1. The frontier of Pisidia, where it adjoins Lycaonia, is placed wrongly in my Histor. Geogr. Chs. Q and V. The district was little known, when I wrote: I had traversed it hurriedly in 1882, 1886, and 1890, in each case only on a single hasty route. The excursion of 1882 resulted in placing Anaboura and Neapolis. No name was discovered in the excursions of 1886 and 1890. Prof. Sterrett explored the district very carefully in 1884 and 1885; but the numerous inscriptions, which he found, unluckily did not contain important topographical indications, and he assigned a position much too far north for the city of Pappa-Tiberiopolis. I shared his view on this critical point, with the result that many other towns were drawn away far north of their true situation, because they stood in some relation to Pappa, and when it seemed to lie away in the north, they had to be placed correspondingly. For the same reason, the Pamphylian frontier was drawn too far north.

In the 1850s Captain T. A. B. Spratt, subsequently to become Admiral and Director of the Mediterranean Survey, was engaged on the charting of the Aegean. This work was interrupted by the Crimean War and later resumed. Captain Spratt had under his command the paddle frigate Spitfire and the tender Auxiliar, from which he necessarily made journeys ashore in Crete in order to complete the triangulation of the Aegean from the mountain summits to the adjacent islands. On these journeys he took a keen interest in the location of Classical sites. In this respect he followed some thirty years after Robert Pashley whose pioneering work Spratt is reported to have been able occasionally to supplement or correct.

The publication of Sheila Adam's lively and closely argued study of the technique of Greek sculpture has aroused considerable controversy; not the least disputed of her views was that the running drill, ‘the only major technical change which occurs in Greek sculpture of the Classical Period’, was not introduced until the second quarter of the fourth century B.C., a full seventy years or more after Blümel's date for its invention. Although such examination as I have been able to make of extant Greek originals from this period suggests to me that Adam was correct in concluding that the tool was not in general use until after c. 370, there does seem to be some evidence that sculptors were experimenting with it for about twenty to thirty years beforehand.

The large pictorial jug published here (Plate 12 a-d) was discovered in 1966 in a plundered Mycenaean chamber tomb at the site Melathria, near the village of Skoura in Laconia. Skoura is close to Sparta, opposite to and east of the Vapheio tholos tomb, on the east side of the river Eurotas.

It is a most unusual Mycenaean vase, remarkable for its pictorial decoration at such an early date. In view of the shape of the vase and its linear decoration, it seems to be one of the earliest pictorial vases yet found on the mainland of Greece.

The jug, which is now exhibited in Sparta Museum (Inv. no. 5533), has been restored from fragments, and large pieces of the belly have been completed with plaster. It can be described as follows: Tall jug with cut-away neck (Plate 12a). Light brown clay, polished yellow-pink surface, lustrous red paint which in places has adhered badly and flaked away.

The probable extent of the Late Cycladic town at Akrotiri is discussed, and the original geographical setting reconstructed. The principles on which the town and its buildings were constructed are elucidated; emphasizing the compact accumulation of rooms and other units of space. Buildings are generally multi-storied, and there is no evidence for courtyards or light walls within them. Access is generally limited to a single entrance, lighting and ventilation are provided by windows. Drainage systems are provided. The three types of streets: main streets, narrow alleys, and blind alleys are described, and the factors behind their arrangement and form discussed. Orientation of the streets is approximately north to south and east to west. The phenomenon of dentation in the construction of walls is discussed. The conclusion is that the town plan reflects a building operation based on a well-organized community with strong traditions and unwritten laws.

The marble statue of a youthful Athena, which was once in the Mattei collection and is now in the Louvre in Paris, has long been regarded as a work of considerable beauty and charm (Plate 66a–c). It seems to be a copy of an original of the fourth century B.C., but because no other versions of the type are known there has been some hesitation in attributing it to a particular sculptural workshop.

Within the last few years the Athena Mattei has emerged as one of the most important ancient copies in existence. For in 1959 a number of bronze statues were found by chance in Piraeus, and amongst them was a magnificent bronze Athena which appears to be the original from which the statue in the Louvre was copied (Plates 67, 68a). It is the purpose of this article to investigate the relationship between the two statues and to consider the implications regarding the date and authorship both of the marble copy and of the bronze original.

