in their shapes and decoration, but their fabric retains its distinct local
light brown colour, often with dark and micaceous inclusions.
The LM I A fine ware fabric at Knossosis buff or pale buff in colour and occasionally light
brown or pinkish, usually hard fired, with specks of white quartz and red haematite. The
exterior of fine decorated cups, jugs, and bowls may have a buff slip (or self-slip) and may
be burnished or unburnished. Dark paint is usually glossy, warm and unfaded, with the
result that there is a high contrast between the paint and the buff background. Larger
shapes, such as jars, amphorae, and flower pots, are made in a hard buff clay, occasionally
pink or light brown, with many angular or rounded inclusions (of all sizes) of red haematite,
and a few bits of quartz, and are usually unslipped. In LM II and LM III A1, Knossian
vases differ from Maliote products in that their fabric is a fine white or pale greenish colour.
Neopalatial fabrics from the Lasithi Plain can be easily distinguished from the more
sophisticated Knossian and Maliote products. Local Lasithi fine ware fabric varies from a
tan to brownish buff to orange, is relatively soft and coarse, with inclusions of quartz,
mica and distinctive rounded grey granules, and often has a grey core. Medium coarse
shapes are red or brown at the core or throughout, with an occasional buff exterior. The
large amounts of grey granules and quartz make this fabric quite friable.
Using the fabric groups described above, I reexamined the pottery in F 5 and was able
to tentatively sort out three groups of Neopalatial fine ware fabrics in the box: one group
from Knossos, one from Malia, and one from the Lasithi Plain. On the assumption that
these latter two groups came from the Cave, I was able to identify 56 fragmentary Psychro
vases in box F 5.8 A small group of vases (Malia-East Cretein the catalogue below) could be
distinguished as non-Knossian, coming either from Malia or perhaps from East Crete. Most
of the remaining 209 sherds in F 5, largely LM I A decorated cups and jugs, are presumed
to come from Hogarth's Houses on the Gypsades Hill at Knossos. A number of uncertain
examples (from Malia or Knossos?) in F 5 were left uncatalogued-hence the entries in the
catalogue below represent a minimal list of the Psychro vases from boxes r 5 and r 6.
CATALOGUE
I have listed the vases in the catalogue (nos. 1-179) by provenance groups in rough
chronological order as an aid to the wider discussion following the catalogue. The number
in parentheses within each catalogue entry is my original study number, marked in pencil
on the pottery. My study numbers (1)-(92) come from box F 6 (not counting joins). Entries
marked as (Mlo6), (Mlo7), etc. refer to the catalogue numbers in Mountjoy. All
measurements are in centimetres.
The photographs were taken in 2000, before I had studied the Malia pottery, and thus
a number of unnumbered vases from F 5 that probably come from Hogarth's excavation
at Knossos are included in them. Vases from Psychro in the photographs are labelled with
their catalogue numbers below. In cases where a single vase is represented by multiple
sherds, repetitive examples have been left out of the photographs.
8 Of course this leaves open the possibility that a number
of the Knossian MM III-LM I sherds in F 5 might have
come from Psychro. There is no way to test this possibility
directly because the pottery in F 5 is mixed. However, in F
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132
WATROUS
POTTERY
Malia
1.(187) Straight sided cup, rim frag. D. lo.o. Hard,
red, fine. Int mono, red, mottled black; ext matt red,
white line below rim. MM I B-II. PLATE
4 (d).
2.(27). Small closed shaped, base. Two curled feet
preserved. Hard grey clay. Exterior painted a
lustrous dark. Cf. H. and M. van Effenterre, Fouilles
executiesaiMallia (etudes Cr~toises, 22; Paris, 1976),
pl. 27. 85. MM I B-II. PLATE10 (a).
3*(5) Jug(?), shoulder frag. Hard, reddish grey,
quartizite inclus. Multiple body bands and arcades
in white. Burnt. MM I B-II. PLATE
4 (d).
