New Pottery from the Psychro Cave and Its Implications for Minoan Crete

Author(s): L. Vance Watrous

Source: The Annual of the British School at Athens, Vol. 99 (2004), pp. 129-147
Published by: British School at Athens
Stable URL: http://www.jstor.org/stable/30071532 .
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 NEW POTTERY FROM THE PSYCHRO CAVE AND ITS
IMPLICATIONS FOR MINOAN CRETE'

(PLATES 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 Santorini Eruption (Aegaeum, 17; Liege, 1997).
permission to publish this pottery, and David Blackman van Effenterre, Palais = H. van Effenterre, Le Palais de
for suggesting that I submit this manuscript to the BSA. Mallia et la citerminoenne(Rome, 1980).
Many people made this study possible. Eleni Hatzaki, Hogarth = D. Hogarth, 'The Dictaean Cave', BSA 6
Curator at Knossos, and Eleni Banou of the Herakleion (1899-1900), 94-116.
Ephoreia of the Greek Archaeological Service helped Mountjoy = P. Mountjoy, 'The Marine Style pottery
arrange my study of the pottery in the Stratigraphic of LMIB/LHIIA: towards a corpus', BSA 79 (1984), 61-
Museum at Knossos. David Wilson, Carl Knappett and 219.
Eleni Hatzaki lent me their expertise on Early Minoan, Pelon = O. Pelon, Fouilles exicuties i Mallia (Etudes
Protopalatial and LM III fabrics, respectively, while I was Cr6toises, 16, Paris, 1970).
working on the pottery. Several Knossos excavators, Popham = M. Popham, TheMinoan UnexploredMansion
including Peter Warren, and Nicholas Coldsteam showed at Knossos(Oxford, 1984).
me pottery deposits they were studying in the Psychro= L. V. Watrous, The Cave Sanctuary ofZeus at
Stratigraphical Museum. At Malia, Olivier Pelon allowed Psychro(Aegaeum 15, Liege, 1996).
me to study pottery from the French excavations in and Special abbreviations used in the catalogue and in FIG.1:
around the palace that he is preparing for publication. B = burnished inclus = inclusions
At Pacheia Ammos Philip Betancourt showed me a BSJ= bridge-spouted jar int = interior
number of examples of local fine ware from Pseira. D. = diameter mono = monochrome
Aleydis Van de Moortel read a draft of this paper and DB = deep bowl SB = slipped and
made several helpful suggestions. Drawings are by burnished
Roxana Docsan. Photographs are by the author. The ext = exterior SJ = stirrup jar
Institute for Aegean Prehistory generously granted frag. = fragment TSR = Tortoise Shell
financial support for this study in 2000 and 2oo01. Ripple
Abbreviations in addition to those in standard use: HM = Herakleion Museum
Driessen-Macdonald =J. Driessen and C. Macdonald, 2
Hogarth.
The Troubled Island: Minoan Crete before and after the 3 Psychro.

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130 L. VANCE 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
Ayytxi EXoi1 1900oo'. It seems, therefore, that F 5 held sherds from Psychro and bagged
pottery from Hogarth's excavations of two LM I A houses on the Gypsades Hill at Knossos.4
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
following year (20oo01). As the closest metropolitan centre to Psychro, Malia was an obvious
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
published in volume 6 of the BSA and so may have been
studied in Herakleion at the same time. The large
amounts of (uncatalogued) Knossian LM I A pottery in
F 5 also points to this conclusion. Driessen-Macdonald
164 suggest that box F 6 contains pottery from Hogarth's
1900ooexcavation at Knossos. This is incorrect (see above).
5 Hogarth 96, 97, 99 describes strata within the cave
as consisting of a black mould mixed with ashes, pottery
and other artefacts.
6 This survey was published in my monograph, Lasithi:
A History of Settlementon a Highland Plain in Crete(Hesp.
Supp. 18; Princeton, 1982).
7 Carl Knappett was helpful in suggesting that several
MM II-III vases in the catalogue above were of Maliote
production.

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 NEW POTTERY FROM THE PSYCHRO 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 6, where all the pottery is from Psychro, I was unable to
of the Knossian MM III-LM I sherds in F 5 might have recognize any Knossian vase earlier than LM I B, except for
come from Psychro. There is no way to test this possibility a single late LM I A piece (76). This pattern suggests that
directly because the pottery in F 5 is mixed. However, in F the situation in F 5 may have been the same.

