The Sea-Kings of Crete Part 8

Not until Middle Minoan III. do we get a really naturalistic style of decorative art. But in Middle Minoan I. there are indications which, though slight, seem to point to a striving after realism on the part of some of the artists of the period. This tendency is apparent even in some of the geometric designs, which are so disposed as to form an approach to naturalistic patterns. But the most remarkable example of the tendency is seen in a fragment of a vase from Knossos, figured by Dr. Mackenzie,[*] on which the figures of three of the Cretan wild goats are followed by that of a gigantic beetle with a tail. 'The subject of the design,'

says Dr. Mackenzie, 'in its naturalistic character is so advanced that, were it not for the company in which the fragments occur, we should be tempted to a.s.sign it to a much later age.' It is unfortunate that only a part of the design has survived, and that no parallel to it has ever been found. Was it merely a sport, the freak of some ancient potter who was weary of the conventional designs of his time, and tried his hand at something new, combining the wild life that he could see from the window of his workshop with that which crawled upon its floor, without ever dreaming of the problem he was setting for the students of 4,000 years later to exercise themselves upon? The style of the goat and beetle fragment is dark upon light. The goats are surrounded by an incised outline, and filled in with l.u.s.trous black glaze; the beetle is drawn freely in the black glaze, without incision, almost as though it had been a humorous afterthought of the potter.

[Footnote *: _Journal of h.e.l.lenic Studies_, vol. xxvi., part I, plate ix. 3.]

Middle Minoan I. has no surviving link with Egyptian art, a fact which may be explained by the consideration that from the end of the Sixth Dynasty to the establishment of the Eleventh, Egypt appears to have been pa.s.sing through a time of great confusion. The period is practically a Dark Age so far as Egyptian history is concerned.

[Ill.u.s.tration XXV: (1) KNOSSOS VALLEY

(2) EXCAVATING AT KNOSSOS]

_Middle Minoan II_.--We now come to the period when the first undoubted traces of the Cretan palaces begin to reveal themselves. The chief architectural remains of the period are, however, not at Knossos, but at Phaestos. There the Theatral Area, at least, was in existence early in this period, possibly in the later part of the preceding one. But at Knossos the chief evidence for the high state of civilization attained in this period is the pottery, which reaches a very advanced development. This is the age of the splendid polychrome vessels of the type called 'Kamares,' from the cave on Mount Ida where they were first discovered by Mr. J. L. Myres. The vases and cups of this fabric, from the delicacy of their forms, the grace of their designs, and the richness of their colour, are among the most notable survivals of Minoan ceramic art. The clay is fine and carefully sifted, and the walls of the vessels are of extreme thinness and delicacy, approaching to that of the finest egg-sh.e.l.l china. The designs upon the vases are often moulded in low relief as well as painted, and the thinness of their walls, the form of their handles, and the k.n.o.bs upon them, which are evidently meant to suggest rivets, show that the potters of the time were endeavouring to emulate the achievements of their brother artists, the metal workers. The designs upon the vases themselves are conventional, the idea being to produce a rich and harmonious effect of form and colour rather than to secure any imitation of Nature. Indeed, the patterns are very largely geometric; the zig-zag, the cross, and concentric circles occur frequently; and when plant life is imitated it is skilfully conventionalized, as in the case of the water-lily cup, perhaps the most beautiful specimen of the ware of the period, on which the white petals start from a centre at the foot of the cup and enfold its body. The ground of this cup is l.u.s.trous black, and the white of the petals is accentuated by thin lines of red, while a geometric pattern moulded in low relief runs round the rim of the cup above the waterlilies (Plate XXIX.

4). The colours of the vases are varied, consisting chiefly of white, orange, crimson, red, and yellow, and each colour is used in several shades. 'Black shades into purple, white into cream; brown has sometimes a red, and sometimes an olive tint; yellows are either pale or orange; and red is not only a crude vermilion, but is weakened to pink, or strengthened with shades of orange and cherry and terra-cotta.' In the decoration of the vases both styles flourish side by side, dark design upon light ground, and light upon dark. In some vessels of the period there is a combination of conventionalized naturalistic ornament and geometric design.

