NEOLITHIC Archives - Greek News Agenda

Exhibit of the Month at the National Archaeological Museum: A Neolithic “centaur” from Thessaly

iandrianopoulos — Thu, 20 Mar 2025 09:49:09 +0000

In the framework of the initiative “Exhibits of the Month”, the National Archaeological Museum presents in 2025 the cycle “Priests, Rituals, and Magic in Antiquity”. Twelve “biographies” of objects from the permanent exhibitions of the Museum’s Collections, one on the 25^th of each month, are presented to the Museum’s online followers and invite them to come and see these objects up close in the Museum.

Man’s anguish to explain the world around him, his desire to appease nature and to become familiar with death, has been an integral part of his existence. Over the centuries, the boundaries between rationality and superstition have often become blurred, while a complex network of gods and demons have enriched the art and mythology of all cultures, ultimately demonstrating their worldview. Representations of deities, priests and rituals unknown to us, have been preserved in wall paintings, votive sculptures and figurines. (Source: National Archaeological Museum)

Neolithic clay figurine from the Neolithic settlement of Sesklo in Magnesia, Thessaly, Early Neolithic (6500-5800 BC), height 6,5 cm, Collection of Prehistoric Antiquities, National Archaeological Museum

A peculiar clay figurine of a «centaur» from the Neolithic settlement of Sesklo, 15 km SW of the city of Volos, at the foothills of Mt Pelion seems to reveal a supernatural aspect to the perception the Neolithic inhabitants of Thessaly had of the world. Among the clay Neolithic figurines from that area, the homeland of the Centaurs in historical times, this non-natural being, stands out.

The prehistoric settlement of Sesklo, located on Kastraki hill, spans an area of 100,000 m², encompassing both the hill and the surrounding plain. It was initially excavated by Chr. Tsountas in 1901-1902. The settlement was occupied from the 7th millennium BCE. In the Early Neolithic, houses with stone foundations and mud-brick walls were built. The Sesklo culture emerged in the Middle Neolithic, known for advanced pottery firing techniques. It grew but was abandoned by the end of the 6th millennium BCE, then was reoccupied in the Late Neolithic, but only on Kastraki hill. (Source: odap.gr)

The characterization «centaur» of the clay figurine was assigned by the excavator himself, Christos Tsountas, in the excavation notebook and further discussed in the publication, where the figurine is illustrated in drawing. It depicts a figure whose upper body is human -probably male- and the lower one that of a four-legged animal, not though of a horse, as in historical times. After all, no bones of equines have been identified in Neolithic Thessaly. The hybrid form of the «centaur» magically combines the human with the animal force of Nature, necessary for long-term survival, but also an opponent to be reckoned with, probably of apotropaic character, as well. (Source: National Archaeological Museum)

Christos Tsountas’ Sesklo excavation notebook (25.7.1901) with reference to the unearthing of the “centaur” figurine, HNAM Archive (left), Christos Tsountas photographed in 1879 (right). Christos Tsountas (Stenimachos, Thrace, 1857– Thessaloniki, 1934) is considered a pioneer of Greek archaeology and has been called "the first and most eminent Greek prehistorian”. He conducted the first archaeological survey of Thessaly, excavated several Mycenaean tombs in Laconia, and led the first formal excavations of the citadel of Mycenae. In the late 1890s, with his discoveries in the Cyclades he coined the term of Cycladic culture. (Source: https://en.wikipedia.org/wiki/Christos_Tsountas)

Clay statuette of seated male figure, known as the "Thinker", from the district of Karditsa, Thessaly, Late Neolithic (4500-3300 BC), National Archaeological Museum (left), Neolithic clay figurines of seated on stool male figures with the hands on the thighs, from Sesklo Magnesia (middle), and Pyrasos Magnesia (right), Archaeological Museum of Volos (Source: National Archaeological Museum)

The “centaur” figurine resembles those of seated on stools, usually male, figures with the hands on the thighs, from Thessaly, in which the human legs merge completely with the front legs of the stool. A stronger resemblance appears in the cases where the back legs of the stool, instead of straight, are arched. However, there are certain differences: in the human figures, seated on stool, the body is clearly delineated from the seat and the four legs are equal in height.

