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.

"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"--

"The last great work of the age of reason, the final instance when all human knowledge could be presented with a single point of view ... Unabashed optimism, and unabashed racism, pervades many entries in the 11th, and provide its defining characteristics ... Despite its occasional ugliness, the reputation of the 11th persists today because of the staggering depth of knowledge contained with its volumes. It is especially strong in its biographical entries. These delve deeply into the history of men and women prominent in their eras who have since been largely forgotten - except by the historians, scholars"-- The Guardian, https://www.theguardian.com/books/booksblog/2012/apr/10/encyclopedia-britannica-11th-edition.

This eleventh edition was developed during the encyclopaedia's transition from a British to an American publication. Some of its articles were written by the best-known scholars of the time and it is considered to be a landmark encyclopaedia for scholarship and literary style.