A distinct link between Egypt and Middle Minoan II. is afforded by the fact that at Kahun, close to the pyramid of Senusert II., near the Fayum, Professor Petrie discovered vases which are unquestionably of Kamares type, while the synchronism with the Twelfth Dynasty was fully established by Professor Garstang's discovery at Abydos of fragments of a polychrome vessel of late Middle Minoan II. type in an untouched tomb, which also contained glazed steat.i.te cylinders with the names of Senusert III. and Amenemhat III. Middle Minoan II., then, equates with the times of the Twelfth Egyptian Dynasty, a period which was in many respects the most brilliant of Egyptian history.

When we come to inquire, however, as to positive date, we are still met, though almost for the last time, by the great discrepancy between the systems of Egyptian dating. The Twelfth Dynasty is placed by Professor Petrie at about 3400 B.C., by the traditional dating about 2500 B.C., while the modern German school brings down the date as low as 2000 B.C. No more can be said than that Middle Minoan II. certainly does not begin earlier than 3400 B.C., and can scarcely begin later than 2000 B.C. The period closes with the evidence of a great catastrophe at Knossos, in which the palace was burned; and, as already mentioned, the fact that Phaestos shows no evidence of such a disaster at this point has roused the suspicion that the Lords of Phaestos may have been responsible for the destruction of the greater palace.

_Middle Minoan III_.--To this period belong the beginnings of the second palace at Knossos. The western portion of the palace probably dates largely from this time, though it was altered and extended later; and we must place here the Temple Repositories, and certain other chambers on the northeast side of the Central Court, though they were covered up and built over in Late Minoan I. At all events, a very great and splendid building must have existed upon the site at this time. Egypt was pa.s.sing through the dark period between the Thirteenth and Seventeenth Dynasties, which includes the domination of the Hyksos; but the civilization of Crete, on the contrary, was continually and steadily advancing. To this age belong many of the most interesting and precious relics of the Minoan culture.

The art of the period gradually undergoes a great change from that of Middle Minoan II. Polychrome decoration steadily declines, and is superseded by monochrome. The beautiful l.u.s.trous black glaze ground of the vases is replaced by a dull purple slip on which the decoration is often laid in a powdery white paint. The best designs are found in this white upon a lilac or mauve ground. In the designs themselves conventionalism and geometric ornament pa.s.s away, and are followed by a development of naturalism. Dr. Mackenzie has pointed out that it is to this growth of naturalism that we must trace the gradual disappearance of polychrome decoration.

'Once we have the portrayal of natural objects, such as flowers, which becomes so rife before the close of the Middle Minoan Age, it soon becomes apparent that a scale of colours, which in their relation to each other were capable of producing polychrome effects of great beauty, was quite inadequate towards the reproduction of the natural colours of objects. Thus green, for example, which is the first necessity towards the rendering of leaves and stems, did not exist in the colour repertory of the vase painter. The ceramic artist must thus have felt that with his limited scale of colours he could not produce the same natural effects as the wall-painter with his. On the other hand, he must have been equally conscious that natural objects such as flowers did not look natural in a polychrome guise which was not that of Nature. The only solution of the colour difficulty in the circ.u.mstances was a compromise in the shape of a convention. Thus the tendency came into being to make all natural objects either simply light on a dark ground, or dark on a light ground.'[*]

[Footnote *: _Journal of h.e.l.lenic Studies_, vol. Xxvi., part I, pp. 257, 258.]

The two flowers most generally used for the purpose of ornamentation are the lily and the crocus. For the first time the importance of pottery as an evidence of the condition of the art of the period is second to that of other artistic products. It is to Middle Minoan III. that there belongs the wonderful fabric of faence, of which so many specimens were discovered in the Temple Repositories. In them the same tendency towards naturalism reveals itself. The wild-goat suckling its kid, the flying-fish, the porcelain vases, one of them with c.o.c.kle-sh.e.l.l relief, and another with ferns and rose-leaves on a ground of pale green, are all instances of the naturalistic growth. Evidence is also afforded of a great delight in scenes connected with the sea, and we have the flying-fish and the seal with the seaman in his skiff defending himself against the attacks of the sea-monster, to witness to the Minoan appreciation alike of the curiosities and the dangers of the deep.

