By Robin J. Lane Fox
Some time past 35 years our archaeological and epigraphic proof for the heritage and tradition of historical Macedon has been reworked. This booklet brings jointly the prime Greek archaeologists and historians of the realm in an enormous collaborative survey of the unearths and their interpretation, lots of them unpublished outdoors Greece. the new, immensely major excavations of the palace of King Philip II are released right here for the 1st time. significant new chapters at the Macedonians' Greek language, civic existence, fourth and 3rd century BC kings and court docket accompany expert surveys of the region's artwork and coinage and the royal palace centres of Pella and Vergina, awarded right here with a lot new facts. This e-book is the basic spouse to Macedon, filled with new details and bibliography which no scholar of the Greek international can now come up with the money for to forget.
Read Online or Download Brill’s Companion to Ancient Macedon: Studies in the Archaeology and History of Macedon, 650 BC–300 AD PDF
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Additional resources for Brill’s Companion to Ancient Macedon: Studies in the Archaeology and History of Macedon, 650 BC–300 AD
The area where the helmet in the Tomb lay was noticeably damp, as those present have informed me, and the irregular hole in the helmet was due to corrosion. It was not related to underlying patching and indeed, a blow from a sword-like kopis onto this part of the helmet would not have resulted in a key-hole shaped cut of such dimensions, nor would Alexander’s head merely have been “grazed,” as Plutarch claims. The helmet’s damage is anyway irrelevant. More importantly, it is not the helmet which Alexander wore at the Granicus at all.
On the famous cuirass and the inner side of the ivory shield from Tomb II, images of Athena Parthenos and winged Victories (modelled on Athenian prototypes) are visible. The cuirass is one for ceremonial, rather than military use, and is a companionpiece to the ceremonial gold and ivory shield. It is possible that both were made for Philip II by master Greek artists in the last years of his life, both drawing on imagery best known from the great works of the Athenian Acropolis, partly because of its Hellenic fame but also befĳitting the newly appointed leader of the Hellenes, self-styled avenger of the Persians’ sacrilege to the Acropolis’s Athenian temples in 480 bc.