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Abou-Donia E-Mail Website. Galila Agam E-Mail Website. By means of occasional discoveries of imported Egyptian objects, by comparison of Minoan pottery and paintings with some found in Egyptian tombs, and by various other indications, it was possible to date the upper remains, say from B. The dating of the older remains is much more difficult, chiefly because, although they can often be equated with certain periods of Egyptian culture, the chronology of the latter admits of widely different views, but it seems safe to say that the earliest traces of the Minoan civilisation date from quite years B.

The earlier palace and town seem to have been built before B.

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The later palace was begun somewhere in the eighteenth or nineteenth century B. The discovery of this palace was one of the first-class "finds" of archaeology. Those who based their estimates 31 of the architectural capabilities of ancient Crete on their knowledge of the development of the builder's art in classic Greece, a millennium later, were amazed to find that in many respects the product of the older civilisation was superior.

To mention but a few of the most remarkable facts about the palace, it was of several storeys , grouped around a central court and pierced by "light-wells"; it contained several staircases, one of them at least being of a very imposing character and composed of many flights. Moreover, it possessed a quite modern system of drainage, with jointed underground pipes and with inspection manholes to the main drains. Along the west side of the basement ran a long straight gallery flanked by a series of great storage-rooms or magazines.

It was near one end of this gallery that Dr. Evans discovered a store of tablets with pictographic inscriptions, in proof of his suspicion that the Phoenician script was not the original parent of European written language. Not far from this spot was the room containing the throne or Worshipful Master's Chair, as the masonic Dr. Churchward prefers to call it which may actually have been occupied by King Minos.

A definite distinction can be recognised between state and domestic apartments and subsidiary offices and workshops. To the north-west of the palace was a "stepped theatral area" orchestra , which suggests the "dancing ground" of Ariadne. From the point of view of our subject, however, the most interesting features were the frequent occurrence of the sign of the double axe, which was obviously an object of great importance in Minoan worship, and the profusion of evidence concerning the cult of the bull. On the fallen plaster of one of the walls of a corridor, too, was a repeated meander pattern, painted in red on a white ground, very suggestive of a sort of maze Fig.

One room of the palace, a stately hall about 80 ft. Not only does the sacred axe occur as a more or less crude engraving on the stone blocks composing certain pillars in the palace, but little models of it were found associated with an altar, and, in the Dictaean cave, some miles distant, several bronze specimens of the axe were discovered in circumstances which show that they were votive offerings.

Sometimes the sacred symbol was set up on a socketed pedestal 33 Fig. Moreover, in more recent excavations a curious "tomb" was found Figs. See plate, p. Plan of Tomb of Double Axes, showing position in which relics were found. Long before Dr. Evans' excavations in Crete the great 34 German archaeologist Schliemann, during his researches at Mycenae on the mainland, unearthed from one of the graves an ox-head of gold plate, with a double axe between the upright horns. The double axe was also the sign of the Zeus worshipped at Labraunda in Caria, a country to the north-east of Crete, on the mainland of Asia Minor, where the implement was known as the labrys.

The cult of the bull was also much in evidence in the palace remains. Schliemann, in excavating the site of Tiryns in , came across an extraordinary wall-painting depicting a man holding one horn of a great bull whilst he leaps over its back, the animal meanwhile charging at full speed. Several examples of such scenes have since been discovered, painted upon walls, engraved on gems, or stamped on seal-impressions.

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Amongst the debris of one of the rooms in the palace at Knossos was found a painting of a scene in which two girls are engaged in dodging the charge of a bull, whilst a boy, who has evidently just left hold of its horns, turns a somersault over its back. Near the main north entrance to the palace was brought to light a large plaster relief of a bull's head, no doubt originally forming part of the complete beast. This relief was a masterpiece of Minoan art.

It was of life-size and beautifully coloured, and particular attention had been given to the modelling and colour of the eye, the fierce stare of which, in conjunction with the open mouth, conveys a fine effect of frenzied excitement. Ebooks and Manuals

In the light of these discoveries Dr. Evans concludes that the palace of Knossos was the Labyrinth, or House 35 of the Labrys, which gave rise to the classic legend, the idea of the Minotaur originating in the practice of training captives to participate in the dangerous sport of bull-leaping. We will refer further to the etymology of "labyrinth" in a later chapter. The palace was certainly of sufficient complexity to render it difficult for the uninitiated to find their way about it, but the plan of its remains exhibits no resemblance to a designed labyrinth of the conventional type. There is, however, a suggestion of the latter in the meander pattern painted on one of the walls, to which reference has been made above.

The notion as to the Labyrinth having been a prison from which escape was impossible may also have some connection with two deep pits beneath the palace, whose function was possibly that of dungeons for prisoners. In considering the origin of the legend, we must remember that a period of several centuries elapsed between the destruction of the Knossian buildings and the first written account of the Labyrinth, and must take into account the probability that the people who in later ages became the dominant race in Crete would be likely to make ample use of their imagination in formulating an explanation of the vast and complicated ruins of the burnt city, with their mysterious frescoes and enigmatic symbols.

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It may also be borne in mind that the excavations in Crete have by no means reached a final stage, and that, although no architectural remains of a plan conforming to the usual conception of a formal labyrinth are yet forthcoming, there is a possibility that something of the kind may yet turn up, though indeed the chance seems very remote. Even as this book is going to press appears an article in The Times by Sir Arthur Evans announcing yet further enthralling discoveries; he finds abundant signs of a great earthquake, causing ruin over the whole Knossian area, about B.

In addition to the Egyptian and Cretan labyrinths, a few other structures are referred to as being in the same category, but not until a fairly late period. Pliny died A.

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He also mentions one at Samos, said to have been built by Theodorus, and says that "all of these buildings are covered with arched roofs of polished stone. This is the only Etruscan tomb described by the ancient writers, and is mentioned by Pliny solely because it was alleged to contain a subterranean labyrinth. It must have been a most elaborate, not to say extravagant, monument. Even Pliny feels some qualms about accepting responsibility for the description, and therefore makes it clear that he is simply quoting from information received.

But in 38 view of the exceedingly fabulous nature of the story I shall use the words given by M. Varro himself in his account of it: 'Porsena was buried below the city of Clusium in the place where he had built a square monument of dressed stones. Each side was three hundred feet in length and fifty in height, and beneath the base there was an inextricable labyrinth, into which, if anybody entered without a clue of thread, he could never discover his way out.