The Knossos Labyrinth

Knossos, like the Acropolis or Stonehenge, is a symbol for an entire culture. The Knossos Labyrinth was first built in the reign of a Middle Kingdom Egyptian pharaoh, and was from the start the focus of a glittering and exotic culture. Homer left elusive clues about the Knossian court and when the lost site of Knossos gradually re-emerged from obscurity in the nineteenth century, the first excavators - Minos Kalokairinos, Heinrich Schliemann, and Arthur Evans - were predisposed to see the site through the eyes of the classical authors. Rodney Castleden argues that this line of thought was a false trail and gives an alternative insight into the labyrinth which is every bit as exciting as the traditional explanations, and one which he believes is much closer to the truth. Rejecting Evans' view of Knossos as a bronze age royal palace, Castleden puts forward alternative interpretations - that the building was a necropolis or a temple - and argues that the temple interpretation is the most satisfactory in the light of modern archaeological knowledge about Minoan Crete.

Describes the discovery and excavation of Knossos by the archaelogist Sir Arthur Evans and what the site revealed about the Minoan civilization that flourished on the island of Crete from about 3000 to 1150 B.C.

This collection of papers, in honour of Sinclair Hood, ranges across the archaeology and history of Knossos. The first ten chapters progress from the Neolithic to the Roman period; the last three return to the Bronze Age settlement and specific important aspects of it. The aim of the volume as a whole is to present an outline of the present state of our knowledge with some mention of current and outstanding problems and with pointers to future lines of enquiry.

- The catalog of the the first major UK exhibition to focus solely on Knossos, at The Ashmolean, Oxford, running from February to July, 2023 - It will provide an up-to-date guide to the archaeology, and history of discovery, of the Palace and wider area - The 20+ contributors are all experts in their field Crete was famous in Greek myth as the location of the labyrinth in which the Minotaur was confined in a palace at somewhere called 'Knossos'. From the Middle Ages travelers searched unsuccessfully for the Labyrinth. A handful of clues that survived, such as a coin with a labyrinth design and numerous small bronze age items. The name Knossos had survived - but it was nothing but a sprinkling of houses and farmland so they looked elsewhere. Finally, in 1878, a Cretan archeologist, Minos Kalokairinos discovered evidence of a Bronze Age palace. British Archaeologist and then Keeper of the Ashmolean Arthur Evans came out to visit and was fascinated by the site. Between 1900 and 1931 Evans uncovered the remains of the huge palace which he felt must be the that of King Minos, and he adopted the name 'Minoans' for its occupants. He employed a team of archeologists, architects and artists, and together they built up a picture of the Bronze Age community that had occupied the elaborate building. They imagined a sophisticated, nature-loving people, whose civilization peaked, and then disintegrated. Evans's interpretations of his finds were accurate in some places, but deeply flawed in others. The Evans Archive, held by the Ashmolean, records his finds, theories and (often contentious) reconstructions.

Beneath the Bronze Age 'Palace of Minos', Neolithic Knossos is one of the earliest known farming settlements in Europe and perhaps the longest-lived. For 3000 years, Neolithic Knossos was also perhaps one of very few settlements on Crete and, for much of this time, maintained a distinctive material culture. This volume radically enhances understanding of the important, but hitherto little known, Neolithic settlement and culture of Crete. Thirteen papers, from the tenth Sheffield Aegean Round Table in January 2006, explore two aspects of the Cretan Neolithic: the results of recent re-analysis of a range of bodies of material from J.D. Evans' excavations at EN-FN Knossos; and new insights into the Cretan Late and Final Neolithic and the contentious belated colonisation of the rest of the island, drawing on both new and old fieldwork. Papers in the first group examine the idiosyncratic Knossian ceramic chronology (P. Tomkins), human figurines from a gender perspective (M. Mina), funerary practices (S. Triantaphyllou), chipped stone technology (J. Conolly), land and-use and its social implications (V. Isaakidou). Those in the second group, present a re-evaluation of LN Katsambas (N. Galanidou and K. Mandeli), evidence for later Neolithic exploration of eastern Crete (T. Strasser), Ceremony and consumption at late Final Neolithic Phaistos (S. Todaro and S. Di Tonto), Final Neolithic settlement patterns (K. Nowicki), the transition to the Early Bronze Age at Kephala Petra (Y. Papadatos), and a critical appraisal of Final Neolithic 'marginal colonisation' (P. Halstead). In conclusion, C. Broodbank places the Cretan Neolithic within its wider Mediterranean context and J.D. Evans provides an autobiographical account of a lifetime of insular Neolithic exploration.

`Minoan' Crete is one of the most intensively investigated archaeological cultures in the world, and one that has often captured the public imagination. It is a Bronze Age Aegean society, but it has been intimately connected with the Classical Greek myth of King Minos and his Labyrinth since Sir Arthur Evans excavated and restored (some would say `rebuilt') the important site of Knossos, more than a century ago. Yet many archaeological interpretations of this fascinating culture are still largely traditional in focus and often anachronistic. This collection of papers, challenging and re-examining many conventional and established versions of 'Minoan' history is thus long overdue. How have modern preconceptions and socio-political developments shaped archaeological interpretations of 'Minoan' society? What were the gender roles and attitudes of the inhabitants of Bronze Age Crete? How can data such as the puzzling architecture, the stunning wall-paintings, the elaborate and abundant pots, the landscape and the way it is perceived by humans, help us understand the nature and the negotiations of power and the role of the so-called palaces? These are some of the questions that this book addresses, considering 'Minoan' archaeology from a variety of interpretive angles, and situating 'Minoan' archaeology in the mainstream of archaeological thinking and practice.

In Search of the Labyrinth explores the enduring cultural legacy of Minoan Crete by offering an overview of Minoan archaeology and modern responses to it in literature, the visual and performing arts, and other cultural practices. The focus is on the twentieth century, and on responses that involve a clear engagement with the material culture of Minoan Crete, not just with mythological narratives in Classical sources, as illustrated by the works of novelists, poets, avant-garde artists, couturiers, musicians, philosophers, architects, film directors, and even psychoanalysts – from Sigmund Freud and Marcel Proust to D.H. Lawrence, Cecil Day-Lewis, Oswald Spengler, Nikos Kazantzakis, Robert Graves, André Gide, Mary Renault, Christa Wolf, Don DeLillo, Rhea Galanaki, Léon Bakst, Marc Chagall, Mariano Fortuny, Robert Wise, Martin Heidegger, Karl Lagerfeld, and Harrison Birtwistle, among many others. The volume also explores the fascination with things Minoan in antiquity and in the present millennium: from Minoan-inspired motifs decorating pottery of the Greek Early Iron Age, to uses of the Minoans in twenty-first-century music, poetry, fashion, and other media.