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132 L. VANCE
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
profile. Mono red in and out (misfiredblack in parts).
White rim band in and out. MM I B-II. FIG. 1. PLATE
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. FIG. 1. PLATE4 (d).
7.(38) Straight-sided cup, rim frag. Fired hard, grey.
Black background (with reddish spotting), white
floral spray. Design similar to Psychro,pl. xiii g, lower
middle. MM II-III. PLATE 4 (d).
8.(110o) Straight sided cup, rim/wall frag. Hard, red,
fine. Mono red in, out; spray in white. MM III. FIG.
1. PLATE 4 (d).
9.(194) Jug, shoulder frag. Soft, light brown, slightly
micaceous, white inclus; B. TSR. MM III. PLATE 8 LM I A. PLATE9 (e).
(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
III. PLATE4 (h).
11 .(61) Jug, shoulder and body frags. Hard, buff,
slightly coarse (quartzite,schist, shells). SB, brilliantly
burnished. TSR on neck and shoulder; white lines
added over brown bands. MM III. FIG. 2. PLATE5
(a).
12.(67/218) Amphora(?), body frags. Brown, dark
inclus, SB, B. Glossy light red TSR, bands. MM III.
PLATE 5 (f.
13.(154) Bridge spouted jar(?), body frag. Soft, fine
buff. Matt black background, large white foliate
band. MM III. PLATE4 (d).
14.(177) Stand, base/wall frag. Base D. 4.0. Hard,
brown, white specks. Two white floral branches on
a light brown background. MM III. PLATE4 (f).
15.(178) Stand, base/wall frag. Base D. 5.o. Hard,
reddish brown. Ridged base. Glossy dark
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WATROUS
monochrome all over; two white floral branches;
three white bands. MM III. PLATE4 (f).
16.(123) Amphora(?), two body frags. Hard,
yellowish, dark specks. Red splatters in; reddish
brown background out; white foliate shoulder band,
petaloid loop, floral lines. Cf. van Effenterre, Palais,
ii. 531, fig. 766. MM III-LM I A. PLATE 7 (C).
17.(189) Large jug or amphora, body frag. Th. 0.9.
Hard, greyish buff, white, dark angular inclusions,
B. TSR, thin white band added over black body
band. MM III-LM I A. PLATE 8 (a).
18.(217) Large jug, or amphora, body frag. Soft,
brown, fine, B. Brown TSR, two bands, white line
added on lower band. MM III-LM I A. PLATE5 (g).
19.(157) Jug or amphora, body frag. Soft, fine,
brown, SB, B. Dark brown wavy line, banded TSR.
MM III-LM I A. PLATE 4 (e).
20.(238) Juglet, body frag. Soft, light brown, mica;
SB? Dark TSR, light and dark brown bands. Not
illustrated. MM III-LM I A.
21.(156) Jug, shoulder frag. Pale buff, soft. Black to
red background; white neck band, foliate branch.
Not illustrated. MM III-LM I A.
22.(237) Jug, shoulder frag. Soft, light brown,
porous, mica, B. Black matt TSR and band. Wiped
interior. Not illustrated. MM III-LM I A.
23.(o102) Pithos, rim frag. Rim D. 22.0. Hard, coarse,
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 III-
24.(190o) Jug, shoulder frag. Soft, orange, white
specks, slightly micaceous; burnished to a glossy
finish. TSR, bands, swirly lines in brown. MM III-
LM I A. PLATE7 (e).
25.(225) Bowl, rim/wall frag. Hard, buff; B. Streaky
brown interior; TSR, bands outside. FIG. 1.
26.(239) Jug(?), body frag. Hard, light brown, fine,
with white specks and mica. B exterior. TSR in a
rich honey brown colour. MM III-LM I A. PLATE
10 (d).
27.(145) Cup, base/wall frag. Base D. 5.0. Orange,
very hard, grey core. Brilliant B. TSR and bands
both in and out. MM III-LM I A. PLATES 4 (e), 5
(h).
28.(193) Jug, shoulder frag. Soft, brownish buff,
white and micaceous inclus, B. Reddish TSR, dark
band. MM III-LM I A. PLATE 6 (d).
29.(240) Jug(?), body frag. Hard, fine, brown, white
specks, B. Blurred TSR, brown, red and bands
(added lines) on light brown background. MM III-
LM I A. PLATE10 (d).
 NEW POTTERY FROM THE PSYCHRO CAVE 133

6
151

25

60

67 38 164

70

46

FIG. 1. Scale: 4, 6, 151, 8, 25, 60, 67, 38 at 1: 3; 164, 70o,46 at 1: 4.