Fresco-painting also begins to leave survivals, and we have particularly the fresco of the Blue Boy gathering white crocuses. At the beginning of the period the old form of pictographic writing is still in general use, but by the close of Middle Minoan III. the earlier type of the linear script, Cla.s.s A, has made its appearance and is extensively used. The Middle Minoans of the Third period were the fabricators of the huge k.n.o.bbed and corded _pithoi_, or jars, some of them with the curious 'trickle,' ornament, which is surely decoration reduced to its last straits. The artist merely dabbed quant.i.ties of brown glaze paint around the rims of his jars, and allowed it to trickle down the sides at its own will. The result is curious, but can scarcely be called beautiful (Plate IX. 2).

'Ab-nub's child, Sebek-user, deceased,' whose statuette was found at Knossos, gives us a point of connection between the earlier part of Middle Minoan III. and the Thirteenth Egyptian Dynasty, while the alabastron of Khyan links the later portion of the period with the Hyksos domination in Egypt. The King who built the great tomb at Isopata, already described, must have reigned at Knossos during this period.

_Late Minoan I_.--In this period we come into touch with a great deal of the fine work of the Royal Villa at Hagia Triada, which has been already described. A considerable portion of the area of the palace at Knossos, dating from the preceding age, is now covered up by new construction, and the second palace begins to a.s.sume the form which was completed in the subsequent period. In pottery the naturalistic style still persists, but the technique begins to modify, and the white design on a dark ground occurs less frequently than design in dark glaze paint on the natural light ground of the clay. Ornament begins to partake increasingly of a marine character; the octopus, the Triton sh.e.l.l, the nautilus, and seaweed, appear as designs, and are executed in lifelike fashion, which contrasts strongly with the later conventionalized method of representing them. Indeed, Middle Minoan III. And Late Minoan I. and II. show a distinct appreciation of and delight in all the beauty and wonder of the sea, which suggest the important part which it played in the lives of the Cretan populace. 'At ports where sailors and fishermen and divers for sponge and purple went and came, it was natural for an imaginative race to acquire that sense of the magic and mystery of the sea, that curiosity about the life in its depths, which found expression in these ceramic pictures.'[*]

[Footnote *: R. C. Bosanquet, _Journal of h.e.l.lenic Studies_, vol.

xxiv., part 2, p. 322.]

[Ill.u.s.tration XXVI: GREAT STAIRCASE, PHaeSTOS (_p_. 120)

_G. Maraghiannis_]

Along with the marine designs went naturalistic representations of flowers and gra.s.ses--the lily and the crocus, already familiar from earlier work, the Egyptian lotus in a form adapted to the taste of the Minoan artist, and ivy leaves and tendrils. A peculiarly graceful design on a vase from Zakro shows an adaptation of the Egyptian lotus, presenting that favourite Nilotic motive in a style more flexible and easy than that of the native representations of it. The design in this case is painted in white on a reddish-brown ground, and its peculiarity is that the white was laid on after the vase had been fired, and can be removed with the finger (Plate XXIX.

2). The three vases from Hagia Triada, the Boxer, the Harvester, and the Chieftain, belong to this period, as do also the frescoes of the Hunting Cat and the Climbing Plants, and probably the Royal Gaming Board from the palace at Knossos. At this time, too, we come upon the long bronze swords which had succeeded the daggers of the preceding ages. Hieroglyphic writing is now superseded by the linear script of Cla.s.s A, which now comes into regular use, although at Knossos the doc.u.ments in this script, according to Dr. Evans, are only to be found in the stratum belonging to the last period of Middle Minoan, their place being supplied by Cla.s.s B, which occurs only at Knossos.

