A watercolour illustration of a vase with three visible handles, decorated with a floral pattern in black on white. The original description in the catalogue reads: "Late Helladic I and II. From "Tomb of Aegisthus" and Kalkani Cemetery (518, 529): Late Helladic II (1500-1400 B.C.). "

A watercolour illustration of a wide vase with two visible handles, decorated in black on white. The original description in the catalogue reads: "Late Helladic I and II. From "Tomb of Aegisthus" and Kalkani Cemetery (518, 529): Late Helladic II (1500-1400 B.C.). "

A watercolour illustration of a wide vase with three visible handles, decorated with a floral pattern in black on white. The original description in the catalogue reads: "Late Helladic I and II. From "Tomb of Aegisthus" and Kalkani Cemetery (518, 529): Late Helladic II (1500-1400 B.C.). "

A watercolour illustration of a wide vase with three visible handles, decorated in black on white. The number 28 has been written and erased to lower right of image. The original description in the catalogue reads: "Late Helladic I and II. From "Tomb of Aegisthus" and Kalkani Cemetery (518, 529): Late Helladic II (1500-1400 B.C.). "

Seven illustrations showing eight pieces of pottery with parts of the original base card they were attached to. The images are labelled with pasted letters a-h, with the exception of f and g (1936/01/04/11/05, 06), where there marks which show their removal. Each fragment of base has the number 111 written in one of the corners. 1936/01/04/11/02-07 each have a number in a diamond written in the corner: the numbers in order are 2, 5, 3, 7,4, 1. On the base beside the two images in 1936/01/04/11/01 has been written in pencil and then erased the letters f and g. The original description in the catalogue reads: "Late Helladic III (1400-1100 B.C.). From Granary (by the Lion Gate), Third Kilometre (502), and Kalkani Cemeteries (520, 521). All except (e) and (h) belong to the last stage of this period, the twelfth century B.C."

Two watercolour illustrations of jugs with vertical spouts and one large handle extending over the centre, decorated in black on white. The original description in the catalogue reads: "Late Helladic III (1400-1100 B.C.). From Granary (by the Lion Gate), Third Kilometre (502), and Kalkani Cemeteries (520, 521). All except (e) and (h) belong to the last stage of this period, the twelfth century B.C."

A watercolour illustration of a jug with a vertical spout and two handles which join in the middle, decorated in red on buff, with a row of aquatic birds around the centre. Lines show where the fragments were reassembled, with paler-coloured sections indicating which sections were not found but have been reimagined.. The original description in the catalogue reads: "Late Helladic III (1400-1100 B.C.). From Granary (by the Lion Gate), Third Kilometre (502), and Kalkani Cemeteries (520, 521). All except (e) and (h) belong to the last stage of this period, the twelfth century B.C."

A watercolour illustration of a jug with a vertical spout and two handles which join in the middle, decorated in black on white. Lines show where the fragments were reassembled. The original description in the catalogue reads: "Late Helladic III (1400-1100 B.C.). From Granary (by the Lion Gate), Third Kilometre (502), and Kalkani Cemeteries (520, 521). All except (e) and (h) belong to the last stage of this period, the twelfth century B.C."

A watercolour illustration off a teacup shaped pot decorated in red on buff. Lines show where the fragments were reassembled. The original description in the catalogue reads: "Late Helladic III (1400-1100 B.C.). From Granary (by the Lion Gate), Third Kilometre (502), and Kalkani Cemeteries (520, 521). All except (e) and (h) belong to the last stage of this period, the twelfth century B.C."

A watercolour illustration of a pot with two handles, decorated in reds and browns on buff, with a flower and leaves. Lines show where the fragments were reassembled, with paler-coloured sections indicating which sections were not found but have been reimagined. The letter a has been painted to the lower right of the illustration. The original description in the catalogue reads: "Late Helladic III (1400-1100 B.C.). From Granary (by the Lion Gate), Third Kilometre (502), and Kalkani Cemeteries (520, 521). All except (e) and (h) belong to the last stage of this period, the twelfth century B.C."

A watercolour illustration of a pot with two handles, decorated with aquatic birds in red on buff. Lines show where the fragments were reassembled. The letter b has been painted to the lower right of the illustration. The original description in the catalogue reads: "Late Helladic III (1400-1100 B.C.). From Granary (by the Lion Gate), Third Kilometre (502), and Kalkani Cemeteries (520, 521). All except (e) and (h) belong to the last stage of this period, the twelfth century B.C."