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134 L. VANCE WATROUS

58
96

148

49

11

61
FIG. 2. Scale: 58, 148, 61, 49, 11 at 1: 4; 96 at 1: 3-

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 NEW POTTERY FROM
30.(155) Bowl, body frag. Hard, light red, dark
specks. White foliate branch and bands on brown
background. MM III-LM I A. PLATE 4 (C).
31.(185.) Jar(?), body frag. Th. 1.o. Hard, orange
buff, large red round inclus, B. Int surface left rough.
Dark brown TSR, bands (with added white line).
Cf. H. and M. van Effenterre, Fouilles extcuties &
Mallia (ttudes Cr~toises, 17; Paris, 1969), pl. 59.
85. MM III-LM I A. PLATE 5 (a).
32.(192) Open shape, body frag. Hard, reddish, grey
core, white and dark specks. Smoothed int; bright
orange swirling horizontal lines (marbling?) on ext.
MM III-LM I. PLATE o10(a).
33.(126) Jug, shoulder frag. Hard, buff, dark specks,
SB, B. Dark band over neck ridge, TSR below. MM
III-LM I A. PLATE 8 (h).
34.(66) Straight-sided cup, body/base frag. Hard,
orange, fine, well burnished. Dark mono in; TSR
and white band added over brown band at base.
MM III-LM I A. PLATE 4 (c).
35.(232) Jug, body frag. Hard greyish brown to buff,
SB, B. Chocolate brown tendril, bands. LM I A.
PLATE 5 (d).
36.(20) Flask, seven body frags. Hard, red, mica;
slipped buff, B. Brownish red paint. Central star,
dots, two encircling foliate bands; pendant foliate
below handles. Cf. Pelon, pl. 2o. 2, 4 (phase III A).
LM I A. FIG. 3. PLATE6 (C).
37.(21) Flask, seven body frags (including a portion
of the base). Soft, pinkish buff; slipped buff, B. Two
concentric registers of conglomerate pattern around
a central star. White wavy lines added over red
bands. Same vase as Psychro, pl. xviii g. Cf. J.
Deshayes and A. Dessenne, Fouillesexicuties&Mallia
(Etudes Cr~toises, 12; Paris, 1959), pl. 57 h
(deuxieme Cpoque,premiere phase). LM I A. PLATE
7(f).
38.(18//52) Askos, upper half. Hard, red, mica, SB.
Brown band of V-shaped tendrils. FIG. 1. LM I A.
PLATE7 (g).
39.(43) Jug or amphora, four body frags. Hard, light
brown; dark, white specks; unburnished. Dark
brown floral band; banded TSR below; bands of
added white. LM I A. PLATE 7 (e).
4o.(16) Bucket, body frag. Hard, light red, mica,
quartz inclus. Brown splash in; foliate band, banding
out. LM I. FIG.3. PLATE 4 (c).
41.(1i8) Jug, neck, body frags. Soft, buff, SB, B.
Ribbing on wall. Glossy brown band (added white
band), running spirals, TSR. LM I A. PLATE 4 (g).
42.(174) Jug, shoulder frag. Soft, pale buff, fine. Dark
brown vertical foliate branch. LM I. PLATE 8 (h).
43.(44) Trefoiljug, rim/body/handle frag. Hard, light
brown, fine; slipped buff and finely burnished.
Brown rim, body bands, wavy line; added white
handle stripes and body bands. LM I A. PLATE 5 (b).
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THE PSYCHRO CAVE 135
44.(223) Jug(?), body frag. Hard, buff, dark inclus,
slipped buff, B. Glossy brown TSR, two bands,
added white line, wavy band below. LM I A. PLATES
5 (h), 8 (h).
45.(231) Bowl, rim frag. Pale yellow, gritty. Red rim
band in and out, leaves. LM I. PLATE 4 (f).
46.(55) Amphora, rim/handle/body frags. Light
brown, mica, B. Olive sprays, handle stripes. Cf.
Pelon, pl. 22. 1. LM I. FIG. 1. PLATE7 (b).
47.(51) Amphora, rim/handle/body frag. Light
brown to orange, fine, B. Crackled brown painted
rim and shoulder band (with added white band),
spoked spirals on shoulder. Cf. van Effenterre, Palais,
ii. 532, fig. 768. LM I A. PLATES5 (b), O10 (a).
48.(71) Jug, rim frag. Soft, pale yellow, porous. Red
neck band, TSR. LM I A. FIG.3. PLATE 9 (h).
49"(74) Jug, neck/shoulder frag. Light brown, fine,
SB, B. Brown rim and neck bands, pendant
semicircles, foliate band, wavy band; added white
dots and line on neck band. LM I A. FIG. 2. PLATES
4 (c),8 (a).
50.(50) Jug, rim/handle, shoulder frag. Soft, light
brown, slightly gritty. Matt brown neck band, dots,
band, spirals. LM I A. PLATES 4 (c), 7 (b), 8 (a).
51.(80) Jug, five body frags. Hard, darkish buff, SB,
B. Neck and body bands, foliate band on shoulder.
LM I. PLATE8 (g).
52.(103) Stand, two body frags. Lower portion made
from a coarse (white and dark inclus) pithos fabric;
upper part made from a fine, hard buff clay. Slipped
buff and brilliantly burnished. Dark bands with
added white bands above and below the moulded
rib. A clump of vine leaves painted on stem. Cf.
van Effenterre, Palais, i. 206, fig. 287. LM I A. PLATE
7 (a), (h).
53.(91) Pithoid jar, shoulder. Hard, buff, large red
schist inclus, slipped buff; B. Large running spirals
above brown and red bands. LM I A. PLATE10 (d).
54.(48) Large jar, body frag. Hard, coarse (quartzite,
schist inclus), light brown. B exterior; buff slip; rough
interior. Brown running spirals, bands (with lines
added in white) and dots. Cf. Pelon, pl. 20. 1 c. LM
I. PLATE7 (d).
55.(60/107) Jug or amphora(?), shoulder frag. Hard,