The village societies of Thessaly have left behind a large variety of miniature human figure representations. The emphasis on the features of the human body that relate to fertility (pregnancy, breast-feeding, phallic symbols) indicates the primary purpose of society, its survival and proliferation, to overcome, among other things, the physical dangers and limitations. In this effort, supernatural and magical powers are evidently mobilized, judging from the hybrid creatures depicted on figurines. (Source: National Archaeological Museum)

Bronze Centaur figurine, 550-525 BC, Height: 6.8 cm, Length: 6.5 cm, Acropolis of Athens, Metalwork Collection, National Archaeological Museum - “…that monstrous host of double form, man joined to steed, a race with whom none may commune, violent, lawless, of surpassing might…” Sophocles, Trachiniae, lines 1095-1096 (http://classics.mit.edu/Sophocles/trachinae.pl.txt)

The Centaurs, half human, half horse, are among the strangest creatures created by the ancient Greek imagination. From the union of the king of the Lapiths Ixion with Nefele, a cloud made into the likeness of Hera, the first Centaur was born. The latter mated with the mares of Mount Pelion and so emerged the tribe of Centaurs. Most of them lived in the forests of Pelion; they were unrestrained like the forces of nature, aggressive, ready for riots and quarrels. On the other hand, there were bright exceptions among the Centaurs, such as Chiron who was a connoisseur of the healing properties of the plants, an excellent hunter, as well as a healer and a teacher of gods and heroes. With their image and their actions the Centaurs symbolize the duality of human nature and reveal the lower instincts that coexist with the high spiritual values of the human beings. (Source: National Archaeological Museum)

White-ground lekythos by the Edinburgh Painter, ca 500 BC. Black-figure representation: Peleus delivers Achilles to Centaur Chiron (left), Attic black-figure burial amphora by the Nessos Painter, 620-612 BC. Portrayed on the neck is the fight of Heracles against Centaur Nessos and on the belly the pursuit of Perseus by the Gorgons, headless Medusa’s sisters. From a grave at Peiraios St., Athens (right). Vase Collection, National Archaeological Museum.

Depictions of centaurs on ancient Greek pottery and architectural sculptures often show them in violent struggles with humans in the Centauromachy scenes. Centauromachy reflects man’s struggle against the wild elements of nature and his personal fight to maintain moderation and sense. In a different context, it symbolizes the conflict of the civilized Greeks against the barbarians.

Parthenon Metope 1, A Centaur grips a Lapith by the neck while he prepares to strike him a hard blow with a tree branch, Pheidias Workshop, 445-440 BC (left), Marble from Penteli, Height: 1.345 m Length: 1.305 m (left), Parthenon Metope 12, A Centaur grabs a Lapith woman and draws her forcibly towards him, Pheidias Workshop, 445-440 BC (right), Marble from Penteli, Height: 1.08 m Length: 1.22 m Width: 0.15 m, The Parthenon Gallery, Acropolis Museum.

The main theme of the 32 metopes on the south side of the Parthenon is the Centauromachy, the mythical battle between the Lapiths and the Centaurs. The Centaurs, while attending the wedding feast of king Peirithoos in Thessaly, close friend of the Athenian hero Theseus, became drunk and attempted to carry off the Lapith women. The Acropolis Museum houses metopes 1 and 12 as well as fragments of 9 further metopes, which were found scattered on the Acropolis and the surrounding area. Their reconstruction was achieved with the help of the drawings attributed to the painter Jacques Carrey, who visited Athens in 1674, just thirteen years before its bombardment by Morosini. 15 out of the 18 best preserved metopes were forcibly detached by Thomas Bruce, lord of Elgin, when Greece was under Ottoman occupation, and ended up in the British Museum in London (nrs. 2-9 and 26-32). Smaller fragments have been dispersed in other museums abroad.

West Pediment of the Temple of Zeus at Olympia, 470-456 BCE, parian marble, pentelic marble, length: 26,39 m (pediment length), height: 3,47 m (maximum). According to the myth, the god of Light and Reaso, Apollo (at the centre) determines the outcome of the dramatic engagement between Lapiths and Centaurs. Archaeological Museum of Olympia (Photo: visit-olympia.gr)

During the Renaissance, artists like Sandro Botticelli, who was influenced by the Neoplatonists, Michelangelo and Leonardo da Vinci depicted centaurs in a more refined and intellectual manner, representing them in a more balanced and heroic light, reflecting the era's fascination with human potential and mythological symbolism.