This report describes the excavation of two pits which had been dug into the natural rock, apparently in connection with the storage and perhaps original manufacture of plaster, in the space named after them the ‘Room of the Plaster Pits’. The pits were filled and covered in LM II, and the evidence for their date helps to bring the history of this part of the palace into clearer focus. The Room of the Plaster Pits may be the same as the elusive Lapidary's Workshop described by Evans in his Knossos report for 1901. It is suggested that the lack of observed floors or blocking walls in doorways separating deposits in this area makes it difficult to divide the vases assigned to LM III B here from tablets and seal impressions involved in the final destruction of the palace.

The control groups used in the earlier analysis (BSA 75 (1980) 151–61) have been enlarged. The range of suspected imports was extended with samples from Cyprus and Crete. It is concluded, as a result, that the majority of exports did originate in Euboea, though it is not possible to distinguish between kilns at Lefkandi, Chalkis, and Eretria. No conclusions were possible in the case of six sherds from Knossos. The results demonstrate early Euboean maritime enterprise.

The following notes were made by us on a short journey in Pamphylia during March 1911.It had been our intention on reaching Adalia about the middle of the month to go at once into Lycia, but the lateness of the season made the higher ground impossible, and it seemed better to spend a short time in examining the country in the immediate neighbourhood of Adalia, much of which was still imperfectly known (Fig. 1).

The best description of the Pamphylian plain is that given by Lanckoronski. From the Kestros to the Melas stretches a low-lying, swampy plain, traversed by three great rivers which come down from the Pisidian highlands, feverish in summer, and during the winter months impossible for wheeled traffic. To the west of the Kestros rises a rocky plateau of travertine some hundred feet above sea-level, on which stands the town of Adalia (Attaleia) on cliffs above the sea, which diminish towards the west. To the north of Adalia rises a third level, which viewed from the south, resembles a high raised beach, running roughly parallel with the present coast as far as the village of Barsak. To the east of that point the hills turn in a north-easterly direction and sink gradually down towards the Kestros. The western part of the plateau is crossed by two main roads, leading respectively to Istanoz and Buldur.

The British School at Athens has had in its possession for many years now a number of fragments of Greek relief sculpture, mostly from funerary or votive monuments. The origin of these sculptures is obscure, but it seems likely that they were collected by the historian George Finlay, probably during the first half of the nineteenth century. It is the purpose of this article to publish photographs and details of some of the more important fragments, and also to attempt to date them and to interpret the scenes which they show.

S.7. Plate 73a. A fragment from the lower right corner of a relief. H. 0·27 m., W. 0·45 m., Th. 0·17 m., Depth of relief 1 cm. Pentelic marble. Part of the right-hand edge of the relief remains, where it can be seen that there was no side frame. Below, there is a simple plinth or ground-line with a flat surface, and beneath this a rougher receding margin of about the same width, perhaps where the relief was inserted into a base

The pictures on pp. 230, 231 (Figs. 1, 2) are taken from a red-figured amphora of Panathenaic shape in the Louvre (G 61). They are more curious than comely, but if devoid of merit they are not devoid of interest. Let us put them beside the pictures on p. 233 (Figs. 3, 4), which come from a vase in Count Stroganoff's collection. The lower part of the dress and the sandalled feet are almost line for line the same in both vases; the altars are the same except in one small detail: notice carefully the sleeve in Fig. 1, and compare it with the sleeve in Fig. 4. Other resemblances will strike the eye, but it will be enough to mention one: is there not something odd about the perpendicular fold-lines on the chiton in Fig. 4? in archaic drawing, perpendicular folds go right on until they meet a transverse line; but here they stop of their own accord at Athena's waist: now the grouped folds on the sleeve of Fig. 2 behave in the same obstinate way.

The Louvre vase G 61 has a pendant in the Louvre vase G 60, which is figured by Pottier in his Album, Pl. 95. The subjects are similar: on A of G 61, Athena bending at an altar, holding a spear and a flower; on A of G 62, Athena bending at an altar, holding a wreath and a spray of smilax; on B of G 61, a woman worshipper at an altar, holding a smilax spray; on B of G 60, a man worshipper at an altar, holding a phiale.

