"The blue monkeys painted on the walls of Akrotiri on the Greek island of Santorini are among many animals found in the frescoes of this 3,600-year-old city. Historians have studied the murals for decades since they were unearthed in the 1960s and 1970s on the island, which was once known as Thera. But when we and a team of other primatologists recently examined the paintings, we realized the monkeys could provide a clue that the Bronze Age world was much more globalized than previously thought." Source: Phys.org.
"Archaeologists had assumed the monkeys were an African species, with which the Aegean people that built Akrotiri probably came into contact via trade links with Egypt. But we think the paintings actually depict Hanuman langurs, a species from the Indian subcontinent. This suggests the Aegean people, who came from Crete and the Cycladic islands in the Aegean Sea, may have had trade routes that reached over 2,500 miles."
The prehistoric town of Akrotiri, Greece.
Note: "Bronze Age Aegean (ca. 3500–1100 B.C.) wall paintings from the islands of Crete and Thera depict monkeys in a variety of roles such as running wild in nature, possibly following (trained) commands, and participating in sacred activities. These images, while stylistically Aegean, are traditionally considered closely related to—and descendant from—Egyptian, Near Eastern, and Mesopotamian monkey imagery. While monkey depictions in the latter regions may provide species-specific characteristics, Aegean wall paintings typically lack this level of detail." Source: A new identification of the monkeys depicted in a Bronze Age wall painting from Akrotiri, Thera.
Notes: Cybele may have evolved from an even older fertility goddess in the proto-city of Catalhoyuk (7500-5700 BC), also located in ancient Anatolia. According to the Oxford Classical Dictionary (OCD, 3rd ed. revised), Cybele was "the great mother-goddess of Anatolia, associated in myth, and later at least in cult, with her youthful lover Attis. Pessinus in Phyrgia was her chief sanctuary, and the cult appears at an early date in Lydia."
According to Theoi Greek Mythology, "Kybele (Cybele) was the ancient Phrygian Mother of the Gods, a primal nature goddess worshiped with orgiastic rites in the mountains of central and western Anatolia. The Greeks identified her with their own mother of the gods--the Titaness Rhea."
The cult of Cybele was apparently introduced fairly early (3rd cent. BC) in Rome. "Thanks to its official status and early naturalization in Rome and in Ostia, the cult spread rapidly through the provinces, especially in Gaul and Africa, and was readily accepted as a municipal cult. Its agrarian character made it more popular with the fixed populations than with the soldiers, and it was especially favored by women." (OCD)
Cybele was also known as the Magna Mater or Great Mother (1). According to The Ancient Mysteries: A Sourcebook of Ancient Texts, edited by Marvin W. Meyer (p.113), "she was honored as the mother goddess of fertility, but her particular power was evidenced in the wilds of the untamed forests and mountains." After Cybele entered the official Roman pantheon, "she was to function practically as a Roman national goddess" and enjoyed great favor with the emperors starting with Claudius in the first century.
(1) Several other goddesses were also referred to as "Great Mother."
"The most well-known Roman festival in honor of the Anatolian deities [Cybele and her consort Attis] was celebrated in the spring, during March," according to The Ancient Mysteries (p.114). These rites were associated with violent religious frenzy. "March 24 was aptly named The Day of Blood. On this day some of the fanatical celebrants flogged themselves until they bled and sprinkled their blood upon the image and altars in the sanctuary, while others are said to have imitated Attis by castrating themselves." (Ibid) Bulls were also sacrificed in honor of the Great Mother of the Gods.
Several Roman historians and poets described the cult of Cybele in detail. Livy, for instance, described how the cult was first brought to Rome in his History of Rome (Book 29.10-14):
"About this time a sudden wave of superstition swept over Rome. The Sibylline Books had been consulted because it had rained stones that year more than usual [!], and in the Books a prophecy was found that if ever a foreign enemy should invade Italy, he could be defeated and driven out if Cybele, The Idaean Mother of the Gods, were brought from Pessinus to Rome." (Ibid, p. 121).
Christian writers denounced the cult of Cybele and the church banned it altogether when they gained the secular power required to force their intolerant monotheism on the pagan world, but the tradition of the Great Mother still survives in the figure of the Virgin Mary.
