The archeological destination on Crete, Knossos, has been well-known for its complex history and impact on the later Greek civilization in many ways. One of the prime political and ceremonial areas of the city-state was the palace of Knossos. Although its remains today appear scattered and inconsistent, almost like a labyrinth, it once was one of the main social points for the Minoan civilization. The brilliant architect who developed the idea for this structure, Daedalus, concentrated partially on the significance of natural light. The site was made in such a way that much of the sun’s brightness would shine within it, highlighting the detailed artwork coating the walls.
The layout of the palace was extremely detailed. Once the Corridor of Procession, named after the frescoes depicting processions, was passed, a sizeable courtyard took up much of the open space. Within the southern propylaea, varying shapes of figures along the wall, encapsulating bare torsos and thin waists and limbs, are seen, displaying the traditional Minoan art style of the period. Occupying a geographical area scaling approximately 190 by 92 feet, the palace had no choice but to be built around the courtyard. Upon the front of the building, the Horns of Consecration greet all who decide to enter. The bull was an extremely important figure in Minoan culture, as it is expressed in numerous ways, such as artistic works, currency, and literature. Resembling the strength of both light and man, its symbolism was spread vastly across the city, even traveling to other cities such as Phaistos. Within classical myth, a white bull was asked to be given to King Minos, ruler of Crete, to sacrifice in order to prolong his high status. This connection between power and the world helped to shape the Minoan’s outlook regarding nature and its importance. The courtyard also had significant purposes, one being the separation of the lavish structure into two unique wings, each having its own intent. The east wing is where most of the labyrinthine architecture comes into play, as this location held the most important private rooms. The most highly regarded was the Queen’s Megaron, a large scaled hall where her bedroom, bathroom, and dressing room all connect. Like much of the palace, the walls were decorated artistically, specifically with the famous Dolphin Fresco (Figure 1). The west wing, on the other hand, was more popular on the social scale. This section is where numerous ritualistic areas were, including a specific storage area where expiatory offerings were positioned. A throne room and an office were also discovered to be in this hall of the palace. Behind the palace within this wing, there were many warehouses used to store varying pithoi, carrying oil, wine, and other vital products for living.
Sir Arthur Evans, a famous British archeologist was on his travels to discover the origins of the Mycenean civilization when he came to Crete in 1896. Leading multiple excavations around the island, he later discovered one of the most significant pieces within the area of archeology, Knossos, in 1900. After uncovering aspects of the pre-Mycenae period, he gave it the official name of Minoan, after the myth involving King Minos discussed above. Without the discovery of the palace and city itself, the world of archeology and history alike would be severely altered, neglecting one of the most complex eras of the ancient world. With what has been found so far through excavations and prolonged research, many important conclusions and discoveries have been made, making Knossos a sacred place for savoring the past’s art, architectural styles, societal roles, and preserved naturalistic beauty for years to come. Closure Look into the Dolphin Fresco (Figure 1): The Dolphin Fresco, Minoan, ca. 1700-1450 BCE, Palace of Knossos, Crete
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