4.(o109) Cup, rim frag. Hard, reddish, fine. Conical
4 (d).
5.(45) Jug, neck and spout. Soft, greyish, fine clay.
Wash black paint, traces of added white. Pellet eye
at rim. MM I-II. PLATE
4 (f).
6.(39) Jup, slightly rounded profile, rim frag. Hard,
fine, fired dark. Greyish (sintered?) brown int, and
ext; concentric pendant semicircles with petals. MM
II-III.
(h).
lo.(165) Bowl, base frag. Hard, orange buff, fine.
Two red bands and imitation metallic ring on base
inside; Brown TSR all over ext; base band. MM
Hard,
red and white inclus, SB, B. Rim band in; black half
circles on lip; pendant semicircles on rim; black neck
band, alternating diagonal lines in white. MM IIILM I A. PLATE9 (e).
24.(190o) Jug, shoulder
white
(a).
12.(67/218)
Amphora(?),
10 (d).
27.(145)
Cup, base/wall
(h).
reddish
brown.
Ridged
base.
Glossy
dark
LM I A. PLATE10 (d).
NEW
POTTERY
FROM
THE
PSYCHRO
CAVE
133
4
6
151
25
8
60
38
67
164
70
46
1: 3;
164, 70o,46 at 1: 4.
L. VANCE
134
WATROUS
58
96
148
49
11
61
FIG. 2. Scale: 58, 148, 61, 49,
11
at
1: 4;
96 at
1: 3-
NEW
POTTERY
FROM
I. PLATE o10(a).
Cr~toises,
12; Paris,
1959),
pl. 57 h
7(f).
38.(18//52)
THE
PSYCHRO
CAVE
135
Amphora,
rim/handle/body
frag. Light
4 (c),8 (a).
50.(50) Jug, rim/handle,
shoulder
I. PLATE7 (d).
55.(60/107)
L. VANCE
136
WATROUS
frag. Hard,
PLATE8 (e).
LM I A. PLATE8 ().
67.(213) Cup(?), rim frag. Rim D. c. 15.0. Steep
PLATE
9 (b).
Knossos
76.(42) Vaphio cup, half complete. Hard, light
brown, fine. Streaky brown mono interior; running
spirals, bands, dots on exterior in lustrous, crackly
brown paint. Spiral on underside of base. LM I A.
FIG. 4. PLATE 7 (g).
77.(111/138)
4 (c),9
stripes on double coil handle. LM I B. PLATES
(h).
8o.(Mlo6) Jug(?), body frag. Pink buff, black paint.
Octopus tentacles, seaweed. Mountjoy, fig. 17. LM
I B. PLATE 8 (d), (f).
NEW
POTTERY
FROM
THE
PSYCHRO
CAVE
137
40
173
48
,n
36
63
95
L. VANCE
138
WATROUS
I B. PLATE 8 (C).
(d), (f).
(b).
91.(54/173)
92.(179/169)
104.(114)
buff, fine;
(a).
1O(b).
9 (f).
111.(196)
Pithoid amphora,
9 ().
Mycenaean
NEW POTTERY
CAVE
139
Pithos,
Miniature
Lasithi Plain
126.(17) Juglet, complete (except for handle). Hard,
brown, much silver and gold mica. Splashes of black
paint. Probably MM III-LM I. FIG. 4. PLATES7 (h),
io (a).
PLATE 6 (g).
10
133.(36)
(C).
Male(?)
figurine,
upper
half.
Hard,
Malia-East Crete
135.(4) Jar, two body frags. Hard, light brown,
slightly coarse, grano-diorite. Decorated panels. For
more of this vase, see Psychro, pl. ix a (with
comparanda). From the Mirabello area. MM I A.
PLATE4 (C).
L. VANCE
140o
WATROUS
160
115
121
126
120
170
76
127
56
NEW
POTTERY
FROM
THE
PSYCHRO
CAVE
141
143.(175)
Pithos,
body
O10
(C).