"In Greek mythology, a Gorgon ... is a mythical creature portrayed in ancient literature. While descriptions of Gorgons vary and occur in the earliest examples of Greek literature, the term commonly refers to any of three sisters who had hair made of living, venomous snakes, as well as a horrifying visage that turned those who beheld her to stone. Traditionally, while two of the Gorgons were immortal, Stheno and Euryale, their sister Medusa was not and she was slain by the demigod and hero Perseus." (Wikipedia)
Note: The depiction of Medusa's death in Clash of the Titans deviates from the traditional story:
"According to the canonical version of the [Gorgo/Medusa] myth, Perseus was ordered to fetch the head of Medusa, the mortal sister of Sthenno and Euryale; through their horrific appearance these Gorgons turned to stone anyone who looked at them. With the help of Athena, Hermes and nymphs, who had supplied him with winged sandals, Hades' cap of invisibility, and a sickle Perseus managed to behead Medusa in her sleep; from her head sprang Chrysaor and the horse Pegasus [according to Wikipedia, Medusa foaled Pegasus when she died]. Although pursued by Medusa's sisters, Perseus escaped and, eventually, turned his enemy Polydectes[1] to stone by means of Medusa's head." Source: Oxford Classical Dictionary (3rd ed. revised)
[1] Polydectes, king of the island of Seriphos, is said to have fallen in love with Perseus' mother, Danae, but the protective Perseus wouldn't let the king anywhere near her. In order to get her meddlesome son out of the way, Polydectes sent Perseus on a suicidal mission to bring him Medusa's head.
When Perseus returned, he discovered that the king had been threatening and abusing his mother in his absence. Polydectes, less than pleased to see Perseus still alive, demanded to know if he had succeeded in his mission and Perseus held up the gorgon's severed head, turning the king and all his advisors into stone.
Note: "Petrifaction, or petrification as defined as turning people to stone, is a common theme in folklore and mythology, as well as in some works of modern literature." (Wikipedia)
One classic example of the use of petrifaction in modern fiction can be found in the great story Out of the Aeons by H.P. Lovecraft and Hazel Heald. One of the best of Lovecraft's collaborations, this is a truly dark and frightening story about a museum which obtains a mysterious mummy that turns out to be the petrified remains of a man who confronted the ancient god Ghatanothoa, a gorgon-like entity so horrible that anyone who looks at it is instantly turned to stone while their brain remains alive and conscious for all eternity. Highly recommended.
Notes: "Throughout antiquity, [Dionysus] was first and foremost the god of wine and intoxication. His other provinces include ritual madness or ecstasy (mania); the mask, impersonation, and the fictional world of the theater; and, almost antonymically, the mysterious realm of the dead and the expectation of an afterlife blessed with the joys of Dionysus." -- Oxford Classical Dictionary (OCD, 3rd ed. revised).
Dionysus was a foreign, perhaps Thracian god, a barbarian deity whose "wild nature was ultimately civilized and sublimated with the help of the Delphic Apollo," according to the German classical scholar, Erwin Rohde (OCD). The rites of the Dionysian Mysteries were "based on a seasonal death-rebirth theme (common among agricultural cults) and spirit possession" (Wikipedia) and centered around wild, trance-inducing processions and ceremonies:
"Following the torches as they dipped and swayed in the darkness, they climbed mountain paths with head thrown back and eyes glazed, dancing to the beat of the drum which stirred their blood' [or 'staggered drunkenly with what was known as the Dionysus gait']. 'In this state of ekstasis or enthusiasmos, they abandoned themselves, dancing wildly and shouting 'Euoi!' [the god's name] and at that moment of intense rapture became identified with the god himself. They became filled with his spirit and acquired divine powers." -- Hoyle, Peter, Delphi, London : Cassell, 1967. Cf. p. 76.
The cult of Dionysus is said to have included slaves and (according to the myths) women known as maenads who engaged in orgies of irrational, bloody slaughter while possessed by their god. In The Bacchae by Euripedes, for example, the hapless king of Thebes, Pentheus, hides in a tree to spy on the secret rituals, only to come to a very bad end. According to Wikipedia, "Dionysus, revealing himself, called out to his followers and pointed out the man in the tree. This drove the Maenads wild. Led by Agave, [Pentheus's mother], they forced the trapped Pentheus down from the tree top, ripped off his limbs, his head, and tore his body into pieces."
The Bacchae is a fantastic play, by the way. Very dark and violent. Highly recommended.
In the myths the followers of Dionysus took "delight in eating raw flesh," but this probably never happened in real life (?) According to the OCD, "in poetry and vase-painting, Dionysus and his mythical maenads tear apart live animals with their bare hands and eat them raw. But the divinely inflicted madness of myth was not a blueprint for actual rites, and the notion that maenadism 'swept over Greece like wildfire' is a Romantic construct that has to be abandoned along with the suggestion that the maenads sacramentally consumed Dionysus in the shape of his sacred animal."
