Chapter 7 examines the sheep’s fleece filter used in the preparation of Soma. A cult ideology in which such an implement played an important role was preserved for some time in Iranian tradition in the Caucuses, ultimately giving expression to Greek ideas about the presence of fleecy filters impinged with gold in the vicinity of Dioscurias – rationalizing accounts of the Golden Fleece of Aeolian Argonautic tradition. Particular elements of the Golden Fleece myth find parallels in Indic poetic accounts of the performance of Soma cult. The common Hellenic and Indic elements constitute a shared nexus of ideas that earliest took shape in Bronze-Age communities of admixed Mycenaean and Luvian populations into which Mitanni Soma ideas had spread via Kizzuwatna. The Golden Fleece mythic tradition, with its geographic localization in Transcaucasia, is a Mycenaean Asianism that took shape in Asia Minor under Indic and Iranian influences and that continued to evolve among the Iron-Age Asian Greeks.

Chapter 3 examines the Mycenaean wanaks and lāwāgetās, figures responsible for leading Mycenaean society in specific ways and who correspond notionally to figures implicit in Indic and Iranian social structures – figures who descend from still more ancient Indo-European antecedents charged with the task of leading society through the spaces of the Eurasian Steppes and in migrations southward out of the Steppes.

By analyzing the topography of Selinous, a colonial foundation of the late seventh century BC, the chapter explores the way in which temple building and sacred architecture became subordinated to urban design. From the sixth century BC onward, Greek cult places and temples were increasingly seen as an expression of the urban rather than the natural landscape. This holds true for altars and temples at the center of cult places, but also for fountain houses that replaced or were built over natural fountains. The sacredness of a place was increasingly represented and communicated through monumental stone architecture. At the same time, the novel use of man-made images in Greek sanctuaries contributed to a radical change in which the presence of the gods was imagined and experienced. All this went along with a shift of power and agency from local groups to urban elites, who had the means to control the restructuring and reorganization of sacred landscapes. The violence of this shift is reflected in the iconography that tends to rationalize and sublimize violence against the non-Greek, non-urban, and non-male.

The shape and form of boundary walls around and within Greek sanctuaries, and the impact those boundaries had on the experience of the ritual happening within, have attracted little scholarly attention, especially in comparison to work on the powerful impacts of other elements of sanctuary architecture, and architecture more widely. This article, using the case study of the high temenos walls and those of the Telesterion temple structure of the sanctuary of Demeter and Kore at Eleusis, explores the active impact these walls had on particularly the sight- and sound-scapes engaged with by participants. As such it argues for the crucial importance of these walls at Eleusis in creating the intensity, emotion, power, and conviction of the ritual experience of the Mysteries for participants.