Minoan Black & White Stock Photos
RMJR318A–Linear A is one of two currently undeciphered writing systems used in ancient Greece (Cretan hieroglyphic is the other). Linear A was the primary script used in palace and religious writings of the Minoan civilization. It was discovered by archaeologist Sir Arthur Evans. It is the origin of the Linear B script, which was later used by the Mycenaean civilization.
RMWHB6JK–Snake-priestess, or a snake-goddess, from Palace of Minos at Knossos - Crete. Minoan Snake Goddess figurine c 1600 BCE.
RMW51GT6–Minoan/Mycenanaean lentoid gem, Unknown, Greece, 14th century B.C., Black serpentine, 0.7 × 1.5 cm (1/4 × 5/8 in
RF2R3275K–Rectangle shaped Cretan labyrinth. Classical design of a single path in seven courses, as depicted on silver coins from Knossos.
RMBA7R85–Heracles, Greek deity and divine hero, full length, fighting with Minoan Taurus, wood engraving, 19th century, after ancient relief, Museo Vaticano,
RF2B76JGM–Minoan Vase from Knossos, it is more than a useful tool for dating, vintage line drawing or engraving.
RF2ME194C–The archaeological site of Knossos, the city ruled by Minos, capital of the advanced Minoan civilization, was the commercial and religious center of t
RMTW04MN–Silhouette of a man fishing from the pier with a Minoan lines ship exiting the harbour in the background. Heraklion, Crete, Greece.
RMD9650B–General' William Booth (1829-1912) evangelical social worker, founder of the Salvation Army. Edward Linley Sambourne 'Fancy Portrait' From 'Punch' (London 27 October 1883). Wood engraving.
RMPANHN2–Terracotta skyphos (deep drinking cup). Culture: Greek, Attic. Dimensions: H. 3 1/8 in. (7.9 cm) diameter 4 1/2 in. (11.4 cm). Date: ca. 470-460 B.C.. Obverse, Theseus Reverse, the Minotaur Many red-figure artists eliminated the narrative element from mythological representations and, instead, highlighted the protagonists. Here, with one protagonist on each side, Theseus's pursuit of the Minotaur becomes timeless and eternal. Museum: Metropolitan Museum of Art, New York, USA.
RMG5RKNT–geography / travel, Greece, isle, Crete, Knossos, palace, ground plan of the lower floor, drawing, 1950s, Additional-Rights-Clearences-Not Available
RM2AJEC20–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . and donot recur in later times. The Early Minoan seemsto have been particularly fond of making vases of stone.They have been found (though not all have the re-markable beauty of those from Mochlos) in all sites ofthis period in Crete. Whereas the pottery of the timeis much inferior to that of the Neolithic period whichpreceded it and that of the Middle Minoan periodwhich followed it, the stone vases are splendid. Itwould seem as if the degeneration of the pottery thatfollowed the introduction of metal turned the men
RFRXF3NR–Knossos, Greece - November 2, 2017: North Entrance of Knossos palace. Crete, Greece. It is the largest Bronze Age archaeological site on Crete. Black
RM2H1FG24–Knossos, Greece - November 2, 2017: North Entrance of Knossos palace. Crete, Greece. It is the largest Bronze Age archaeological site on Crete. Black
RMJR3187–Knossos is the largest Bronze Age archeological site on Crete and is considered Europe's oldest city. The palace of Knossos was undoubtedly the ceremonial and political center of the Minoan civilization and culture. Some of the walls at Knossos bear certain marks which were at first passed by as mere scratchings by masons, but are now believed to be the same system as the characters on the pottery and seals, the various positions in which the signs appear, warranting the inference that they were engraved on the blocks before these were placed in situ. The palace was abandoned at some unknown t
RMWHB57G–Part of the Palace in Knossos, Greece. Possibly dating from the late Minoan period. The King’s Megaron. King Minos’ apartments are also known as the Hall of the Double Axes, from symbols on the walls. The room is built, of stones without mortar.. .
RMW51GTC–Minoan three-sided prism gem, Unknown, Crete, Greece, about 2000–1700 B.C., Brown serpentine, 1.2 × 1.2 cm (1/2 × 7/16 in
RF2FP0532–Archival monochrome image. View of the caves at Matala. Artificial caves created in the Neolithic time and used as graves in the Roman period followed
RF2PHABX2–Ancient greek monster minotaur isolated sketch icon. Vector fantastic mythological creature, half man half bull, mythology fantasy monster
RM2AJDC6J–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . rding to genus and species ; theyare very clever impressions, but not genuine portraitsof plants. The cat is, of course, most interesting, asgiving the Egyptian source of the design. But theMinoan master adapted the Egyptian design into amasterpiece of his own, perfectly Minoan in feeling.The way in which the cat walks across the background,in the air, so to speak, with nothing beneath his feet,would have astonished an Egyptian painter, but is quitein keeping with the free-and-easy, summary spiritof Minoan painting.