The Romans called Dionysus Bacchus and his rites the Bacchanalia. Always suspicious of private organizations, both religious and secular, the Roman authorities saw the cult as subversive and morally degenerate:
"In early Rome, the cult of Bacchus had a presence among the people of central and southern Italy by the 3rd century BC. Like its Greek counterpart, it soon came under suspicion by the ruling class. The cult was divided into local cells with their own hierarchical structures and oaths of loyalty (1). Most of the members were women and their Bacchanalia festivals were believed to include animal sacrifices and sexual orgies. The Roman Senate viewed these gatherings as a threat against Roman authority, banning the cult and the Bacchanalia in 186 BC." Source: Ancient Peoples.
(1) The Roman government had good reason to be suspicious of underground groups like this. In their experience, private organizations such as craft guilds and trade associations (which usually had a religious component) had a tendency to become centers of political agitation. The cell structure of the Dionysian cult in Rome was a bad sign as well, at least from the Senate's point of view (cells are a common feature of espionage networks and terrorist groups). Note that the organization of the cult was almost identical to the organization of early Christianity, another cult surrounded with rumors of foreign rituals and bizarre sexual practices.
"Sappho of Lesbos (c. 620-570 BCE) was a lyric poet whose work was so popular in ancient Greece, and beyond, that she was honored in statuary and praised by figures such as Solon and Plato. Very little is known of her life and of the nine volumes of her work which were widely read in antiquity only fragments survive. Contrary to popular opinion on the subject, her works were not destroyed by closed-minded Christians seeking to suppress lesbian love poetry but were lost simply through time and circumstance." Source: Ancient History Encyclopedia.
The popular image of Sappho as the "original lesbian" is relatively modern. According to the Oxford Classical Dictionary (2rd ed. revised), "Her sexual inclinations have occasioned much speculation from antiquity to the present. From Attic comedy onward she was credited with an implausible selection of male lovers. [Emphasis added] She is described as a lover of women only in post-Classical times, and in later European tradition was often regarded as heterosexual." The truth is that hardly anything is known about her personal life or her work other than the fact that she was highly regarded during her time. As for her supposed lesbianism, the truth may have been far different:
"Even Sappho’s sexuality, which for modern readers is the most famous thing about her, has been controversial from the start. However exalted her reputation among the ancient literati, in Greek popular culture of the Classical period and afterward Sappho was known primarily as an oversexed predator — of men. This, in fact, was the ancient cliché about 'Lesbians': when we hear the word today we think of love between women, but when the ancient Greeks heard the word they thought of blow jobs. In classical Greek, the verb lesbiazein — 'to act like someone from Lesbos' — meant performing fellatio, an activity for which inhabitants of the island were thought to have a particular penchant." Source: "Girl, Interrupted," Daniel Mendelsohn, The New Yorker.
The strong possibility that Sappho, "the most iconic lesbian poet in history," may have actually been a notorious heterosexual man-eater famous for her knob jobs is absolutely hilarious and all too typical of the way real history so often turns out to be the exact opposite of what everybody thinks they know.
"Sonar technology has been used to identify one of the biggest Roman shipwrecks ever found in the Mediterranean Sea. It is believed that the vessel lay at the bottom of the seabed for 2000 years." Source: Ancient Origins.
"The wreck was located off the Greek island of Kefalonia, between 2013 and 2014 during 'an underwater natural and cultural heritage assessment survey,' reports the Journal of Archaeological Science . It was found not far from the fishing port of Fiskardo. The shipwreck has been named after the village as it is now called the ‘Fiskardo shipwreck’."
Note: "The shipwreck is dated between 1st century BC and 1st century AD and is one of the largest found so far in the Mediterranean Sea, for that period. It is estimated that it was carrying about 6,000 amphorae. The amphorae cargo, visible on the seafloor, is in very good state of preservation and the shipwreck has the potential to yield a wealth of information about the shipping routes, trading, amphorae hull stowage and ship construction during the relevant period and is therefore considered to be of significant archaeological importance." (Journal of Archaeological Science)
According to Ancient Origins, "The discovery of such a large vessel indicates that the small fishing village of Fiscardo was once an important commercial port. Recent archaeological finds suggests that it was a sizeable town in the classical era . The Journal of Archaeological Science states that 'houses, bath complexes, a theatre, a cemetery and a tomb, dating to Roman times between 146 BC and 330 AD were recently found,' near the modern sleepy fishing port."