A watercolour illustration of a vase with a handle painted brown on white, with the decoration presented flat beneath it. The decoration shows wheels and a variety of animals, including a cow and an aquatic bird, and a human woman. Some erased writing is visible in the corners. The original description in the catalogue reads: "Late Helladic III (1400-1100 B.C.). From Granary (by the Lion Gate), Third Kilometre (502), and Kalkani Cemeteries (520, 521). All except (e) and (h) belong to the last stage of this period, the twelfth century B.C."

A watercolour illustration of a proposed reconstruction of a fresco in red, blue, yellow, black, and white depicting a repeating design with spiral and flowers. The surviving sections on which the reconstruction is based are slightly raised and with more detailed and darker paint, rather than flat colours. The original description in the catalogue reads: "Spiral and lotus design, found by Tsountas near the Western portal, possibly L.H. II (1500-1400 B.C.): reconstructed drawing."

Two watercolour images of frescoes which once formed a single exhibition panel: the card base of this panel is no longer extant. The original description in the catalogue reads: "Painted stucco from the hearth in the palace Megaron: and other fragments: all L.H. III (1400-1100 B.C.). a. Patterns of the third layer of stucco on the repainted Hearth. b. Rosette flower, from near the Grand Staircase."

A watercolour illustration of four rows of fresco in blue, red, white, and purple. The rows are labelled on the right edge 3A-3D from the bottom to the top. Rows 3A and 3C have a wave and rosette pattern, 3B a blue stripe, and 3D a pattern of spirals. Some writing is visible around the label 3C.The original description in the catalogue reads: "Painted stucco from the hearth in the palace Megaron: and other fragments: all L.H. III (1400-1100 B.C.). a. Patterns of the third layer of stucco on the repainted Hearth."

A watercolour illustration of a flower in blue, red, and white. The surviving sections on which the reconstruction is based are slightly raised and with more detailed and darker paint, rather than flat colours. '114' is written sideways in the top right corner. The original description in the catalogue reads: "Painted stucco from the hearth in the palace Megaron: and other fragments: all L.H. III (1400-1100 B.C.). b. Rosette flower, from near the Grand Staircase."

A watercolour illustration of two rows of a wave and rosette pattern, the top row in red and the lower in black, with blue bands above and below them. Some writing is faintly visible near the top and in the upper and lower right corners. The original description in the catalogue reads: "Painted stucco from the hearth in the palace Megaron: and other fragments: all L.H. III (1400-1100 B.C.). a. Wave patterns: hearth, first, second, fifth, sixth layers."

A watercolour illustration of a row of smooth red waves, and below two rows of red and blue waves coming outwards from a centre paler blue line. The original description in the catalogue reads: "Painted stucco from the hearth in the palace Megaron: and other fragments: all L.H. III (1400-1100 B.C.). a. Wave patterns: hearth, first, second, fifth, sixth layers."

A watercolour illustration of a red wave pattern and below it part of a blue wave pattern with a red rosette. The rows of waves are both above lines of paler blue. Some writing is faintly visible in the lower right corner. The original description in the catalogue reads: "Painted stucco from the hearth in the palace Megaron: and other fragments: all L.H. III (1400-1100 B.C.). a. Wave patterns: hearth, first, second, fifth, sixth layers."

A watercolour illustration of a pattern of spirals with stripes in the background in red, blue, yellow, black, and white. The original description in the catalogue reads: "Painted stucco from the hearth in the palace Megaron: and other fragments: all L.H. III (1400-1100 B.C.). b. Step of painted stucco found near the Western Portal."

A watercolour illustration of a proposed reconstruction of a fresco of a chariot in red, blue, and yellow, with black and white details. The surviving sections on which the reconstruction is based are slightly raised and with more detailed and darker paint, rather than flat colours. The original description in the catalogue reads: "Painted stucco from the hearth in the palace Megaron: and other fragments: all L.H. III (1400-1100 B.C.). Chariot, reconstructed from fragments of stucco, probably found in the Megaron."

Collection of illustrations which originally made up exhibit 116. The items were originally displayed on five panels. The original description in the catalogue reads: "a. Engraved seal-stones and gold rings (1500-110 B.C.): note especially the Goddess with the double axe and guardian lions. b. Beads of carnelian, amethyst faïence and glass (1600-1400 B.C.), from Tombs 518 and 529: L.H. I and II. c. Wing of ivory inlaid with blue paste, and beads of lapis lazuli, carnelian, faïence and glass; from the woman's grave in the entrance passage of the "Tomb of Clytemnestra" (1400-1300 BC). Gold rosette, bronze arrowhead, and beads of bronze, carnelian onyx, amethyst and glass; Tomb 515: L.H. II (1500-1400 B.C.). d. Scarabs of reign of Amenhotep III (c.1411-1380 B.C.); beads of amber, faïence, glass, carnelian, onyx, crystal, agate and steatite; from Tomb 526, beginning of L.H. III, 14th century B.C. e. Gold pendants from necklaces (left and right), from Tombs 55, 68 and 515 at Mycenae, and from chamber tomb at Argos (1500-1400 B.C.). Embossed gold plaques and beads (centre) from same grave as (c)." 116a is missing: some of the seals can be seen on a printer's proof (MYC 3/3/10/1), but it can be seen from BSA SPHS 01/6840.C6849 that the original version of this was made of nine larger seals, ordered differently. The originals might be part of the excavation records in Cambridge, and are possibly MCNE-2-3-01-02, 03, 09, 10, 13.