RMJR3188–Left, symbols on three-sided carnelian. Right, symbols on four-sided stone. Crete was once the center of the Minoan civilization (2700-1420 BC), which is currently regarded as the earliest recorded civilization in Europe. Carnelian was recovered from Bronze Age Minoan layers at Knossos on Crete in a form that demonstrated its use in decorative arts; this use dates to approximately 1800 BC. Knossos is the largest Bronze Age archeological site on Crete and is considered Europe's oldest city. The oldest Mycenaean writing is descended from the Linear A. Linear A is one of two currently undeciphere
RMW51G2W–Minoan Larnax, Unknown, Crete, Greece, 1400 - 1100 B.C., Terracotta, 39.4 × 53.3 × 106.7 cm (15 1/2 × 21 × 42 in
RM2AJDYYJ–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . POTTERY 89 Legend, however, lies beyond the bounds of thisbook, and we must abandon the attractive path ofdalHance which these possibiHties open to us for thereahties of ceramic development ! The centre of the Minyan ware was Central Greece.Its predominance was brought to an end there by thecoming of the Cretans with their ceramic art. The beginning of the Late Bronze Age is marked bythe development in Crete of the naturalistic style ofthe First Late Minoan period, which extended itself to. Fig. 24.—Troy ; silver vas
RMDA5D0F–Two older men in a park in Iraklion, or Heraklion, Crete's capital. They seem to reflect Greece's present depressed state.
RMG15NGH–Boyd displays pieces of broken Minoan bowls, jars, and vases in 1902. Harriet Boyd-Hawes (October 11, 1871 - March 31, 1945) was a pioneering American archeologist, nurse and relief worker. In 1896 she started graduate work at the American School of Class
RM2AJDEK4–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . * the picture is in twodimensions only. It is purely decorative, and friezesshewing human beings, animals, or buildings, weretreated in exactly the same way as dadoes of flowers,trees, or simple lines. Perspective was unknown, ofcourse, and the Minoan endeavoured to give the idea > Ath. Mitt., XXXVI, PL IX. There is an apparent exception to this in the cross-hatching of thebellies of the griffins in the Knossian Throne-room, but one doubtswhether this was intended to indicate relief. PAINTING AND SCULPTURE i8i of
RMJR318C–Scarabs were popular amulets and impression seals in Ancient Egypt. They survive in large numbers and, through their inscriptions and typology, they are an important source of information for archaeologists and historians of the ancient world. Minoan seal-stones are gemstones, or near-gem-quality stones produced in the Minoan civilization. Seal-stones, with intricate carvings in Minoan style showing goddesses, altars, reeds, lions and bulls, some with bull-jumpers soaring over the bull's horns - all in Minoan style and probably made in Crete. Illustration by the British archeologist Arthur Eva
RMWH8R2C–Establishment of a Mycenaean style. The ivy leaf is of Minoan derivation, but the style is typically Mycenaean.
RM2AJDF0M–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . kingan irregularly cavernous shape. Tombs of bothdescriptions were found close beside each other. ^As we have seen,^ the Enk6mi necropolis is a goodexample of the way in which tombs were re-used.These evidently date from the period of the firstMinoan occupation in the fourteenth century, butmany of them were reoccupied four hundred yearslater, when the decadent Minoan culture of Cypruswas contemporary with the Geometric period in Creteand Greece. In these tombs large vases were placed which seem tohave been used as c
RMWHAT3A–Faience, goddess, from treasury of shrine in the Palace of Knossos . Minoan Snake Goddess. 16th century BC
RM2AJDTD0–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . civilization when we find L.M.Ill vases in Sicily. But legends testify that attempts atCretan colonization in Sicily and Italy had been madein the days of the Minoan thalassocracy. It is the factthat Mycenaean pottery has been found in Messapia.But we can hardly find proof even of Aegean commerce,much less of colonization, at the far head of theAdriatic in the vases found at Torcello. Are notthese more probably Cretan pots brought back ascuriosities by some returned Venetian froveditore ? With the extension of Mycena
