Here in the capital of Crete, the Phaistos Disc is preserved in the Archaeological Museum of Heraklion. Today, it is one of the icons of Minoan civilization and so one of the main attractions of the Museum attracting visitors from all the corners of the modern world (Gregor 2016).
Just like Zbigniew Herbert once, during his visit to the Archaeological Museum in Heraklion, I devoted some time to this Disc, standing long in front of its private glass case. I was wondering that if it stood just among other Minoan artifacts, it would attract so much attention of many visitors who would not know its history, or what mystery it is associated with. Or perhaps their trained eye would notice that it differs from typical Cretan finds, especially the Minoan writing from clay tablets or from images of miniature seals made of gold and carved stone.
 Zbigniew Herbert (1924 – 1998), a Polish poet, essayist, drama writer and moralist. His trilogy (three volumes of essays: Barbarian in the Garden, Still Life with a Bridle and Labyrinth on the Sea-Shore) is the result of his trips around Europe, during which he describes, with a passion typical of art connoisseurs, particular places and artifacts he has seen.
The pearl of Italian Archaeology
A famous discovery in Phaistos was made by members of the Italian Archaeological Society, who were working at the same time as Sir Arthur Evans (1851–1941) in Knossos (Gregor 1997:24). ‘Glory to the Italian archaeologists to whom Phaistos has been entrusted,’ writes Zbigniew Herbert (2000:54). It includes sheer ruins, without pretentious reconstructions, a complete contradiction to Knossos (Herbert 2000:54).
Dr Alessandro Greco says that Italian archaeology on Crete began in very special historical circumstances, when Greece had achieved an independence from the Ottoman Empire, in the middle of the previous century (Gregor 2016). Consequently, Crete was divided into several protectorates: Italian, French and British (Ibid.). It was due to this situation that archaeologists from Italy were able to work without any obstacles (Ibid.). Nevertheless, when an Italian archaeologist and the protagonist of the story, Luigi Pernier (1874–1937), landed on Crete, the island was still officially ruled by Ottoman Turks (Ibid.). At that time, archaeologists working in the south of the Island of Crete had far greater difficulties to deal with than Evans’ group working parallelly in Knossos (Ibid.). The coast in the south is bleak and uninviting; archaeologists there had to be good climbers because many of the sites have been set in the remote valleys or in high mountains, where access is still extremely difficult (Ibid.). In such mountainous landscape, it was possible to explore the island only on donkeys and the researchers themselves were continuously exposed to malaria (Ibid.). Although challenging, the mountains also provided once Minoans with the protection against foreign invaders (Ibid.). Beyond the mountains lies the Libyan Sea, which once connected the Minoans with the developed cultures of the Near East and Egypt (Ibid.).
From the hills of Phaistos the valley leads to the sea, and behind it, Mount Ida rises with a white cap on the top; there was the grotto of Zeus (Herbert 2000:54-55). The so-called Phaistos Palace, where Luigi Pernier was excavating, was also the site where one of the greatest puzzles of the Minoan Empire was discovered – the Phaistos Disc (Gregor 2016).
Mystery of baked clay
“In July 1908, […] Luigi Pernier [had] discovered a small disc of baked clay in a basement cell […] at the site of the Palace of Phaistos, on the south coast of Crete.” (Ward 2020).
At first sight, the discovery must rather have seemed unexceptional; it was just a simple terracotta disc in the shape of a not quite regular circle, with a diameter of sixteen centimetres and about two centimetres thick (Gregor 1997:24; Herbert 2000:53). Nevertheless, soon it has turned out to be one of the most unique archaeological artifacts, which has ever been excavated on Earth (Georgievska 2016). Today it still “remains an enigma; its purpose and meaning and even its original geographical place of manufacture remain disputed, making it one of the most famous mysteries of [human history]” (Ibid.).
Invention of ancient Gutenberg
The Phaistos Disc’s mystery is inscribed on both of its sides, labelled as A and B, where its surface is covered with undecipherable pictographs (see: Ward 2020). Those are stamps pressed in wet clay yet before the Disc was fired (Ibid.). They are composed of various symbols, which involved making a movable type or rather sealstone for each pictograph (possibly for the very first time in the history of writing) (Gregor 1997:24-25; Ward 2020). As Zbigniew Herbert notices, creators of the Phaistos Disc must have been then Gutenberg’s precursors, because each character on the Disc was imprinted with a separate stamp, which could be satisfactorily called a prototype of a modern type used for printing (Herbert 2000:53).
As such, the so-called Phaistos Disc is the oldest embossed inscription, yet significantly different from the hieroglyphic writing of the Minoans (Linear A) (Gregor 1997:24-25; Herbert 2000:53).
Signet seal with a spiral
By this occasion, it is worth mentioning that Minoans astoundingly mastered the craftsmanship of miniature, though highly precise, gold or hardstone seal-stones with intricate carvings in their own peculiar style, showing various mythological, ritual and everyday scenes, typical of the Minoan culture (“Minoan Sealstones” 2018).
Even if the visual language of the scenes is still puzzling, the function sealstones is not such a mystery; they were possibly used by rulers, dignitaries and priests to place their official seals on documents and letters (Gregor 2016). But whereas on each of the Minoan sealstones, there is a ‘negative’ (embossed) image leaving a ‘positive’, three-dimensional impression on the soft surface, the pictographs from Phaistos were made in the other way round; the types with ‘positive’ images therefore have given ‘negative’ impressions in clay. The way the Minoan sealstones were used also suggests that such archaic types as those from Phaistos must have been used more than once, even if they had been intended uniquely for composing sacred texts (Ward 2020). Yet they had not been applied to any other known clay surface (Ibid.). At least, no other Minoan artefact bearing pictographs identical to those of the Phaistos Disc, has ever been found in Crete (Ibid.). There are, however, a few examples showing iconographical analogies present on the Phaistos Disc (Gregor 2016). One of the Minoan gold seals, which is a signet with a ‘negative’ image, has got the spiral form and includes an undeciphered pictorial inscription; the both characteristics resemble the features of the Phaistos Disc (Ibid.).
What is the Disc’s message?
The mysterious characters all flow around the Disc as spiral strings that may represent pictorial or hieroglyphic writing that archaeologists are still trying to decipher (Gregor 199724-25). However, so far they have not produced any decisive results (Ibid:25). What do the Disc’s symbols mean and what is their message? (Gregor 1997:25). The disk has already been ascribed many different functions; a calendar, “poem, hymn [or] a prayer [ to the goddess of fertility], sacred text, magic inscription, curse, […] funerary record, almanac, court list, political treaty, proof of a geometric theorem, list of soldiers, a board game and even musical notation for a stringed instrument” (Ward 2020). For some it can be even a message from aliens or the Atlanteans (Gregor 1997:25); “[some] believe that it was a Token used in healing rituals or other ceremonies in ancient times” (Georgievska 2016), whereas others have recognised in it a report of the journey of one of the Minoan missionaries who visited Numidia, located in the northern coast of Africa (the ancient kingdom of the Numidians, 202–40 BC., located in what is now Algeria and a smaller part of Tunisia and small part of Libya in the Maghreb) (Gregor 1997:25; “Numidia” 2021).
Zbigniew Herbert (2000:53) mentions a French researcher, Marcel F. Homet, who basing on a certain similarity of the hieroglyphs from Phaistos and Indian rock carvings of South America, concluded that this Minoan artifact is no less than a letter of the last inhabitants of Atlantis, containing a description of the catastrophe and the fate of those few who managed to escape it safe. Academic scholars, however, ignore Homet’s theory placing it between fairy tales (Ibid.:53).
In the 1980s, an ancient history and languages specialist, Christian O’Brien (1985), puts forward another hypothesis related to the Phaistos Disc, comparing its pictographs to Sumerian cuneiform (Ward 2020), “wedge-shaped marks on clay tablets, made by use of a blunt reed as a stylus” (Ibid.). After the researcher, the inscription from Crete would have originated from the earliest systems of writing, which were invented in the fourth millennium BC., in Mesopotamia (Ibid.). Such an ancient writing is present in the world’s oldest religious text, known as the Kharsag Epics, which tells a story of the foundation of a settlement near Mount Hermon, in modern-day Lebanon (Ibid.). Accordingly, the Phaistos Disc would be a Cretan version of the story which had originated in the Middle-Eastern Kharsag, and had been written in the pictographs predating but linked to the proto-Sumerian language (Ibid.).
It is also worth mentioning another way of reading the inscription (Gregor 1997:25). It was proposed by a Norwegian linguist Kjell Aatrun in 1991 (Ibid.:25). He interpreted the signs as a Semitic writing (Ibid.:25). Semites represent the nations of the ancient Middle East, using the following languages: Aramaic, Hebrew, Syrian, Arabic, and Akkadian (Ibid.:25). During the Bronze Age, Semitic influences reached Ethiopia and Upper Egypt, and from there over 4,500 years ago came to Crete (Ibid.:25). Aatrun believes that he can decipher the secrets of the disk by comparing its writing to other old Semitic written records (Ibid.:25). Aatrun interpreted the signs in the Phaistos disc as an invitation to intercourse addressed by a woman to a man (Gregor 1997:25). In his opinion, these forty-five characters are a written rite celebrating the deprivation of virginity (Ibid.:25). Every spring in Phaistos, girls who were mature enough to begin their sexual life may have gathered in large numbers to sacrifice their virginity to some deity by participating in the initiation ritual and becoming women (Ibid.:26). According to Aatrun’s interpretation, the disc would be a songbook and instructions for priests (Ibid.:26). Massive deflorations made by Minoan priests as a part of the fertility rite would also occurred in Babylonia, so Kjell Aatrun’s proposition to interpret the disc is not without sense (Ibid.:26).
In a pile of valuable deposition
Most researchers agree that the Phaistos Disc is Minoan in its origins and it possibly dates back to the Middle Minoan (2100-1600 BC.) or Late Minoan (1600-1100 BC.) Bronze Age. Although the information board in the Archaeological Museum in Heraklion says that the Disc comes from the New Palace Period (1600-1450 BC.) (information from July, 2011, generally accepted period for the Disc is the end of the so-called First Palaces on Crete (1900-1700 BC.) (Georgievska 2016; Gregor 2016). Such a range of dating also shows how little is known about the artifact. Accepting the latter period, it was a very wealthy time in Minoan history but it was ended around 1700 BC by massive earthquakes (Gregor 2016).
The Phaistos Disc, which was found in the basement along with the remains of other clay tablets and Kamares pottery (Gregor 2016). For this reason it can be assumed that the Disc had been deposited in the part of the Palace, where other valuable objects were stored (Ibid.). After Luigi Pernier the Disc probably fell down together with other artifacts from the upper story during the earthquakes (Ibid.). But how did such a fragile object survive its fall from several meters down and the crash against the hardstone floor without any apparent damage? (Ibid.) An answer to this question is offered by another theory, according to which the Disc did not fall down but it had been originally deposited in the basement cell, where it was finally excavated.
Precursor of Minoan Linear A?
The date ascribed to the Disc is also the time of Linear A script development. “Comparisons of existing Linear A examples have led some scholars to believe the [Disc] actually is a version of Linear A” (Ward 2020); for example, Kjell Aatrun believes that the clay tablets with Linear A script found in the archives of the palace in Phaistos are a simplified working version of ritual-religious hieroglyphs from the Disc, collecting data from the field of administration or legal rulings (Gregor 1997:26). Perhaps the priests, using ‘holy’ archaic writing, recorded some spells or a mystery on the disc? (Ibid.:25). Some language experts studying the script argue that it may be a cult hymn because it is possible to find the rhythmic arrangement of symbols and the repetition of certain combinations of signs (Ibid.:25). Also Dr Alessandro Greco claims the Phaistos Disc originated in Crete; it is because its script features open syllables as much as all later Minoan scripts in Linear A and B, which are also an open syllable writing type (Gregor 2016).
From outside inwards
Even a layman, after examining the artifact more closely, will realize that he Phaistos Disc’s narrative should be read from the outside to the inside (Gregor 1997:25; Ward 2020), that is to say “clockwise from the outside of the spiral into the centre” (Ward 2020). It is also apparent that characters printed on the outer edge repeat inwards (Gregor 1997:25). As Geoff Ward (2020) indicates the spiral format of the Disc’s writing can be significant itself in understanding its meaning. After the author “[the] spiral [is] the age-old symbol, found in cultures [in the whole world], of creation, life-giving and aspiration, of birth and rebirth, and of spiritual development and our identity with the universe” (Ward 2020). The spiral is also a universal symbol of the Mother Goddess to whom the Phaistos inscription has been equally ascribed as a prayer or a hymn (Ibid.).
The spiralling string of symbols actually begin with a visible straight line marked with five or six dots at the edge of each side of the Disc, which is probably the point from where the reading of the text should also be started (Ward 2020). On side A, adjacent to the starting point there are two symbols; the first one looks like a plumed head, the second is a circle with seven dots inside it, possibly a warrior’s shield, a loaf or a sun symbol (Ibid.). This pair of signs keeps being repeated throughout the whole writing; they can be equally noticed on side B, also next to the straight line with points, matching exactly the position of the both pictographs on the opposite side (A) (Ibid.). Those symbols and others are grouped from three to five individual symbols, sectioned off by a dividing line (Ibid.). Yet on the outer edge, the number of pictographs included between the dividing lines is always limited to four. In turn, the vertical lines separating the signs are sometimes identified with punctuation marks (Herbert 2000:53).
“There are [two hundred and forty-two pictographs] on the disk, comprising [forty-five] distinct signs. […] The [forty-five] symbols were numbered by Arthur Evans from 01 to 45, and this numbering has become the conventional reference used by most researchers” (Georgievska 2016). Dr Gareth Alun Owens explains that there are “[too] many signs for an alphabet, too few signs for a system, like Chinese or Egyptian, so [it was decided] to progress with systematic, epigraphic work [in the case of the Disc; consequently, the linguistic studies have followed the rule according to which] if a sign is the same in different scripts, it has the same sound value. And all the forty-five signs, the sound values, can be found among the ninety sound values of Linear B, which is a script of roughly the same time, from the same place, which has [already] been deciphered” (Gregor 2016).
Researchers generally assume that each of the forty-five different characters on the Disc also stands for a syllable (Gregor 1997:25). The pictographs represent either easily identifiable things or abstract signs (Gregor 1997:25; Georgievska 2016). Among the stamps, which are all surprisingly clear, there are human heads, whole human figures, tools, vessels, birds, flowers, fish, weapons, and a series of difficult to define ideographs: dotted fields, rectangles, geometric figures, or wavy lines (Herbert 2000:53).
Philistines depicted in Minoan Disc?
More identifiable pictures show objects bringing to mind or even pinpointing various cultures developing in different periods in the area of the Mediterranean; for example, one “sign depicts a structure similar to a sarcophagus used by the Lycians of Asia Minor” (Georgievska 2016), whereas the mentioned above picture looking like a plumed head or ‘fluted crowns’ possibly portrays a helmet with crest (Ibid.). Strikingly similar headgears have been depicted in a famous scene from the north wall of the Temple of Medinet Habu in Egypt, illustrating the Egyptian campaign led by Ramses the Third (1198 – 1166 BC.) against the so-called Sea Peoples (“Sea Peoples” 2021). Such a helmet was also used later by Philistines, who settled down in Juda, in the twelfth century BC. (Georgievska 2016). They may once have been a part of the Sea Peoples who plundered the Eastern Mediterranean region in the late thirteenth century BC. (Aleff 1982-2015).