Other
144.(87) Bowl(?), body frag. Hard, coarse, light, dark
inclus. Burnished a smooth black. Vertical B marks
out. Late Neolithic. PLATE
4 (a).
145.(57)
oatmeal
150.(159)
amphora,
two shoulder
frags.
154.(153)
158.(141)
Jug, neck/shoulder
Dark brown neck band in, out (added white line); row
of dots, band, spirals(?). LM I. PLATES5 (g),
to
(b).
PLATE 5 (e).
Jug, rim/shoulder
(p.
PLATE4 (a).
PLATE 8 (d).
FIG. 4 (left). Scale: 16o, 76, 127 at 1: 4; 115, 121, 126, 12o,
170o at 1: 3; 56 at 1: 8.
L. VANCE
142
WATROUS
175.(11)
Spindlewhorl. Hard, grey, coarse. Burnt.
Iron Age. PLATE4 (a).
176.(31) Male statuette, shoulder/chest/arm frag.
STONE
18o.(12) Lamp or libation table, rim frag. Mottled
grey, green steatite Cf. P. Warren, MinoanStone Vases
(Cambridge,
and
DISCUSSION
Before discussing this pottery and its wider implications, it is important to acknowledge
the limitations of this material. Hogarth saved only decorated pottery from his excavation
at Psychro, and the missing joins from partially made-up vases in boxes F 5 and F 6
indicate that we possess everything he saved. Nevertheless, this pottery is significant,
because, judging from the amount and the high quality of the dedications made at Psychro,
this sanctuary was one of the most important in Minoan Crete, comparable to Jouktas
and the Idaean Cave. As such, the chronological sequence of artifacts from Psychro may
relate to wider developments on the island.
The Neolithic and EM II A sherds (nos. 144 and 145) from box F 6 are the first of
their kind published from the cave. Hogarth described the earliest cultural level in the
Psychro Cave as characterized by 'primitive hand-burnished bucchero of the Neolithic
epoch' (viz. 144).9 The EM II A example (145) suggests that occupation (or perhaps
sporadic use) of the cave continued into the beginning of the Early Minoan period, since
it is possible that Hogarth's 'bucchero' ware included dark burnished EM I pottery.
Nevertheless, with the exception of 144 and 145, the types of pottery in the catalogue
above do not differ greatly from the ceramics published in Psychro.Protopalatial and
Neopalatial finds in boxes F 5 and F 6 and in Psychroare mostly containers for liquids, i.e.
9 Hogarth, 115.
NEW POTTERY
CAVE
143
cups, jugs, and amphorae, as well as stands and a few larger storage vessels. LM II-III B
pottery in this article and in Psychroare also similar in shape. Despite the appearance of
several new shapes in the Minoan ceramic repertoire after LM I B, the LM II-III vases
from Psychro do not seem to differ functionally from earlier dedications.
When the pottery from Psychro is arranged chronologically by tentative production
source (TABLE
1), it reveals an interesting sequence. During the Protopalatial (MM I B-II)
and early Neopalatial (MM III-LM I A) periods, the bulk of the recognizable fine ware at
the cave apparently came from the area of Malia. Beginning in LM I B (or late in LM I
A), this pattern changes suddenly and radically. In LM I B and continuing through LM
III Az, Knossian vases predominate at Psychro. On a stylistic basis, we can probably add
to this Knossian group the well-known face of a female statuette and a bull figurine of the
LM III A period published in Psychro.1oOverall, the total (119) of MM I-LM III vases
published here is large enough to indicate that this sequence is unlikely to be a coincidence.
After LM III A1/2, Maliote vases begin to reappear at the Cave, and during LM III B-C,
both Knossian and Maliote vases are present. The implications of this pottery for the
Psychro sanctuary are discussed below, under three chronological periods.
THE
PSYCHRO
SANCTUARY
IN
MM
I-LM
I A
Finds from the cave give us further information about the visitors to the Psychro Cave
during MM I-LM I A. The monumental cyclopean terrace outside the Cave, the many
10 Psychro,pls. xxv c, xxvi e-f
11 Driessen-MacDonald, 181-6.
12 Hogarth, 96.
13 Ibid.
14 Ibid., 115.
1-5.
