The societies that developed in the eastern Mediterranean during the Bronze Age produced the most prolific and diverse range of stone vessel traditions known at any time or anywhere in the world. Stone vessels are therefore a key class of artefact in the early history of this region. As a form of archaeological evidence, they offer important analytical advantages over other artefact types - virtual indestructibility, a wide range of functions and values, huge variety in manufacturing traditions, as well as the subtractive character of stone and its rich potential for geological provenancing. In this 2007 book, Andrew Bevan considers individual stone vessel industries in great detail. He also offers a highly comparative and value-led perspective on production, consumption and exchange logics throughout the eastern Mediterranean over a period of two millennia during the Bronze Age (ca.3000–1200 BC).

At the end of the 19th century W.M.F. Petrie excavated a series of assemblages at the New Kingdom Fayum site of Gurob. These deposits, known in the Egyptological literature as 'Burnt Groups', were composed by several and varied materials (mainly Egyptian and imported pottery, faience, stone and wood vessels, jewellery), all deliberately burnt and buried in the harem palace area of the settlement. Since their discovery these deposits have been considered peculiar and unparalleled. Many scholars were challenged by them and different theories were formulated to explain these enigmatic 'Burnt Groups'. The materials excavated from these assemblages are now curated at several Museum collections across England: Ashmolean Museum, British Museum, Manchester Museum, and Petrie Museum. For the first time since their discovery, this book presents these materials all together. Gasperini has studied and visually analysed all the items. This research sheds new light on the chronology of deposition of these assemblages, additionally a new interpretation of their nature, primary deposition, and function is presented in the conclusive chapter. The current study also gives new information on the abandonment of the Gurob settlement and adds new social perspective on a crucial phase of the ancient Egyptian history: the transition between the late New Kingdom and the early Third Intermediate Period. Beside the traditional archaeological sources, literary evidence ('The Great Tomb Robberies Papyri') is taken into account to formulate a new theory on the deposition of these assemblages.

Papers by natural scientists, archaeologists, egyptologists and classicists discussing the newest evidence of the Santorini eruption. The papers fall into two sections. I: Evidence, geology, archaeology & chronology; II: Debate: typology, chronology, methodology. Contributors include: Walter L. Friedrich & Jan Heinemeier, Philip P. Betancourt, Max Bichler, Thomas M. Brogan, Peter M. Fischer, Karen Polinger Foster, Hermann Hunger, Felix Hoflmayer,Rolf Krauss, Bernd Kromer, Alexander R. McBirney, Floyd W. McCoy, J. Alexander MacGillivray, Sturt W. Manning, Robert Merrillees, Raimund Muscheler, Christopher Bronk Ramsey, Nikolaos Sigalas, Chrysa Sofianou, Jeffrey S. Soles, Georg Steinhauser, Johannes H. Sterba, Annette Hen Sensen,Peter Warren, Malcolm H. Wiener.

Since the earliest era of archaeological discovery on Crete, vivid renderings of animals have been celebrated as defining elements of Minoan culture. Animals were crafted in a rich range of substances and media in the broad Minoan world, from tiny seal-stones to life-size frescoes. In this study, Emily Anderson fundamentally rethinks the status of these zoomorphic objects. Setting aside their traditional classification as 'representations' or signs, she recognizes them as distinctively real embodiments of animals in the world. These fabricated animals-engaged with in quiet tombs, bustling harbors, and monumental palatial halls-contributed in unique ways to Bronze Age Aegean sociocultural life and affected the status of animals within people's lived experience. Some gave new substance and contour to familiar biological species, while many exotic and fantastical beasts gained physical reality only in these fabricated embodiments. As real presences, the creatures that the Minoans crafted artfully toyed with expectation and realized new dimensions within and between animalian identities.

Contributions by 34 scholars are brought together here to create a volume in honor of the long and fruitful career of Guenter Kopcke who is the Avalon Foundation Professor in the Humanities at the Institute of Fine Arts, New York University. Articles pertain to various topics on the ancient art, architecture, and archaeology of the greater Eastern Mediterranean region: from Pre-Dynastic Egypt to the Bronze Age Aegean and Anatolia, Cyprus and the Near East, and Etruscan Italy.

This is the first volume on the Late Minoan IIIC settlement at Chalasmenos, located near Ierapetra in eastern Crete. The site was excavated (1992-2014), initially as part of a Greek-American project under the direction of Metaxia Tsipopoulou and the late William Coulson. House A.2 is a two-room structure on the southwestern edge of the site. The excavation and stratigraphy, architecture, pottery, small finds, and faunal material from the building are presented. The house was used for domestic purposes, serving as the home of an elite (or prospective elite) family, but it also was a meeting and dining place on certain occasions.

Since the nineteenth century, museums have kept their artifacts in glass cases to better preserve them, and drawings and photographs have become standard ways of presenting the past. These practices have led to an archaeology dominated by visual description, even though human interaction with the surrounding world involves the whole body and all of its senses. In the past few years, sensory archaeology has become more prominent, and Making Senses of the Past is one of the first collected volumes on this subject. This book presents cutting-edge research on new theoretical issues. The essays presented here take readers on a multisensory journey around the world and across time. In ancient Peru, a site provides sensory surprises as voices resound beneath the ground and hidden carvings slowly reveal their secrets. In Canada and New Zealand, the flicker of reflected light from a lake dances on the faces of painted rocks and may have influenced when and why the pigment was applied. In Mesopotamia, vessels for foodstuffs build a picture of a past cuisine that encompasses taste and social activity in the building of communities. While perfume and flowers are examined in various cultures, in the chamber tombs of ancient Roman Palestine, we are reminded that not all smells are pleasant. Making Senses of the Past explores alternative ways to perceive past societies and offers a new way of wiring archaeology that incorporates the senses.