Robert Koehl has long considered processions to have played an integral role in Aegean Bronze Age societies. Papers concentrate mainly on evidence from Crete, the Cyclades and the Greek mainland, with additional perspectives from abroad, these geographic divisions forming the basic outline of this volume.

Robert Koehl has long considered processions to have played an integral role in Aegean Bronze Age societies. Therefore, when assembling a volume to honor his retirement from Hunter College, contributing authors were asked to focus attention on this subject. Processions are a unique social phenomenon in that they engage large groups with a singular purpose or outcome, acting as a cohesive force in societies. Yet they are elusive both in Aegean art and texts, which has challenged the participants in this volume to approach the subject from various viewpoints, providing evidence of ritual and ceremonial places, pathways and practices, based on archaeological and, in one instance, textual evidence. Artistic depictions in a variety of media provide a means of identifying settings, participants and the possible roles they play, while specific ritual objects are the subject of some contributions, their context and imagery offering another means of enhancing our picture of processions. Papers concentrate mainly on evidence from Crete, the Cyclades and the Greek mainland, with additional perspectives from abroad, these geographic divisions forming the basic outline of the volume.

Short description: Evidence is presented for restoring the fragmentary wall painting from the Minoan shrine on the islet of Pseira located just of the northeastern coast of Crete. A large-scale goddess faces a smaller suppliant in a presentation scene on an incurved altar platform. Virtually restored to the east wall of Room 6, the goddess confirms the building as a shrine and religious center of the community. The painting's Knossian style and technique, and imported Knossian ritual vessels, argue for a strong Knossian religious presence at Pseira. Long description: This study presents evidence for restoring the fragmentary painting from Pseira. It argues against previous reconstructions, finding errors including ignoring the fragments' scales. With the fragments' scales accurately recorded, the study reveals a large-scale goddess facing a smaller suppliant in a presentation scene on an incurved altar platform. The reconstruction is based on examinations, drawings, and photographs taken to scale of the fragments and digital imaging. The painted garments are translated into modern cloth replicas that adorn live models that pose as goddess and suppliant. Virtually restored to the east wall of Room 6, the goddess positively establishes the building already conjectured as a shrine and identifies it as the religious center of the community. The painting's Knossian style and technique, and imported Knossian ritual vessels, argue for a strong Knossian religious presence at Pseira. Knossian style religious processions likely culminated at the shrine to present offerings to the goddess.