Mainland Greece enjoyed renewed contacts with Crete c. 1600 bce, and a rich culture, based on the Late Minoan, rapidly came into being. The Mycenaeans gained control of Crete c. 1450 bce, and between 1375 and 1200 bce they became masters of an empire that stretched from Sicily and southern Italy in the west to Asia Minor and the Levant coast in the east. About 1200 bce, however, many of the Mycenaean strongholds were destroyed by fire. There were signs of a renaissance, but the end of Mycenaean civilization came c. 1100 bce.

The Mycenaeans seem to have had more of a taste for monumental sculpture than had their Minoan mentors. Of the few surviving examples, the best known is a relief over the Lion Gate at Mycenae (c. 1250 bce), in which two lions confront each other across an architectural column. Probably heraldic in concept, this design is comparable with those on tiny seals and ivories of Cretan inspiration. Sculpture on a small scale, in ivory, bronze, and terra-cotta, generally Minoan in character, remained popular.

Late Cypriot

Cyprus reached its highest degree of prosperity in the Late Cypriot period, due to increased exploitation of its copper mines. There were close commercial relations not only with the Levant coast, as before, but also with Egypt, Crete, and Mycenaean Greece (the latter being close from 1400 bce). About 1200 bce Mycenaean Greeks, refugees from their homeland, settled in Cyprus. They introduced their skills and produced many luxury articles in a mixed Mycenaean-Cypriot style. Cyprus escaped the invasions that finally destroyed Mycenaean and Minoan culture, but its own culture did not last much longer. By 1050 bce, for reasons that are not clear, it, too, had ceased to exist.

As in Crete, large-scale sculpture was rejected in favour of small-scale work. A bronze figure of a horned god (shortly after 1200 bce) from Enkomi shows a successful blend of Mycenaean and Cypriot elements. A good example of these characteristics is a carved ivory gaming box, also from Enkomi, whose style shows a blend of Mycenaean and Middle Eastern motifs.

Sardinia and Corsica

The nuraghic civilization had an original sculpture expressed in a large production of bronze statuettes, about 500 of which have been found in nuraghi, temples, houses, and tombs. These figurines represent all classes of the proto-Sardinian populations—military chiefs, soldiers, priests, and women, as well as heroes and gods—in what seems to the modern viewer to be an engagingly direct but also sophisticated geometric style. The greatest number of these bronzes are today in the Museo Archeologico Nazionale in Cagliari, Sardinia. Some have been discovered in Etruscan tombs of Vetulonia and Vulci and have been dated to the period extending from the 9th to the 6th century bce.

Corsican menhir, or stela, statuary constitutes a group of special interest. The stone is imbued with life by a sculptural art that involves roughing-in of the head, animation of the upper portion of the body, and placement of a few elements of ornamentation or weaponry (sculpted in relief or, more rarely, engraved) on the schematically anthropomorphic image. These early statues are masculine and, no doubt, represent family or tribal heads made heroic or divine. This megalithic stela statuary art appears not only on Corsica but also in various other countries and regions of the western Mediterranean, including Spain, Sardinia, Liguria, and, in southern France, Provence, Aveyron, Hérault, and Gard, though to a lesser degree. The advance of this type of megalithic sculptural art is difficult to follow, but it is clear that these different groups are related, with close affinities existing between the stelae-menhirs of Corsica and those of the Ligurian coast. Such art is everywhere the expression of a patriarchal society seeking to impose on men’s vision, massively and not without grandeur, the image of the departed ancestors.