It is still difficult to precisely identify the Philistines’ origins, although it is certain they did not create homogeneous society in respect of their culture, apparently composed of elements typical of Asia Minor, Mycenae, the Aegean islands, and Cyprus (Aleff 1982-2015). According to the Bible, the Philistines had come from Caphtor, which is usually believed to stand for Crete (Ibid.). Taking into account the fact that the Phaistos Disk is impressed all over with the symbol of a plumed head, it can be assumed that the sea raiders sailed eastwards centuries after the Disk was buried in the south of Crete (Aleff 1982-2015; Ward 2020). The problem is, however, that the Disc dates back to at least the late sixteenth century BC. (most often 1700 BC), whereas the Philistines appeared as the invaders only in the late thirteenth century BC. and set up a historically recorded civilization in the twelve century BC (see Ward 2020). There is thus over three hundred years gap and lack of the continuous tradition; neither Minoan frescoes nor other artifacts show Minoans wearing such a headgear, especially if it is widely accepted the Minoan civilization was not based on warfare but mostly on trade.
H. Peter Aleff (1982-2015), however, suggests that “the Disk is more firmly connected with the Philistines as religious descendants of its maker than it is with Crete”. Although the artifact was found in Crete, it might not have been made there (Aleff 1982-2015). Even if the Disc’s clay was compared by Luigi Pernier to the fine clay of Kamares, it has never been analysed in this aspect and so could have come from elsewhere in the Mediterranean region (Ibid.). Moreover, the Phaistos Disc in completely unique in its appearance among other excavated Minoan objects; some scholars have consequently claimed the Disk can have been either a hoax or an import from beyond Crete, or even the Aegean region, taking into consideration the fact Cretans sailed far and wide (Aleff 1982-2015; Ward 2020). Therefore, as H. Peter Aleff (1982-2015) underlines “[the] place where the Disk turned up says […] nothing about where it was made”. Nevertheless, even if the Phaistos Disc is related to the Philistines, it predates the historical records of those ancient people for a few centuries, irrespective of the fact if they actually came from Crete or passed by the island on their way to the East.
Forged or genuine?
Due to the mentioned above anachronisms, discrepancies and questions, the Phaistos Disc is declared by some scholars as a modern forgery or a hoax made in the middle of the last century (Georgievska 2016; Ward 2020). “[Although the Phaistos Disc] is generally accepted as authentic by archaeologists” (Georgievska 2016), it has been long the subject of international debate regarding its authenticity and archaeological value (Ward 2020). As Geoff Ward speculates, “the suggestion it might be a forgery was probably generated by a hundred years of failure to decode it” (Ibid.). Moreover, an official request to conduct scientific tests of the Disc’s clay to resolve the question of its date and origins were definitely turned down by the Ministry of Culture in “Greece on grounds that the Disc [is] a national treasure and ‘untouchable’” (Ward 2020).
Similar accusations of forgery have also been made against such famous artifacts as the iconic bust of Nefertiti, preserved by the Egyptian Museum of Berlin, Nebra sky disk at the State Museum of Prehistory in Halle, Saxony-Anhalt, Germany or the Lady of Elche at the Archaeological Museum in Madrid (Gregor 2016; see: Mystery of the Lady). While, some of those artifacts were examined in this aspect and eventually turned out to be genuine, the Ministry of Culture of Greece still refuses such an analysis of the Phaistos Disc. The fact that “the Greek government [does not want it to be] tested [does not have to] mean its authenticity is problematic. Such a stance is not uncommon when such [examining of the fragile artefact] can cause damage to, or loss or theft” (Ward 2020).
Further doubts of experts
Although there are many voices of different specialists that the Disc is genuine, an art collector from New York, “Dr Jerome Eisenberg, an expert on ancient forgeries, [is] still convinced that Luigi Pernier […] forged [it]” (Ward 2020).After his opinion, the Italian archaeologist did ‘invent’ his famous discovery as “he was jealous of the successes of fellow archaeologists, Sir Arthur Evans and the Italian Federico Halbherr (1857–1930), at other excavations in Crete” (Ibid.). Moreover, there exists an artifact that may have served as a prototype of his potential forgery. In addition to archaeological excavations, Luigi Pernier was also employed in Florence as an Antiques Inspector (Gregor 2016). His jurisdiction included the city’s Archaeological Museum, where one of the most valuable artifacts in the Etruscan collection is the so-called Magliano Disc (Ibid.). The object is made of lead and “was found in Magliano in the Toscana near Grosseto (Italy) in 1883 and bears an Etruscan script dating to the [fifth or fourth century BC.]” (Luwian Studies 2019). It is half the size of the Phaistos Disc (Gregor 2016). The words and sentences sections on it are separated by dots, whereas on Phaistos Disc vertical lines are used instead (Ibid.). Despite such striking similarities, the Etruscan Disc originated thousand years after the Palace collapsed in Phaistos; for this reason, cultural exchange between Etruscans and Minoans would appear extremely unlikely (Ibid.). For Dr Jerome Eisenberg such a phenomenon is inexplicable (Ibid.). After the art collector, Luigi Pernier could have studied the Magliano Disc while staying in Florence (Ibid.). At that time, the Etruscan script on the Disc had not been deciphered yet, and so Pernier could have used it as a model for his forgery, when he later excavated at the site in Phaistos (Ibid.).
Furthermore, Dr Jerome Eisenberg points to some examples of suspicious discrepancies regarding the Phaistos Disc (Gregor 2016). First, the inscription goes from right to left as Egyptians hieroglyphs do, whereas Minoan scripts, both Linear A and B, are read from left to right (Ibid.). Secondly, the pictographs are too highly realistic to compose an ancient script; for instance, there is a symbol of a gloved hand or cestus or caestus (Latin), an ancient battle glove, which only occurs in Roman period, which is fifteenth hundred years later (Gregor 2016; “Cestus” 2020). Thirdly, Dr Jerome Eisenberg points to the fact that ancient tablets accompanying the artifact are unevenly fired, which happened during the fire of the First Palace in Phaistos (Gregor 2016). Such a damage to clay objects was typical if they were long exposed to the heath (Ibid.). On the other hand, the Phaistos Disc was fired too evenly and thoroughly (Ibid.). Dr Gareth Alun Owens, however, claims the Disc was baked deliberately in the process of being created and not accidentally like the destruction level that saved other clay tablets with Linear scripts during the First Palace’s fire (Ibid.). It would then suggest the Disc must have fallen down from the upper floor as Luigi Pernier assumed (Ibid.). But then, how did it avoid being crashed into pieces? (Ibid.) In addition to that, Dr Jerome Eisenberg claims that the edges of the Phaistos Disc are still quite sharp and hardly defaced, whereas in other ancient tablets and anything made of clay have especially had their edges damaged (Ibid.). Next, the circumstances of the famous discovery are suspicious; the excavations in Phaistos were directed by Luigi Pernier and so has been naturally ascribed to the find of the famous artifact. Nevertheless, no archaeologist was a direct witness of the discovery, (Ibid.). According to the records, at the very moment of uncovering the Phaistos Disc, Luigi Pernier was taking a nap (Ibid.). Finally, the Ministry of Culture in Greece does not allow to take any tests on the artifact or even to handle it, which according to the expert is already questionable (Ibid.). He thinks that the government, unsure of results of the tests, is afraid of losing one of the most iconic ancient objects attracting tourists to Crete (Ibid.).
Who then made the Phaistos Disc if it is a forgery? (Gregor 2016). After specialists, It must have been an expert very familiar with archaeological material, like Emile Gilliéron (1850-1924), who worked for Arthur Evans at restoration and reinterpretation of Minoan frescoes, and other artifacts, and made very successful replicas (Ibid.). Only such a person was well positioned to be able to make forgeries like the Phaistos Disc (Ibid.).
Archaeology in favour of the authenticity
Despite all the claims against the Phaistos Disc, recent archaeological discoveries can indicate that it is actually genuine (Gregor 2016). Such evidence is provided, for example, by another artifact, also preserved in the Museum in Heraklion; it is a bronze double-axe, possibly a religious and ritual Minoan object (Ibid.). On the head of the axe, there are three lines with overlapping signs engraved upon them (Ibid.). Linguistic experts, like Dr Gareth Alun Owens, see in those signs parallels with stamped pictographs on the Phaistos Disc, and believe the script is a prayer to the Minoan Goddess from the top of the Mountains, where Minoans massively pilgrimaged with their offerings (Ibid.). A lately discovered sacrificial bowl from such a holy mountains’ peak also bear similar pictographs; they are almost identical to those on the Phaistos Disc (Ibid.).
Similar clues are highly valuable in the quest for true origins of the Phaistos Disc and evidence needed to confirm its authenticity, and to defend the good name of its founder (Gregor 2016).Professor of archaeology and the director of the Heraklion Museum, Dr Athanasia Kanta says that she has no doubt the artifact is authentic (Ward 2020). In her opinion, accusing an eminent scholar of fraud after a century of his discovery, without providing any strong evidence is highly unfair (Ibid.).
For many scholars, the Phaistos Disc in another Minoan mystery, for others, a tantalizing message from the ancient world and a link to a lost and legendary civilization. Although archaeologists mostly agree it is genuine, its content and origins are still under debate. Generally, it is thought to have been either an import from Asia Minor or a local product of Minoans (Herbert 2000:53). Granting the last option, the Phaistos Disc would be the oldest script in Europe, whose message yet will possibly remain lost forever.
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The cicadas are extremely noisy during the summer months in Crete, and particularly in Knossos.
For a good while, I could not gather my thoughts as I stood in the vestibule of the Throne Room and looked deeper into its abyss. The name of this part of the so-called Palace of Knossos comes from the limestone throne found there, which has surprisingly survived in its entire form and which is still in the same location where Evans discovered it and where it was probably used in the past (Łogiadu-Platonos date unknown:60). Although it does not resemble the royal Egyptian thrones of the pharaohs or those of the ancient East, the archaeologist was convinced that he had come across a Cretan royal mansion where King Minos had once been enthroned (Gregor 1997:16).
Since then, however, various hypotheses have been made about the Throne Room of Knossos (Gregor 1997:16).
Arthur Evans began excavations on the Kafala Hill – at the site of the the so-called palace at Knossos – on 23rd March, 1900 (Witcombe 1995; Archaeological Institute of America 2017). An early discovery, made on 30th March, was a great number of clay tablets inscribed in Linear B script in the Room of the Chariot Tables (Ibid.). The most significant discovery, however, turned out to be the Throne Room complex (Ibid.). During the following months, Evans’s group unearthed a series of mysterious rooms along the west side of what later was known as the Central Court (Ibid.).
During this first season of excavation at Knossos, the area between the Throne Room and the Room of the Chariot Tables was uncovered (Witcombe 1995; Archaeological Institute of America 2017). It included the Room of the Tall Pithos and a small room with two open, and empty, cists or vats in the floor (Ibid.). At the time of their discovery, the cists were of a very little interest … (Ibid.).
Three years later, in 1903, it was noticed that the pavement around the cists was sagging and upon investigation, two much larger stone-lined cists, or repositories, were discovered beneath the floor (Witcombe 1995; Archaeological Institute of America 2017). This area was called the Temple Repositories of the Snake Goddess Sanctuary at Knossos (Witcombe 1995; Castleden 2000:80-81; Archaeological Institute of America 2017). The Tripartite Shrine depicted in one of the Grandstand Fresco may have once been its façade (Witcombe 1995; Archaeological Institute of America 2017). Sir Arthur Evans found a large quantity of amazing objects there, probably deposited just after the huge earthquake, around 1700 BC. (Ibid.).
“Duncan Mckenzie found, on top, a large quantity of vases […] tightly packed together. Then, about a metre down, he found seal impressions, large quantities of painted sea shells, imitation shells and flying fish, fruit and flowers made of faience, beads, faience chalices with sacred tree motifs, decorative inlays, objects made of bone and ivory, gold leaf, a finely polished but broken marble cross [and] two beautiful faience plaques of a goat with her kids and a cow with her calf” (Castleden 2000:81).
The most spectacular finds, however, were the broken pieces of at least three female faience statuettes (Witcombe 1995; Archaeological Institute of America 2017; German 2018). “Vast numbers of shells accompanied the terra-cotta figures, along with votive robes for the statues” (Johnson 1990:144). They all were actually represented opulently dressed with two of them with snakes (Witcombe 1995; Archaeological Institute of America 2017; German 2018). The third one lacks the upper part so it is difficult to say if she held the snakes as well but it is highly possible (Ibid.). “One of the [figures holding snakes] found in the East Repository had been [also] broken before it was sealed up in the vault; a matching fragment of it was found in the West Repository. These and other pieces of cult furniture may have been deliberately, ritually killed [by their depositors] by breaking before being sealed up in the large repositories as a re-foundation offering. After they were filled and closed, the repositories were replaced by two new and smaller [ones]” (Castleden 2000:81).
“The most significant thing about the temple treasure is that it hints at the sort of cult activities that may have been conducted in the surrounding chambers of the Snake Goddess Sanctuary” (Castleden 2000:81).
Snake Goddesses’ epiphany and her Votary
The larger statuette (left) stands some thirty-five centimetres high and depicts a woman wearing a tall hat, an embroidered bodice and a skirt with a short apron (Witcombe 1995; Archaeological Institute of America 2017).
“Her omnipotence is expressed through a triple tiara topped […] by a snake’s head, [the] bodice, a laced corset exposing her full breasts, suggests her nourishing aspects. The skirt is bordered with the sacred net pattern and partially covered by a short double apron edged with the wave design. The figurine’s most striking features are her staring eyes, black and hypnotic. The eyebrows are sculpted in relief to enhance the mantic expression. Hair hair, cut short in front, falls down her back to her waist. Large ears, quite out of proportion, are a feature noted in other Cretan goddesses of the period” (Johnson 1990:142). Probably three snakes are swirling around her body (Witcombe 1995; Archaeological Institute of America 2017). One is draped around her neck so that it hangs well down her back with its bulk slithering along both of her arms (Ibid.). She holds the snake’s head in her right hand and the tail in her left (Ibid.). Two other snakes appear to slither down her body from the top of her headdress, gliding past her breasts to intertwine their heads just below her waist (Ibid.). All of them “twine [around the faience woman] as if offering life or death” (Johnson 1990:142).
The smaller figure (far right), which is about twenty centimetres tall, was found with the head and part of the left arm missing (now reconstructed) (Witcombe 1995; Castleden 2000:81-82; Archaeological Institute of America 2017). At the time of being found, she grasped a small snake in her surviving outstretched hand and presumably there had been another one in the right one (Johnson 1990:143; Witcombe 1995; Archaeological Institute of America 2017). The snake’ “size and distinctive markings identify [it] as [a] sacred [adder]” (Johnson 1990:143). Evans found a small fragment of what he took to be her headdress, a circular crown decorated with raised medallions (Witcombe 1995; Archaeological Institute of America 2017). There was a small rivet hole in the top that matched exactly with another fragment representing the small seated figure of a feline, perhaps a lioness, and the figure was restored on that basis (Ibid.). “The restoration of the Snake Goddess was done by the Danish artist Halvor Bagge together with Evans. Their contribution to the figurine was the creation of a matching arm and stripy snake, the head of the goddess, and the placement of the hat and cat […] on her head, [composed of] separate faience pieces found in the Temple Repositories […]” (German 2018).
“The nubile figure of the smaller goddess is robed in the same fashion as the more matronly figure. A tight-fitting jacket exposes her breasts. Her bell-shaped skirt hangs from the waist in seven flounces, and her apron is covered with the cross-hatched net pattern. Like the larger [figure, the smaller’s] skirt covers her feet, a mark of divinity” (Johnson 1990:143). Evans believed the larger figure to be the Goddess herself or a High Priestess as her epiphany, while the smaller was perhaps a lesser and younger priestess or a votary (Witcombe 1995; Castleden 2000:82; Archaeological Institute of America 2017).
