The Limassol Archeological Museum

Nestled on the southern coast of Cyprus, Limassol is a city that holds a special place in my heart. As a native, I have always been fascinated by the rich history and cultural heritage that permeates every corner of this vibrant city. From the old town lined with shops and cafes to the ancient ruins that whisper stories of civilizations past, Limassol is a treasure trove waiting to be explored.

One of the crown jewels of Limassol's cultural scene is the Limassol Archeological Museum. In this blog post, we will embark on a journey through the halls of the Limassol Archeological Museum, discovering the treasures that lie within and uncovering the stories they have to tell about Ancient Cyprus.

My Thoughts on the Limassol Archeological Museum

The Museum itself is host to the entire Chronology of Cypriot antiquity from the very earliest Neolithic finds to the late classical period. As you enter the museum you are greeted with Neolithic finds, and as you go deeper and deeper you travel through time to the late classical period. This is a great way to see the progression of Cypriot culture and society over the centuries.

Almost the entire collection is present in one large room comprised of a dozen or so large glass cases with multiple levels. There are another couple of rooms later on which are more of a walk-through experience and are guided. These contain sparser but very beautiful artefacts. One thing I really appreciate is that a good amount of artefacts are not hidden behind glass, but left in the open. While this can lead to unfortunate accidents it really does improve the experience of viewing the artefacts.

Figure 1. Extremely Large Bronze Age Jar (~140cm tall)

The majority of the collection is made up of pottery. There are a few neolithic figures which are undoutably beautiful, but only a single Bronze Age Plank figure and is lacking Astarte Style figures. The first room, in which guests likely spend most of their time until they grow tired, completely lacks any Iron Age figures.

The first room also struggles to provide a nice experience. If you are well versed with Cypriot material culture you will undoutably find the collection interesting, but if you are not you will likely find the experience quite boring. There are a few signs telling visitors what chronology a particular case contains, but that's about it. There is no effort made to give context, no effort to explain what the visitor is looking at, and no effort to make the experience engaging.

I have photographed some of the more interesting artefacts on display at the Limassol museum, but note that many prototypical examples are not represented in these photos although many are in the museum.

The glass cases use rather cheap museum glass that is quite reflective, and as the cases lack internal lighting the bright sun can make some angles aesthetically unpleasing.

Figure 2. Bronze Age Jugs Display Highlighting Reflective Museum Glass

Neolithic

Figure 3. Lower Pygmy Hippo Jaw

The Limassol museum has a small neolithic section comprised of two separate display cases.

Cyprus has had human presence dating back to the Neolithic period, or perhaps even sporradic visitors in the late paleolithic, around 9000 BC. During this time, communities transitioned from a hunter-gatherer lifestyle to a more settled agricultural existence. The first Neolithic Cypriots were seafarers from the nearby mainland who brought knowledge of farming and domesticated animals. They established villages across the island, setting the stage for future cultures.

One of the most intriguing aspects of the Cypriot Neolithic is the unique fauna that once roamed the island. Perhaps most notable were the pygmy hippos, tiny versions of their mainland counterparts, that thrived in the island's lush landscapes. These fascinating creatures, along with dwarf elephants, were hunted to extinction by the early inhabitants, providing a source of food and materials.

The Neolithic Cypriots were also skilled toolmakers, crafting a variety of implements from locally available chert. These flint tools, including axes, scrapers, and arrowheads, were essential for hunting, farming, and everyday tasks, showcasing the ingenuity and adaptability of these early communities.

The first display case showcases some early Neolithic flint tools as well as an array of animal bones. As you may be aware from our article on the fauna of ancient Cyprus, the island was host to pygmy hippos and pygmy elephants. Here we are presented with the lower jaw of such a pygmy hippo. It is difficult to appreciate the size of the jaw from the photo, but seeing it in person really helps jog the imagination as to what these animals must have looked like with their short stature.

Alongside a small array of bones we are presented with Neolithic flint. Dating flint is difficult and is largely based on in-situ context, as flint technology looks quite similar across hundreds and even thousands of years. It is eerie to think that these tools were used by people who lived in the same place as us, but thousands of years ago.

Figure 4. Set of Neolithic Chipped Stone Implements

The next display case shows some later neolithic tools including some pottery fragments from the chalcolithic period, otherwise known as the copper age. These are mixed up together so it's hard to appreciate that what you are seeing might have been produced thousands of years apart, perhaps longer than the time between the present day and the roman empire!

The second display also includes an interesting set of pre-Bronze Age figurine fragments. These were some of the earliest produced on the island that survived to the present day.

Figure 5. Set of Neolithic & Chalcolithic Artefacts

Figure 6. Set of Neolithic & Chalcolithic Artefacts

Figure 7. Small Neolithic Stone Figurines

Chalcolithic

As mentioned in the previous section, Chalcolithic pottery fragments and tools were present in the Neolithic display case. There are however an impressive set of almost complete Chalcolithic pottery vessels in a separate display nearby.