The original description in the catalogue reads: "Beads of carnelian, amethyst faïence and glass (1600-1400 B.C.), from Tombs 518 and 529: L.H. I and II."

The original description in the catalogue reads: "Wing of ivory inlaid with blue paste, and beads of lapis lazuli, carnelian, faïence and glass; from the woman's grave in the entrance passage of the "Tomb of Clytemnestra" (1400-1300 BC). Gold rosette, bronze arrowhead, and beads of bronze, carnelian onyx, amethyst and glass; Tomb 515: L.H. II (1500-1400 B.C.)."

The original description in the catalogue reads: "Wing of ivory inlaid with blue paste, and beads of lapis lazuli, carnelian, faïence and glass; from the woman's grave in the entrance passage of the "Tomb of Clytemnestra" (1400-1300 BC). Gold rosette, bronze arrowhead, and beads of bronze, carnelian onyx, amethyst and glass; Tomb 515: L.H. II (1500-1400 B.C.)."

The original description in the catalogue reads: "Scarabs of reign of Amenhotep III (c.1411-1380 B.C.); beads of amber, faïence, glass, carnelian, onyx, crystal, agate and steatite; from Tomb 526, beginning of L.H. III, 14th century B.C."

The original description in the catalogue reads: "Gold pendants from necklaces (left and right), from Tombs 55, 68 and 515 at Mycenae, and from chamber tomb at Argos (1500-1400 B.C.). Embossed gold plaques and beads (centre) from same grave as (c)."

The original description in the catalogue reads: "Gold pendants from necklaces (left and right), from Tombs 55, 68 and 515 at Mycenae, and from chamber tomb at Argos (1500-1400 B.C.). Embossed gold plaques and beads (centre) from same grave as (c)."

The original description in the catalogue reads: "Gold pendants from necklaces (left and right), from Tombs 55, 68 and 515 at Mycenae, and from chamber tomb at Argos (1500-1400 B.C.). Embossed gold plaques and beads (centre) from same grave as (c)."

An ink illustration of a reconstruction of the Mycenae Palace. Description at the bottom reads "Mycenae Palace Sketch reconstruction of north west angle of court". Original pencil lines are visible in places. The original description in the catalogue reads: "Restored-drawing of the north-western angle of the Court of the Palace. L.H. III (1400-1100 B.C.). "

A black and white photograph showing the top of the lion gate in the foreground, with part of the grave circle visible behind. The top third of the image shows the landscape of the other hills and the sky The original description in the catalogue reads: "Lion gate: photograph of the limestone relief of the guardian lions and sacred pillar above the Gate. This was worked with bronze chisels, untoothed saws and reed drills, and dates from the beginning of L.H. III, 14th century B.C.; within appear the Grave Circle of the Royal Shaft Graces and the houses to the south; and on the ridge beyond the Cyclopean wall, the entrance to the 'Treasury of Atreus.'"

An ink plan titled 'Treasury of Atreus', showing it from three different angles as well as a floor plan. A key in the top right shows which materials are used for which section. A scale bar is at the bottom. It is signed P. de Jong. In the lower right is written in pencil "reduce to 1/2 linear". Some original pencil lines are visible. The original description in the catalogue reads: "'"Treasury of Atreus": plan showing the details of this famous beehive tomb."

The items in this section of the exhibition were numbered 141- 199, with no number 162. Exhibits 184-199 were physical objects which are no longer in the possession of the BSA. Items 150 and 151 are missing, though we can identify them from the background of BSA SPHS 01/6831.C6840 as the photographs BSA SPHS 01/5041.7840 and BSA SPHS 01/7602.C2774. Number 168 is missing and unidentified.

Canvas base with map attached. The number 142 is pasted in the lower left corner. There are holes in each corner, with a further three along the long edges and one in the centre of each short edge: some of these are reinforced. The original description in the catalogue reads: "General Map of Sparta and Neighbourhood, showing extant remains and excavated sites."

A watercolour map showing modern Sparta (in red), some excavated sites, and the ancient city walls (a dotted line). Most land is shown as green, with elevation in shades of brown. Notably buildings are painted black. The original description in the catalogue reads: "General Map of Sparta and Neighbourhood, showing extant remains and excavated sites."