The figurines must have been created long before the time of the earthquake (Witcombe 1995; Archaeological Institute of America 2017). Nevertheless, they are usually dated back to the time of their destruction (Ibid.). “[Now] reconstructed and deservedly among the most famous and memorable relics of the Minoan culture, [they both show] how the Minoan Snake Goddess was visualized [and] her High Priestess ritually and ecstatically transformed into an epiphany of the goddess” (Castleden 2000:82-82).
The Palace of Knossos is not a palace
As Sir Arthur Evans excavated the magnificent ruins at Knossos, he grew more certain that this was a palace of King Minos and home of the legendary labyrinth (Lilley 2006). He even believed that he had found a royal throne (Ibid.). However, new revelations about Minoan religion and language are transforming a modern understanding of those people (Ibid.). Some archaeologists believe that these buildings are not a palace (Ibid.). Instead they see the Daedalus’ labyrinth or a temple [or both] to harness the chthonic and celestial powers of the divine (Castleden 2000:70-76; Lilley 2006; ).
The Throne Room
Rodney Castleden thinks that “[the] Throne Room has an oppressive, claustrophobic quality that is often missed in photographs” (Castleden 2000:77). I share his opinion. “Windowless and low-ceilinged, approached by way of a deep anteroom that itself is depressed four steps below the level of the Central Court, the room has an almost subterranean quality” (Ibid.:77). Such a character of the Room was also expressed by the colour of the floors and pillars (Ibid.:77). They were pained red (Ibid.:77). The colour itself was associated with sacrificial blood and by extension also with the underworld (Ibid.:77). “The red floor panel was apparently the centre of the religious rituals in the Throne Sanctuary and the manifestation of the deity on the throne itself was their focus” (Ibid.:77).
The throne was made of gypsum and, unlike flanking it benches, it was surely intended as a seat (Castleden 2000:77). Surprisingly enough, “it does not face the doorway, but looks across the width of the room towards the half-hidden sunken adyton (holy of holies), [which is also referred to as the lustral basin]” (Ibid.:77). Its design particularly indicates its chthonic character and purpose, and its setting visibly relates it to the throne itself (Ibid.:77). Some scholars even interpret it as the walled pit used for holding sacred snakes (Gregor 1997:17).
“The whole complex of chambers, sixteen in all, [with the adyton included], was evidently designed as a self-contained unit within the temple building” (Castleden 2000:78). It may have been dedicated to the Snake Goddess as her major attribute has been specifically linked to the powers coming from the underworld.
Priestess of the light and darkness
In 2001, the archaeologist, Dr Sandy McGillivray realized that each of the doorways in the Throne Room is aligned with the rising sun on key days in the calendar (Lilley 2006).
‘What we’re looking at here is a solar temple’, he claims (Lilley 2006). Accordingly, like the Egyptians, the Minoans may have worshiped the changing cycles of the Sun, the Moon and the stars (Ibid.). Light has always been born from darkness and “[the] adyta were certainly places to descend into […] dark and secret places for mystic rituals, places where the subterranean deities might be invoked, places for individual initiation” (Castleden 2000:78). In the darkness of the adyton, the whole ceremony of the Throne Room may have started with the throne as its focal point. “What we have here is essentially a theater of the senses’, says Dr McGillivray (Lilley 2006). “You can start off with complete blackness and then you can fling open these doors at that [very] moment of sunrise and experience [the] beginning of something new. And in the winter, the Sun comes through on the winter solstice and illuminates the throne” (Ibid.).
Peak Sanctuary re-creation
“The nature of the frescoes [of the Throne Room themselves] suggests an attempt was being made to re-create [there] the wild landscape of the mountain tops. The peculiar wavy shape of the throne […] is a representation of a mountain peak; a rhyton from the temple at Zakro shows a very similar form to indicate the summit of a mountain rising behind an elaborately designed peak sanctuary” (Castleden 2000:79).
Accordingly, “[the] intention of the Throne Sanctuary […] was to honour the same deity or deities that were honoured in the peak sanctuaries by a symbolic re-creation of the peak setting” (Castleden 2000:79). This was mostly a domain of the Mountain Goddess, and the peak dominated by her presence was usually interpreted as a form of her throne (Żak-Bucholc 2005). The latter was also a symbolical representation of the goddess herself (Żak-Bucholc 2005; see Image of the Goddess: between Matriarchy and Patriarchy).
Who sat on the Throne?
“But which god or goddess was being worshiped or appeared to in the Throne Room is far more difficult to say” (Castleden 2000:79). Who then would have sat upon the throne? (History Channel 1980s). Was it used by a king to hold court or did snake princesses practice their rituals of sacrifice there? (Ibid.). Who may have worn the Isopata Signet Ring illustrating rituals led by women? (Ibid.). Was it the privilege of royal or priestly dignity? (Ibid.).
“It was on 13th April 1900 that Evans’ workmen started uncovering the north wall of the Throne Room with its palm tree fresco fragments and the throne itself” (Castleden 2000:43). The Throne Room with its seat, still perfectly intact, is the oldest ever found in Europe dating back to the fifteenth century BC. (circa 3500 years old) (“Throne Room” 2020; see Castleden 2000:31-32,43-44). “[It] seemed to provide Evans with the solid proof of kingship that would support his palace interpretation, but it also provided him with less welcome evidence of religious use” (Castleden 2000:77).
From one side, there is evidence suggesting the existence of a real King Minos; later on, archaeologists found an inscription in an ancient language that may even mention the King by name (Cassel, Conway 2009). ‘In the archives of Knossos there were stone tablets which have inscribed on the words which looked to be like the name of King Minos’, says the author, Tom Stone (Ibid.). Some scholars, however, claim that the word ‘Minos’ does not stand for the name of a particular king but refers to the common title of the monarchs of the Minoans (Castleden 2000:171-172; see Santarcangeli 1982). Also “the strength of the Greeks’ belief in King Minos suggests that there were kings in bronze age Crete” (Castleden 2000:171). These clues suggest the King may have actually lived but the most intriguing connection to the ruins in Knossos appears on another tablet found at the site (Cassel, Conway 2009). “On tablet Gg 702, the inscription [written in the Linear B] refers to an offering made to [the so called Mistress or Lady or Potnia of the Labyrinth]” (Castleden 2000:107; see: Cassel, Conway 2009). So there is in writing not only a direct reference to the Labyrinth, described by Greeks in the Myth of Minotaur, but also a unmistakable connection between the Palace of Knossos and the Labyrinth itself (Cassel, Conway 2009).
“[The word ‘Potnia’ [itself] was [long] in use in the classical period as an honorific title in addressing women of rank, such as queens, goddesses and mothers; it seems to have had the same flavour of archaic deference as the phrase ‘my lady’. [It] appears again and again as [the main female title referring to the Minoans’ goddess]. Hers, probably, was the double-axe symbol that [is found] at so many Minoan sanctuaries on Crete, but possibly the pillar and the snake were her symbols too. [Truly], the snake may particularly have made a natural symbol for the chtonic, Earth-mother aspect of Potnia” (Castleden 2000:107). Are then the faience female statuettes with snakes linked to the cult of Potnia, and so to the Lady of the Labyrinth?
Mistress of the Labyrinth
Some authors believe, there was a living epiphany of Potnia in Knossos, as much as it is illustrated by the faience figurines (Cassel, Conway 2009). Her identity is, however, an intriguing mystery (Ibid.). Experts believe it was a woman of great importance in the palace, a High Priestess or even the king’s daughter who held this title (Ibid.). In the myth, the King Minos’ daughter was Ariadne and she plays an important role in the myth (Ibid.). ‘We do not know who the Mistress of the Labyrinth was’, says Stone (Ibid.). ‘But it could have been Ariadne in as much as she was entitled to be the priestess of the temple because she was the first daughter of King Minos’ (Ibid.).
“Harriet Boyd, an American pioneer archaeologist […], was at Knossos when the Throne Room was opened up. She described in her diary how Evans straight away named the stone seat ‘the Throne of Ariadne’. The throne’s broad moulded seat, Evans explained, was more likely designed for a woman’s hips than a man’s” (Castleden 2000:43-44).
For this reason it happened “he […] referred to the stone seat as ‘Ariadne’s throne’ and the sunken area opposite as ‘Ariadne’s bath’. […] But the association of the throne with Ariadne did not lead Evans anywhere, evocative though it was. [On the other side], Evans sometimes referred to the Throne Room as ‘King Minos’ Council Chamber’ to get round this problem. Even so, that initial inspiration witnessed by Miss Boyd, that the throne was Ariadne’s persisted” (Castleden 2000:44). As a matter of fact, “Evans gave different impressions about the throne on different occasions, [calling it either Ariadne’s or King Minos’ seat]. The accuracy of the name was perhaps unimportant to [him]. What seemed to have mattered most to [the archaeologist] was the names evoked the right response in the visitor, that he or she should feel the place to be a great palace and connected with glittering and exotic names from [the] Greek myth” (Ibid.:44-45).
According to the Greek myth, Ariadne is a Cretan princess, the daughter of King Minos and his wife Pazyfae, and the half-sister of the monstrous hybrid, Minotaur (Kowalski, Krzak 2003:24). Ariadne enters the mythical scene with the arrival of Theseus in Crete, who is intended together with his Athenian companions as a sacrificial offering to the Minotaur living in the Labyrinth (Ibid.:24). After falling in love with the hero, the girl reveals him the secret of how to leave the Labyrinth, and when he is saved she decides to abandon her home island by his side (Ibid.:24). One version of the myth tells of Ariadne’s breakup with Theseus; reportedly he abandons her on the island of Dia (now Naxos), where she eventually marries Dionysus (Ibid.:25-26). Thus, the meeting with the hero is only a short-lived episode in her life and is only a transition to the essential part of her divine destiny alongside Dionysus – the regenerating god par excellence (Ibid.:26). In this context, Ariadne was seen as a wild goddess, “associated with untamed landscape and consorting with wild beasts” (Castleden 2000:107), as much as it is illustrated by the found female figures.
In the Greek tradition, Ariadne was considered a solar virgin, a daughter of the sun and a spring maiden (Kowalski, Krzak 2003:25). Moreover, in Crete her name meant radiant and luminous (Ibid.:25). The Sun in its daily and annual journey illustrates the mystery of the resurrection, hence Ariadne was a symbol of rebirth (Ibid.:25). As such, she is the goddess of life, love and death (Ibid.:25). If she was a priestess in Knossos, she must have led the revival cult; it was finally believed that she disappeared annually and reappeared in the spring (Ibid.:25-26).
Ariadne’s guideline through the darkness
As Theseus goes deeper and farther, and with each step he comes closer to death at the bottom of the abyss, at the center of the maze, Ariadne is a ‘potential opportunity’ for him to see the light again (Kowalski, Krzak 2003:26).
The hero who reaches the end of death and kills the Minotaur would never have escaped from the dark Labyrinth if not for Ariadne’s help (Kowalski, Krzak 2003:26). The myth is therefore a story of rebirth, of leaving the Labyrinth in a physical and mystical, literal and figurative sense (Ibid.:26). On the threshold of the Labyrinth, in whose deepest recess lurks a mortal monster, stands Ariadne, the Lady of the Labyrinth (Ibid.:26). She offers the hero a ball of thread and holds its end in her hand as if she held the hero’s destiny (Ibid.:26). In this context, Ariadne personifies and combines two aspects: chtonic and solar, which are also closely intertwined in human life by death and rebirth (Ibid.:26). The Throne Room seems to illustrate this mystery, which is also well revealed by the Greek myth.
Ariadne on the Throne
Like chthonic powers, out of the underground depository of the Snake Goddess Sanctuary came the figures looking like Minoan deities or their priestesses (Lilley 2006). “[Snakes] characterize [their] domination of the underworld” (Johnson 1990:143). Such women apparently controlled religious life and there are scholars who believe that the gypsum throne at Knossos was occupied not by a king but by a priestess (Ibid.). ‘Whoever [sat] on that throne [was] basically being illuminated […] on the day when the Sun is reborn’, says Dr. McGillivray (Ibid.). Still he believes that it was rather a High Priestess who sat there to celebrate the rebirth of the Sun and re-forge the Minoan bond with nature (Ibid.). It is also likely that she was “mysteriously transformed by ritual into an epiphany of a deity (Castleden 2000:82).
The female figurines found at Knossos themselves suggest a strong cult of the snake deity in the Throne Room (Lilley 2006). Not only is the snake chthonic in its character but also did it appear as a symbol of the renewal coming with the rising Sun. As such it perfectly illustrates the opposite but co-substantiating one another powers of Ariadne. The presence of the snake imagery is also reinforcing the idea that the Knossos palace was actually a temple and that it was led by the Lady of the Labyrinth (Ibid.). Yet [its] size and evident […] seems to leave little room for a king. It is tempting to see King Minos as forever living in the shadow of the High Priestess of the Labyrinth, just as the worshipful Velchanos, Minoan male deity], always lived in the shadow of Potnia. The king may have been a puppet of the priestesses, dependent on them for the divine validation of his reign and perhaps even dependent on them for material sustenance; a share of a large tribute income of the Labyrinth may have been diverted discreetly into the king’s coffers” (Castleden 2000:172).
Women superior to men?
Apart from priestesses, who are believed to have stood at the forefront of the Minoan prosperous society, these were apparently Minoan women who enjoyed significant influence and independence (Mitchell 2011). The legal code found in Crete testifies that Minoan women had more marital rights than wives in other societies of that time (Ibid.). In the event of divorce, they could even order the return of the dowry (Ibid.). And only men were punished for adultery (Ibid.).
Such a high status of women and their religious leadership is also highlighted by the Minoan art. In the Grandstand or the Sacred Grove frescoes, there is a group of women “who are obviously the [significant] figures. [On the other side], there is still no sign of Evans’ king and no sign of any male officials” (Castleden 2000:116; see 54-55).
The presiding spirit of the Minoan Golden Age
The presiding spirit of Minoan Crete in its Golden Age was undoubtedly the Snake Goddess, the Minoan icon of the feminine power (Hughes 2004). Together with her diminutive companion, often described as a votary, the figurines are both beautifully attired but even their fine craftsmanship cannot disguise the fact that something elemental and very wild is hiding behind their elegant posture (Ibid.). The goddess’ fierce, wide-eyed stare is matched by her votary’s concentration; simultaneously, the gigantic snake grips her in a protective embrace from her slender waist right up to the tip of her headdress (Ibid.).
The Minoan world was undoubtedly governed by such potent and vindictive powers as personified by the Snake Goddess (Hughes 2004). They could not be understood only placated (Ibid.). For all the Goddess’ glamour and sexual power this is the deity who feeds off respect and fear and not love (Ibid.). “Her fearsome expression is a reminder of the volcanic eruptions, tidal waves, and earthquakes that destroyed the temple-palaces on more than one occasion. The greatest eruption ever known is that of the volcano of nearby Thera, [today Santorini]. It blew up the island in a terrible holocaust […] that probably [began the destruction of] the Minoan civilization” (Johnson 1990:143; see: When Gods Turned against the Minoans).
Here on Crete, although separated by millennia from the Minoans, I felt closer to the ancient mysterious forces, hidden in the hypnotic gaze of the Snake Goddess and Ariadne’s shining smile, indicating the exit from the Labyrinth’s abyss.
Featured image: Lesser figure of the Snake Goddess, priestess of a votary from the palace at Knossos (detail), c. 1700-1600 B.C.E., majolica, 29.5 cm high (Archaeological Museum of Heraklion, photo: Zde, CC BY-SA 4.0). Source: German (2018).
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It was only before nine in the morning but the heat of July had been already rising. I felt drops of sweat running down my back and I quickly moved to the shadow, as the queue was moving towards the catamaran rocking on the sea waves. It was going to take me from Fethiye to the Greek Island of Rhodes. Actually, I was embarking together with six members of my family; I and my sister had joined our aunt and uncle, and three cousins for relaxing holidays in the Aegean region of Turkey.