RM2AJCXJJ–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . Mycenae) are found in manytombs; but, naturally, the most important objects in allmale burials are the weapons. Of armour we cannotsay much, as very little has been recovered. Thebreastplates of thin gold found in the shaft-graves maybe funerary reproductions of armour, ^ but this is un-certain, and nothing like a helmet was found with them.The Minoan warrior usually wore no body-armour,though occasionally on some Knossian tablets there * Evans, Prehistoric Tombs, p. 115. * Ibid.; Tsountas-Manatt, p. 166. SCHUCHHARDT
RM2AJE4WB–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . Fig. 10 —Flower vase. Fig. II.—Flower vase ; later type.British Museuvi. Scale ,. which are seen in most collections of Minoan antiquities(Figs. 10, 11).^ The repousse decoration of the rims and handles oftwo bronze vases from Cyprus is shewn in PI. XVIII. JLATE XVni. Cypru.-i ,U/ri CVlRlSRims ami IIamu.ks m- I;k(inzk .sk? (Scale : 1/61I1) STONE AND METAL 67
RM2AJDP2N–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . are Middle Minoan roomswhich were filled up with a sort of beton or concrete oflime, clay, and stones (called by the diggers acrrpaxa-cr^ea-Tov) when the theatral area was remodelled. AtHagia Triada too, there were Middle Minoan construc-tions before the palace was built, but we cannot say thatthere had been a regular palace there before the LateMinoan building. The main characteristics of Minoan palace-con-struction were the central courts, the fine broad stair-ways of low tread (the easiest stairways that ever onem
RMJR3189–An ideogram or ideograph is a graphic symbol that represents an idea or concept, independent of any particular language, and specific words or phrases. Some ideograms are comprehensible only by familiarity with prior convention; others convey their meaning through pictorial resemblance to a physical object, and thus may also be referred to as pictograms. Pictography is a form of writing which uses representational, pictorial drawings, similarly to cuneiform and, to some extent, hieroglyphic writing, which also uses drawings as phonetic letters or determinative rhymes. Linear A is one of two cu
RM2AJE514–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . Fig. 9.—Lamp of purple gypsum. Scah . vessels were commonly made of grey steatite ; espe-cially noticeable are the beautiful and also extremelycharacteristic steatite pots in the form of flowers,. Fig. 10 —Flower vase. Fig. II.—Flower vase ; later type.British Museuvi. Scale ,. which are seen in most collections of Minoan antiquities(Figs. 10, 11).^ The repousse decoration of the rims and handles oftwo bronze vases from Cyprus is shewn in PI. XVIII. JLATE XVni
RM2AJD9HY–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . Hagia Triada vases, which have already beendescribed in Chapter III, are perhaps to be groupedwith the triumphs of Minoan toreutic art rather thanwith the failures of its stone sculpture on the largerscale. They are copies of metal prototypes, and theirart is directly derived from that of the metal-workers. Sculpture in the round began in the Cyclades in theChalcolithic Age, with the figures of Parian marble,already mentioned, which were placed in the cist-graves.These are mostlyflat dolls of small size, sometimes fi
RM2AJDTAA–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . ich are eventuallyoverlaid by the Geometric pottery of^Mycena^nTa/jUnd the Early Irou Age. In the develop-kraier: Pakikastro. mcnt of this they cxerciscd a very greatCandia Museum, influence,audiu thesucccedingTroto-Scaie, I, A; 2, tV. Corinthian style of the eighth and theseventh centuries we see undoubted traces of the oldMycenaean ceramic art. The technique of vase-paintingremains the same ; the Minoan tradition was never lost.From this chapter we have seen how important aplace the study of pottery takesin the rec
RM2AJDRJH–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . werecertainly used for the most ordinary purposes, at allperiods rough undecorated ware (in L.M.III, usuallyred) was also used, and we are beginning to be able tosort this out also. The town-ruins of Crete haveproved veritable storehouses of the ordinary roughWare of everyday use, especially Gournia. Rouleaux ofsmall cups have been found, the tea-cups of theordinary Minoan household. Basins, pans, saucepans, POTTERY 111 and kettles are common, a particular form of tripodkettle having evidently been popular (Fig. 39).