L. VANCE
144
TABLE
1.
WATROUS
Comparative list of the quantities of Maliote and Knossian vases from the Psychro Cave.
Vases listed here are from the catalogue above, while figures in parentheses are objects published earlier in
Psychro, which are included on a stylistic basis.
Malia
MM I B-II
Cup 4
Jug 2
MM III-LM IA
Knossos
Bowl 5(1)
Amphora g
BSJ 2
Flask 2
Askos 1
Bucket 1
Stand 3 (2)
Pithos 3
Jar 1
Dish (1)
LM IB
Cup 1
Jug(?) 8
Jug 1 (1)
Flask 1
LM II
Cup 1
Jug 4
Kylix 1
LM IIIA1
Jug 2
Flask 2
Kylix 1
SJ 4
Rhyton 1
Amphora 4
Statuette (1)
SJ 6
Cup 3
Pithos 1
SJ 2
Amphora 2
Kylix (1)
LMIIIC
Krater 1 (1)
Tankard (1)
DB 2
Krater (1)
pithoi in the walled storeroom (Hogarth's 'temenos') and the great quantity of votives
indicate that visitors to the Cave came in large numbers.'7 By the Neopalatial period, the
upper chamber had been embellished with 'marble' paving slabs and a substantial stone
altar whose stucco surface bore a painted fresco,'8 refinements that point to the involvement
of the Malia elite. On the other hand, gifts at the Cave clearly came from several levels of
society. Some dedications are quite simple, including conical cups containing food, small
'7 Hogarth, 96-9; Psychro, 47-52. Hogarth, p.
records finding many hundreds of wholeconical cups. lol,
The
total number of conical cups left at the cave must have
NEW
POTTERY
FROM
THE
PSYCHRO
CAVE
145
'first fruit' dedications in kernoi and miniature vases, and clay figurines of animals meant
as substitutes for animal sacrifices. These dedications were probably made by non-elites
living in the Lasithi Plain and the area of Malia.19Other gifts, however, were inherently
more valuable, ranging from sealstones and fine ceramics to gold jewellery, stone offering
tables, and bronze figurines and weapons. The expensive nature of these latter gifts points
to worshippers drawn from the upper class of urban Malia. Taken together, the evidence
above suggests that Psychro was theextra-urban sanctuary for the population of the Minoan
polity centred at Malia during MM I B-LM I A.
THE
PSYCHRO
SANCTUARY
IN
LM I B-IIIA1/2
By LM I B the town at Malia experienced a drop in its standard of living.1o Parts of the
LM I B palace were blocked off or abandoned before its final destruction at the end of the
period. The entire settlement also seems to have been destroyed by fire at this time. After
the LM I B destruction, some areas of Malia were reinhabited in LM II and LM III A1.2
Occupation of the site probably increased during LM III A-B, and continued into LM
III C.22During the LM II-III B period, local Maliote ceramic production was active, and
often displayed Knossian stylistic influence.
Meanwhile, at Knossos, the settlement and palace had been extensively rebuilt following
earthquake(?) damage at the end of MM III.23A second destruction occurred late in LM
I A. The Knossos palace was further repaired at this time, but unlike the Malia palace, it
continued to function after LM I B, until LM III B1, despite a major destruction in LM
III Az. Houses in the town were destroyed, abandoned and/or rebuilt at the same time as
the palace. Cemeteries at Mavro Spelio, Gypsades, the Akropolis Hill, Tekke, Zapher
Papoura, and Sellopoulo, ringed the large urban nucleus of the town during LM III.