Just relaxing summer holidays
Initially, the idea was to spend two weeks just enjoying the sun and warm sea on southwestern Turquoise Coast. But it was not my idea. Although I really appreciate the both aspects of summer holidays, I relax most when I visit museums and above all explore archaeological sites. Especially in Turkey, I could hardly resist digging up its fascinating past. Of course, this time just metaphorically. Sometimes, I travelled on my own or occasionally with somebody else, when my family felt tired with staying on the beach. But nobody could keep up with my everyday trips around southwestern Turkey, especially when it came to endless wandering around ruins in the full sun. Maybe except my uncle, who is a university professor of Fine Arts, and my sister and the oldest cousin, who sometimes dared to see more than a swimming pool at the hotel. Yet more often than not, they did not even feel like trying. This time, however, we all decided to spend one day on the island of Greece. For some it was even a tempting opportunity to visit two different countries during one holiday.
The Greek island of Rhodes is lying on the southeast corner of the Aegean Sea and its capital, the City of Rhodes is just eighty-four kilometres away from the southwestern coast of Turkey, and the whole journey across the sea takes around one hour and a half. Moreover, everybody could decide to either stay there on the beach and relax or do some sightseeing around the city.
Rhodes is the largest of the Dodecanese islands of Greece, situated just to the south of Anatolian western coastline on a crossroads between East and West (FM Records 2014; “Rhodes” 2020). The history of Rhodes, as in the case of other islands in the Mediterranean region, is like an art of mosaic; various cultures and myths have encrusted it over centuries. Rhodes still bears the hallmarks and visible influences of the vast plethora of very cultures that have inhabited it throughout its long history (FM Records 2014). As such, the island has played an important cultural and social role since the ancient times until nowadays (Ibid.). Largely because of its geographical and strategic position between the Aegean and Mediterranean seas and its accessibility to both Europe and the Middle East, the island was consistently fought over for the majority of its recorded history (FM Records 2014; History Time 2017).
Today, diversity is one of the characteristics of this Greek island, as there are relics from different periods of time in its every corner (FM Records 2014). Apart from ancient temples, the Christian faith is also very present on the island and marked by byzantine churches, usually dedicated to the Mother of Jesus Christ and different saints (Ibid.). Rhodes also marries ancient and medieval monuments with blue-water beaches, offered generously to the tourists (Ibid.). Modern and cosmopolitan, the island is at once the land of medieval knights and cradle of enchanting ancient myths (Ibid.). Its marvellous history combines with generous sunlight that justifies the Rhodes definition as the island devoted to the Sun god (Ibid.).
From the Neolithic to the fall of the Colossus of Rhodes
Rhodes was first inhabited by Stone Age Neolithic people, possibly just after the last Ice Age, which ended around 12 000 BC (History Time 2017). However, there is only scarce archaeological evidence about these peoples (Ibid.). The first culture who made a lasting impression on the island’s history were the Minoans who seemed to have colonized Rhodes in the course of the Bronze Age (Ibid.). After the eruption of Thera volcano, the Minoan civilization gradually collapsed and was subsequently replaced by Mycenaeans in the region, in the fifteenth century BC. (see When Gods Turned against the Minoans) (Ibid.). The Mycenaean civilization was composed of the ancients, whose heroic deeds were recorded by later Greek authors, such as Homer in his Iliad and Odyssey (ninth century BC.) (Ibid.). Among the ranks of legendary Mycenaeans, there were such heroes as Achilles and Odysseus who fought the War against Trojans (Ibid.). “Homes mentions that Rhodes [also] participated in the [war] under the leadership of Tlepolemus” (“Rhodes” 2020).
Around the eighth century BC., the so-called Dorian Greeks came to the island (History Time 2017; “Rhodes” 2020). They were one of the four Greek tribes formed in the so-called Archaic period of Greece (“Rhodes” 2020). The Dorians “built the three important cities of [Rhodes]: Lindos, Ialyssos and Kameiros, which together with Kos, Cnidus and Halicarnassus on the mainland made up the so-called Dorian Hexapolis” (Ibid.). During the Classical Greek period, the Persians repeatedly invited the island but their ruling was always short (History Time 2017; “Rhodes” 2020). In the intervals of their brief conquests, “[in] 408 BC., the cities [of Rhodes] united to form one territory” (“Rhodes 2020), eventually founding the modern capital of Rhodes on the northern end of the island, which still exists today and is currently a UNESCO World Heritage Site (History Time 2017; “Rhodes” 2020). “Its regular plan was, according to Strabo, superintended by the Athenian architect Hippodamus [of Miletus]” (“Rhodes” 2020). In the Hellenistic period starting in the fourth century BC, Rhodes asserted its independence and rose steadily in prominence, quickly becoming a world center for learning and culture (History Time 2017; “Rhodes” 2020). During this time, through a combination of skillful diplomacy and by the use of its strong navy, Rhodes maintained to retain its autonomy for hundreds of years despite of threats from the side of contemporary leading empires (History Time 2017).
It was then, precisely in 280 BC., that the Colossus of Rhodes was constructed by the ancient Rhodians (Steedman 2004; (History Time 2017). It was meant to represent the Sun god Helios, the patron of the island (Steedman 2004). Although it was initially thought that the bronze statue was standing at the entrance to the harbour of Rhodes, it was most likely erected uphill, either on the site occupied today by the medieval castle or on the nearby hill with the Acropolis of Rhodes (Rice 1995:384; Steedman 2004). The Colossus was thirty-tree metres high, almost as much as the Statue of Liberty (forty-six meters), and it was categorized as one of the Seven Wonders of the Ancient World (Steedman 2004). The large statue was also the best example of the vast power and wealth of the city-state of Rhodes (Steedman 2004; History Time 2017). But once erected it was sadly lost in the earthquake, in 228 or 226 BC, and never rebuilt (Steedman 2004; Hisgett 2013; History Time 2017).
From the Romans back to the Greeks
In the second century BC., a new power arouse in the Mediterranean region that the Greek city-states could not withstand (History Time 2017). After periods of short alliances, conflicts and political outmanoeuvre, the island of Rhodes was finally incorporated into the Roman Republic in 164 BC, effectively ending its lengthy period of independence (History Time 2017; “Rhodes” 2020). However, it still remained important and became a provincial capital of Rome, and subsequently of the Byzantine Empire, which carried on Rome’s legacy over the many centuries after the fall of the Western Roman Empire (Ibid.). During this period, Rhodes changed hands several times (History Time 2017). But the most important newcomers were the Arabs, after the rise of Islam in the 600s AD (Ibid.).
Aftermath, Rhodes inevitably became integral in the ensuing power struggle which raged between the Christianity and Islam for the next one thousand years, during the time of crusades (History Time 2017; “Rhodes” 2020). “In 1306–1310, the Byzantine era of the island’s history came to an end when the island was occupied by the Knights Hospitaller” (“Rhodes” 2020). They heavily fortified the island and converted it into an ideal of medieval chivalric values (History Time 2017). Much architecture visible today in the City of Rhodes was constructed during this period including huge castles and city walls spanning for more than four kilometres (Ibid.). By the sixteenth century, a new power had risen upon the Mediterranean; based in Asia Minor, the Ottoman Empire (1299-1923) grew from its humble roots to encompass much of the Middle East and southern Europe and subsequently set its gaze upon Rhodes (History Time 2017; “Rhodes” 2020). The Knight Hospitaller who numbered no more than 7500 men made a valiant horse stand at the Palace of the Grand Master but they could do little as the huge invasion force led by the sultan Suleiman the Magnificent landed on the island in 1522, with an army possibly numbering as many as 200 000 men equipped with the gigantic siege weapons and canons (History Time 2017). The Ottomans held onto the island for the next several centuries until the collapse of their Empire in the early twentieth century (History Time 2017; “Rhodes” 2020).
“In 1912, Italy seized Rhodes from the Ottomans during the Italo-Turkish War” (“Rhodes” 2020) and occupied the island till 1948 (Ibid.). During the World War II, Rhodes subsequently fell under the sway of fascist Italy and Nazi Germany but eventually it became the part of the independent Greece whose territorial ambitions were supported by Britain and the Allies (History Time 2017). Now as a part of Greece, the island remains one of the most interesting historic sites in the region (History Time 2017; “Rhodes” 2020; FM Records 2014).
Medieval City of Rhodes and the Knights Hospitaller
We were approaching to the island by a ferry; it was a unique occasion to see its towering fortifications from both the sea and the city sides. They “are shaped like a defensive crescent around the medieval town” (“Fortifications of Rhode” 2019), with their grey walls soaring above colourful boats and ships being anchored in the harbour. “Construction works on these fortifications were initiated in the late [seventh] century AD, [but mostly rebuilt] by additions and expansions that coincided with the start of the Crusades, [and particularly during the sovereign of the order of the Knights Hospitaller]” (Medieval Town 2019).
The whole massive structures were “bestowed upon the Medieval City of Rhodes” (Ibid.). I could observe “the typical outlook of a fortified medieval stronghold, with clearly identified modules like the Citadel, [also known as the Palace of the Grand Master], the Fort […] and the urban area” (Ibid.). The most characteristic monument of the City of Rhodes is the Medieval Town, that throbs with life and has a hospitable atmosphere (FM Records 2014).
The Castle of the Crusader Knights is even today a notable huge edifice (FM Records 2014). It was built in 1350 and is saved in a very good condition (Ibid.). Imposing towers with pill-boxes and solid gates protected the interior composed of one hundred and fifty-six rooms (Ibid.). The former hospital of the Knights of Rhodes was built in 1440 and is now the city’s archaeological museum (Ibid.). Art also flourished in Rhodes; above all, it has developed a rich tradition in pottery (Ibid.). In the village of Archangelos, people still use the old way to manufacture pottery objects (Ibid.). Clay of Rhodes has been one of the best in the world and hence even Hagia Sophia in Constantinople was made of Rhodes’ bricks during Rhodes’ Byzantine period (Ibid.).
Acropolis of Rhodes and the Apollo-Saint Michael Axis
After a tour around the Old Town, my family felt exhausted and gave up further sightseeing. They all sat around an ornamental, medieval fountain at Ippokratous (Hippokratous) Square, “which, along with a grand staircase from the south west section, is the only remaining evidence of the Castellania, an important building constructed by the Knights Hospitaller in the [fourteenth] century” (GPSmyCity 2020). Without paying much attention to the monument’s beauty, major part of the group refused to move for the next hour. Some wanted to eat, others drink or play with pigeons, and my aunt had spotted earlier beautiful shoes so she wanted to go shopping. None was of my interest so I decided to visit one of my must see sites on the island, namely the Acropolis of Rhodes.
Not only is it an archaeological site dating back to the Hellenistic Greece but it is also one of the successive points placed on the so-called Apollo-Saint Michael Axis, I had started to follow just after the lecture of the book, The Dance of the Dragon. An Odyssey into Earth Energies and Ancient Religion, by Paul Broadhurst, Hamish Miller, Vivienne Shanley, and Ba Russell (2000-2003) (see Sacred Geography: the Apollo-Saint Michael Axis). Apart from the Acropolis of Rhodes, there are other three sites on the island identified by the authors as possibly linked to the cult of Apollo, namely Camirus (Kamiros), Feraklos and Lindos (Broadhurst, Miller, Shanley, Russel 2000-2003:8, 343-346). But although there is a Doric temple dedicated possibly to Apollo at Camirus (“Camirus” 2020), there is not much evidence of such dedications at the two other sites.
In Feraklos, there are the ruins of a medieval castle built in the Byzantine period and maintained till the Ottoman times (“Feraklos Castle” 2019). The same place was earlier occupied by an ancient Acropolis, which may have been partially dedicated to Apollo but it is not archaeologically supported (Ibid.). The ancient city of Lindos is in turn a beautiful Acropolis, surrounded by little houses of the white town, located on the southeastern coast of the island (FM Records 2014). Beaches stretch there just at the feet of ancient temples, where tired visitors may have a swim and enjoy the sun (Ibid.). The road to the Acropolis leads uphill and is usually travelled by donkeys, driven by tourists (Ibid.). Due to its location, the site views of the surrounding harbours and coastline (Ibid.). The major temple of Acropolis was built in the fourth century BC. but it was not, however, dedicated to Apollo but to Athena Lindia (FM Records 2014; “Lindos” 2020). Yet it was erected on the remains of a more ancient temple (“Lindos” 2020). Did it adore Apollo?
The island of gods
The Temple of Apollo atop the Acropolis of Rhodes; that was where I wanted to go (Lawrence 2005:Scroll XX). For a while, my uncle stood as if torn apart between his duties towards family and a tempting option of seeing the remains of the Greek temple. Eventually, he decided to join me. According to the map, the site lay within a walking distance, around half an hour on foot, so we promised to be back up to two hours. My aunt was not much enthusiastic about the idea of staying alone with four teenagers and she looked a bit upset when we were leaving. Yet our passion for ancient monuments was stronger and finally won with our doubts.
Legends hovers around Rhodes and the island is very present in the ancient Greek mythology (Up Living 2020). They say that the first inhabitants of the island were the Telchines who apparently appeared there in the Bronze Age (Up Living 2020; “Rhodes” 2020). It was a mysterious tribe who tracked its origins back to Phrygia but they came to Rhodes from Crete or Cyprus (Ibid.). “Their name comes from the ancient Greek verb thelgo, meaning to attract or to charm and they were [believed] to be great sorcerers. According to one source, they were the sons of Thalassa (the Sea) and [that is] why they were very able mariners, a fact which is actually historically well documented. The Telchines were also great technicians, particularly at the treatment of metal, [and] mason artists, creating the first statues dedicated to the [gods]” (Up Living 2020). The Telchines’ only sister, the nymph Alia, bore Poseidon’s six sons and her only daughter: Rhode, whose name means a rose (Up Living 2020; GreekMythology.com 1997-2020).
By gods’ actions and their own faults, the Telchines soon lost their power over the island and were buried by Poseidon, along with their beautiful island (Up Living 2020). Witnessing that, people of Rhodes flew from their drowning land (Ibid.). “Historically, this flight might be linked to the destruction of the Minoan civilization by the eruption of the volcano [of Thera]: people afraid of a great flood tend to forsake island settlements” (Ibid.). Some years after, twelve Olympus gods and their divine allies defeated the Titans and shared their lands between them (Ibid.). Zeus “promised Helios, [who was the Sun god, that he] would appoint him [a] ruler of the next land to emerge out of the sea. [At] that exact moment, [Rhodes] re-emerged on the sea’s surface in the form of the nymph Rhode, who had been left there alone, beautiful and soaking wet. Helios fell instantly in love with her, dried her up from the water with his warm sunbeams and they lived together ever since. Rhode bore Helios seven sons and one daughter. Their oldest son, Kerkofos [had] then three sons of his own: Kaminos, Ialysos and Lindos, who divided Rhodes up into regions to rule over, giving them their names” (Ibid.). They were historically the three city-states established on the island by the tribe of Dorians (“Rhodes” 2020).
Some other version of the same myth says that these three boys were actually born by Rhode and so were Helios’ sons (FM Records 2014). Irrespective of the right version, the sea-nymph Rhode became a protector goddess of the island of Rhodes, while Helios was worshipped as its patron god (Up Living 2020). By these means, his dominance of the island was confirmed and people held him in great reverence, showing their dedication by a contraction of the famous Colossus of Rhodes (Ibid.). Additionally, “Rhodes is said to have been blessed with year round sunshine, as well as with gifts from two more very important [gods], as acknowledgement of Helios’ help during the fight with the Titans; Zeus sent golden rain upon Rhodes, providing its inhabitants with great wealth, while Athena blessed them with the gift of art and craft-making” (Ibid.), equal to the Telchines’ artistic abilities (Ibid.).