At Hagia Triada and Gournia the older forms of vase are mingled with early specimens of the type variously known as 'Bugelkanne,'

'Vases a etrier,' or 'Stirrup-vases.' These vases, named from the stirrup-like appearance of their curving handles, may more correctly be called 'false-necked vases,' from the fact that the neck to which the handles unite is closed, and another neck is formed, farther away from the handles, for convenience in pouring. The false-necked vase is the characteristic pottery type of Late Minoan III., and occurs very frequently on the Mycenaean sites of that period. The seals with fantastic forms of monsters, such as those found in such numbers at Zakro, date from the beginning of Late Minoan I., and to this period also belong the earlier of the Shaft- or Circle-Graves at Mycenae, so that now for the first time Minoan can be equated with Mycenaean. We are still without any system of dating that is absolutely certain, but this is the last period of which such a remark is true. The next period brings us into touch with Egyptian synchronisms whose date is certain to within a few years.

_Late Minoan II_.--To Late Minoan II. belong the great glories of the second palace at Knossos, which arrived at its greatest splendour just before the time at which it was to be destroyed.

Now were built the Throne Room and its antechamber, and the Royal Villa with its das and throne and columned hall, while the walls of the completed palace were covered with the splendid frescoes of whose beauties the Cup-Bearer and the spectators watching the games give us evidence. The reliefs in hard plaster, such as the bull's head and the King with the peac.o.c.k plumes, show the style of decoration which gave variety on the walls to the paintings on the flat. In pottery the change of style and decoration is gradual, but quite p.r.o.nounced. The chief characteristic of the time is the fabrication of large decorated vases and _pithoi_, such as the beautiful papyrus relief vase of the Royal Villa, nearly 4 feet in height (Plate XXIII.; see also Plate x.x.x.). Naturalism still survives in occasional designs, but the bulk of the design is conventional, and the composition of the various elements is often extremely skilful. A typical form of vessel of this period is the long narrow strainer, which is borne by the Cup-Bearer in the palace fresco, and of which various specimens have been found. In many cases these strainers were made of variegated marble, though pottery was also used for them.

The bronze vessels from the north-west house at Knossos, and the swords from the earlier Zafer Papoura graves, testify to the skill with which metal was wrought. One of these swords from the chieftain's grave, the short weapon which the n.o.ble of Late Minoan II. carried along with his long rapier, perhaps for parrying thrusts, as the gallants of Queen Elizabeth's time used their daggers, has a pommel of translucent agate, and a gold-plated hilt engraved with a design of a lion chasing and capturing a wild-goat. Great bronze vessels were wrought with splendid conventional designs, and some of the stone vases of the period are amazing in the skill with which they were worked and decorated. 'How the hard material was worked with precision in the _inside_ of vessels which have only the narrowest of neck orifices, and that in an age of soft bronze tools, is as great a mystery as the mode of working diorite and granite in prehistoric Egypt.'[*] Perhaps the most splendid specimen is the great amphora, 2 feet high by 6 feet in circ.u.mference, with its two magnificent spiral bands, which was found in the so-called Sculptor's Workshop at Knossos, beside the smaller vessel which had only been roughed out when the catastrophe of the palace came.

[Footnote *: D. G. Hogarth, _Cornhill Magazine_, March, 1903, p.

329.]

The linear script, Cla.s.s B, now supersedes the earlier type, Cla.s.s A.

In this period we come for the first time into a sphere where there is practically an absolute certainty in dating; for now we have the Keftiu appearing in the tomb frescoes of the Eighteenth Dynasty at Thebes, with their vessels of characteristic Minoan type, and their purely Minoan style of dress and general appearance. Sen-mut's tomb gives us a date about 1480 B.C., and Rekh-ma-ra's may bring us down to 1450 B.C., or thereby. It is somewhat striking that the periods of greatest splendour alike for the Egyptian Empire and for the Minoan should virtually coincide. In either case, the duration of the culmination of splendour was short. The magnificence of the Egypt of Hatshepsut, Tahutmes III., and Amenhotep III., was speedily to be clouded and dimmed by the disasters of the reign of Akhenaten; but even before the glory of the Eighteenth Dynasty had pa.s.sed away, the sun of the Minoan Empire had set. Late Minoan II., with all its triumphs of architecture and art, was brought to an abrupt close by the sack of the palaces, probably about 1400 B.C., and the great frescoes of the palace at Knossos were the last evidences of a magnificence which was never to be revived again on Cretan soil.