The Chalcolithic period in Cyprus, spanning roughly 4000 to 2400 B.C., was a time of significant cultural evolution. While copper metallurgy emerged during this period, its impact was relatively limited compared to neighboring regions. The true hallmarks of the Chalcolithic were the flourishing of a vibrant artistic style and the initiation of overseas trade. This era witnessed the expansion of settlements, advancements in architectural techniques, and the creation of intricate pottery and figurines.

Figure 8. Tall Chalcolithic Jar

Figure 9. Spherical Chalcolithic Jar Fragment

Figure 10. Tall almost complete Chalcolithic Jug

Figure 11. Spherical Chalcolithic Jar

A defining feature of Chalcolithic Cyprus was its distinctive painted pottery tradition, most notably the Red-on-White ware. This pottery, adorned with striking geometric patterns, showcases the artistic ingenuity and technical skill of the period's artisans. The evolution of the painted style, from the bold and loosely-knit motifs of the Early Chalcolithic to the intricate and refined designs of the Middle Chalcolithic, reflects increasing levels of social complexity and inter-site interaction. The sudden decline of painted pottery towards the end of the Chalcolithic, replaced by a monochrome tradition, marks a significant cultural shift, potentially linked to broader changes in the eastern Mediterranean world.

Bronze Age

Figure 12. Early - Middle Bronze Display Case

The Cypriot Bronze age, roughly from ~2400 to ~1050 B.C., is rarely mentioned as a single all-encompassing time period, usually broken up into Early, Middle and Late. This is due to the incredible changes in societal structures and material culture experienced during this period. The museum however does not make this as a strong distinction but does make an effort to still maintain a natural chronology to the artefacts as you go deeper down the hall.

The Bronze Age section is very large and relatively diverse, representing most types and common shapes of pottery from the period. There is however, as previously mentioned, only a single Plank figurine. The Plank figure is very large for its type and is completely featureless. While it's interesting it doesn't represent the diversity of Plank Figures.

Many incredible Bronze Age jars are placed out in the open, allowing you to see them from many more angles in an unobstructed way.

The collection contains many pieces of pottery of the red slip ware variety, as well as burnished wares. While there is only one plank figure, there are many zoomorphic vessels on display which are of great quality.

Figure 13. Large Burnished Bronze Storage Jar

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Iron Age

Amathus, an ancient city located on the southern coast of Cyprus, near where the Limassol Archeological Museum is located, emerged as a prominent settlement during the Early Iron Age, around 1100 B.C. According to ancient authors like Theopompos, the city was founded by the descendants of Kinyras, the mythical king of Cyprus, who were expelled by the Greeks following the Trojan War. These native Cypriots, known as Eteocypriots, established Amathus on a previously uninhabited site, taking advantage of its strategic location, which offered a defensible acropolis, access to a small anchorage for trade, and proximity to valuable resources such as the Kalavassos copper mines.

Figure 17. Cypro-Geometric White Painted Jar/Amphora

The earliest archaeological evidence from Amathus dates back to around 1050 B.C., with the discovery of tombs containing a mix of local and imported goods, indicating early trade connections with the Levant and the Aegean. As the city grew, it developed its own distinct material culture, including locally produced ceramics and metalwork. By the Cypro-Geometric III period, 850-750 B.C., Amathus had a significant Phoenician presence, as evidenced by a Phoenician necropolis and inscriptions. This ethnic diversity contributed to Amathus' wealth and cultural diversity, with the city's religion and political structure reflecting both Cypriot and Near Eastern influences. Throughout the Iron Age, Amathus continued to prosper as a major trading center and a powerful city-kingdom.

In the Limassol Archeological Museum, the transition to the Iron Age from the Bronze Age is rather sudden, just as it was three thousand years ago. One minute you are looking at Bronze Age white slip ware and the next at a prototypical Cypro-Geometric amphora placed near a wall with no surrounding glass.

Note that I have grouped both the Geometric and Archaic periods under one section. The Museum does make an effort to split up artefacts across each period where distinctions can be made, but note that the lines are often very murky.

Figure 18. Cypro-Geometric Bichrome Dish Display Case

An impressive large display case containing dozens of Cypro-Geometric (and potentially Cypro-Archaic) Bichrome Dishes with various designs can also be seen. The case contains many prototypical designs though it is strange to only have those of the Bichrome type when Wheel-Made White Painted dishes were equally or more common throughout the early Iron Age.

Figure 19. Cypro-Geometric Display Case containing various Iron Age artefacts

Figure 20. Interesting small Cypro-Geometric Bichrome Storage Box

Various fascinating Iron Age vessels can be found to visitors who are better versed in Cypriot material culture, such as multiple Bichrome boxes as in Figure 20.