RM2AJD0J7–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . .—Clay sealing with p , ,, . , repre.entation of two ment, to fit the hgure, m themen in baggy waisiclout Myccuacan representation, is veryor breeches (/3pci/ca» ?); noticcablc ; evidently the Cretan« ajge . icleal of the narrow waist had to be followed by the mainland Mycenaeans. This modern-looking costume was partially adopted in Crete in theThird Late Minoan period, when the Mycenaeanmodification of the Cretan culture had extended tothe islands. We see the waisted overcoat side by sidewith the breeches-like waist
RM2AJD25T–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . Minoan period. As well as writingwith ink on skin, papyrus, or pottery, or, perhaps, in-scribing wax tablets with a stilus, the Minoans took tomaking their signs on lumps of clay, as they had been inthe habit for centuries of stamping them on clay seal-ings by means of seal-stones. They first had markedgraffito inscriptions on the sealings by the side of theseal-stone impression ; the transition to lumps of claywith grafiito only and no seal-impressions was natural.The perforation of the earliest tablets is in favour
RM2AJD54X–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . FlG. 87.—Carnelian signet, Crete. Scale2:. teenth century, but with lions legs and feet also ; theback view of a lion with wings like a bats, and ahideous human head that looks like a dream of someevil spirit (Fig. 88). Fantastic forms are found oftenenough on other seals as, for instance, the Minotaursfrom Knossos,^ but probably these from Zakro are thestrangest and weirdest products of Aiinoan art. Theyshew at any rate how absolutely untrammelled theimagination of the Minoan artist was. And an equalfreedom and unc
RM2AJDM3T–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . ed for their colonial fortifications;then, in the Late Minoan (Middle and Late My-cenaean) period the fine architectural style which wesee earlier in the North Gate of Knossos was used bythe Mycenaeans, now entirely Aegean in their culture,for the building of fortifications, as we see at Troy. Wesee that the Sixth City shews us rather more than mereMinoan or Mycenaean influence in the north-east- corner of the Aegean. Its whole style of building is 140 AEGEAN ARCHAEOLOGY Minoan, though the few houses of the city whic
RM2AJE1RY–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . OA. POTTERY 79 knobs in relief, which are strongly reminiscent of metal-work (Fig. 18). We find Middle Minoan pithoi both atPhaistos and Knossos, but chiefly at the former place.Most of the ILnosshn pithoi are of the later period, andtheir ornament is much toned down from the fantasticrelief-decoration of their Middle Minoan ancestors. In the ceramic art of the Third Middle Minoanperiod we seem to see the operation of a restrained andcultivated taste which had reduced the wild exuberanceof the Second Middle Minoan pe
RM2AJDTTJ–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . from Cyprus seems to belong totwo distinct periods, an earlier and a later. The finefaience rhytons from Enkimi, in the British Museum(PI. XXII), are of course early, of good Minoan period. That in the form of a horses head is especiallybeautiful. Though much of the ordinary pottery isquite good of its kind, resembling that of lalysos (Figs.31, 32, 33), and no doubt contemporary with it, thereare also many late-Mycenaean vases (kraters), usuallylarge and perhaps used for cremation-burials, which are io6 AEGEAN ARCHAE
RM2AJDG0W–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . / / / / ^ ^ / / / Fig. 6o.—Section of shaft-grave; Zafer Papoura, Crete (L.M.III). TEMPLES AND TOMBS 169 ornaments.^ The splen-did funeral state withwhich they were buriedwe already know.^ In the Cretan necro-polis of Zafer Papoura,near Knossos,^ we findshaft-graves of the ThirdLate Minoan period (Fig.60). The depth of theshaft proper . . whenthe surface was not de-nuded, ranged fromabout 2 metres to 3Jmetres. The sepulchralcells went down about ametre below this depth,and were made just largeenough to contain theext
RM2AJE40X–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . Fig. 14.—Crete, Tylissos ; bronze figure of man praying: votive.Caiidia Museian. Scale . King Pepi and his Son, in the Cairo Museum, whichshew what the Egyptian metal-worker could do in thetime of the Vlth Dynasty, contemporary with theThird Early Minoan period. But, on the other hand,the Egyptian could not make Vaphio Cups. The triumphs of the Minoan weaponsmith atMycenae have already been mentioned ; a more PLATK MX. .avim; woman : isrox/.I: (>ualL-: .;+ths) STONE AND METAL 69 detailed description of the variou
RM2AJDABA–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . there can equally be nodoubt. . Of stone reliefs we have not many. In the Cycladesin the Early Minoan period spiral-band designs hadalready appeared on carved vases, shaped as models ofstone houses (p. 48), before even they were painted onplaster probably. In later times the carved stone was atranslation from the fresco-painting; this we see in theOrchomenos ceilings. The intermediate form in stuccorelief existed commonly. And stone vases had reliefbands of stone ornament, as we see at Knossos. Thewell-known Myc