On the Acropolis of Rhodes, there lie the remains of the temples, of which most iconic are the reconstructed ruins of the Temple dedicated to Apollo Pythios (Rice 1995:384). The god’s title Pythios reminds he was the prophetic deity of the Delphic Oracle (“Apollo” 2020). Yet as one of the Olympian gods, Apollo had more than one power; he “has been recognized as [the patron] of archery, music and dance, healing and diseases, the Sun, […] light, [and] poetry” (Ibid.). Prof. Richard Martin says that according to Greek mythology, Apollo was also a civilizer, teacher and organizer; he brought roads to places where they had never existed before (Roos, Kim 2001). He was the one who healed but also could bring plague (Ibid.). Such a feature is typical of many Greek gods; if they could cause something, they could equally stop it (Ibid.). Apollo is also believed to have driven his chariot to faraway lands (Burns 2011). He flew along the straight line, stopping at some sites, where the ancient built aftermath sacral buildings dedicated to the god (Ibid.).
Apollo’s flight trajectory is described by some authors as the ley line or straight track, which overlaps in the north of Europe with the Saint Michael Axis (Broadhurst, Miller, Shanley, Russel 2000-2003; Burns 2011). The Archangel in turn is also associated with the Sun and for some scholars he is the Christian counterpart of Apollo (Broadhurst, Miller, Shanley, Russel 2000-2003). On the other side, driving the Sun chariot was more associated by the ancient Greeks with Helios than with Apollo (“Helios” 2020). Even though ancient sources say that these were two separate gods, they have been usually combined as one single deity, known as Apollo Helios, especially during the fifth century BC (“Apollo 2020). And as such they were both described as Phoebus, which means shiny or bright (Ibid.). However, apart from Apollo Pythios and Helios, who by tradition owned Rhodes, two other Greek gods were also venerated on the Acropolis of Rhodes, in the temples dedicated to them by the ancient. Those were Athena and Zeus, who by mythology favoured the island by granting it with gifts.
On the way up the hill
Although the Google Map showed an estimated time of reaching the hill of Acropolis in thirty minutes, we did not take into account the heat, generously sent by Helios, and the fact that we should climb the path leading up to the hill. At some point, we had to slow down our walk as the hillside grew steeper and so we were both out of breath (Lawrence 2005:Scroll XX). And even if we kept moving up, the site seemed still far in the distance. Why is it always so hard to see the summit when you climb up?
Located on the western edge of the city of Rhodes, the hill with the Acropolis on its eastern slope is called Agios Stephanos, also known as Monte San Stephano by the Italians (Hellenic Ministry of Culture 2010-2019; Via Gallica 2020). But there is also its third name, Monte Smith, after the name of the British Admiral, Sir Sidney Smith who built there in 1802 (Ibid.) “an observation post to monitor the movements of Napoleon’s fleet during the Egyptian campaign” (Via Gallica 2020). “[The] Acropolis of Rhodes and its imposing Temple of Apollo, dominates the views” (Hellenic Ministry of Culture 2010-2019).
From the site, which is situated at altitude of 111 metres, it is possible to see a small valley surrounding the city and the western coast with precipitous cliffs overlooking blue waters of the Ixia Bay (Rice 1995:384; Via Gallica 2020; Themis 2020). Especially at sunset, the site “offers breathtaking [and panoramic] views [reaching as far as] the island of Symi and […] the Turkish coast, about [twenty] kilometres away” (Via Gallica 2020).
Two acropolises instead of one
As recent excavations have revealed, the ancient city of Rhodes had in fact two acropolises; the other one with the Temples of Aphrodite and Dionysus was situated on the site now occupied by the Palace of the Knights and Collachium (the northernmost part of the Medieval City) (Via Gallica 2020; Medieval Town “Collchium” 2019).
The ancient city of the Classical Greece was therefore much larger; “it stretched from the northern tip of the island at the site of the current” (Via Gallica 2020) Medieval Town and went south-westwards to where today are the remains of the Acropolis of Rhodes (Ibid.). The latter “was a large elevated plateau […], lying just inside the main fortification wall, running [east-west], along the southern boundary of the [ancient] city” (Rice 1995:384). Unlike most ancient acropolis, that one was not fortified (Hellenic Ministry of Culture 2010-2019; Via Gallica 2020); so “it is not a towering citadel which dominates the lower city, but it does present a distinct elevated profile when Rhodes is seen from the sea – the means of approach in antiquity. [Ancient] streets running [westwards and southwards] from the main inhabited areas in the [east] and [north] gave access to the [Acropolis] from the [city], and it could also be reached from outside […], through the city gate situated near the southern end of modern Odos Sophouli (ancient north-south street P)” (Rice 1995:384).
Nowadays, it is possible to get there from the Medieval Town either by bus or on foot, leaving through the western side of the city walls (Via Gallica 2020).
Lecture on Greek architecture
The Acropolis finally opened to us, revealing its treasures. “Far from the urban liveliness, [we were] standing on the top of Monte Smith hill” (Themis 2020), accompanied just by striking musical performances of Greek cicadas. I felt utterly tired but deeply satisfied we made it. My uncle even speeded up while we are approaching a row of reconstructed columns towering ahead as if the city’s guardian (Tourist Guide 2020). They are the part of the Temple of Apollo Pythios, “which are visible today from the commercial harbour even above the intervening modern building” (Rice 1995:384). they. ‘Amazing’, my uncle admitted, still panting. ‘Now I can give you a lecture if you want’, he exclaimed enthusiastically, gasping for breath.
It must be emphasized that many areas [of the site] are now overgrown or filled in since they were last investigated many decades ago, which makes any observations based only on what is visible to the naked eye today superficial and in need of refinement” (Rice 1995:387). But in its glorious past, the site must have looked impressing; “it consisted of a monumental zone with [sanctuaries], large temples, public buildings and places of worship, [including underground cult places (Hellenic Ministry of Culture 2010-2019]. Significant buildings] were mainly built on terraces reinforced by powerful walls” (Via Gallica 2020).
Different constructions vary in their dating but most buildings were erected during the Hellenistic times (323-31 BC) (Stefanu 2017; Via Gallica 2020). “These public structures would have been a visual highlight above the busy harbours, drawing the eyes above and away from the bustling dock areas” (Rice 1995:348). Apart from the Temple of Apollo (C), on the Acropolis stood the Temple of Athena Polias and Zeus Polies (B) (Ibid.:384). There was also “the stadium (D) with an adjacent [Odeion] (E), very probably a nearby gymnasium (F) and possibly the theatre (G)” (Ibid.:384). The lecturer in classical archaeology, E. E. Rice (1995:384) says that “it […] appears likely that the main civic sanctuary of Helios […] was located on the eastern [side] of the [Acropolis of Rhodes]”.
In the third century BC, it may have housed one of the legendary Wonders of the Ancient World and Greece, the bronze statue of the Colossus of Rhodes, (Ibid.:384). From that point, the mounting representation of the patron Sun god, Helios, would be visible to those approaching the island from the sea.
On the Rhodian Acropolis, there were possibly also landscaping features, characteristic of ancient sanctuaries, such as trees and sacred groves surrounding the buildings (Ibid.:386). Such a theory is attested by the observation made by the orator Aelius Aristides, from the second century AD, (Ibid.:386) “that ‘the Acropolis is full of fields and groves’. […] The open spaces of the Rhodian [Acropolis were probably] due to the fact it was a virgin site when the city of Rhodes was founded and designed at the end of the fifth century BC. […] The new structures which were built upon the [Acropolis] were therefore inserted into the natural landscape which already predominated; [these were] fields, groves, natural rock hollows [and] cliff faces […]” (Ibid.:386).
Stadium and Odeion
In an olive grove to the east of the Acropolis, there are the partly restored Temple of Apollo, the stadium and the Odeion (Via Gallica 2020). The so-called stadium of Diagoras was built around second century BC. (Themis 2020; Via Gallica 2020).
It is located southeast of the hill and oriented north-south (Hellenic Ministry of Culture 2010-2019). It measured according to the Greek standards, over one hundred and eighty metres in length and around thirty-five in width (Via Gallica 2020). This was one of the very first sites that were excavated in 1912 and, like the Odeion, it is was largely restored (Stefanu 2017; Via Gallica 2020). Hence their perfect condition known at present (Ibid.). The stadium could contain over ten thousand spectators, attending various exhibitions and athletic games (Stefanu 2017). There “athletic competitions were staged as part of the Haleion Games, an important celebration held by the ancient Rhodians in honour of the god Helios” (Hellenic Ministry of Culture 2010-2019).
However, taking into account that the uppermost part of the monument has not been excavated yet, its size and so the capacity of the stadium may have been much larger (Stefanu 2017). Among the stadium’s authentic parts, there are sphendone (a semi-circular part at the end of an ancient Greek stadium), the proedries (seats of honour, dedicated to the officials), (Hellenic Ministry of Culture 2010-2019), “and some of the lower seats in the auditorium. Also preserved is the starting mechanism for the athletes” (Ibid.). The stadium was made from the local limestone, with rectangular blocks but of different sizes, which depended on their location (Stefanu 2017). Each element has got smooth surface and fits perfectly in the whole construction without the use of mortar (Ibid.). To the east of the stadium, there was additionally a gymnasium, which was partially uncovered (the western side along with its north-east corner) (Via Gallica 2020). It was a large square building (around two hundred metres wide), where many works of art were uncovered (Ibid.).
Another important element of the ancient site lies northwest of the stadium (Via Gallica 2020). It is a white marble Odeion (theater) built in the second century BC (Stefanu 2017; Via Gallica 2020). It was possibly used for attending musical performances or rhetoric lessons given by famous speakers, as its stage is too small to be a scene of a theater (Ibid.). One who was standing in the middle of it could be well heard around, at each point of the construction (Stefanu 2017). There were probably eight hundred spectators who could watch performances (Via Gallica 2020). Although the Odeion looks impressive today, it has been entirely rebuilt by the Italian archaeologists, and only its bottom shelf is authentic (Ibid.).
Today tourists usually enjoy the sunset sitting on the stairs of the stadium or of the nearby Odeion, which regularly hosts musical and theatrical performances (Themis 2020). At the time of our visit, however, there were just a few tourists walking around the reconstructed columns; it was definitely too hot to enjoy the Acropolis by staying for longer in the sun. Our sightseeing unfortunately fell at full noon, but we had no choice due to limited time on Rhodes. If we had stayed on the island a few days, we would have certainly taken the evening walk to the Acropolis with the family, of course, just for volunteers …
Agora and necropolis
The both constructions, the stadium and Odeion, were once situated just in the centre of the ancient agora (known as the forum in the Roman times) (Stefanu 2017). It was a very central site, where all the political and cultural events took place (Ibid.). Piles of ancient stones placed together there consist of finds from the archaeological excavations; they all come from the ancient agora and contain precious parts of various buildings, sometimes covered in Greek writings (Ibid.). It is a pity, they are not exposed in the museum as objects of further studies (Ibid.).
South of the ancient city, there is also a Hellenistic necropolis of Saint John (Agiou Ioannou) (Tourist Guide 2020; Via Gallica 2020). “The most important of these are the large corner funerary complex with tombs featuring vaulted masonry tombs, the cluster of yet more tombs of vaulted stonework crowned by a monument with triglyphs and metopes and the tomb carved into the rock that includes a monumental gateway. Of greatest interest is the underground quarry where burial chambers were dug into the sides of the tunnels”(Tourist Guide 2020).
Stairs leading to the temples
Nonetheless, the most significant part of Monte Smith is the Acropolis (Stefanu 2017). From the place of the previous agora, there are stairs leading up to the Greek temples of Acropolis of Rhodes, which were, like other ancient sanctuaries, built upon an area of elevated ground (Stefanu 2017; “Acropolis” 2020). Hence akron, meaning the highest point and polis – city (“Acropolis” 2020). Today, on the site, there are mostly huge pieces of stones, such as blocks of local limestone and marble, possibly from Naxos or from Pharos, scattered everywhere around the place (Stefanu 2017). Some original building material had already disappeared; they were mostly reused for the construction of post-Hellenistic buildings (Ibid.).
“[Once] situated on the northern edge of the Acropolis, the Temple of Athena Polias and Zeus Polies was orientated east-west and was a porosDoric peripteral temple (having a columned portico on all four sides). Four oversize column drums and parts of a capital and architrave still [can] be seen on the site. This was where the Rhodians kept the texts of their treaties with other states.
The temple stood in a larger temenos bounded by a stoa on the east” (Hellenic Ministry of Culture 2010-2019). The only reconstructed structures, however, belong to the Temple of Apollo, which was also built in the Doric style (Via Gallica 2020). The temple stood “on the southern part of the hill, on the west side of a large rectangular terrace. It [was] orientated [east-west, and like the Temple of Athena Polias and Zeus Polies it was also a poros peripteral temple, but smaller […]. Part of [its north-eastern] side [has been restored” (Hellenic Ministry of Culture 2010-2019): rising from the incomplete stylobate, there are just four columns and a small section of the entablature as the remains of the temple colonnade. It is also evident that its entrance must have once led through a wide staircase (Via Gallica 2020). Although the temple does not exist anymore, the preserved remains are still able to witness to its monumental character (Ibid.).
Nothing was left from the once impressive façade of the stoa (a covered walkway or portico for public use); only its foundation has been preserved to our times (Via Gallica 2020). Southeast of the stoa wall, there starts “the first of a series of elaborate rock-cut chambers [carved in] the slopes beneath the [Acropolis] summit; other similar [underground] systems are [cut] into the ridge that curves to the [south and west], towards the main buildings on the summit, and to the [north] where it meets the [western] edge of the [Acropolis]. These structures, partly open to the sky but beneath ground level, have traditionally been described as nymphaea” (Rice 1995:387-388) or the Temple of Nymphaea (Via Gallica 2020).
“The word nymphaeum originally meant a shrine of the nymphs, but since nymphs were traditionally associated with caves, and caves with water, the term came to be [later] applied to an ornamental fountain” (Ibid.:388). Archaeological study shows that the Temple of Nymphaea on the Acropolis of Rhodes “consists of four subterranean cave-like constructions cut into the rock with entrance steps, communicating passages and a large opening in the central part of the roof. […] Water cisterns and lush vegetation complete the picture” (Hellenic Ministry of Culture 2010-2019) “Despite the undoubted fact that shade, water and attractive decoration would have made these places pleasant enough to visit and linger in during an ascent to the [Acropolis], they nonetheless led directly to the summit where the main religious buildings were located. The alignment with the grid plan and direct connections with streets and stoas make this evident” (Rice 1995:403).
Why were such underground structures built? What function might they have had? It is believed “they were places for recreation and worship” (Hellenic Ministry of Culture 2010-2019). “Cults of the nymphs were [highly] popular [in the Hellenistic] period; they and Pan were also worshiped in Rhodes. [A late] fragmentary inscription found on the Rhodian [Acropolis], dated to the third or fourth century AD, […] mentions a shrine of Pan (a ‘Paneion’) near of sanctuary of Artemis Thermia, [the goddess who was Apollo’s twin sister]” (Rice 1995:402). Nothing else is known about the Paneion but there are the remains of other places of worship, which may have once been the Artemision (a temple attributed to the cult of Artemis) (Rice 1995:402; Hellenic Ministry of Culture 2010-2019).
The cult ‘Thermia’ of the goddess Artemis presumably had associations with thermal waters. It can be hence speculated that ‘some grottoes indeed had passages which connected into the underground aqueduct system” (Rice 1995:402-403). If so, the artificial caves would have “played an important role, since water supply was vital to the survival of the city, and they might have functioned as shrines to deities directly associated with water, [which is manifested by] recesses in the interior walls for statuettes” (Ibid.:403). “[The] evidence of the votive dedications [in the caves] shows that these areas clearly had a primarily […] religious function. The extensive systems of grottoes covered a significant part of the Rhodian [Acropolis, including] the separate system of [south] of the [Temple] of Apollo precinct” (Ibid.:403), and so it may have once been linked to the temples themselves. It is hoped that future archaeological excavations by modern methods may go some way [further] in revealing its mystery (Ibid.:402).