During this period intercourse between Crete and Egypt must have been frequent and close. It is not only indicated by the evidence of the Sen-mut and Rekh-ma-ra tombs, but by the parallelism in the styles of art in the two countries. The art of each remains truly national, but the frescoes of Knossos and Hagia Triada and those of the Eighteenth Dynasty in Egypt are inspired by the same spirit, though in either case the result is modified by national characteristics.

[Ill.u.s.tration XXVII: THE HARVESTER VASE, HAGIA TRIADA (_p_. 124)

_G. Maraghiannis_]

_Late Minoan III_.--This, the last period of the Minoan civilization, commences with the destruction of the palace of Knossost somewhere before 1400 B.C., and presents no definite line of termination.

The great style of art represented by the preceding period does not at once degenerate into barbarism. If, as seems probable, the men who destroyed the Cretan palaces were Mycenaeans of the mainland, more or less of the same stock as the Cretan representatives of the Minoan tradition, we can see how the catastrophe of the palaces need not have been followed by any immediate catastrophe of the art of Crete. At the same time the true spirit of the Minoan race had been destroyed, and degeneration of the standard of art naturally followed. The level of artistic work in the earlier part of the period is still high--in fact, it is that of what is considered the best Mycenaean art--the technical skill which produced the masterpieces of the Palace period still survives, but the inspiration which gave it life is gone. Originality in design vanishes first, and is gradually followed by skill in execution; the old types are reproduced in more and more slovenly fashion, and at last even the material employed follows the example of degeneration. This period of gradual decadence is, however, the period of greatest diffusion of the products of Minoan, or, rather, as we may now call it, of Mycenaean art. At Ialysos in Rhodes, and in the lower town of Mycenae, types parallel with the work of Crete are found, and Tell-el-Amarna furnishes specimens of pottery whose degeneracy from the type of the Palace period declares them to belong to these days of decadence. Specimens of Late Minoan III. work are found at Tarentum, and the island of Torcello, near Venice, and even as far west as Spain. One of the characteristic features of the period is the fact that the stirrup-vase, found at Hagia Triada and Gournia in Late Minoan I., but almost totally wanting in Late Minoan II., now becomes common.

Towards the close of the period the site of the palace at Knossos was partially reoccupied by a humbler race of men, who used the rooms that had once witnessed the pride of the Minoan Sovereigns, dividing them up by flimsy part.i.tion-walls to suit their smaller needs. An age of transition succeeded, during which the character of the Cretan population was gradually modified by successive waves of invasion from the mainland, until Crete a.s.sumed the guise of 'the mixed land,' under which Homer knew it; and finally came the great invasion of the Dorians, which brought in for Crete, as for the rest of Greece, the dark age which preceded the dawn of the true h.e.l.lenic culture.

CHAPTER X

LIFE UNDER THE SEA-KINGS

What manner of men were the people who developed the Bronze Age civilization of Crete? Can we form any idea of their physical characteristics, of their homes and social conditions, of the general aspect of their daily life, and of the occupations in which they were engaged? Such questions can only be answered more or less generally in the absence of written material, or, rather, in our lack of understanding of the written material that exists; but, still, a considerable ma.s.s of evidence is in existence from which some broad outlines may be deduced with moderate certainty, and the object of this chapter is to present these outlines.

