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The Reforms of Solon   But history takes strange turns sometimes. Recognizing the danger of the situation, in 594 BC, the Areopagus and the people of Athens agreed to hand over all political power to a single individual, Solon. In effect a tyrant, Solon's mission was to reform the government to stem the tide of privation and exploitation and set up a system to guarantee that Athens didn't slip into such a situation again.   Solon immediately dismissed all outstanding debts, and he freed as many Athenians as he could from the slavery they had sold themselves into. He banned any loans that are secured by a promise to enter into slavery if the loan is defaulted, and he tried to bring people who had been sold into slavery abroad back to Athens. In addition, he encouraged the development of olive and wine production, so that by the end of the century, most of Athenian land was dedicated to these lucrative crops.   As far as government is concerned, he divided Athenian society into four classes based on wealth. The two wealthiest classes were allowed to serve on the Areopagus. The third class were allowed to serve on an elected council of four hundred people. This council was organized according to the four tribes making up the Athenian people; each tribe was allowed to elect one hundred representatives from this third class. This council of four hundred served as a kind of balance or check to the power of the Areopagus. The fourth class, the poorest class, was allowed to participate in an assembly; this assembly voted on affairs brought to it by the council of four hundred, and even elected local magistrates. This class also participated in a new judicial court that gradually drew civil and military cases out of the hands of the wealthiest people, the Areopagus.

Cleisthenes   The Spartans followed their usual practice and entered into a truce with Athens and installed their own hand-picked Athenians to lead the government. The Spartans, however, were too clever for their own good. They chose an individual, Isagoras, whom they felt was the most loyal to Sparta; Isagoras, however, was a bitter rival of the Alcmaeonids, who had been the original allies of Sparta. Isagoras, for his part, set about restoring the Solonic government, but he also set about "purifying" Athenian citizenship. Under Solon and later Peisistratus, a number of people had been enfranchised as citizens even though they weren't Athenian or who were doubtfully Athenian. For in the Greek world, you could only be the citizen of a city-state if you could trace your ancestorship back to the original inhabitants of the state. Isagoras, however, began to throw people off the citizenship rolls in great numbers. Cleisthenes, an Alcmaeonid noble, rallied popular support and threatened the power of Isagoras, who promptly called for the Spartans again. The Spartans invaded a second time, and Cleisthenes was expelled, but soon a popular uprising swept Isagoras from power and installed Cleisthenes.   From 508 to 502 BC, Cleisthenes began a series of major reforms that would produce Athenian democracy. He enfranchised as citizens all free men living in Athens and Attica (the area surrounding Athens). He established a council which would be the chief arm of government with all executive and administrative control. Every citizen over the age of thirty was eligible to sit on this council; each year the members of the council would be chosen by lot. The Assembly, which included all male citizens, was allowed to veto any of the council's proposals and was the only branch of government that could declare war. In 487, long after Cleisthenes, the Athenians added the final aspect of Athenian democracy proper: ostracism. The Assembly could vote (voting was done on potsherds called ostra ) on expelling citizens from the state for a period of ten years. This ostracism would guarantee that individuals who were contemplating seizing power would be removed from the country before they got too powerful.   So by 502 BC, Athens had pretty much established its culture and political structure, just as Sparta had pretty much established its culture and political structure by 550 BC. Athens was more or less a democracy; it had become primarily a trading and commercial center; a large part of the Athenian economy focussed on cash crops for export and crafts; it had become a center of art and literature; the city had become architecturally rich because of the building projects of Peisistratus—an architectural richness that far outshone other Greek city-states; and Athenian religious fesitivals were largely in place. The next one hundred years would be politically and culturally dominated by Athens; the event that would catapult Athens to the center of the Greek world was the invasion of the Persians in 490 BC.

To Philip succeeded his son Alexander, a prince greater than his father, both in his virtues and his vices. Each of the two had a different mode of conquering; the one prosecuted his wars with open force, the other with subtlety; the one delighted in deceiving his enemies, the other in boldly repulsing them. The one was more prudent in council, the other more noble in feeling. The father would dissemble his resentment, and often subdue it; when the son was provoked, there was neither delay nor bounds to his vengeance. They were both too fond of wine, but the ill effects of their intoxication were totally different; the father would rush from a banquet to face the enemy, cope with him, and rashly expose himself to dangers; the son vented his rage, not upon his enemies, but his friends. A battle often sent away Philip wounded; Alexander often left a banquet12 stained with the blood of his companions. The one wished to reign with his friends, the other to reign over them. The one preferred to be loved, the other to be feared. To literature both gave equal attention. The father had more cunning, the son more honour. Philip was more staid in his words, Alexander in his actions. The son felt readier and nobler impulses to spare the conquered; the father showed no mercy even to his allies. The father was more inclined to frugality, the son to luxury. By the same course by which the father laid the foundations of the empire of the world, the son consummated the glory of conquering the whole world.

Some of the knots did survive, though, and for centuries people wondered if the old man had been speaking the truth. Then, in 1923, an anthropologist named Leland Locke provided an answer: The khipu were files. Each knot represented a different number, arranged in a decimal system, and each bundle likely held census data or summarized the contents of storehouses. Roughly a third of the existing khipu don't follow the rules Locke identified, but he speculated that these "anomalous" khipu served some ceremonial or other function. The mystery was considered more or less solved. Then, in the early 1990s, Urton, one of the world's leading Inca scholars, spotted several details that convinced him the khipu contained much more than tallies of llama sales. For example, some knots are tied right over left, others left over right. Urton came to think that this information must signal something. Could the knotted strings also be a form of writing? In 2003, Urton wrote a book outlining his theory, and in 2005 he published a paper in Science that showed how even khipu that follow Locke's rules could include place-names as well as numbers.

The king was found lying on his back, adorned with a green jadeite necklace bearing the carved head of a vulture, and ear spools inlaid with obsidian. A jadeite bead the size of a cherry was found in the king's mouth. The green stone was an ancient Maya metaphor for life and breath.

A new artistic style It is evident from the art of the Amarna period that the court officially emulated the king's unusual physical characteristics. Thus individuals such as the young princesses are endowed with elongated skulls and excessive adiposity, while Bek-the Chief Sculptor and Master of Works-portrays himself in the likeness of his king with pendulous breasts and protruding stomach. On a stele now in Berlin Bek states that he was taught by His Majesty and that the court sculptors were instructed to represent what they saw. The result is a realism that breaks away from the rigid formality of earlier official depictions, although naturalism is very evident in earlier, unofficial art.