I feel that first of all I owe you a word of explanation why I, who have never studied the history of the Greek War of Independence, should have ventured to speak to you to-day about two of the best known of the Britons who then offered their services to Greece against the Turks. Finlay was an intimate friend and the executor of Hastings, and had in his possession much of his friend's correspondence and other papers. Consequently, when many years after Finlay's death, his library was presented to the British School, among his private papers, manuscripts and journals were found, those of Hastings as well. I have therefore drawn largely on this still unpublished material to illustrate the lives and careers of these two British Philhellenes.

Two vessels reconstructed from fragments found at Semibratny in the Kuban are discussed, a pyxis with the base fitted into the walls, and a stemmed dish in profile closely related to the stemmed kantharos.

Among the most interesting discoveries of the post-war years in Attica are a Late Geometric amphora and an impressed gold head-band; they are reported to have been found, the band inside the amphora, near Koropi in the Mesogaia, and were acquired together by Mrs. Helen Stathatou, who has graciously consented to my making them more widely known in this tribute to the master of Greek archaeology for whom both she and I have so high a regard. Each is a first-rate piece in itself, and the discovery of the two in one burial gives an added interest to the pair.

Among the local finds displayed in the Museum of Antiquities at the Piraeus are six Roman portraits, all of Pentelic marble and all unrestored. Two of them, a colossal head of Trajan (no. 270) and a colossal statue of Balbinus (no. 278), have already been fully edited. But according to the Director of the Piraeus Museum, Dr. Threpsiades, and to the best of the present writer's knowledge, of the other portraits two are still unpublished, two described without any illustration; and it is with Dr. Threpsiades' kind permission that all four are published here.

I. No. E 4. Head of Claudius(Plate 67a–b)

Total height: 48 cm.

Height from crown of head to bottom of chin: 26 cm.

Width across at greatest extent: 20 cm.

Width from back to front at greatest extent: 24 cm.

The sculpture depicts the head and neck, slightly over life-size, of an elderly man, in whom we can immediately recognize the Emperor Claudius. At the base of the neck is a rounded ‘tenon’, designed for insertion into a cavity between the shoulders of the now vanished body of a full-length statue. Claudius' face has sustained considerable damage. The nose has practically gone, only part of the side, and the hollow interior, of the right nostril remaining. The chin, lips, and right ear are bruised, the brow is marred by several abrasures, and the left ear is lost.

This report presents the results of excavations in 1993 in the area of the Early Houses and Early Paving by the South Front of the palace at Knossos. It adds to and further clarifies the results of earlier excavations in this area, and provides much-needed new evidence for the history of the Prepalatial and Protopalatial settlements. Principal findings of the 1993 investigation include (1) an EM II B pit deposit, which has important implications for our understanding of this ceramic phase at Knossos; (2) no fewer than three building phases in EM III, comprising the Early Houses including the substantial South Front House; and (3) the dating of the Early Paving and associated structures to MM I B.

The Cyclopean Terrace Building lies to the north-west of the Lion Gate on the northern end of the Panagia Ridge and faces almost due west across the valley of the Kephissos and modern main road from Corinth to Argos. It lies just below the 200 m. contour line, and one terrace below the houses excavated in 1950–51 by Dr. Papadimitriou and Mr. Petsas to the east at the same end of the ridge. The area contains a complex of buildings, both successive and contemporary, and in view of the discovery of structures both to the south-west and, by the Greek Archaeological Service, to the north-east it is likely that this whole slope was covered by a portion of the outer town of Mycenae. This report will deal only with the structure to which the name Cyclopean Terrace Building was originally given, the so-called ‘North Megaron’, supported by the heavy main terrace wall.

The excavation of this structure was begun in 1923. The main terrace wall was cleared and two L.H. IIIC burials discovered in the top of the fill in the south room. In 1950 it was decided to attempt to clear this building entirely in an endeavour to find out its date and purpose. The clearing was not, however, substantially completed until the close of the 1953 excavation season, and this report presents the available evidence for the date as determined by the pottery found beneath the building; the purpose is still a matter for study, though various tentative conclusions can be put forward.

Small pockets of neolithic levels were sampled during the 1987 investigation of the Throne Room System in the palace of Knossos. The limited stratigraphic evidence is here presented, as well as sections concerning the pottery, small finds, and animal bones. The most interesting point to emerge concerns the presence of Final Neolithic characteristics in the ceramic evidence that will help towards formulating an appreciation of that elusive period at Knossos.