First, as to the physical characteristics of the race. Two lines of evidence are here available. On the one hand, there is that afforded by the actual remains of the bodies of men and women of the Minoan race which have been exhumed from ossuaries of the Bronze Age, and studied by anthropologists. Generally speaking, the result of their investigations has been to show that the Minoans belonged to the southernmost of the three great racial belts into which the ancient peoples of Europe may be divided--the so-called Mediterranean race. That is to say, they were a people of the long-headed type, dark in colouring and small in stature. The average height, estimated from the bones which have been measured, is somewhat under 5 feet 4 inches, which is about 2 inches less than the average of the modern Cretans, and corresponds more to the stature of the Sardinians and Sicilians of the present time. A few skulls of the broad-headed type appear among the general long-headedness, and probably point to some intermixture of race; but, as a whole, the people were long-headed. The shortness of stature indicated by the bones is a feature which one would scarcely have inferred from the other line of evidence available--the actual representations of men and women of their own race which the Minoans have left in their fresco-paintings; but allowance must, of course, be made for the artistic convention which tended to accentuate slenderness of figure, and therefore to increase apparent height.

Judging from the surviving pictures, the Minoan men were bronzed, with dark hair and beardless faces; their figures were slender, and their slenderness was made all the more conspicuous by the fashion which prevailed of drawing in the waist by a tightly fastened belt, which seems, in some cases at least, to have had metal edges; but muscularly they were well developed, and the pictures suggest litheness and agility in a high degree. 'One would say a small-boned race, relying more on quickness of limb and brain than on weight and size.' The hair of the men was worn in a somewhat elaborate fashion, being done up in three coils on the top of the head, while the ends of it fell in three long curls upon the shoulders. On the other hand, their dress was extremely simple, consisting normally of nothing but a loin-cloth, girt by the broad belt already mentioned, the material of which the loincloth was made being frequently gaily coloured or patterned, as in the case of the Cup-Bearer, whose garment is adorned with a dainty quatre-foil design. That more elaborate robes were worn on certain occasions of importance is shown by the sarcophagus at Hagia Triada (Plate XXVIII.), where the lyre player wears a long robe coming down to the ankles and bordered with lines of colour, while the other men in the scene wear tucked robes reaching a little below the knees (or possibly baggy Turkish trousers); and also by the Harvester Vase, where the chief figure in the procession is clad in a stiff garment, which has been variously interpreted as a wadded cuira.s.s, or as a cope of some stiff fabric.

On their feet they wore sometimes shoes, with puttees twisted round the lower part of the leg, and sometimes half-boots, as shown on the Chieftain Vase and one of the Petsofa figurines. Indeed, the footgear of the Minoans seems to have been somewhat elaborate. In the representations of the Keftiu, on the walls of Rekh-ma-ra's tomb, the shoes are white, and have bindings of red and blue, and in some cases are delicately embroidered. Such examples as the shoe on an ivory figure found at Knossos, and the terra-cotta model of a shoe found at Sitia, show the daintiness with which the Minoans indulged themselves in the matter of footwear. In personal adornment the men to some extent made up for their simplicity in the matter of dress. The Cup-Bearer wears a couple of thick bracelets on his upper arm, and another, which bears an agate signet, on his wrist; and such decorations seem to have been in common use. The King whose figure in low relief has been reconstructed from fragments found at Knossos, wears peac.o.c.k plumes upon his head, while round his neck he has a collar of fleur-de-lys, wrought, no doubt, in precious metal.