The depiction of centaurs remained popular in art throughout the centuries and centaurs continue to be influential to the present day as representations of primal human instincts and the ongoing human endeavor to balance these impulses with societal norms.

Sandro Botticelli, Pallas and the Centaur, 1482, Tempera on canvas, 204 × 147.5 cm, Uffizi Gallery, Florence. Pallas/Minerva is a major deity, representing wisdom, trade, and more. Centaurs are associated with uncontrolled passion, lust and sensuality. The painting's meaning is clearly at least in part about the submission of passion to chastity and/or reason (left), Gustave Moreau, Dead poet borne by centaur, c.1890, gouache, watercolor, paper, Musée National Gustave Moreau, Paris. This painting by Gustave Moreau was made when Alexandrine Dureux, his best friend died (right)

Eugène Delacroix, Deux études de centaures, 1837, H. 0,2 m ; L. 0,299 m, encre brune à la plume, The Louvre Museum (left), Yannis Tsarouchis (1910 - 1989), Centaurs and Lapiths, 1936, Copperplate engraving (proof), 14 x 18,7 cm, Athens National Gallery (right)

Lerna: A Gateway to Prehistoric Greece and Mythology

iandrianopoulos — Thu, 13 Feb 2025 10:35:05 +0000

Lerna, located on the west side of the Argolic Gulf in the eastern Peloponnese near the modern village of Myloi, is one of the most important prehistoric sites in the Greek world. The settlement extended over a low hill, only 5.50m in height and covering a total area of 180m by 160m. This hill was formed through the accumulation of successive layers of habitation over approximately 5,500 years, from the Neolithic to the Mycenaean period (mid-7^th to 1st millennium BC). The choice of this location as a place for a permanent settlement was due to its abundant natural resources, including fertile land, and the springs of Lerna. Additionally, its proximity to the sea and the mountains of Arcadia ensured its residents control of maritime trade routes as well as the possibility of controlling the passage to Arcadia.

General view of Lerna (Source: American School of Classical Studies at Athens, ASCSA)

Lerna, the archaeological site (Source: Ephorate of Antiquities of Argolida)

Systematic excavations were conducted from 1952 until 1958 by the American School of Classical Studies at Athens (ASCSA) under the direction of Professor J.L. Caskey. These were confined to the southern section of the tumulus and brought to light seven main chronological phases of human occupation identified by the Roman numerals I-VII.

General view of Lerna (Source: American School of Classical Studies at Athens, ASCSA)

Excavations in the deeper levels have uncovered houses from the Early and Middle Neolithic periods (Lerna I and II: 6th-5th millennium BC), with a Middle Neolithic house still visible today. Lerna reached its peak during the Early Helladic II phase (Lerna III: 2700-2200 BC), at which the settlement acquired a strong wall with a gate and two towers on the south side. Among the rectangular houses of this period a monumental building stands out, 12m x 25m in size, with the main entrance on the east and a row of rooms running East-West and corridors on its long sides. It was a two-storey construction built with stone foundations and a superstructure of unbaked brick, and it had a tile roof. Many of them were found in the destruction level and gave the buildings its name ‘House of Tiles’ (today preserved under a large, modern shelter). In the southernmost of the two small rooms that could be accessed only from the outside of the building were found more than 150 clay sealings bearing the impressions of some 60 seals.

Lerna, The House of Tiles, (Source: Ephorate of Antiquities of Argolida)

The “House of the Tiles” was destroyed by fire before its completion. Its complex architecture, the sealings, and the fact that after its destruction residents revered it by constructing above it a circular tumulus that marked the site testify to its having been the commercial and administrative center of the entire surrounding region and suggest the presence of an early urban system with centralized administration. Its destruction was probably owed to the arrival of new inhabitants who later built new houses above the tumulus (Early Helladic III period: late 3rd millennium: Lerna IV) and introduced new practices in architecture (apsidal houses) and in pottery (use of an early form of potter’s wheel).

Lerna, The Middle Helladic complex with a food storage area. Kantharos from Room 45 (top left), Imported vessel (flask) from Room 44 (top right), Room 45: The doorway with the wooden jamb partially restored (lower left), Room 45 (food storage area with pithoi) (lower right) [Source: American School of Classical Studies at Athens, Lerna Excavations Archive].