reddish buff, coarse (quartzite,schist, shells). Slipped
buff; reddish brown single foliate sprays on shoulder;
bands; running spirals on body. Cf. F. Chapouther
and P. Demargne, Fouilles exicuties&Mallia, (ftudes
Cr~toises, 12; Paris 1962), pl. 42- 2328. LM I.
PLATES 6 (f), 9 (a).
56.(so8) Amphora, neck/shoulder and body frags.
Hard reddish brown, coarse (mica, quartzite, schist,
shells). Red to black neck band, leaves on shoulder;
bands below. LM I. FIG.4. PLATE 6 (f).
57.(131) Jug, neck/shoulder frag. Soft, orange buff;
grey core; dark inclus, shells. B shoulder, ridging
136 L. VANCE
on neck. Black rim band in and out; TSR below.
LM I. PLATE10 (a).
58.(201) Open shape (jug?), rim/wall frag. Hard,
dark buff; dark and white inclus; B exterior. Rim
band in, out. Dots below rim; floral branches. LM
I. FIG. 2. PLATE8 (a).
59.(89) Jug, body frag. Hard semi-coarse (white,
dark, shell inclus) SB, B. Floral branches in brown
paint. LM I. PLATE5 (d).
6o.(9) Cup, body frag. Hard, brown, fine; buff
slipped; brilliantly burnished. Painted a streaky
brown monochrome inside; exterior rim band with
white dots added and floral spray. LM I A. FIG. 1.
PLATE8 (e).
61.(90) Jug, rim/shoulder frag. Hard, buff, dark and
white inclus; B. Brown rim band in and out; neck
band, dots, band, alternating leaves and foliate band.
Probably LM I A. FIG. 2. PLATES7 (e), 9 (hI).
62.(7o) Jug, four shoulder frags. Light brown, hard,
slightly coarse, SB, B. Foliate band above and floral
motif below. LM I A. PLATE 5 (f).
63.(226) Jug, rim/shoulder frag. Red, gritty, white,
dark inclus, SB, well burnished. Brown rim band
in, out; spirals below. LM I A. FIG. 3. PLATE (a).
lo
64.(236) Jug, four body frags. Hard, fine, slightly
gritty red, B. Glossy foliate band, bands, spirals. LM
I A. PLATE8 (g).
65.(228) Jug, body frag. Fine, reddish, SB, B.
Reddish brown spiral, wiggles, band. LM I A.
66.(167/229) Jug, two body frags. Soft, brownish
buff, fine, SB, B. Brown spirals, wavy lines (red line),
band (added white dots), red line, rows of dots, band.
LM I A. PLATE8 ().
67.(213) Cup(?), rim frag. Rim D. c. 15.0. Steep
profile. Hard, buff, white, dark specks, SB, B. Painted
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) Flask, two body frags. Hard, brownish
buff, quartzite, mica, red inclus; slipped buff, B. Two
friezes of adder marks, spirals and body bands below
in brown paint. LM I B. PLATE9 (a).
78.(216) Jug(?), shoulder frag. Hard, dark buff, dark
inclus. SB, B. Marine Style rockwork in glossy black
paint. Not illustrated. LM I B.
79.(85) Flask, rim frag. Hard, buff, fine. Adder mark
pattern on lip; reddish-brown mono neck; pairs of
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WATROUS
red inside to just above base and out; brown (with
added white line) and red bands, floral branches
below. LM I A. FIG. 1. PLATE4 (h).
68.(134) Stirrup jar, shoulder frag. Hard, silty,
orange buff, white, micaceous specks, SB, smoothed.
Brown bands on spout, wavy lines below. Probably
LM III A. PLATE8 (h4).
69.(142) Stirrup jar(?), body frag. Soft buff, dark
specks, mica, B. Alternating stacked arcs, three
bands. LM III A. PLATE6 (e).
70o.(47) Stirrup jar, false top/shoulder frag. Hard,
reddish, gritty, SB, B. Petals on disc, stacked arches
between handles, running spirals below. Imitative
of Knossian style. LM III A1/2. FIG. 1. PLATE9 (C).
71.(77)Stirrup jar, shoulder frag. Hard, red, light
and dark inclusions, micaeous; slipped buff. Arcs and
spoked wheel in reddish paint. LM III A2. PLATE 9
(c).
72.(136) Stirrup jar(?), two shoulder frags. Fine,
orange buff, SB, B. Brown loop around spout
(or handle), bands, pendant arcade pattern. LM III
A2. PLATE 8 (h).
73.(176) Pithos, body frag. Th 1. 7. Hard, grey to
red, coarse (quartzite, schist and shells). Buff slip,
brown vertical band and lines. LM III B? PLATE9
(e).
74.(24) Stirrup jar, seven frags. (spout, handle and
body pieces). Clay reddish brown, coarse (quartzite
and schist). B, slipped buff. Octopus design in brown.
LM III B. PLATE 9 (d).
75.(1o) Krater, two rim frags. Hard, buff, specks of
white and mica, unburnished. Dark mono interior;
red crosshatched vertical borders and crosshatched
arrow-shaped pendants. Bell profile. LM III C.
PLATE 9 (b).
stripes on double coil handle. LM I B. PLATES
4 (c),9
(h).
8o.(Mlo6) Jug(?), body frag. Pink buff, black paint.
Octopus tentacles, seaweed. Mountjoy, fig. 17. LM
I B. PLATE 8 (d), (f).
81.(Mio8) Jug(?), body frag. Mauvy-pink, deep buff
slip, shaded-brown paint. Octopus tentacles,
seaweed. Mountjoy, fig. 17. LM I B. PLATE8 (C).
82.(M113) Jug, body frag. Pink-buff, yellow slip,
black paint. Octopus tentacles, seaweed. Mountjoy,
fig. 17. LM I B. PLATE 8 (d).
83.(M115) Jug(?), body frag. Pink-buff, black paint.
Octopus tentacles, rockwork. Mountjoy, fig. 17. LM
I B. PLATE 8 (C).
 NEW POTTERY FROM THE PSYCHRO CAVE 137

