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Bull Fresco
Bulls – mythical and real – played a central role in ancient Minoan culture. The North Portico of the Palace of Knossos features a tribute to one such magnificent beast.
I always struggled with Greek mythology: there was an irrationality and impetuosity to the behaviour of the Gods that didn’t sit well with my conservative upbringing. And, having been trained to ‘be good’ and to ‘work hard’, the concept of being unable to escape one’s fate – regardless of one’s behaviour – was an anathema!
But, whether it was old black-and-white films on television, or the stories we read at school, those ancient tales were inescapable.
Do you remember Ariadne?
Ariadne was a Cretan princess who gave a ball of golden thread (or jewels, depending on the version) to Theseus, an Athenian prince, so that he might find his way out of the labyrinth after slaying Asterion, better known as the Minotaur: a rapacious beast that was half man, half bull, and who just happened to be Ariadne’s half brother.
Let me go back a few steps:
Minos, Ariadne’s father, was the son of Zeus and Europa. His ascension to the throne was under some challenge, so after he became the king of Crete and the surrounding Aegean islands, he prayed to the God of the Sea, Poseidon, to send him a sign of favour. Poseidon sent a snow-white bull, which Minos was meant to sacrifice. But, the new king thought he could substitute a less beautiful animal.
Naturally, Poseidon noticed. In order to punish Minos, he made the king’s wife, Pasiphaë, fall in love with the bull. The product of that union was the Minotaur (Minos’ Bull), an unnatural beast with a human body and the head and tail of a bull. As he grew, the Minotaur became ferocious and devoured humans for food. Minos ordered a specially designed labyrinth be constructed to contain the beast, and protect the people.
Meanwhile, Androgeus, a son of King Minos, was murdered by the Athenians. The king was understandably angry, and led a war against Athens. Rather than sacking the city after defeating it, Minos demanded that Athens send several youths and maidens to Crete every few years to be sacrificed to the Minotaur. On one occasion, Theseus, son of Aegeus, the king of Athens was among these offerings.
Ariadne fell in love with Theseus at first sight and – according to some stories – provided him a sword and ball of thread so that he could slay the Minotaur and retrace his steps out of the labyrinth. What happens next is fuzzy: Theseus either abandons Ariadne on Naxos, or has her killed … She’s either mortally wounded by Perseus, or ends up married to Dionysus, god of the grape harvest, and having lots of children.
The other thing that isn’t clear is whether the labyrinth actually existed. Because, surprisingly, the mythical King Minos’ palace at Knossos did. The site was rediscovered in 1878 by amateur archaeologist Minos Kalokairinos and excavated by the British archaeologist Arthur Evans and his team.
As if to lend credence to the mythology around this Minoan palace – originally built around 1900 BC – its size and complexity far exceeded the later archaeologists’ expectations. The palace was said to have been designed by the famous architect Daedalus with such complexity that no one who entered could find their way out. The Greeks called the palace of Minos ‘Labyrinth’ and described it as an enormous building with countless rooms and corridors. So, if the lower levels are not the labyrinth of the Minotaur, they are at the very least, an impossible maze!
Come explore:
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Minos Kalokairinos (1843 – 1907)
At the entry to the grounds, there are two busts honouring the men who excavated the site. Minos Kalokairinos, born in Crete, was the businessman and amateur archaeologist who first found the ancient Palace of Knossos in 1878.
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Sir Arthur Evans (1851–1941)
Arthur Evans was a British archaeologist and pioneer in the study of Bronze Age Aegean civilization. From 1900, his team spent more than 30 years team carefully excavating and documenting the Knossos site. Evans is still widely admired for his approach, which ushered in new era of systematic archaeological enquiry.
Kouloures
Arthur Evans called the circular subsurface pits with stone walls kouloura, after the round loaves of Greek bread. Constructed between 1850 and 1750 BC, the pits are believed to be storage containers, but experts don’t know if they held rubbish, grain, or water.
Stone Foundations
In its time, Knossos was the ceremonial and political centre of Minoan civilization and culture. The city covered 10 km2 (3.9 sq mi), and the palace itself was 14,000 m2 (150,000 sq ft).
Palace Ruins
Arthur Evans made rather extensive early 20th century restorations on parts of the palace’s most significant structures. While this allows visitors to appreciate the size of the site and the sophistication of the architecture, it also makes it hard to appreciate what is original: …
Earthquake-Proof Cedar Columns
… for example, this graceful upside-down-fluted column of wood is almost 4000 years old and virtually earthquake proof!
View from the Palace
The palace sits on Kephala Hill, overlooking mountains and olive groves.
Over the Ruins
The surprisingly modern-looking complex of stone and unbaked brick stretches out all around.
Ruins and Remains
The height and complexity of Minoan architecture is recognised as being well ahead of its time: this palace was four stories high in some parts. It was built some time between 1650 BC and 1450 BC, after the earlier buildings were destroyed during the Middle Minoan II period – probably by an earthquake.
Around the Ruins
South Propylon
The palace must have been a colourful place: everywhere you look, there are remains of frescos, painted in naturally-derived colours. The subjects included scenes of daily life, and depictions of legendary creatures, animals, rocks, vegetation, and marine life.
Throne Room
This unique central room in the palace dates to the mid-second millennium BC. It is speculated that the slim alabaster throne – flanked by a fresco of mythical griffins – was a seat for the goddess, who would have received supplicants and sacrifices here. (iPhone12Pro)
Storage Pots
The West Magazine comprises 19 oblong storerooms containing large earthenware jars – some lined with alabaster to make them watertight.
Old Stones
From inside the grounds we see the South Entrance from the opposite side.
The Grand Staircase
Looking down through the layers of relatively small, multi-functional rooms within the palace, you can see how it came to be called a labyrinth.
Ground Plan
The almost-square complex stretches out around a large central court.
North Propylon
Our circuit of the site brings us out past the North Portico, where the remains of that wonderfully vibrant Cretan bull still charges across the plaster.
Bulls Head in the Giftshop
As I said earlier, bulls feature in every aspect of Minoan (and Cretan) life.
Bull-Leaping Fresco
A few days later, in the wonderful Heraklion Archaeological Museum, I got to examine more closely remnants of original frescos recovered from the palace. This fascinating example shows the most popular athletic feat at the time: bull-leaping.
Bull-Leaping Sculpture
This piece of ‘modern art’ from the museum blew me away! Dated between 1600-1450 BC, this ivory figurine of a bull-leaper depicts the difficult and dangerous effort required to successfully leap the animal: some have suggested that the bull and the acrobat become as one, possibly giving rise to the Minotaur story.
I’m not sure about the Minotaur myth, but I came away with a small understanding of how the Minoan civilization contributed to Greek – and later European – architecture, and its place in Crete’s wonderful and varied history (see: Chapels, Caves, and Windmills).
And, I’ve developed an enormous appreciation for the beauty of Minoan art.
Photos: 05September2022