Successive ways of destructions
All the ancient acropolises on Rhodes and elsewhere are located on the mounts, as much as the sites falling on the axis dedicated to both, Apollo and Saint Michael (Broadhurst, Miller, Shanley, Russel 2000-2003). The following conquerors of Rhodes also reached there but did not respect the ancient sites and they left their signs on them as the remnants of war, having scratched the beauty of the temples (FM Records 2014). Who and why destroyed them?
As a matter of fact, there were three periods that had greatly contributed to the destruction of the site (Stefanu 2017). The first devastation was, however, caused by nature and happened already in 226 BC, when a huge earthquake hit the island of Rhodes and toppled down most of the buildings on the site, including the Colossus of Rhodes (Ibid.). The temples of the Rhodian Acropolis were rebuilt but in 42 BC they were again destroyed (Ibid.). This time it was because of the Roman senator, Casius, and his army (Ibid.). Yet, the most modern warfare turned out to be the most destructive to the Acropolis (Ibid.). In 1944, the Germans installed their artillery on the hill, which was consequently bombarded by the British (Ibid.). That it turn affected the temples, which suffered considerable damage (Ibid.).
Time for excavations
Successive excavations and restoration work carried out on Rhodes in the twentieth century allowed to uncover the sites and reconstruct some of the ancient buildings. However, historically diverse, multiply layers of uninterrupted constructions makes such sites difficult to excavate and interpret archaeologically (“Lindos 2020”).
“The [Acropolis] of Rhodes offers different archaeological problems from those posed by the rest of the ancient city. Unlike the lower town, the hill has not been much built over, but neither has it been much excavated except for the Temple of Apollo Pythios and the stadium-Odeion area, which [had mainly been] investigated and reconstructed” (Rice 1995:387) by the Italian School of Archaeology in Athens from 1912 to 1945 (Via Gallica 2020). Other areas have been partially studied both by the Italians and by the Greek Archaeological Service after the World War II (Rice 1995:387).
“From 1946 onwards Greek Archaeologists [have conducted] a series of excavations, bringing into light important findings regarding the site’s history and topography. During the 60’s and 70’s more reconstruction work was carried out to the west foundation of the Temple of Pythian Apollo. In 1996 further reconstruction was added on the Temple and the [Nymphaeum]. There is still an ongoing excavation in the Acropolis archaeological park, a protected area that covers an area of 12,500 m². As the archaeologists say, the current findings represent only a fragment of the glorious past of the ancient city of Rhodes” Hellenic Ministry of Culture (2010-2019).
Back to the port
Suddenly, my uncle awoke from thoughts on the ruined temples and quickly looked at his watch. He looked terrified. ‘She’s going to kill us’, he said. I knew who he meant.
Around thirty minutes later, we were back at the port of Rhodes. We had made our way back much faster as, according to the basics of the physics and fear, we were walking down, additionally being pushed by the vision of my furious aunt. Meantime, we got a message that the whole company was waiting for us in a cove with a small beach, just outside the Old Town walls at Virgin Mary’s Gate. The place is located between Kolona Port and Cruise Port, so we could wait in the proximity for our ferry to go back to Asia (Rhodes Oldtown 2020).
When we got there, again breathless, everybody was either enjoying sun or swimming in the warm sea. My aunt did not even notice at first we came back. She just waved to us from water. After a while, I reminded myself that I was still wearing my bikini underneath, and soon I also dived into blue sea. It was a great refreshment after the archaeological adventure full of sun and effort.
The island’s ambiance took me centuries back (FM Records 2014). It seemed as if the Sun god had shed beauty to his land; on Rhodes, visitors got the impression of living in a fairy tale as they are carried away by the blue sea, warm beaches, locals’ welcoming smiles, picturesque ports, churches, and soaring ancient temples (Ibid.).
Featured image: The Temple of Pythian Apollo, on the southern part of the hill, was a poros peripteral temple; restored is part of the NE side with four columns and part of the architrave. Source: Greek Travel Pages (GTP) (2019).
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The Bronze Age. Dusk in the eastern Mediterranean (Westbrook 1995). The people on the island of Thera felt something frightening and cataclysmic in the air (Ibid.). They were preparing to abandon their home island (Ibid.). They had filled storage jars with wine, olive and wheat as if one day they would have come back to reclaim them (Ibid.). They carefully closed each lid (Ibid.). They also hid some valuables in their houses’ basements or under door frames (Mitchell 2011). Yet, their most precious possessions, like gold and jewels, they took with them (Westbrook 1995). They carefully sealed their houses as if protecting them from thieves and rushed to their boats (Mitchell 2011). What those people felt was the earth itself trembling beneath them but they had already survived similar earthquakes in the past (Westbrook 1995). That time, however, it was not a mere earthquake (Ibid.). Those people were to never return to their olive, wine and idyllic life they had depicted in their frescoes (Ibid.). They would have simply fled into the night and into the sea (Ibid.).
In the Mediterranean region, in the wide expense of the Blue Aegean Sea, a group of islands stands out in a Greek archipelago (Masjum 2006). They are thrown north of Crete, with a huge caldera at their center (Wengler 2009). The archipelago’s dark and brooding nature appears in contrast to the white limestone and pristine marble of the buildings (Masjum 2006). This islands are collectively known today as Santorini (Ibid.). The terraced landscape and rich volcanic soil make the them ideal for vineyards (History Channel 1980s). For this reason, Santorini is home to some of the finest wines in the world (Ibid.). But while tourists travel to Santorini for sun and the island’s quaint village life, archaeologists keep searching there for more clues about the destruction of the Minoan empire (Ibid.).
For years, teams of various scientists, each specialized in a particular field, have joined their forces to solve the mystery (Lilley 2006). They are still finding new evidence of a dreadful disaster that overwhelmed Europe’s first civilisation (Ibid.) ‘Did their terrible fate create the myth of Atlantis, the continent-city that drowned?’, speculates the archaeologist, Dr Sandy McGillivray (Ibid.). ‘They worshiped the sea and the sea [eventually] turned against them’ (Ibid.)
More than two thousand years ago, the Greek historian Plato wrote about Atlantis, the fabulous civilization that had been swallowed by the sea but no one has been able to trace the origins of Plato’s story yet (Lilley 2006). Appearing evidence from the island of Crete led some archaeologists to speculate that the Atlantis legend was in fact created in the Mediterranean (Ibid.). Is the legendary destruction of Atlantis just a folk memory of what happened to the Minoans, who flourished on Crete in the Bronze Age, over two thousand years before Plato? (Ibid.)
Atlantis was mentioned in Plato’s works Timaeus and Critias, in the fourth century BC. (Westbrook 1995; Harpur, Westwood 1997:18). The great Athenian philosopher claimed the story had originally come from Egypt (Westbrook 1995; Harpur, Westwood 1997:20). It was handed down to him from an Athenian lawmaker, Solon, who had in turn heard it from Egyptian priests from Sais, the capital of Lower Egypt (Ibid.). Solon, and after him Plato, both claimed these were facts, no fiction (Westbrook 1995; Harpur, Westwood 1997:20). According to their accounts, a highly advanced civilization would have developed on the island of Atlantis (Westbrook 1995; Harpur, Westwood 1997:18-21).
In the Bronze Age, the Greek islands were in fact home to an advanced civilization, competing for cultural, artistic and commercial influences in the region, even with the pharaohs of Egypt (Mitchell 2011). These were the Minoans (Ibid.). Centuries before the Greek built the Parthenon, Minoan artists recorded their achievements through exquisite carvings and stunning frescoes (Lilley 2006). They were the first Europeans to use writing but at the height of their powers they were wiped from the pages of history (Ibid.). Their disappearance is still one of the ancient world’s greatest mysteries (Ibid.). Some think the Minoans were slaughtered by conquers from overseas (Ibid.). Others claim that the cataclysmic eruption destroyed them (Ibid).
Apart from the legend of Atlantis, there are also other famous stories passionately haunting human imagination. Until the twentieth century, the Minoans had been the mysterious people known only from Greek myths about hybrid monsters and human sacrifice (Lilley 2006). The archaeologist, Dr Sandy McGillivray has been studying Minoan culture on Crete for twenty-five years (Ibid.). He has explored ancient caves in the centre of the island (Ibid.). For hundreds of years, people have believed their winding corridors were actually the Cretan labyrinth, which was the home of legendary Minotaur (Ibid.). Greek myths describe the beast as a feeding on human flesh, half-bull and half-human creature, who was imprisoned in the subterranean chambers by King Minos (Ibid.). According to the myth, the Minotaur had a very particular taste (Ibid.). He liked to consume its human prey alive (Ibid.). ‘To keep a Minotaur fed, Minos executed the tribute of seven maids and seven youths from the Athenians and once they entered the labyrinth, they never left it’, recounts Dr Sandy McGillivray (Ibid.). The myth suggests that Minoans practiced human sacrifice and were even cannibals (Ibid.). Or was this simply a propaganda generated by Greek fears of a powerful people? (Ibid.).
When the explosion of Thera occurred, the Minoan empire must have been at its highest (Westbrook 1995). However, despite their power and remarkable achievements, the Minoans disappeared after 1500 BC (Lilley 2006). Their fate is still a mystery (Ibid.). Were they wiped out by ancient Greek invaders, described by Homer in his epic poems about the Trojan war? (Ibid.). Or was it a catastrophic natural event, like the one that supposedly destroyed the Atlantis? (Ibid.).
In 1900, the British archaeologist Arthur Evans started excavating at Knossos in northern Crete, near the modern capital of the island, Heraklion (History Channel 1980s; Lilley 2006). The whole western world was astonished by his discovery (Lilley 2006). Evans devoted forty years of his life to this endeavour, for which he was eventually knighted (History Channel 1980s).
After the excavations started, it shortly turned out that the archaeologist had come across the capital of the highly advanced civilisation of the Bronze Age (Lilley 2006). Whilst the ancient Europeans were living as barbarian warriors, building clay huts, Cretans were creating monumental architecture and living in overwhelming luxury (History Channel 1980s; Lilley 2006; Mitchell 2011). Men in Knossos must have moved about proudly and confidently (History Channel 1980s). Women were attired elegantly and glamorously (Ibid.). Evans exhumed in Knossos a huge architectural complex, he soon called a palace (History Channel 1980s; (Lilley 2006). It was a complex of buildings of the size of four football fields consisting of one thousand and three hundred courtyards, halls, passageways and rooms (History Channel 1980s; Mitchell 2011). All of them belonged to one single building, which was the heartbeat of the Minoan empire (History Channel 1980s). The palace was approached by massive entrance portals, leading deep inside its subterranean complex (Ibid.). Above the surface, the palace was two to three storeys high and built of cut stone (Ibid.). The walls were decorated with serene motifs of flowers and animals (Ibid.). War was not glorified there (Ibid.).
The architecture was so bewildering that Evans was convinced that he had found the Minotaur’s labyrinth, incorporated into the King Minos’ royal residence (History Channel 1980s). He found there marble walls and alabaster floors, which had been protected by the earth for millennia (Ibid.). In the lavishly decorated private chambers of the priest-king, as Evans assumed, a bathtub was even found (Ibid.). Staircases functioned as ingenuously designed air-conditioners (Ibid.). Light shafts provided subdued lighting (Ibid.). Below the floors, complicated drainage conduits have been built for bathrooms and, first in Europe, flush toilets (Ibid.). Even rainwater, which was collected in the open courtyards of the palace, passed through a special system of drains (Ibid.).
In the storehouses there were as many as four hundred storage vats for wine, oil, grains and honey (History Channel 1980s). The Minoans’ capital itself was a masterpiece of contemporary town planning, with its buildings being connected by Europe’s first paved roads (Lilley 2006). Surrounding the palace, there was a town with a population of more than forty thousand inhabitants (Ibid.).
Based on what Evans found, archaeologists have built a more accurate picture of what this once great empire looked like (History Channel 1980s). Modern technology offers an impression of extraordinary splendour of the civilization around the whole Crete; ceremonial buildings, holy places, storehouses and workshops were once grouped around large central courtyards (Ibid.). Successively, archaeologists have discovered similar Minoan settlements with the so-called palaces throughout Crete and far beyond it (Lilley 2006). Among them, Knossos is believed to have been the most significant.
The Minoans were the contemporaries of the mighty ancient Egyptians, with a language of their own and a distinctive culture, widely revered by others (Masjum 2006). Highly cultured and civilized, the Minoans held much promise as a people (Ibid.). It was their culture that provided the seed of Greek civilization a thousand years later (Ibid.). They had an advanced state of bureaucracy and organization (Ibid.). The Minoans were equally skilled craftsmen capable of producing exquisite treasures and sophisticated objects of art (Lilley 2006). Their pottery was known throughout the contemporary world for its outstanding beauty and craftsmanship (History Channel 1980s). Its distinctive geometric patterns and naturalistic imagery were prized even by the pharaohs (Ibid.).
Merchants, not warriors
The source of Minoan wealth was their rule at sea (Mitchell 2011). They were peace-loving traders who placed strong emphasis on commerce and not war (Masjum 2006).
A geologist, Jelle Zeilinga de Boer, says that the Minoans created a commercial empire (Masjum 2006). ‘They did not have any defensive walls or anything to protect themselves because they had the [powerful fleet], and they were known in the entire eastern Mediterranean as traders’ (Ibid.). Also artistic influences of the Minoans were far-reaching (Wengler 2009). Minoan pottery and other various artifacts carried by their ships have been found from Spain to Mesopotamia (Lilley 2006). Their distinguished artistic style and motifs, flourished in frescoes also in foreign palaces of Mycenaeans, Egyptians and even Canaanites, such as Tel Kabri, in modern day Israel (Cline 2013). In the Egyptian city of Avaris (also Awaris), in the north-eastern region of the Nile Delta, the Egyptologist, Prof. Manfred Bietak has found a Minoan fresco, dated back to the sixteenth century BC. (Wengler 2009). It represents a recurring theme of the Minoan iconography, especially on Crete, which is a bull-leaping (Ibid.). Bietak claims that the fresco must have been painted by a Minoan artist, probably living and working in Avaris and decorating an Egyptian palace in a typical Minoan style (Ibid.). At the time of the Eighteenth Dynasty, the artistic influence of the Minoans on Egyptian art became highly noticeable (Ibid.). The presence of Minoan frescoes in the Nile Delta is further evidence of close contacts between these two worlds: Egyptian and Minoan (Ibid.).
In ancient times, the Minoans traded with the peoples of the Aegean and were amongst the first to sail to distant foreign lands (History Channel 1980s). After the British author, Gavin Menzies (2011), their boats voyaged westwards through the Pillars of Hercules to finally reach not only the British Isles but even northern America. Although scholars have rejected such theories as pseudohistory, all of them agree that the Minoan representatives surely travelled to the Near East and up the River Nile to the legendary city of Thebes, in Egypt (History Channel 1980s; Cline 2013). The palaces in their homeland of Crete, in Knossos, Phaistos and Malia were on a smaller scale than in Egypt but archaeologists claim to have observed in Cretan monumental architecture, structural designs similar to the temples dedicated to Egyptian gods, like Osiris, Isis or Hathor (History Channel 1980s). As Diodorus of Sicily writes in the first century BC. (Bibliotheca historica, Book I, 61), the architect of the labyrinth in Knossos, Dedalus, had first seen such an edifice in Egypt and designed a similar one for King Minos (Santarcangeli 1982:85). Although the Egyptian one was more monumental than the Cretan, it apparently served as its prototype (Ibid.:85).