40

173

48 o ,n 36

63

95

FIG. 3. Scale: 173, 40, 36, 92, 63 at 1: 4; 48 at 1: 8.

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138 L. VANCE
84.(M116) Jug(?), body frag. Pink-buff, black paint.
Octopus tentacle, rockwork. Mountjoy, fig. 17. LM
I B. PLATE 8 (C).
85.(M 117) Jug(?), body frag. Pink-buff, black
paint. Octopus tentacle. Mountjoy, fig. 1. LM I B.
PLATE8 (f).
86.(M162) Jug, body frag. Pink-buff, black paint.
Rockwork. Mountjoy, fig. 18. LM I B. PLATE8
(d), (f).
87.(M163) Jug, body frag. Pink-buff, black paint.
Rockwork. Mountjoy, fig. 18. LM I B. PLATE 8 (c).
88.(M164) Jug, body frag. Pink-buff, black paint.
Rockwork. Mountjoy, fig. 18. LM I B. PLATE 8 (c).
89.(73) Amphora(?), shoulder frag. Hard, orange,
many reddish inclus, SB, B. Brown arcade pattern
9 (f).
filled with dots. LM I B-III A. PLATE
go.(o105) Kylix, rim/handle frag. Soft, greenish buff
(overfired), fine; B. Interior: rim, two body bands;
exterior: floral (lilies?),body bands. LM II. PLATE
8 (e).
91.(54/173) Jug, shoulder/handle frag. Soft, greenish
(overfired), fine; lightly B. Floral design; striped
handle; body band. LM II. PLATE 8 (e).
92.(179/169) Jug, two body frags. Soft, orange, fine;
B. Lilies, dot rosettes, framed by wavy line above.
Cf. Popham, pl. 111 g. LM II. FIG. 3. PLATE8 (e).
93.(168) Jug, body frag. Soft, greenish, fine
(overfired). Heavy leaf pattern. Cf. Popham, pl. 96
cand 118 b. LM II. PLATE8 (e).
94.(119) Cup, base frag. Soft, buff, fine, slightly
micaceous. Smoothed in, out. Reddish splatters in
and foliage out. Cf. Popham, pl. 59. LM II. PLATE
1O(b).
95.(215) Jug, two (of three) body frags. Very soft,
buff, fine (overfired). Neck band, quirks, wavy line,
running spirals. LM II-III Al. FIG.3. PLATE 8 (e).
96.(53) Cup, base/wall frag. Hard, buff, fine. Lightly
B. Dot at bottom of interior base; olive sprays, base
band. Cf. Popham, pl. 104 c. LM II. FIG. 2. PLATES
9 (h), to (b).
97.(HM 2116) Rhyton, body frag. Hard, buff, fine.
Glossy black floral patternbelow leaping agrimi. Same
vase as Psychro,pl. xii a, b. LM III AI. PLATE
8 (g).
98.(81)Jug, shoulder frag. Soft, yellowish buff, fine.
Floral pattern. LM III AI. PLATE 5 (d).
99.(65) Cup, rim frag. Hard, buff, fine. Mono red
interior; rim band, arcs, diagonal line. LM III A1/
2. PLATE 9 (a).
xoo.(122) Pithoid amphora, body frag. Soft, buff,
rounded red inclus, SB, B. Floral pattern (lilies?),
body band below painted in a rich red. LM III A.
PLATE7 (d).
101.(101) Stirrupjar, shoulder and body frags. Hard,
dark buff; dark and white specks, SB. Spirals and
stacked arcs on shoulder; spirals, stacked arcs, foliate
band on body in dark brown paint. LM III A?
PLATE7 (C).
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WATROUS
101.(135) Stirrupjar, shoulder frag. Soft, buff, dark
angular inclus. Dot rosette, stacked arcs, banding.
LM III A. PLATE 9 (c).
103.( 117) Flask, neck/shoulder frag. Hard, greyish
green (overfired), red, quartzite, mica inclus; B.
Pendant foliate bands on neck; abstract pattern and
two eyes(?), perhaps from a face on one side of body.
Perforated handle(?) stub. LM III A. PLATES 7 (h), 9
(b).
104.(114) Jug, body frag. Soft greenish buff, fine;
B. Floral motifs. Same vase as Psychro1996, no. o109.
LM III A. PLATE5 (f).
105.(69) Amphora or stirrup jar, body frag. Hard,
oatmeal, many red inclus; slipped buff. Brown lily,
hatched loop. LM III A. PLATE 9 (f).
1o6.(63) Stirrup jar, spout. Hard, buff, fine. Dark
brown glossy rim band in, out; stripes on lip. LM
III A1/2. PLATE 9 (a).
107.(116) Flask, body frag. Hard, greenish buff, fine;
slipped buff, B. Spoke wheel at centre, concentric
bands. LM III A2. PLATE7 (b).
108.(112) Kylix, rim frag. Hard, light brown, fine;
B. Glossy mono interior; spiral exterior. Same vase
as Psychro 1996, no. 11o, pl. xi c. LM II A2. PLATE9
(a).
log9.(143) Amphora(?), three body frags. Hard, buff,
large red inclus, SB, B. Glossy greyish brown bands.
Probably LM III A2. PLATES 5 (C), 6 (e).
11o.(162) Amphoroid or pithoid jar, body frag.
Hard, buff, white, red inclus; slipped buff, B.
S-shaped curves, body bands. LM III A2. PLATE
9 (f).
111.(196) Amphoroid jar, two shoulder frags. Hard
buff, large red rounded inclus; slipped buff, B. Glossy
grey brown bands, stacked arcs. LM III A2. PLATE
9 ().
112.(64) Stirrupjar, body frag. Hard, oatmeal fabric;
slipped buff, B. Dark brown Octopus pattern. LM
III A2-B. PLATE 9 (f).
113.(115) Stirrupjar, shoulder frag. Hard, buff, dark
inclus, mica; slipped buff, B. Base of spout preserved.
Band at spout, two on body, hatched arcs on
shoulder. LM III A2-B. PLATE 6 (d).
114.(82) Amphora(?), shoulder frag. Hard, coarse
(dark inclus), SB, B. Hatched band, lozenges in
chocolate brown paint. LM III A2-B1. PLATE7 (d).
115.(8) Cup, rim frag. Hard, buff, fine. Slipped buff,
B. Brown mono interior; rim band, arcs, double
body band. LM III B. FIG. 4. PLATE9 (a).
116.(1o6) Cup, body frag. Hard, buff, fine. Dark
mono interior. Multiple are motifs, body bands. LM
III B2-C. PLATE 5 ().
117.(124) Mycenaean bowl, body frag. Very hard
pinkish brown, SB, brilliant B. Carinated shape,
small base. Mono brown in; vertical stroke, banding
out. LH III B. PLATE5 (p.
 NEW POTTERY FROM THE PSYCHRO
118.(241) Stirrupjar, body frag. Soft, brownish buff.
Brown looped spirals, bands. LM III A2-B. PLATE
9 (c).
119.(142) Closed shape, body frag. Soft, buff, dark
specks and mica; B. Stacked arcs, triple body bands.
Part of 69? LM III B. Not illustrated.
120.(3) Deep bowl, three rim frags. Hard, pinkish
buff, white and mica specks; slipped buff, B.
Alternating metopes decorated with rosettes and
lozenges. LM III B-C. FIG. 4. PLATE9 b.
121.(2) Deep bowl, two rim frags. Hard, pinkish buff,
fine; B. Mono red interior. Red tricurved streamer,
double body band. LM III C. FIG. 4. PLATE9 (c),
(h).
122.(56) Lid of burial jar, rim frag. Soft, fine, buff.
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).
127.(15) Pithos, profile. Rim D. 15.0. Hard, coarse,
dark core; SB, B. Dark rim band; white wavy line
in. On exterior white stripes, foliate band; red band;
white dots on black band; running spoked wheels,
red wavy lines; line of white dots on black band;
running spirals outlined by red lines; black body
bands with lines in added white. Shoulder rib and
articulated base. LM I A. FIG. 4. PLATES4 (b), 6 (b).
128.(32/84) Pithos, body frag. Th 1.1. Hard, tan,
coarse, schist and quartzite inclus. Double axes in
relief. LM I. PLATE10 (C).
129.(25) Bull(?) figurine, front half. Soft, reddish,
coarse. Ridge along underside of belly. PLATE 6 (g~).
130o.(22)Statuette, upper arm frag. Hard, grey, white
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).
136.(6) Bowl, base frag. Soft, buff, red, micaceous
and quartzite inclus. Wheelmade. Chocolate brown
mono interior; bands and triglyph lines in creamy
paint on a dark brown background. MM II. PLATE
4 (d).
137.(58) Amphora(?), rim/shoulder frag. Hard, light
brown to grey, fine; B. Rim band in and out; neck
and handle painted a dark brown; TSR on shoulder.
Maliote? MM III-LM I A. PLATE 7 (c).
138.(59) Coarse jug, shoulder frag. Hard, dark
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CAVE 139
Spiralform designs on lid, tongue pattern on rim.
Hole to tie lid to jar. Seventh century BC. PLATE9
(g).
123.(37) Pithos, two rim frags. Hard, buff, fine;
slipped buff. Flanged lip to receive lid (for 122?).
Chocolate brown meander pattern below rim, body
band. Probably for a burial. Mid-eighth century BC.
PLATE 9 (g).
124.(220o) Aryballos, shoulder frag. Hard, grey, fine.
Concentric circles, bands. Seventh century BC.PLATE
9(g).
125.(113) Miniature cup. Hard, buff, fine. Third
century BCvotive. Cf. N. Coldstream, Knossos.The
Sanctuary ofDemeter (Oxford, 1973), pls. 15. 30, 27.
139. PLATE4 (a).
inclus. Sleeve rib. From dancing female figure
Psychro,pl. xxi c-f LM I. PLATE
6 (g).
131.(40) Lamp or cooking dish, rim and handle frag.
Hard, red, phyllite inclus; handle slipped. LM I.
PLATE 6 (g).
132.(83) Pithos, body frag. Hard, red, coarse. Stand
in relief below band with incised circles. Part of
Psychro, no. 85 (HM 2118, 2121), pl. xix i-j. LM I.
PLATE 10 (C).
133.(36) Male(?) figurine, upper half. Hard,
brownish red clay, painted dark. Eye sockets barely
visible; plaits of hair on back; stubs of outstretched
arms. Attenuated proportions suggest a Late
Geometric date. PLATE6 (g).
134.(35) Kiln separator(?). Hard, orange, white
specks. Flat, plaque-like profile, broken at all three
ends. Concentric circles stamped on one face.
Seventh century BC? PLATE9 (g).
brown, white and red inclus. Splashes of brown
paint. MM III-LM I. PLATE10 (c).
139.(26/62) Hole mouth jar, rim and body frags.
Rim D. 33.0. Hard, buff, porous, coarse, red and
white specks. Reddish brown paint: splatters on
interior, rim band, drips, splatters on exterior.
Interior left rough. Vertical line of applied cupules
on exterior. MM III-LM I. PLATE9 (e)
140.(46) Amphora(?), two body frags. Light brown,
slightly gritty, dark and quartzite inclus; SB. Dotted
figure-of-eight shields(?) in orange paint; bands with
added white; floral design below. 'Zako' written in
pencil on interior (perhaps this piece reminded
Hogarth of an example from Zakros?). LM I A.
PLATE 6 (f).
140o L. VANCE WATROUS

