Chariot

Abstract: AcknowledgmentsCh 1The Mistake of the Emperor Mystique3Ch 2The Chariot and the Donkey23Ch 3The Magician54Ch 4Larger-than-Life92Ch 5Christ Chameleon115Ch 6Convergence142Ch 7The Intimate Icon177List of Abbreviations181Notes183List of Figures205Index213

Abstract: List of IllustrationsAcknowledgmentsAbbreviationsPt. 1IntroductionCh. 1The Catastrophe and Its Chronology3Ch. 2The Catastrophe Surveyed8Pt. 2Alternative Explanations of the CatastropheCh. 3Earthquakes33Ch. 4Migrations48Ch. 5Ironworking73Ch. 6Drought77Ch. 7Systems Collapse85Ch. 8Raiders91Pt. 3A Military Explanation of the CatastropheCh. 9Preface to a Military Explanation of the Catastrophe97Ch. 10The Chariot Warfare of the Late Bronze Age104Ch. 11Footsoldiers in the Late Bronze Age135Ch. 12Infantry and Horse Troops in the Early Iron Age164Ch. 13Changes in Armor and Weapons at the End of the Bronze Age174Ch. 14The End of Chariot Warfare in the Catastrophe209Bibliography227Index245

Abstract: Preface. Acknowledgements. 1. Chariots of Change Part One: The Tide of Time 2. Game of Life 3. Players in the Game 4. Dynamics of Being Part Two: Shadow of the Tower 5. Tower of Babel 6. Quest for Meaning Part Three: Wheel of Fire 7. Riders in the Chariot 8. Family of Man 9. Maker of the Wheel 10. Horsemen of War 11. Conjurers of Commerce 12. The Dynamic Society 13. Edge of Darkness? Glossary Bibliography

Abstract: In RA 1972, 57–72 (‘Herakles, Peisistratos and Sons’) I tried to demonstrate that the exceptional popularity of Herakles in Athenian art of the Peisistratan period was due to some degree of deliberate identification between tyrant and hero, both appearing as special proteges of the goddess Athena, and that this association was mirrored by certain changes and innovations in the iconographic tradition of Herakles as represented on Athenian, and only Athenian, works of art of those years. The most explicit association was expressed in Peisistratos' return to Athens after his second exile, in a chariot accompanied by a mock Athena (Hdt. i, 60). This episode was mirrored by or inspired a change in the usual iconography of Herakles' Introduction to Olympus by Athena, on foot, to a version in which the hero is shown with the goddess in a chariot. Taken with other evidence of Athenian interest in the hero, their priority in accepting him as a god and promotion of his worship, which can plausibly be attributed to this same time, and a number of other scenes which seemed likely to reflect some political rather than purely narrative interest, the case appeared to the writer strong, though circumstantial, and in the total absence of any indications in surviving literary sources it was not possible to judge, except in the light of common sense, which parts of the case were strongest, which better discarded.