RM2AJD41G–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . 5 6 Fig. 88.—Sealings from Zakro (L.M I). Enlarged, 2IO AEGEAN ARCHAEOLOGY the contemporary art of Egypt or elsewhere, and are,as he says, the earhest attempt at real portraiture yetdiscovered in any part of the European area.^ The Greek of the Bronze Age handed on thetradition of freedom to his Aryanized successor in theAge o£ Iron. And with it came the tradition of thetechnique of vase-painting and of gem-cutting. Andin Ionia probably, the tradition of Minoan designsurvived, till we see it again in the early coin-t
RM2AJCWY1–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . Fig. 107.—Minoan bronze arrowheads; Zafer Papoura (L.M,III).Candia Museuvi. Actual size. bronze arrowheads were found at Knossos, with, near bythem, inscribed tablets with arrowheads in hieroglyphson them and numbers, evidently lists of the number ofarrowheads in the neighbouring stores, which is givenas 8640 in all. No bows have been found ; the horn ofwhich they were made is extremely perishable, and evenin Egyptian tombs has always suffered from the lapse oftime. But again on tablets we have lists of ibex-hornsevi
RM2AJCWT9–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . ound-bladed war-axe with three rings for the staffwas found at Vaphio.^ According to Sir Arthur Evansthe throwing-stick was known, as in Egypt, and was usedin war, whereas in Egypt it was confined to the chase.The Egyptian curved scimitar was never imitated ;the ap-Kri and ixaxo-ipa of the classical Greeks werelater introductions. Towards the end of the Minoanperiod we see the leaf-shaped bronze sword of CentralEurope beginning to make its appearance (in repre-sentations on Knossian tablets) ; in post-Minoan days, Fi
RM2AJDW29–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . Fig. 33. —Cyprus; Mycenaean (L.M.III) filler. Scale .. Fig. 34,—Cyprus; late Mycenaean kraterwith chariot design. From Enkomi.British li/itseuiii. Scale i. have noted above ; they are at first characteristic of themainland and island pottery. The Aegean pottery from Cyprus seems to belong totwo distinct periods, an earlier and a later. The finefaience rhytons from Enkimi, in the British Museum(PI. XXII), are of course early, of good Minoan period. That in the form of a horses head is especiallybeautiful. Though much
RM2AJE21C–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . This remark-able pottery we know generally as Kamarais ware,from the place near which it was first found in bulk, ashas been said on p. 35. In it we see the first appear-ance (if we leave out of account the extraordinary horn-bill or toucan-like appearance of the earlier Schnabel-kannen, PL XX, 7, 9) of that fantastic character whichdifferentiates Minoan art so completely from any otherof ancient days. Egyptian art was never fantastic, andonly once and for a brief season, in the day of Akhen-aten the heretic, was it
RM2AJDN4P–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . // ,.M. //. //, l<X( )SS( IS 1. IJii;hs-i:^E IE 111 WW. i:A^ri:KN suhM: 2. KxiAATINi; TIIK VVKSTKKN IAI.ArK TOWNS AND PALACES 123 stone antae were faced with wood, and there waspossibly a wooden threshold as well, and wooden doors,no doubt often plated with bronze, which have longdisappeared. The pillars which bore the roofs ofchambers, loggias, and stairways were often of acharacteristic Minoan form, round and increasingregularly in girth towards the capital, which was ofsimple form, consisting of a bulging t
RM2AJDTK2–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . Fig. 35.—Cyprus ; late Mycenaean Fig. 36.—Crete; Hird-cup krater from Enkomi. Brilish Palaikastro (L.M.III). IMuseum. Scale y^j-. two distinct periods, of which the earlier belongs to thebeginning, the later to the end, of the Mycenaean age.That the earlier objects are all heirlooms is hardlypossible. The tombs of Enkomi mark the easternmost extensionof the pure Minoan-Mycenaean culture. Recent ex-cavations in Palestine have brought to light thereremains of a sub-Mycenaean art, whose pottery isdebased L.M.III. Ordina
RM2AJDGWN–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . mita-tion trumpets of clay, round which serpentstwist their sinuous bodies (Fig. 55, 3). Thetrumpet was evidently a regular accom-paniment of Minoan religious worship, andthe conch-shell was used as a trumpet ; onan intaglio we see one being used, and a bigstone one was found at Knossos which,however, can hardly have served the pur-pose of an instrument. A sacred object ofwhich we do not know the exact signifi- ^|^cance is the sacral knot, which is seen in ?**the hands of the seated male figure on theMelian fresco.^
RM2AJEAYH–Ægean archæeology; an introduction to the archæeology of prehistoric Greece . later period of the Early Minoan Age in Crete. To this time belong the tombs ofMochlos, which have yielded the fine stone vases de-scribed above. And in these tombs Mr. Seager foundthe oldest Cretan objects of gold, the funerary decora-tions of the dead. They consist of diadems and band-lets of thin beaten gold, decorated with dotted or punctuated lines, minute but beautifully workedchains, and other objects, specially notable being hair-pins in the shape of little golden flowers on their stalks.They give a very high
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