"The Black Sea is considered to be one of the world’s finest underwater laboratories due to the anoxic (un-oxygenated) layer which preserves artefacts better than any other marine environment." Source: Black Sea Marine Archaeology Project. The sea bottom is a museum full of ancient shipwrecks from all over Europe, Asia and the Near East, as well as submerged artefacts and shorelines dating back to prehistoric times:
"Perhaps the most promising areas in deepwater archaeology are the quest for submerged prehistoric settlements in the continental shelf and for ancient shipwrecks in the anoxic zone, which are expected to be exceptionally well preserved due to the absence of oxygen. This concentration of historical powers, combined with the preservative qualities of the deep anoxic waters of the Black Sea, has attracted increased interest from marine archaeologists who have begun to discover a large number of ancient ships and organic remains in a high state of preservation."
"Archaeologists know quite a bit about ancient ship design from the classical world since the Greeks liked to decorate their pottery with images of impressive wooden military vessels and cargo ships that plied the Mediterranean sea for centuries. Except for a few precious remnants of wood, however, the vessels themselves are long gone. But researchers in the Black Sea have uncovered something incredible." Source: Smithsonian (2018)
"Kevin Rawlinson at The Guardian reports that the Black Sea Maritime Archaeology Project (MAP) has discovered an Greek merchant vessel on the floor of the sea dating back to about 400 B.C., the oldest known intact shipwreck ever discovered."
"...The ship is believed to be a trading vessel similar to a merchant ship depicted on the Siren Vase held at the British Museum. The vase, which dates to around the same time as the ship, is an image of the hero Odysseus lashed to the mast in order to resist the song of the Sirens, who mythology says used their hypnotic song to lure sailors into shipwrecking on their rocky island."
Note: "Cnidus or Knidos (pronounced K-nee-dos) lies at the tip of a long finger of land projecting into the sea in the south-west corner of western Turkey. It was founded in around 360 BC on terraces built into ground that rises a 1, 000 feet from the sea to a towering fortified acropolis. The city was inhabited until late antiquity, when it was abandoned, probably as a result of repeated raids by pirates." Source: The British Museum
"Cnidus boasted two fine harbours, four theatres and other fine civic and sacred buildings, the most important of which were situated on the western edge, overlooking the sea and with a fine view of the island of Cos. The Cnidians exported their wine and other produce far and wide, but the city was chiefly famous for its statue of Aphrodite. This naked representation of the goddess of love was carved by the Athenian sculptor Praxiteles, celebrated for his ability to turn white marble into living flesh.
This charming contraption is regularly featured in sensationalistic stories and videos about ancient death machines. According to Wikipedia, "the brazen bull, bronze bull, or Sicilian bull, was a torture and execution device designed in ancient Greece. According to Diodorus Siculus, recounting the story in Bibliotheca historica, Perillos of Athens invented and proposed it to Phalaris, the tyrant of Akragas, Sicily, as a new means of executing criminals." The brazen bull may have had its origins in Carthaginian human sacrifices and ancient bull worship, assuming that it actually existed, of course.
I haven't been able to find much information about the alleged inventor, Perillos of Athens, other than that he was a brass worker who was supposed to have invented and suggested the use of the Bull to the tyrant Phalaris. If true, Perillos must have had a sick mind and he apparently came to a well-deserved end when Phalaris (disgusted by Perillos's sadism) used him as a guinea pig to test his new invention. Perillos was cooked inside the bull for a while, then taken out alive and thrown off a cliff. That's the story, anyway.
The question is: How much of this story is actually true? The history is extremely murky, but as far as I can tell, no archaeologist has ever uncovered hard evidence that the brass bull as described here ever existed. According to NNDB (a kind of Who's Who database that I'd never heard of before), "the story of the bull cannot be dismissed as pure invention. Pindar, who lived less than a century afterwards, expressly associates this instrument of torture with the name of the tyrant [Phalaris]. There was certainly a brazen bull at Agrigentum, which was carried off by the Carthaginians to Carthage, from where it was again taken by Scipio [Africanus?] and restored to Agrigentum."
Pindar was probably just passing on a story he found in the sources. Likewise for Diodorus Siculus, whose reliability as a historian is still a matter of debate. A very scholarly discussion of Diodorus Siculus's historical method in relation to the story of the bull of Phalaris can be found here [PDF]. As for the brass bull at Agrigentum mentioned above, I haven't been able to find any evidence that it was the same bull as the famous Brazen Bull or that the Agrigentum bull was anything more than a statue. The bull was sacred to several ancient cultures.
There's no limit to human cruelty, but I'm guessing that the story of the Brazen Bull is an early example of propaganda designed, in this case, to smear the reputation of Phalaris, a hated tyrant who was eventually overthrown for his viciousness (and supposedly burned inside his own torture device). According to Livius, "Phalaris became the prototype of an evil dictator" and the story of the invention of the brass bull "...was clearly invented to suggest what tyranny was all about, but there may be an element of historical truth."