160

115

121 126
120

170

76

127 56

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 NEW POTTERY FROM
141.(144) Jug, shoulder frag. Hard, grey (overfired),
dark inclus. Irregularfoliate band. LM I. PLATE
1o (C).
142.(125) Jug(?), shoulder frag. Hard, red, red and
white inclus; slipped buff. Brown neck band,
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) Collared jar, rim frag. Reddish oatmeal
fabric, angular white, dark inclus. SB. Rim band in;
hatched triangle, shoulder band in, in matt red. EM
II A. Probably from the Mesara. PLATE 4 (a).
146.(164) Straight-sided cup, base frag. Soft, orange,
fine. Painted red in and out, white cross on bottom.
MM II-III. PLATE 4 (d).
147.(41) Jug, base frag. Base D. 8.0. Hard, pale buff,
fine. Honey-coloured TSR, highly burnished. Once
repaired in plaster to another (now missing)
fragment. LM I A. PLATE7 (a).
148.(19) Jug, upper half. Hard, brownish buff,
quartzite, mica inclus; SB, B. Midrib on handle;
imitation rivet at lip juncture; rib at base of neck.
Reddish brown bands on spout, shoulder, body;
running spirals. Maliote? Late LM I A-LM I B. FIG.
2. PLATE 6 (a).
149.(49) Jug, neck/shoulder frag. Hard, pale reddish
buff, fine; SB. Red wavy neck band; band at base of
neck; awkward foliate sprays on body. LM I. PLATES
5 (b) 9 ().
150.(159) Pithoid amphora, two shoulder frags.
Hard, greyish clay, large red inclus; slipped buff, B.
Handlestub. Brown shoulder bands (with added
white bands), running spirals. LM I. PLATE9 (f)
(where upside-down).
151.(163) Straight-sided cup, body frag. Hard, buff,
fine. Mono black interior; spray with added white
lines. LM I A. FIG. 1. PLATE8 (h).
152.(88) Amphora or jug, body frag. Hard, brownish
buff, white and red inclus; slipped buff, B. Painted a
swirly mono black. Probably MM III. PLATE 8 (a).
153.(2 24) Bowl, body frag. Hard, buff, dark inclus;
slipped buff, B. TSR; brown band. MM III-LM I
A. PLATE 8 (h).
154.(153) Bridge spouted jar(?), wall frag. Hard,
buff, fine. Glossy black background, white loop(?)
and three white bands. Broken at base. MM III-
LM I A. PLATE 4(d).
155.(34) Miniature appliqu6 cup. Hard reddish, fine.
Dark paint. From a larger vase. MM III-LM I.
PLATE4 (a).
FIG. 4 (left). Scale: 16o, 76, 127 at 1: 4; 115, 121, 126, 12o,
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THE PSYCHRO CAVE 141
irregular pendant foliate band. LM I. PLATE (C).
O10
143.(175) Pithos, body frag. Hard, grey to red,
coarse; SB. Part of Psychro,no. 113, pl. xxiv c. LM
III B. PLATE9 (e).
156.(128) Jug, two body frags. Hard, buff, dark
inclus. Dark brown bands and rows of dots. LM I.
PLATE10 (b).
157.(72) Pithos, body frag. Th. 1. 8.0. Hard, orange
to red, grey core, coarse (many angular red inclus, a
few white specks); smoothed surface, slipped buff.
Taenia band. Red drips. Probably LM I. PLATE 9 (e).
158.(141) Jug, neck/shoulder frag. Soft, buff, fine.
Dark brown neck band in, out (added white line); row
of dots, band, spirals(?). LM I. PLATES5 (g), to (b).
159.(76)Jug or amphora, body frag. Light buff, hard,
fine, SB, B. Spiral in chocolate brown. LM I.
PLATE 5 (e).
16o.(78) Basin or kalathos, rim frag. Hard, coarse,
round red, angular white inclus, dark specks; slipped
a mustard colour. Miniature 'kernoi' (with holes as
if for grain stalks) applied interior and exterior at
rim. LM I. FIG. 4. PLATE o10(C).
161.(79) Large amphora(?), body frag. Hard, buff;
slipped buff, highly burnished. Burnt grey. Black and
white bands, line of white dots. LM I. PLATE5 (f).
162.(139) Jug, rim/shoulder frag. Hard, brownish
buff, dark, white, mica specks, SB. Rim band, wavy
neck band, sloppy bands below. Probably LM I.
PLATE 5 (p.
163.(28) Animal figurine, leg frag. Soft, reddish buff,
slightly coarse. Hollow int. Painted a washy black.
Probably LM I. PLATE6 (g).
164.(2o4) Cup, rim/wall frag. Rim D. 16.0. Hard,
brown, fine (white specks); lightly B. Light brown
bands in; rim band out, foliate band. LM I A. FIG.
1. PLATE 4 (h).
165.(160) Amphora or jug, six body frags. Hard,
buff, fine; slipped buff, B. Floral motif in added white
on shoulder; brown and red bands on lower body.
LM I A. PLATES7 (e), 10 (d).
166.(Mio5)Jug Jug(?), body frag. Yellowish clay; black
paint. Octopus tentacles, seaweed. Mountjoy, fig. 17.
LM I B. PLATE8 (d), ().
167.(Mllo) Jug(?) body frag. Yellow clay; black
paint. Octopus tentacles. Mountjoy, fig. 17. LM I B.
PLATE 8 (C).
168.(M128) Jug(?), body frag. Yellow clay, black
paint. Octopus tentacle. Mountjoy, fig. 18. LM I B.
PLATE 8 (d).
170o at 1: 3; 56 at 1: 8.
142 L. VANCE WATROUS