On the other side, the Minoans’ maritime empire was so vast that it even rivalled the ancient Egyptians (Lilley 2006; Mitchell 2011). Nonetheless, the islanders must have been popular and respected in ancient Egypt (Ibid.), particularly because they did not sail with warships on buccaneering raids but as peaceful merchants (History Channel 1980s). Apart from mutual trading, as some scholars underline, there may have also been other Egyptian – Minoan relations, especially in the context of religion and ritual (Santarcangeli 1982:73-85). Yet, all of the sudden, all records of the Minoans came to an abrupt end in the papyrus texts of the Egyptian scribes. Why? (History Channel 1980s).
With time, the Minoans colonized Aegean islands also in the parts of mainland Turkey (Lilley 2006). Consequently, their powerful fleet could significantly control the Mediterranean’s trade routes (Mitchell 2011). At their intersection between Europe, Asia and Africa was Crete, the strategic centre of Minoan power (Ibid.). One hundred and twelve kilometres north lay the island of Thera, known today as the group of Santorini islands (Ibid.).
The island of Santorini may provide a clue to solving the Minoan disappearance from history (Lilley 2006). The wild scenery and jagged cliffs draw countless tourists but they do not realize that this is in fact a highly explosive volcano (Ibid.). Nor did the colony of Minoans, who lived on Santorini in the Bronze Age and had built their town on the most dangerous island in Eurasia (Ibid.). At that time, the island was known as Thera. Its crescent shape testifies to a violent volcanic past (History Channel 1980s). Its harbour is now a gigantic caldera, so deep that no ship’s anchor can touch the bottom (Ibid.). In the middle, a volcanic dome rises out of the sea (Ibid.). Today it is an awesome monument to the fourth largest eruption in the last twenty thousand years (Ibid.). It was a cataclysm that some believed led the Minoan civilization to its final end (Ibid.).
In 1967, archaeologists discovered the Minoan town of Akrotiri, located on the southern coast of Santorini (History Channel 1980s). It was buried on the slopes of the vast volcano crater (Lilley 2006). Traces of Thera’s wealth can be seen in the ruins of this town (Mitchell 2011). Kitchens and storehouses offered a glimpse of people’s daily life (History Channel 1980s). At the moment they were found, storage jars still contained green kernels and olive pips (Ibid). Along the streets stood buildings whose walls were richly decorated with sophisticated frescoes (Mitchell 2011).
Prof. Floyd McCoy, a geo-archaeologist, pays attention to the way Akrotiri’s inhabitants may have celebrated their life, which is well reflected in Minoan art. ‘If you take a look at the wall paintings that have been discovered [there], they are portraying their landscape. This is a happy landscape: animal bouncing around and [girls] picking saffron’, he says (Lilley 2006). ‘They [are] showing a nice lifestyle, comfortable one. It’s a pity it was all destroyed’ (Ibid.). People living on Thera, like the Cretans, built a highly advanced society, provided with such facilities as the world’s first home toilets combined with an underground sewage system (Mitchell 2011). For such a luxury most Europeans waited another two thousand years (Ibid.).
Island cursed by gods
In the rubble of the ancient town, scientists have found clues, which suggest that Thera eruption may have coincided with the downfall of the Minoan civilization (History Channel 1980s).
Gradually the buried city began to divulge its secrets (History Channel 1980s). However, working among the crumbling walls was dangerous and the man who first discovered Akrotiri, the veteran Greek archaeologist Spyridon Marinatos (1901-1974), was killed by falling rocks and buried in his town (Ibid.). His daughter, Nanno Marinatos, is carrying on his work (Ibid.). She says that most archaeologists agree that the Minoans established a theocratic empire of the seas (Ibid.). Still they do not know what their ruling class was like (Ibid.). Marinatos thinks that its representatives were priests and they claimed their special connections with a deity (Ibid.). Minoan priestesses apparently had the greatest power of all (Mitchell 2011).
As Marinatos claims, Minoan priests usually appeared in front of the public dressed as deities, which is well defined by the preserved frescoes (History Channel 1980s). Indeed, the Minoan art represents the mysterious world, where powerful priestesses performed strange and dangerous rituals (Mitchell 2011). Their task as it seems was to communicate with the gods, often through complex rituals in which saffron served as a hallucinogen (Ibid.). Like all ancient civilizations, the Minoans believed that their gods were present everywhere (Ibid.).
Deity was responsible for every natural phenomenon, from the birth of a child to earthquakes, from the seas to the mountain peaks (Mitchell 2011). And the ancient peoples seemed to treat them as flesh and blood figures. Minoan gods were not considered gentle and merciful beings, but rather impulsive and often vindictive (Ibid.). To obtain the favour of the gods sacrifices were made to them and rituals were a way for priests to know their desires (Ibid.). In many houses in the town, rich and colourful paintings reveal images of the Minoan spiritual life: priestesses paying homage to their gods, maids and youths depicted at different stages of their initiation (History Channel 1980s). Even the young man with his abundant catch of fish, archaeologists believe may be on his way to the sacrificial altar (Ibid.). But with time, the Minoan belief system had to begin to break down (History Channel 1980s; Mitchell 2011). It was due to the geological forces that contributed to the destruction of Thera and this glittering world sank in the chaos of the powers of nature (Ibid.).
Earth-shaker is getting furious
In the second millennium BC., Akrotiri was shaken by a violent earthquake but this was merely the beginning of the natural disaster and subsequently the collapse of the entire Minoan civilization (History Channel 1980s; Mitchell 2011). One of the most powerful Minoan gods was called ‘earth-shaker, also identified with Poseidon (Harpur, Westwood 1997:18; Mitchell 2011). As a deity, he was responsible for sea powers and earthquakes and for this reason he was particularly frightening (Ibid.). Structural damage discovered on Thera shows that just before the volcanic eruption there was an earthquake with magnitudes exceeding seven degrees on the Richter scale (0-9) (Mitchell 2011).
The buildings on Thera had been designed to withstand weaker shocks, which usually happened in that region (Mitchell 2011). The houses were therefore strengthened by a skeleton made of thick, wooden logs (Ibid.) However, that earthquake was strong enough to smash a stone staircase, as it is visible in ancient Akrotiri, and triggered a series of fatal events for the inhabitants of Thera (Ibid.).
Heralds of the coming disaster
Yet before the deciding earthquake came, the great eruption announced itself slowly and gradually (Wengler 2009). As the black mountain, the volcano was slowly coming to life (Ibid.). One of the first signals of volcano activity were hydrothermal explosions caused by heated groundwaters (Mitchell 2011). Boiling fountains of steam bursting from the sea were accompanied by the first tremors shaking the island (Wengler 2009). Sea quakes caused giant waves to form (Ibid.). These were the heralds of the coming disaster a few months ahead (Ibid.) A Minoan wall painting from the island of Santorini represents a giant wave and drowning people beneath it (Ibid.). Is this a portrayal of the events just before the eruption? (Ibid).
For over seventeen thousand years, the magma reservoir beneath the island’s surface was closed but recurring tremors kept deepening cracks and lava began to rise (Mitchell 2011). The rising magma was accompanied by the larger release of sulphurous vapours and other toxic gases (Ibid.). It was another sinister harbinger of the approaching eruption (Ibid.). Foul-smelling sulphurous vapoursemerged and spread (Wengler 2009).
Certainly, for the inhabitants of the island it became a race against time (Wengler 2009). According to archaeological research, the damage after the final earthquake was so severe that residents of Akrotiri had to leave their weakened homes and probably moved to temporary camps, in the hope that they would be able to return to their town soon (Mitchell 2011). “There is evidence [that] people [even] started to repair the damage, but before repairs were complete, another set of quakes hit the town. It appears people abandoned it then and left fairly quickly, as many belongings were [found in Akrotiri]” (Jensen 2018). Undoubtedly, the residents had tried to save whatever they could (Wengler 2009). Just before the eruption, they managed to gather food and water supply and other domestic equipment, but eventually, food jars and the beds tied together and ready to go had to be left behind (Ibid.). The excavations at Akrotiri has showed that while some houses were almost completely emptied before eruption (Ibid.), in others, precious belongings were found safely under the bed or wooden frame (Mitchell 2011). Houses’ doors were shut tight (Ibid.). When the mountain belched hot volcanic ash, for the Minoan islanders it was high time to leave their island (Wengler 2009). Experts believe the population got off Thera just in time; unlike in Pompeii, no trace of human remains have ever been found in Akrotiri (Wengler 2009; Jensen 2018). Yet nobody knows where they sailed to take refuge (Wengler 2009).
Stages of eruption
‘And suddenly [the volcano] exploded’, says Prof. Floyd McCoy, a geo-archaeologist (Lilley 2006). Thera was erupting (Ibid.). The vast volcano blasted ash, gas and rock up to into the stratosphere (Ibid.).
On Santorini, a team of geologists, volcanologists, botanists, archaeologists and physicists has regularly studied the site of the disaster (Wengler 2009). Evidence of the volcano power is all around the island (Lilley 2006; Mitchell 2011). There are deposits that are more than sixty metres deep in places (Lilley 2006). The scientists have made an attempt to reconstruct different stages of the Thera’s eruption (Ibid.). ‘There, in that cliffs face,’ Prof. Floyd McCoy points to the multicoloured high rock face on Santorini, ‘[there are] all four [visible] layers representing the four major faces of this huge dramatic eruption’ (Ibid.).
Following the final earthquake, the pressure of magma burst the rock, which for thousands of years had clogged the volcano funnel (Mitchell 2011). It was only a preview of an impending explosion (Ibid.). The volcano was only clearing its throat (Ibid.).
Earlier generations had already seen similar but minor eruptions and recognized them as signs from the gods (Mitchell 2011). These were signs whose understanding was the task of the priests (Ibid.). For the Minoans, there was no better way to satisfy threatening and unpredictable gods than through sacrifice (Ibid.). They performed such rituals in sanctuaries, high in the mountains, where they were physically closest to the gods (Ibid.). Twenty-three such places have been discovered in Crete itself, and in them the remains of thousands of clay figurines (Ibid.) Clay parts of the body were to heal the same human limbs, and animal figurines were to heal and protect livestock (Ibid.). In Minoan shrines, bones of animals have also been found, of goats, sheep, pigs and even bulls (Ibid.). Possibly blood sacrifice was considered the most powerful (Ibid.). The power of priests and priestesses depended on their ability to win the favour of the gods, but the forces released beneath Thera’s surface could not be stopped any more (Ibid.). Consequently, confidence in the powers of priests weakened, which eventually led to the collapse of Minoan social and religious systems (Ibid.).
From the earthquake to Plinian eruption
From the structure of volcanic sediments in the initial phase of eruption, the island was covered with bright ash (Mitchell 2011). It was enough to poison the sources of drinking water (Ibid.). But it was not the worst awaiting the people living on Thera (Ibid.). What distinguished this eruption from all others experienced so far by the inhabitants of the island was the interaction of two types of magma that triggered a catastrophic chemical reaction (Ibid.). This reaction spewed about a hundred and fifty billion tons of magma onto the surface and made the eruption the greatest natural disaster of the ancient world (Ibid.). Columns of glowing gas of ash and stones flew at over nine kilometres up into the stratosphere, forming a cloud shaped like an atomic mushroom (Ibid.). Consequently, large clouds of rubble and dust rose into the sky after the explosion (Ibid.). Their force can be compared to the detonation of a nuclear bomb (Ibid.). The sound of explosion must have been heard even in Egypt, and clouds of smoke have been seen from Crete after a few minutes (Ibid.).
Thera’s eruption has been called the Plinian, which is the most devastating of all (Mitchell 2011). “Plinian eruptions or Vesuvian eruptions are […] marked by their similarity to the eruption of Mount Vesuvius in 79 AD, which destroyed the ancient Roman cities of Herculaneum and Pompeii. The eruption was described in a letter written by Pliny the Younger, after the death of his uncle Pliny the Elder” (“Plinian eruption” 2020). Hence its name. Such “eruptions are marked by columns of volcanic debris and hot gases ejected high into the stratosphere, the second layer of Earth’s atmosphere. The key characteristics are ejection of large amount of pumice and very powerful continuous gas-driven eruptions” (Ibid.)
During the first four hours of Thera’s eruption, the volcano ejected five billion tons of magma from the crater (Mitchell 2011). The day turned into night, because volcanic dust began to cover the entire island (Ibid.). The cooling magma began to fall as pumice (Ibid.). These were small stones filled with air bubbles but deadly in such large quantities (Ibid.). Prof. McCoy points out to the cliffs on Santorini, saying that at this stage of the eruption, the first layer was created (Lilley 2006). ‘[It] is that brown [one] at the bottom. [This] granular brown layer that’s pumice. Pumice is frothy rock. It represents magma frozen in place, a frozen explosion’, he says (Ibid.).
But it was ash, not pumice stone, that posed the greatest threat (Mitchell 2011). Volcanic ashes are different from ordinary ones, as they contain silicone (Ibid.). Drawn into wet human lungs, volcanic ash turns into liquid cement (Ibid.). Breathing then is difficult and finally impossible (Ibid.). Although archaeologists have not found any human remains in Akrotiri, it is still possible some residents of the town could have been stopped on the island, imprisoned by subsequent deadly effects of the eruption, either in their contemporary camps (Ibid.), or elsewhere on the island. Some scholars estimate that in Thera’s case, there were probably only few survivors who had escaped the island (Mitchell 2011).
Pyroclastic flows and torrential rains
The layer on top of the pumice from the cross-section of the cliffs proves the real power of this mighty eruption (Lilley 2006). This is the ash left by pyroclastic flows (Ibid.). ‘Pyroclastic flows [are made by] hot gas material that comes up and flows laterally across the landscape, sometimes at supersonic speeds’, says Prof. McCoy (Ibid.). These gases were forced out by massive explosions in the heart of the volcano, the caldera (Ibid.). But what caused these blasts? (Ibid.).
When the magma first erupted, it left behind a huge empty chamber (Lilley 2006). The surface above the chamber collapsed, creating a vast cavity (Ibid.). Then seawaters rushed into the expanding crater (Mitchell 2011; Lilley 2006). Upon contact with magma, the water turned into vapour, starting another wave of eruptions (Mitchell 2011). ‘Magma and water do not mix [but] create an explosion’, explains Prof. McCoy (Lilley 2006). ‘The entire Aegean Sea [was] pouring in this vent, mixing with new magma coming up and explosion was tremendous […] and from that [came] these pyroclastic flows’ (Ibid.).
The violent reaction of water with magma led to a phreatomagmatic eruptions (Mitchell 2011). It is estimated that the sound pressure level of this explosion reached three hundred decibels (Ibid.). It was enough to burst the tympanic membrane of everyone within sixteen kilometres (Ibid.). Moreover, the power of this eruption threw rocks from the inside of the crater, turning them into deadly rockets – lava bombs (Ibid.). Such burning lumps of stone could reach the size of a small truck and weigh up to eight tons (Ibid.). As the crater widened, the pressure was pushing the column upwards (Ibid.). The gases and rocks forming it began to fall in all directions (Ibid.). Pyroclastic flows reached the speed of two hundred and ninety kilometres per hour and a temperature of seven hundred degrees (Ibid.). Finally, the sizzling wave of rocks fell into the sea, and when it made the water surface boil, it began to move even faster on the layer of hot steam (Ibid.). After the final monstrous pyroclastic flow, ten metres deposit of ash and pumice were left, which have eventually formed the third layer that the best demonstrates the awesome forces of this eruption (Lilley 2006).
And on their top Santorini cliffs are built of the final, fourth layer (Lilley 2006). ‘It started to rain’, says Prof. McCoy (Ibid.). ‘Torrential rains came down and then all this loose ash and pumice on the surface started to move downslope. That’s what we call debris flows and then it was over’ (Ibid.).