Recent excavations at Cretan settlements outside of Knossos and Malia indicate that
the transition from LM I A to LM I B was marked by fundamental changes across the
island.'4 At Agia Triada, Villa A, originally built in MM III was remodelled and
subsequently expanded during LM I A, to become the grand 'Royal Villa' complete with
Knossian features in its architecture and frescoes.25 Based on his study of masons' marks
at Agia Triada, Cucuzza concluded that LM I A architectural renovations of the Royal
Villa and the 'Casa Est' were carried out by two teams, one local, and one Knossian.26La
Rosa and Militello have therefore argued that by LM I B, the local ruling authority had
been shifted from the palace at Phaistos to the 'Royal Villa' at Agia Triada under the
direction of Knossos.27During LM I B the finest vases found at Agia Triada (and at Phaistos
and Kommos) are recognizable as Knossian products.
'o Driessen-MacDonald.
21 A. Farnoux, 'Malia au Minoen recent II-IIIAI', La
Crite mycinienne (BCH Supp. 30; Paris, 1997),
135-47;
138-70o.
1999),
242.
233-61.
146
L. VANCE
WATROUS
At the site of Zakros, L. Platon's study has shown that the wealthy MM III-LM I A
houses in the town possessed frescoes, high quality pottery and imported objects, and
were production sources for textiles, faience, and stone vases.28The final palace at Zakros
was built in a mature phase of LM I A,29 and the houses around the palace subsequently
exhibit a drop in prosperity. During LM I B, production and possession of expensive
goods at Zakros was concentrated solely in the palace. The LM I A-B situation at Gournia
is similar.LM I A houses at Gournia yielded finds suggestive of wealth and of the production
of bronze objects, pottery and stone vases, whereas in LM I B, the palace emerged as the
main focus of the production and storage of valuable goods.so
The archaeological evidence above implies that, following a widespread earthquake
destruction late in LM I A, probably associated with the Thera eruption, Knossos gained
some form of control over other major settlements in central and east Crete.3' At the end
of LM I B, a horizon of fiery destructions across Crete marks the arrival of Mainland
Greeks on the island. At this point Knossos became the centre of a Mycenaean kingdom
ruling much of Crete during LM II-III A1/2. During LM I, peak sanctuaries on the
island, with the significant exception of Mt. Jouktas, the extra-urban shrine of Knossos,
went out of use. It seems that after expanding its control over much of Crete in late LM I
A, Knossos centralized peak sanctuary cult atJouktas. A number of cave sanctuaries also
went out of use after LM I, but others, notably Psychro, Kamares, and the Idaean Cave,
continued to function during the LM II-III A period.32
The pottery examined in this article provides specific evidence that Psychro acquired a
special relationship with LM I B Knossos which continued after the Mycenaean conquest.
Virtually all the high quality LM I B-III A1/2 pottery from Psychro is Knossian. Expensive
gifts, such as jewellery, seals and rings as well as bronze figurines and weapons were also
offered at the Cave during this time.33Apparently, elite Knossian visitors enjoyed a special
status at the sanctuary. Therefore, it is tempting to link these vases at Psychro, most of
which are liquid containers, to the dedications of oil sent to Dictaean Zeus that are
mentioned in the Linear B tablet KN. Fp 1 from the palace at Knossos.34Like the LM I B
Minoan rulers at Knossos, their Mycenaean successors venerated the sanctuary at Psychro.
It may be significant that the only other cave sanctuary whose deity is known and that
continues into this period, is the Idaean Cave, which is also associated with Zeus. Psychro,
at least, seems to have come under Knossian control during LM I B-III A1/2. This pattern
of state control over rural sanctuaries in Bronze Age Crete resembles the practice of Early
NEW POTTERY
CAVE
147
Iron Age Greek city-states, who justified their territorial expansion by cultivating cultic
links with, or assuming outright control of, rural shrines within their newly acquired lands.s5
The Bronze Age Cretan practice may have been similarly motivated.