169.(158) Palace Style jar, two shoulder frags. Th.
0.9. Soft, light orange, a few white and dark specks,
B. Large lily or lotus flower in black glossy paint.
LM III A. PLATE 5 (c).
17o.(68) Mycenaean jug, shoulder frag. Hard, fine,
buff; SB, B. Flower (FS 120) pattern in chocolate
brown. Cf. P. Mountjoy, MycenaeanDecoratedPottery
(SIMA 73, Gateborg, 1986), 75, fig. 86. LH III A2.
FIG. 4. PLATE6 (d).
171.(152) Stirrup jar, shoulder frag. Soft, buff, fine,
SB. Loops and banding in brown. LM III B.
PLATE9 (c).
172.(130)Jug, shoulder frag. Soft, light orange, fine;
slightly micaeous, SB, lightly B. Ridge at neck.
Sloppy pendant foliate band. LM I B? PLATE 6 (d).
173.(7) Kylix, rim frag. Hard, pinkish buff, slightly
coarse; slipped buff, B. Spiral/radar pattern and
multiple stem. LM III B 2. FIG. 3. PLATE6 (e).
174.(29) Animal (bull?) statuette, leg and haunch
frag. Soft, buff; traces of grey to brown paint.
Complete figure would have been c. 25.0 in length.
Early Iron Age. PLATE6 (g).
175.(11) Spindlewhorl. Hard, grey, coarse. Burnt.
Iron Age. PLATE4 (a).
176.(31) Male statuette, shoulder/chest/arm frag.
Preserved. H. 8.0. Soft, fine buff; traces of dark paint.
Hollow. Left nipple preserved. Nude? Complete, the
statuette would have stood c. 23.0 in height. Archaic?
PLATE 6 (g).
177.(33) Base of a plaque(?). Hard, fine, light reddish
buff. Painted reddish brown. Early Roman. Not
illustrated.
178.(121) Lamp(?), handles missing. Hard, buff, red,
white specks. Painted monochrome red. Inside burnt.
Edge at carinationbroken all around:originallyjoined
(inside) to larger vessel. PLATE9 (g).
179.(13) Lamp, face and profile. Soft, orange, fine,
gritty, micaeous. Painted red. Mould-made scene in
tondo: young winged Eros holding a club standing
next to a vertical tree or strut. Cf. four similar
examples from the Idaean Cave, P. Sapouna, Die
Bildlampen riimischerZeit aus der idaischenZeusgrotte
aufKreta (BAR S696; Oxford, 1998), pl. 3, nos. 33-
6. Second or third century AD. PLATE9 (g).

STONE

18o.(12) Lamp or libation table, rim frag. Mottled (Cambridge, 1969), types 24 and 26, P294, and
grey, green steatite Cf. P. Warren, MinoanStone Vases D179. MM III-LM I. PLATE4 (a).

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.

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 NEW POTTERY FROM THE PSYCHRO 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

Before trying to interpret the MM I-LM I A ceramics at Psychro, it may be helpful to

look briefly at the two major settlement centres nearest to the Cave, Malia, and Knossos.
During the MM I-LM I A period Malia was a prosperous palatial centre. In MM III
the town suffered destructions by earthquake(?), and was subsequently rebuilt in LM I
A." Similarly, the Malia palace suffered damage and was reconstructed during LM I A.
During the prosperous MM I-LM I A period most of the fine ware vases dedicated at
Psychro were made at Malia. Cult at the Cave began in MM I. When Hogarth dug at
Psychro, he described the bottom stratum within the Cave as 'a thick sediment of yellow
clay mixed in its upper layer with a little primitive buccheropottery (viz. 144) and many
bones, but empty below of anything but water-worn stones'." He characterized the next
level above it as follows: 'The strata above this clay, where I began to dig, consisted of a
black mould mixed with ashes, bones and pottery.'13This black level, up to seven feet
thick, was the only one to have produced votives and cult equipment. Hogarth specifically
contrasted the nature and date of these two deposits: 'The earliest pottery, found in a
votive deposit, is the small amount of Kamares ware [in the Upper Grotto] ... Primitive
hand-burnished bucchero of the Neolithic epoch occurs only in natural water-laid deposit.'"4
The mass of fine ware pottery'5 from the votive deposit dates to MM I B-II, evidence
that cult activity in the cave began in MM I, probably at the beginning of MM I B. It
seems reasonable to infer from the quantity of MM I-LM I A Maliote vases that a close
relationship existed between Malia and the Cave during this time, and that it was Maliotes
who founded the sanctuary.16
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 15 Psychro, nos. 2-6; above, 1-5.

11 Driessen-MacDonald, 181-6. 16 Several scenarios explaining how these vases got to
12 Hogarth, 96. Psychro are possible, but the most likely one seems to
13 Ibid. me to be the simplest, that is, the Maliotes regularly
14 Ibid., 115. visited the cave and left their locally made vases there.