An ink plan entitled "Sanctuary of Artemis Orthia Sparta 1910" in the upper right corner, drawn at a scale of 1:400. The plan shows both excavated and excavated sections, with the Eurotas River at the top of the plan. The original description in the catalogue reads: "General plan of the Orthia sanctuary as revealed by the excavation: note the series of altars, temples and enclosure walls."

An ink sectional drawing showing the archaeological layers from Sparta. The majority is on a single piece of paper, but each ends is on its own separate sheet. There is some erased writing in the lower left corner, and an 'X' in the lower centre. The original description in the catalogue reads: "Sectional drawings of the Orthia sanctuary, showing the whole series of deposits, from the earliest debris of offerings, going back to the 10th century B.C. to the Theatre and Altar of the Roman period, which may be dated to the middle of the 3rd century A.D. The Roman theatre, until recent years a conspicuous monument, has been almost entirely destroyed, but from the traces left on the upper surface of its foundation, its dimensions have been recovered."

An ink sectional drawing showing the archaeological layers at Sparta, at a scale of 1:100. There is an 'X' in the upper centre edge with a line going up t wards the' X' on the other drawing. The original description in the catalogue reads: "Sectional drawings of the Orthia sanctuary, showing the whole series of deposits, from the earliest debris of offerings, going back to the 10th century B.C. to the Theatre and Altar of the Roman period, which may be dated to the middle of the 3rd century A.D. The Roman theatre, until recent years a conspicuous monument, has been almost entirely destroyed, but from the traces left on the upper surface of its foundation, its dimensions have been recovered."

An ink plan showing the west elevation (top) and plan of the Menelaion at Sparta, at a 1:200 scale. The original description in the catalogue reads: "Plan of the Menelaion Sanctuary beyond the River Eurotas. Here a traditional worship of Menelaos and Helen persisted from the latest Minoan times, before the reputed date of the Dorian occupation of Laconia."

An ink plan showing a theatre titled "Sparta General Plan (Revised 1924-1928)". It is comprised of part of a grid, boxes J-L horizontally and 11-13 vertically. There is a scale bar at the bottom The original description in the catalogue reads: "Plan of the theatre on the Acropolis of Sparta."

A black and white photograph of a field with trees in the foreground, and two rows of mountains behind. The original description in the catalogue reads: "Mount Taygetos, from near Sparta: photograph by the late Shirley C. Atchley."

A black and white photograph of nine men; five standing at the back, three sitting on chairs, and one sitting on the floor in front of them.

A black and white photograph of an archaeological trench, with three workmen digging in it and one standing behind them with a shovel. In the background is another trench with two workmen digging and one standing behind with a measuring stick. The photograph has been attached to a board which is then attached to the base. The original description in the catalogue reads: "Photographs of the Spartan Excavations in progress: Digging out the small votive offerings at the Orthia Sanctuary."

A black and white photograph with a body of water on the right with a woman leaning over in it. On the banks are seven women sitting around buckets, four in the foreground and three in the background, and a woman and a man standing. The photograph has been attached to a board which is then attached to the base. The original description in the catalogue reads: "Photographs of the Spartan Excavations in progress: Washing the earth from round the Altar of Orthia in sieves to recover small objects and broken fragments."

A black and white photograph of two men digging by the wall of in archaeological trench. The photograph has been attached to a board which is then attached to the base. The original description in the catalogue reads: "Photographs of the Spartan Excavations in progress: Recovering small objects at the Orthia Sanctuary."

Plate with three precisely cut out photographs, of a relief of a man, labelled 16, a relief of a horse, labelled 17, and another small animal, labelled 19. The original description in the catalogue reads: "Relief of a man; a fragment of a horse, to be cut out à jour; and a small animal."

Plate with six precisely cut out photographs of reliefs. The top two each show two lions facing each other, labelled 41 and 42, while the remainder show fragments of single lion labelled 43-47, clockwise from left. The original description in the catalogue reads: "Reliefs of lions. The two upper plaques, each with a pair of confronted lions, are likely to preserve the subject of a relief occupying the pediment of the Later Temple, of which 153 is an actual fragment."

Plate with five precisely cut out photographs of reliefs, showing horses or fragments of horses facing left. The one in the centre is larger, labelled 24, while the rest are labelled 23, 25, 26, and 27. The original description in the catalogue reads: "Reliefs of horses."

A black and white photograph of a painted terracotta head, facing forwards

A watercolour illustration of a shield, decorated with curved lines from the centre to the edge in white, black, and red, with a red centre and a black rim with white spots with red spots in the centre. Some sections are painted paler, indicating that they are reconstructed.