The Minoan women are depicted with a perfectly white skin, which contrasts strongly with the bronzed hue of the men. The deep coppery tint of the men, and the dead white skin of the women is, of course, to be accepted only as a convention, similar to that adopted by Egyptian artists, meant to express a difference of complexion caused by greater or less exposure to the weather; and we need not imagine that there was so great a contrast between the colouring of men and women in actual life as would appear from the paintings. If the dress of the male portion of the populace was simple, that of the female was the reverse. An elaborate and tight-fitting bodice, cut excessively low at the neck, covered, or affected to cover, the upper part of the body, which is so wasp-waisted as to suggest universal tight-lacing. From the broad belt hung down bell-shaped skirts, sometimes flounced throughout their whole length, sometimes richly embroidered, as in the case of a votive skirt represented in faence among the belongings of the Snake G.o.ddess found in the Temple Repositories. In some cases--_e.g._, that of the votaress of the Snake G.o.ddess--the skirt, below a small panier or ap.r.o.n, is composed of different coloured materials combined in a chequer pattern distantly resembling tartan. A fresco from Hagia Triada represents a curious and elaborate form of dress, consisting apparently of wide trousers of blue material dotted with red crosses on a light ground, and most wonderfully frilled and vand.y.k.ed. Diaphanous material was sometimes used for part of the covering of the upper part of the body, as in the case of some of the figures from the Knossos frescoes. Hairdressing, as already noticed, was very elaborate, and above the wonderful erections of curls and ringlets which crowned their heads, the Minoan ladies, if one may judge from the Petsofa figurines, wore hats of quite modern type, and fairly comparable in size even with those of the present day. A seal from Mycenae, representing three ladies adorned with accordion-pleated skirts, shows that heels of a fair height were sometimes worn on the shoes.

Necklaces, bracelets, and other articles of adornment were in general use, and the workmanship of some of the surviving specimens is astonishingly fine (Plate x.x.xII.). Altogether, so far as can be estimated from the representations which have come down to us, the appearance of a Minoan a.s.sembly would, to a modern eye, seem curiously mixed. The men would fit in with our ideas of their period, but the women would remind us more of a European gathering of the mid-nineteenth century.

The houses which were occupied by these modern-looking ladies and their mates were unexpectedly unlike anything in the house-building of the Cla.s.sical period. There is little of the uniformity of style and arrangement which characterizes the ordinary Greek house. The Minoan burgher built his home as the requirements of his site and of his household suggested, and was not the slave of any fixed convention in the matter of plan. The houses at Gournia, Palaikastro, and Zakro, which may be taken as typical specimens of ordinary Minoan domestic architecture, must have been much more like modern houses than anything that we know of in Greek towns of the Cla.s.sical period; and the elevations of Minoan villas preserved in the faence plaques from the chest at Knossos suggest the frontages of a suburban avenue. Some of the Knossian plaques show houses of three and four storeys, with windows filled in with a red material which, as Dr.

Evans suggests, may have been oiled and tinted parchment. In such houses, as distinguished from the palaces, there was no separation between the apartments of men and women. The fabric of the houses was generally of sun-dried brick, reared upon lower walls of stone; some of the Knossian villas, however, were plastered and timbered, the round beam-ends showing in the frontage. Oblong windows took the place of the light-wells which give indirect illumination to the palace rooms. The accommodation must have been fairly extensive.

The smaller houses have six to eight rooms, the larger ones twice that number; while one of the houses in Palaikastro has no fewer than twenty-three rooms.

Within doors the walls were finished with smooth plaster, and probably decorated with painting, though, of course, on a humbler scale than in the palaces. The floors were of flagstones and cement, even in the upper storeys, and in some cases of cobbles or of earth rammed hard. The furniture of the rooms has perished, except in the case of such articles as were of stone or plaster; but the evidence we possess of the comfort and even the luxury of the life of these times in other respects suggests that the townsfolk of Gournia and the other Cretan towns were not lacking in any of the essentials of a comfortable home life. The great chest at Knossos which was once decorated with the faence plaques was, of course, part of the furnishing of a royal home, and we are not to suppose that such magnificent pieces of furniture were common; but in their own fashion the ordinary Minoan houses were doubtless quite adequately appointed, and the great variety of domestic utensils which has survived shows that life in the Bronze Age homes of Crete was by no means a thing of primitive and rough-and-ready simplicity, but was well and carefully organized in its details. It has been remarked that 'cooking in Homer is monotonous, because no one eats anything but roast meat'; but this accusation could not be brought against the Minoans, who had evidently attained to a considerable skill and variety in the way in which they prepared their viands for the table. The three-legged copper pot which was the most common vessel for cooking purposes was supplemented by stewpans with condensing-lids, and a variety of other forms of saucepan, while the number of different types of perforated vessels for straining and other purposes shows the care with which the art of cooking was attended to. Probably the Minoan kitchen, though we are still much in the dark as to its form, was almost as well equipped for its special functions as the kitchen of the present day.