Habitation continued during the Middle Helladic period (Lerna V: 2000 – 1700 BC). During this period the settlement flourished as agricultural production became more systematic and commercial relations developed with Aegina, the Aegean islands, and Crete. At the time of the transition to the Late Helladic period (Lerna VI: 1700-1600 BC) two shaft graves were dug into the ruins of the House of Tiles. During the Mycenaean period (14th-13th c. BC: Lerna VII) the settlement continued to be inhabited, though in the shadow of Mycenae and Tiryns.The mound was used mainly as a cemetery and only sporadically for habitation. The end of the Lerna settlement essentially came with the end of the Bronze Age. In about 1250 BC, the site was definitely abandoned.

(Source: Ephorate of Antiquities of Argolida, Hellenic Organization of Cultural Resources Development-HOCRED)

The finds from the Lerna excavations are exhibited in the Archaeological Museum of Argos.

Archaeological Museum of Argos, ceramics from Lerna (left, Source: argolikivivliothiki.gr), A terracotta figurine of a standing nude female dates to the Early Helladic II (Lerna III: 2700-2200 BC) phase (right) (Source: HOCRED)

In the American School of Classical Studies at Athens ASCSA’s latest publication (2024), Lindsay C. Spencer presented the previously unpublished Middle Helladic (MH) pottery from Lerna. The new volume features a catalogue of over 2,400 ceramic objects, accompanied by an analysis of their shapes, decoration, and fabrics, elucidating the changing patterns of ceramic production and consumption at Lerna. MH Lerna has long been regarded as a hub of interaction and exchange. Spencer highlights the significant presence of imported Cretan ceramics from the early MH period, as well as the large number of beautifully decorated drinking vessels and distinctive dark-on-light banded amphoras. She comments on the considerable number of Minoan imports found at Lerna, noting how they were integrated into local dining, serving, and storage sets. She also points out the abundance of large Aiginetan matt-painted barrel jars, used for storage, reflecting on the logistical challenges of transporting these vessels to the site—first by ship and then possibly by donkey. (Source: “A work for the (Middle Bronze) Ages”, American School of Classical Studies at Athens, ASCSA)

One of the many Minoan vessels found at early MH Lerna (left), A large Aiginetan matt-painted barrel jar from Lerna, over 0.5 m tall (right) (Source: ASCSA)

Lerna is linked to Greek mythology. In spite of the fact that in historical times Lerna was a site of minor importance, it was here that myth placed the bottomless lake of Alkyonia and the spring of Amymone. In Lerna Hercules killed the serpentine monster, the Lernaean Hydra, which had its lair in the springs of Anymone. In this way he secured access to the springs by men, who could make use of the region’s water by transforming its land into farmland.

Hercules and Iolaos kill the Hydra of Lerna. Red-figure representation of an Athenian stamnos of the painter of Syleus from the Chiusi of Etruria (480-470 BC), Palermo, Museo Nationale

Danaus and his 50 daughters disembarked south of Lerna and founded the sanctuary of Athena Saitis (on top of Pontinos Hill to the west of the village of Myloi, today occupied by the remains of a Frankish castle). His daughters sank the heads of their slain husbands, the sons of Danaus’ brother Aegyptus, in the waters of the bottomless lake Alkyonia that formed one of the entrances to the Underworld. Hades descended to the Underworld with Persephone from this lake, as did Dionysus, in order to bring his mother Semele back to earth. Dionysus was killed by Perseus, who opposed the new religion, in the waters of Lerna. The Danaid Anymone was united in love with Poseidon and the fruit of their union was Nauplios, the hero-founder of Nauplia.

Modern geological methods identified the location of the sacred Lake Lerna, once a freshwater lagoon separated from the Aegean by barrier dunes. During the Early Bronze Age, the lake was approximately 4.7 km in diameter. However, deforestation accelerated silt accumulation, transforming the lake into a malarial swamp, with the last remnants drained in the 19^th century. Today the springs of Lerna and Anymone supply the inhabitants of the municipalities of Nafplio and Argos-Mycenae with drinking water.

(Source: Lerna “Delighting in Water”, Argolisculture.gr, Ephorate of Antiquities of Argolida)

Several monuments in the broader area are worth sightseeing and can be combined with the natural beauty of Argolis, including trekking routes, stunning beaches, and exquisite gastronomy.