Figure 21. Cypro-Geometric White Painted Amphora with Goat and Tree Motif

The Museum does not have many Free Fields, though there are multiple Date Palms, Goat and Tree motifs as well as three Free Fields depicting humans (or gods) such as in Figure 25.

One set of jars that I'd like to highlight are the following three Black on Red ware variants. They are not only of a good size but each are adorned with unique and interesting geometric motifs. They also all blend the white painted style and black on red style in a way that is not often seen.

Figure 22. Interesting Large Iron Age Black on Redware Storage Jar

Figure 23. Interesting Large Iron Age Black on Redware Storage Jar

Figure 24. Interesting Large Iron Age Black on Redware Storage Jar

Figure 25. Fascinating Cypro-Archaic White Painted Free Field Face of a Woman on small Oinochoe

Overall the Iron Age section is likely the most impressive and varied, containing several hundred unique terracotta vessels. Again I'd like to mention that there are several types of Iron Age Cypriot art that are nowhere to be seen in the first large chronologically ordered room, namely the terracotta figurines that were so popular in the period.

Cypro-Syllabic Text

One of the most scholarly interesting artefacts on display is a Cypro-Syllabic inscription. This is a very rare find and is the earliest one found in Amathus. The inscription is bold and centered on what would have been an extremely large jar. The inscription is flanked by two bulls rearing, ready to strike towards it.

Figure 26. Extremely Large Iron Age Jar/Amphora Fragment with earliest Cypro-Syllabic Inscription

This locally-produced amphora alongside several others were found in a natural cave near Aphrodite's sacred site. This cavern, which fell into disuse as the Archaic era concluded, was closed off by an accumulation of earth, discarded pottery, terracotta figurines, and skeletal remains of animals.

The engraved syllabry, recognized as the earliest example of the Cypriot syllabic script found in Amathous, does not yet have a definitive interpretation. It displays a syllabic character at each end - "ka" on the left side and "po" on the right - while the central portion appears to contain numerical data, though this remains speculative.

My Favorite Artifact

When I saw this I immediately stopped in my tracks. I could not believe this jar was from the Iron Age. I had yet to see other pieces of Iron Age Cypriot art so clearly and strongly influenced by the Aegean.

Figure 27. Agean Inspired Cypro-Archaic Free Field White Painted Jar/Hydria

This small jar was discovered in a grave in Amathous's western cemetery. It was made locally in the 6th century BC. The style, called "Amathous Style," shows clear influence from Aegean art.

The main picture on the jar is thought to show a journey to the afterlife. It depicts a man, likely meant to be the dead person, riding a horse. A guide leads the way, carrying a torch in one hand and a flower in the other.

The other side of the jar probably shows where the journey ends. It seems to have a "tree of life," which might represent living forever.

Classical & Later Periods

There are several monumental and architectural classical stone and marble pieces to be seen in the museum. These are not particularly my interest and so I will not discuss them in detail. They can be found at the very end of the first room, as well as in a more significant fashion in the second guided room. The final period that is represented in the Limassol Archeological Museum is the Roman Period which contains a dozen or so heavily damaged marble statues and architectural pieces.

The Underground Sanctuary

In 1994, archaeologists made a remarkable discovery at the ancient city of Amathous. Near the foothills north of the Agora, beneath the imposing acropolis, they unearthed a hidden underground passageway. This rock-cut tunnel stretched an impressive 120 meters in length, its entrance lost to time.

At the northern extremity of this subterranean corridor, a fascinating scene awaited the excavators. Clustered around a stone altar bearing unmistakable signs of intense fire, lay a treasure trove of nearly 200 artifacts. The collection primarily consisted of terracotta and limestone figurines, silent witnesses to long-forgotten rituals.

These relics spanned several centuries, with the oldest dating back to the 5th century BC and the most recent to the 1st century BC. However, the majority of the artifacts belonged to the Classical period, specifically the 4th and 3rd centuries BC. The exact circumstances of their placement remained a mystery - were they originally interred here, or transported from another location? Regardless, their ritual significance was undeniable.

Figure 28. The 'Tunnel' containing a set of striking Classical Period figurines

The assemblage of figurines hinted at a connection to chthonic deities, mystic practices, or perhaps even oracular traditions. Among the identifiable figures were representations of major deities: Aphrodite, the goddess of love; Artemis, mistress of the hunt; and Apollo, god of music and prophecy. More unusual pieces included a winged Eros astride a ram, a mischievous Silenus, and a triumphant Nike spreading her wings. Incense burners shaped like enigmatic sphinxes added to the mystical atmosphere.

Many of the statuettes depicted worshippers engaged in acts of devotion. Male and female figures bore gifts, while others played musical instruments, often the resonant tympanon. Some female figurines carried water or children, their poses reminiscent of daily life yet imbued with sacred meaning. The delicate "Tanagra" style figurines, named for the town in Boeotia where similar pieces were first discovered, added a touch of elegance to this subterranean sanctuary.