We are, unfortunately, without any evidence as to the appearance of the great palaces in their finished state. The inner plan can be traced, but it is difficult to arrive at any idea of what these huge buildings must have looked like from the outside. It is fairly evident, however, that there cannot have been any symmetrical balancing of the different architectural features. The palaces were more like small towns than simple residences, and the impression made upon the eye must have been due more to the great ma.s.s and extent of the building than to any symmetry of plan. Probably we must conceive of them as great complex blocks of solid building, rising in terrace above terrace, the flat roofs giving an appearance of squareness and solidity to the whole. On a closer approach the eye would be impressed by the wide and s.p.a.cious courts, the stately porticoes, the n.o.ble stairways, and the wealth of colour everywhere displayed; but, on the whole, so far as can be judged, it was only from within that the splendour of the Minoan palaces could be fairly estimated.

A palace such as that of Knossos sheltered an extraordinary variety and complexity of life. An abundance of humbler rooms served for the accommodation of the artists and artisans who were needed for the service and adornment of the palace, and of whom whole companies must have lived within the walls, 'dwelling with the king for his work,' like the potters and foresters mentioned in Scripture. Several shrines and altars provided for the religious needs of the community.

Rooms of state were set apart for public audiences and for council meetings. In fact, the building was not only a King's dwelling-place, but the administrative centre of a whole empire, and within its walls there was room for the offices of the various departments and for the housing of their records.

The domestic quarter of the palace still reveals in some of its rooms the environment of luxury and beauty in which the Minoan royalties lived. The Queen's Megaron may be taken as typical. A row of pillars rising from a low, continuous base divides the room into two parts. The upper surface of the base on either side of the pillars is of stucco moulded so as to form a long couch, which was doubtless covered with cushions when the room was in use. Light was furnished in the day-time, according to Cretan Palace practice, not by windows, but by light-wells, of which there are two, one on the south and one on the east side. In one of these light-shafts the brilliant white stucco surface which reflected the light into the room is decorated with a modelled and painted relief, of which a fragment has survived, representing a bird of gorgeous plumage, with long curving wing, and feathers of red, blue, yellow, white, and black. Near the light-well on the other side of the line of pillars, outside nature was brought within doors by a beautiful piece of fresco-painting which shows fishes swimming through the water, and dashing off foam-bells and ripples in their rapid course.

Along the north wall of the room ran another gay fresco, representing a company of dancing-girls on a scale of half life-size. One of the dancers is clad in a jacket with a yellow ground and blue and red embroidered border, beneath which is a diaphanous chemise. Her left arm is bent, and her right stretched forward; her features are piquant, if not beautiful, and a slight dimple shows at the corner of her lips. Her long black hair, elaborately waved and crimped, floats out on either side of her head as she turns in the movement of the dance. The fragments of decoration which have survived help us to realize a very beautiful room, gay with colour, yet never garish because of the softness of the indirect illumination, in which we may imagine the Minoan Court ladies, in their modern gowns, reclining on the cushions of the long couch, discussing the incidents of the last bull-grappling entertainment, the skill of the young Athenian Theseus, and the obvious infatuation of Princess Ariadne, or employing their time more usefully in some of the wonderful embroidery-work in which the fashion of the period delighted. By night the scene in the palace would be even more picturesque. Greatstone lamps, standing on tall bases, and each bearing several wicks on the margin of its broad bowl of oil, flared in the rooms and corridors, lighting up the brightly coloured walls, and sending many-tinted reflections dancing from the bronze and copper vases and urns which decorated the pa.s.sages and the landings of the stairways; while through the breadths of light and shadow moved in an always changing stream of colour the gaily dressed figures of the Minoan Court.