THE PSYCHRO
SANCTUARY
IN LM III A2-C
Following the LM III A2 destruction of the palace at Knossos, there are signs of renewed
autonomy in regions outside of north central Crete. For example, massive new building
programmes undertaken at Kommos and Agia Triada in LM III A2-B have been
interpreted as a symptom of the newly acquired political independence of the Mesara
region.36 According to La Rosa, at Agia Triada, the recently constructed Megaron, the
grand lower Stoa and the refurbished Bastione mark the site's establishment as the
administrativecentre of the region during LM III A2-B.37 It is possible that the construction
of large new buildings at Malia, Gournia and Zakros have the same significance.
At Psychro during LM III A2-B the pattern of dedications changed in several ways. In
this period Maliote dedications reappeared at the cave.Judging by its clay, one LM III B
bull figurine published in Psychro,38
may be Maliote. Knossian vases were also left at Psychro
during this period. Perhaps during this era no one polity controlled the sanctuary. Visitors
at this time brought imported Mycenaean vases (i7o, i72) to the Cave. In Late Minoan
III C, two new, larger types of drinking vessels, the krater (75) and
tankard,39were
introduced, possibly a sign that in this period the Mycenaean groups at Psychro may have
engaged in practices different from those in the earlier cult.
In conclusion, this ceramic study suggests that the use of the Psychro sanctuary was
tied to the state centre of its region, that is, to Malia during MM I-LM I A and to Knossos
in LM I B-LM III A1/P. During each of these periods Psychro seems to have functioned,
at least in part, as an official sanctuary for state cult.
Departmentof Art History
Universityat Buffalo, The State Universityof New York
L. VANCE WATROUS
PLATE
li!ii~~i~iii~
145
125
12?
180
(b)
(a)
6o!
49
40
(c)
79
7i~~ii
30
135
(d)
13
146
154
136
5ii
45
14
15
(f)
(e)
164
67
41
10
(g)
WATROUS
NEW POTTERY FROM THE PSYCHRO CAVE AND ITS IMPLICATIONS FOR MINOAN CRETE
PLATE
11
31
43
11
149
47
(b)
(a)
169
160
59
35
109
98
(d)
(c)
161
162
62
117
159
(f)
(e)
12
44
1588
(g)
116
104
18
(h)
27,~
WATROUS
NEW POTTERY FROM THE PSYCHRO CAVE AND ITS IMPLICATIONS FOR MINOAN CRETE
PLATE 6
127
148
(a)
(c)
(b)
170
172
17 3
113
109
28
69
(e)
(d)
17 4
56
140
(f)
130
129
133
55
(g)
176
163
WATROUS
NEW POTTERY FROM THE PSYCHRO CAVE AND ITS IMPLICATIONS FOR MINOAN CRETE
131
PLATE
52
50
147
107
46
(b)
(a)
100
101i
54
16
114
137
(d)
(c)
39
61
37
24
~165
(f)
(e)
103
38
(g)
76:
(h)
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NEW POTTERY FROM THE PSYCHRO CAVE AND ITS IMPLICATIONS FOR MINOAN CRETE
126
PLATE
58o
49
50
17
152
(b)
(a)
78
168
87
80
86
81
88
84
167
166
83
(c)
82
(d)
86
92
95
85
91
90
93
(e)
16i6
42
51
(g)
44
33
68
60
64
66
80
(f)
d97
65'
151
72
153
(h)
WATROUS
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PLATE
115
108
99
1 20
55
:106
75
77
103
(b)
(a)
i!121:
70
74
71
171
102~
118i
(c)
S23
(id)
13 9
112
105
150
89
73
143
157
111
110
(f)
(e)
12
122
3
124
79
121
134
178
(g)
61
179
(h)
48
WATROUS
NEW POTTERY FROM THE PSYCHRO CAVE AND ITS IMPLICATIONS FOR MINOAN CRETE
w
96
PLATE
48
10
63
"57'
15
158
15 6
126
32
84
96
(b)
(a)
165
142
160
26
141
53
29
128
(c)
138
29
132
(d)
WATROUS
NEW POTTERY FROM THE PSYCHRO CAVE AND ITS IMPLICATIONS FOR MINOAN CRETE