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144 L. VANCE WATROUS

TABLE 1. 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 Knossos

MM I B-II Cup 4
Jug 2
MM III-LM IA Cup 4 (3+ 1?)
Jug 28
Bowl 5(1)
Amphora g
BSJ 2
Flask 2
Askos 1
Bucket 1
Stand 3 (2)
Pithos 3
Jar 1
Dish (1) Cup 1
LM IB 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)
Bull figurine (1)
LM IIIA-B SJ 6 Cup 3
Pithos 1 SJ 2
Bull figurine (1) Amphora 2
Kylix (1)
LMIIIC Krater 1 (1) DB 2
Tankard (1) 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. been in the thousands.

records finding many hundreds of wholeconical cups. lol,
The 's Hogarth, 99.
total number of conical cups left at the cave must have

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 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.

'9 Votives of the MM I-LM I period are collected in 24 Ibid., at large. This is one of the central conclusions
Psychro, 49-52. of this valuable book.
'o Driessen-MacDonald. 25 Ibid. 201-4, and M. Cameron, Fresco:Passport into
21 A. Farnoux, 'Malia au Minoen recent II-IIIAI', La the Past (Athens, 1999), 242.
Crite mycinienne (BCH Supp. 30; Paris, 1997), 135-47; 26 N. Cucuzza, 'Mason's marks ad Hagia Triada',
id., 'Quartier Gamma at Malia reconsidered', in E. and Sileno, 19 (1993), 53-65.
B. Hallager (eds), Late Minoan III Pottery(Arhus, 1997), 27 V. La Rosa, 'La "Villa Royale" de Hagia Triada', in
259-71. R. Hiigg (ed.), TheFunctionof theMinoan Villa (Stockholm,
" A. Kanta, The Late Minoan III Period in Crete
1997), 79-89; P. Militello, 'Riconsiderazioni preliminarie
(G6teborg, 1980), 50-2. sulla documentazione in Linear A ad Hagia Triada',
23 Driessen-MacDonald, 138-70o. Sileno, 14 (1988), 233-61.

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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

'8 L. Platon, The Workshops and Working Areas of
Minoan Crete. The Evidence of the Palace and Town of
Zakros' (University of Bristol, Ph.D., 1988), i. 394-419;
id., "Avuotyt~apa 'cya "6yv3g' ora Xgqta LtSu0wivxa-rd
-r vcoavax-optxil ,seioso ocrlv Kei-rq", in Eliten in der
Bronzeit (Mainz, 1999), i. 37-50.
29 L. Platon, 'The political and cultural influence of the
Zakros Palace on nearby sites and in a wider context', in
J. Driessen, I. Schoep, and R. Laffineur (eds), The
MonumentsofMinos (Aegaeum, 23; Liege, 2oo2), 145-55.
30L. V. Watrous, 'The Economic Organization of
Minoan Crete', paper delivered at the NYU. Aegean
Symposium, New York, 15 Oct. 2001.
31 Pace Driessen-MacDonald, 70-83.
32 Pyschro,57-72, 98-9 summarizes the evidence.
33 Ibid.,
52-3.
34 J. Chadwick, Documents in Mycenaean Greek
(Cambridge, 1973), 305-6. Most recently, H. and M. van
Effenterre, 'Amnissos et la tablette myc6nienne KN. Fp
(1)', in S. Bohm and K.-V. von Eickstedt (eds), Ithaki:
FestscriftfuirJrg Schifer zum 75. Geburtstag(Mainz, 2001),
53-6. The tablet KN. Fp 1 lists offerings of oil made at
various shrines, including at Amnissos and at one
belonging to Dictaean Zeus. For the identification of the
Psychro Cave as the sanctuary of Dictaean Zeus, see
Pyschro,18-19 with earlier bibliography.

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 NEW POTTERY FROM THE PSYCHRO 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 L. VANCE WATROUS

Universityat Buffalo, The State Universityof New York

35 F de Polignac, La Naissance de la citi grecque(Paris, 36J.and M. Shaw, 'Mycenaean Kommos', in Driessen

1995). This practice could also be extended to urban and Farnoux (n. 21), 423-4; V. La Rosa (n. n7), 91-8.
shrines, as Herodotus (v. 73) informs us that Dorians were 37 Ibid.
forbidden to enter the temple of Athena on the acropolis 38 Psychro,no. 124.
at Athens. s39Ibid., nos. 112, 114, 115.

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 PLATE 4

1 li!ii~~i~iii~
145

1 12?
125
180
(a) (b)

6o! 8 I 4

40 49 79
7i~~ii 13
154

30 136
135
(c) (d) 146 3

5ii 45

2
14 15
(e) (f)

164

67

41

10

(g)
WATROUS
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 PLATE 5

11

31
11 43
47 149

(a) (b)

160 169
59

35
109
98
(c) (d)

162 161
62

159 117
12 104
(e) (f)

1588 44

116 18
27,~
(g) (h)
WATROUS
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 PLATE 6

127

148
3
(a) (b) (c)

172 170
17 3
113

28 109
69
(d) (e)

17 4
56 129 130

140 55 133 163 131

176
(f) (g)
WATROUS
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 PLATE 7

52
50

147 107 46

(a) (b)

101i 100

54
16 114
137
(c) (d)

39 61

37
24
~165
(e) (f)

126
103
76:
38

(g) (h)
WATROUS
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 PLATE 8

58o

49
50
17
152
(a) (b)

78
168

87

86 80
81
88
84 167
166 82
83
(c) (d)

95 92 86
85

91 93 16i6 80
90
(e) (f)

51 42 33 44 68
60
64

65' 72 153
66 d97 151 9
(g) (h)
WATROUS
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 PLATE 9

108 115 99
1 20

55 75
:106 77 103

(a) (b)

i!121:
70
74
71

171 102~
(c) 118i
(id)

S23 13 9
105 112 150

89
73 143 157 110 111
(e) (f)

122
12 3
124 79 121

134
178 61
179 48
w
96
(g) (h)
WATROUS
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 PLATE 10

48 63
"57' 15 158

15 6
126

32 2 84 96

(a) (b)

165

142 160 141 26

53

29 29
128 138 132

(c) (d)
WATROUS
NEW POTTERY FROM THE PSYCHRO CAVE AND ITS IMPLICATIONS FOR MINOAN CRETE

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