What caused Thera eruption to be so far-reaching? (Masjum 2006). Thera sat on a string of volcanic islands straddling four plates (Ibid.). This convergence of plates creates the chain of volcanic islands and makes Thera eruption highly potent (Ibid.). Magma is formed when the African plate gets pushed beneath the Eurasian (Ibid.). The result is a gas rich and thick magma that erupts explosively (Ibid.). Prof. McCoy believes that the explosion was so loud that it could be heard throughout southern Europe, northern Africa and the Middle East (Ibid.).
More importantly, the blast has changed completely the shape of the land (Masjum 2006). Thousands years before the Minoan eruption, Santorini was believed to have joined as one island but after several eruptions the single island was blasted apart into smaller ones (Ibid.). At the time of the Minoans, the volcano was situated at the centre of these islands (Ibid.). When it erupted, it again changed the shape (Ibid.). When the centre of the volcano eventually collapsed, it formed a huge caldera (Ibid.). Today all that remains of the volcano is Nea Kameni, a tiny uninhabited island within the flooded Santorini caldera (Ibid.). With the birth of this new island the volcano is slowly rebuilding itself (Ibid.). Prof. McCoy claims that ‘over next twenty thousand years, this island is going to get larger and larger and then possibly it explodes again’ (Ibid.). ‘In the course of history of this volcano, an eruption repeats itself every twenty thousand years’, he explains (Ibid.).
Was the Thera eruption in the Bronze Age powerful enough to have destroyed the Minoans as well on Crete? (Lilley 2006).
Town under the ashes
Experts are only now learning the true scale of this disaster, which deadly impact stretched far beyond the island of Thera (Mitchel 2011). The volcano spewed out huge plumes of ash, carried by wind southwards (History Channel 1980s; Lilley 2006). It travelled from Thera to Crete in less than half an hour (Masjum 2006). When the dense clouds appeared, it must have seemed to the Minoans on Crete that nature had turned against them (Lilley 2006). ‘Imagine this ash coming over the island’, asks the professor of Greek archaeology, Jan Driesser (Ibid.). ‘It blackened the air [and] blue sky for several days’ (Ibid.).
In 1980s, Prof. McCoy and his colleagues found ash deposits on neighbouring islands and on the seabed near Crete (Lilley 2006). ‘We calculated the amount of the volume of this material, which is how we [figured] out how explosive [the] eruption had been’, says Prof. McCoy (Ibid.). Recent analysis of the seabed around the island has revealed that sediments from pyroclastic flow extend over thirty-two kilometres and are up to eighty meters deep (Mitchell 2011).
Excavations on the island itself, reveal that pyroclastic flow broke the upper fronts of the buildings on Thera (Mitchell 2011). Subsequently, the Minoan settlement was buried in a layer of volcanic ash and pumice stones more than forty meters deep (Jensen 2018).
With time, more evidence of Thera’s deadly deposits began to emerge not just from the Mediterranean but as far as the Black Sea (Lilley 2006). Volcanic ash must have plunged the region into darkness for weeks (Mitchell 2011). Computer modelling expert and volcano enthusiast, Dr Stuart Dunn, decided to plot the results by creating a database putting together all ash thicknesses with their locations (Lilley 2006). The location and thickness of these residues allowed to calculate how many millions of tons of material were blasted across the region (Ibid.). ‘We concluded that the eruption was very much larger than [it] was previously thought’, admits Prof. McCoy (Ibid.). ‘Now we’re up to ten times of the explosivity of Krakatau’, he concludes (Ibid.). After scientists, It was one of the most violent volcanic eruptions in human history, one hundred times the eruption of the volcano at St Helens and forty thousand times more powerful than the bomb dropped on Hiroshima (Mitchell 2011).
The clouds of ash caused the climate collapse over the whole region and subsequent lightning and hail storms (Masjum 2006; Wengler 2009). Temperature around the world lowered, inhibiting plant growth even in the British Isles (Mitchell 2011). Before collapsing into itself, the volcano expelled twenty billion cubic metres of molten lava and pumice has been found far inland of the Mediterranean region, where could have been carried by the waves of tsunami (Wengler 2009). Hundred and forty pumice stones from Thera’s eruption were found by Prof. Bietak in Avaris, in the Delta Nile (Ibid.). It is the same site, where the Egyptologist has found the Minoan fresco. Some number of pumice has been also found by archaeologists in Sinai (Ibid.).
Also this has prompted some scholars to suggest that the stories in the Bible may be linked to Thera eruption (Masjum 2006). In the Book of Exodus, signs of the ten Egyptian plagues include thunder and hail and total darkness, the phenomena that could have been volcanic in origin (Ibid.). And another plague mentioned in the Bible, namely the waters of the Nile turning into blood (Ibid.). Zeilinga de Boer explains that huge amounts of reddish dust, as upper layer in Santorini, and lot of dead material actually wiped out over the area of Egypt (Ibid.). He says that all this volcanic dust was in the atmosphere and was brought in the Nile by very heavy rains falling at a time and so the colour of the Nile could have changed from its natural into reddish tint (Ibid.). For the people of the entire Mediterranean observing such phenomena, the world must have descended into chaos (Ibid.).
Fire in the sky
Prof. McCoy assumes that in the morning, after the eruption, Minoans at Knossos and other towns along the northern coast, must have seen the clouds of smoke on the horizon (Masjum 2006). Although they must have already been frightened, they had no idea yet what was in store for them (Ibid.).
‘They saw black sky, lightnings, darkening clouds enveloping them and ash falling on the ground all around them. And constant earthquakes. For them the world looked like it was ending’, he says (Masjum 2006). ‘When something blew up, north of them, on the horizon, they must have known it was the island’, he speculates (Ibid.). ‘Maybe some [Cretans] had family or friends there. There was fire in the sky, […] ash falling out of the sky and even torrential rains coming along with the latter part of the eruption’ (Ibid.). Earthquakes from the eruption triggered further fires setting ablaze the Minoans temples, houses and other buildings (Ibid.). Climate change also badly influenced their agriculture (Ibid.). The effect on them must have been tremendous (Ibid.). Zeilinga de Boer adds that ‘the volcano brought a lot of pumice, the material that floats very easily and have covered apparently most of the eastern Mediterranean for years, making rowing or sailing impossible, so this commercial empire lost its major part of existence’ (Ibid.).
Until recently, many archaeologists believed that the ash from Thera suffocated the entire island but Dunn’s computer model shows that only the eastern part of Crete received a significant covering, whereas the western part of the island reminded virtually untouched (Lilley 2006). Prevailing winds blew most of the ash clouds away (Ibid.). If the ash did not cause the Minoans’ downfall, what then did? (Ibid.).
Catastrophe speeding up towards Crete
Today the serenity of Crete is a far cry from the fabled land of half-human monsters, bloody sacrifices or natural disasters (History Channel 1980s).
Much of what is encountered today seems barely to have changed in the course of its mysterious past (History Channel 1980s). Just in the ancient times, the forests were logged because the wood was needed for monumental architecture and ships (Ibid.). Sheep and goats graze here as they have for thousands of years (Ibid.). The work of farmers and shepherds give little hint that this island was once the center of a powerful commercial empire (Ibid.). After centuries of foreign occupations, residents here are more aware of their immediate past (Ibid.). The tale of the Minotaur has faded into a legend (Ibid.). Only at the beginning of the twentieth century, following the independence from the Ottoman Empire came archaeologists, such as Sir Arthur Evans, able to start digging into Crete’s great past (Ibid.).
The archaeologist, Dr Sandy McGillivray has been excavating the Minoan town of Palaikastro on eastern Crete (Lilley 2006). The extent of ruins found there suggests that this was the largest Minoan settlement after Knossos and home to around five hundred people, stretching from the mountainside to the seaside (Ibid.). Like in other Minoan settlements, paved roads with drains were laid on a grid pattern in its town plan (Ibid.). Palaikastro’s extensive workshops produced everything from basic foodstuffs to some of the finest art, yet discovered on Crete (Ibid.).
Today the small hill, the town stood on at the water’s edge is eroding into the sea (Lilley 2006). It reveals strange layers of chaotically mixed material of pottery, building material, stones, cattle bones and lumps of ash, reaching up to five metres above Minoan sea level (Ibid.). After Prof. Hendrik Bruins, a soil scientist who specializes in identifying and dating unusual layers, the deposit does not look like natural archaeological stratification or the result of an earthquake (Ibid.). To find out the origins of the strange deposits in Palaikastro, Prof. Bruins has conducted thorough laboratory studies (Ibid.). He was thrilled by the results (Ibid.). ‘We saw foraminifera in these deposits’, he says (Ibid.). Foraminifera are the shells of tiny organisms only found beneath the sea (Ibid.). Accordingly, it suggests that the deposit has been formed with the power of sea waves (Ibid.). Another marine creature within the soil sample is coralline algae from the seabed (Ibid.). ‘These come from below the sea level and in order to deposit them in that level, where we found them in a promontory, [they had] to be scooped up […] to [the] level, where the sea normally never comes’, explains Prof. Bruins (Ibid.). No storm would have lifted the algae from the seabed and left it stranded metres up on the island (Ibid.). Nevertheless, there is another powerful natural force that has the power to do that (Ibid.). These are tsunami waves (Ibid.). Are the Palaikastro beach deposits the terrifying footprint of a tsunami? (Ibid.).
Now it makes sense
Prof. Costas Synolakis, an expert on tsunami, has explored the excavated part of the Minoan town of Palaikastro, situated three hundred metres from the beach (Lilley 2006). He has found there further evidence that something extraordinary happened there in the far past (Ibid.).
The buildings of the town itself show unusual signs of damage (Lilley 2006). ‘We find some walls entirely missing’, says Dr Sandy McGillivray. Prof. Costas Synolakis claims that ‘this is what we [observe] in modern tsunamis. We call this the blow out. The sea comes in [and] blows out the walls. If the building is strong enough, the side walls […] will survive but the walls facing the ocean […] collapse’ (Ibid.). For Dr Sandy McGillivray ‘all of the sudden a lot of deposits [around Palaikastro] began making sense […] because [the town] had these buildings pulled away, [it] had the fronts of buildings missing. [it] had buildings raised right down the foundation level’ (Ibid.). What kind of wave was then powerful enough to cross three hundred metres of land before demolishing a town? (Ibid.).
The scientists also travelled further inland of Crete to find out how wide was the range of the waves terrible progress (Lilley 2006). Around one kilometre from the shore, and well above sea level, they have found deposits of seashell (Ibid.). Soil samples from excavation from ancient Palaikastro also contain the tale-tell microscopic signs of marine life, which is another evidence that the tsunami deluged the town (Ibid.).
When Thera erupted, it unleashed a powerful force into the sea (Masjum 2006). Scientists believe it caused giant waves of tsunamis (Ibid.). Hour after hour, pyroclastic flows on Thera were pushing volcanic debris into the sea, causing great tsunami waves that battered the Aegean coast (Masjum 2006; Mitchell 2011). ‘And then what happens is that the centre of the volcano […] has been blasted. it collapses to produce today’s caldera’, describes Prof. Floyd. ‘The land suddenly fell in, the ocean poured in and out producing constant tsunami’ (Masjum 2006). Inhabitants of nearby Crete could notice warning signs, but did not have enough time to react (Mitchell 2011). The first tsunami moving at the speed of three hundred and twenty kilometres per hour reached the coast of Crete within twenty minutes (Ibid.). At the time of contact with the land, the wave could have been up to twenty meters high (Ibid.).
Apparently, the tsunami generated by Thera eruption was powerful enough to ravage the entire civilization (Lilley 2006). On the north coast of Crete, fifty kilometres west along the coast from Palaikastro, Malia lies. Now it is known for ruins of a Minoan palace but once it was the third largest settlement on coastal Crete (Ibid.). Close by the ruins, the team of scientists has found the same layers of smashed pottery, building debris and crushed seashells that they have observed in Palaikastro (Ibid.). That is further evidence that a huge wave had struck the northern coast of Crete, dumping marine life onto the land (Ibid.). Next step was the study of the Minoan port of Amnissos (Ibid.). The site is located west of Malia and near the settlement of Knossos (Ibid.). Four thousand years ago, a villa nestled among olive groves on this idyllic coast (Ibid.). It was decorated with frescoes that celebrated the Minoan love of nature (Ibid.). But about the time of eruption of the volcano, the villa was destroyed and the frescoes torn from the walls (Ibid.). Pumice from Thera was once found in the ruins of this Minoan villa (Ibid.). Initially it was thought that the petrified volcanic froth may have been brought in there by a storm (Ibid.). However, the team has also found Thera pumice higher in the hills behind the villa, twenty metres above sea level, which may suggest it floated in on a massive tsunami (Ibid.).
Dr Sandy McGillivray says that he remembers from his childhood a big anthill at one end of the garden and as a child he used to go with a garden hose and wash ants off it (Lilley 2006). That memory keeps coming back to in his memory when he is thinking how the tsunami destroyed the Minoans on Crete (Ibid.). Tsunamis weeping people out to the sea must have been just like washing ants off the anthill. ‘It is a terrifying thing’, he admits (Ibid.). ‘Those ants never had a chance [to survive]’ (Ibid.). ‘Once the tsunami starts climbing up on dry land’, he continues (Ibid.). ‘It’s moving at [such] speed that nothing can stop it’ (Ibid.).
You wish you hadn’t found out …
Evidence gathered also demonstrates the range of destructive powers of the tsunami that would have struck on northern coasts of Crete (Lilley 2006).
As it can be concluded, when the caldera of Thera collapsed, it sent several walls of water into the Aegean Sea, like a pebble dropping into a pond (Lilley 2006). These waves cumulated around the islands and bounced off them (Ibid.). As a result, Crete was hit not by one but by several rebounding waves (Ibid.). The intervals between them were from around forty-five to thirty minutes (Ibid.). Recent studies have shown that more tsunamis ravaged cities on the northern coast of Crete for hours or even days after the eruption (Mitchell 2011). It is estimated that they killed from thirty to forty thousand people (Ibid.). After the first tsunami, there were surely Cretans who escaped but they came back to look for the injured and dead relatives and friends, smashed by the powerful wave (Lilley 2006). They did not realize that another wave was coming (Ibid.). Consequently, the survivors of the first wave may have become the victims of the second (Ibid.).
Dr McGillivray has been deeply moved by the obtained results. ‘You know, it’s like time looking for something and then when you find it, you wish you hadn’t because it becomes too real and, you know, you begin to feel the experience’, he admits (Lilley 2006). ‘This is life, this is people just being washed out to sea fast around […] There’s a whole instant that flashes through your head’ (Ibid.).
Mysterious legend that haunts to this day
The most massive volcanic eruption of the ancient world blew the island of Thera apart and buried for centuries all the evidence of the lives of people who had once called it home (Westbrook 1995). Yet memories have remained (Ibid.). Footprints in the dust have finally been discovered by archaeologists (Ibid.). There are, however, no written records left about the Thera’s eruption and subsequent tsunamis, no figures for the death and destruction it has caused (Lilley 2006). It is only known that the rich culture of the Minoans, one that awed and inspired the earliest civilizations of the Mediterranean, completely vanished at the end of the Bronze Age (History Channel 1980s). Was the powerful empire of the Minoans destroyed by natural forces or was there human intervention? (Ibid.).
On Thera, a massive eruption had buried Minoan streets and buildings beneath the flowing lava (History Channel 1980s). Meantime, clouds of ash engulfed the entire region (Ibid.). Crops were ruined and livestock suffocated (Ibid.). Consequently, all life on Santorini was destroyed (Ibid.). The utter destruction of the island and its people who settled there, must have left the powers of the region awestruck (Westbrook 1995). The palaeontologist, Charles Pellegrino, claims that the Egyptians must have known Thera (Ibid.). In the Bronze Age, it was surely known as a powerful colony of the Minoans (Ibid.). Egyptian ships would have travelled north to the very mountainous island for trading (Ibid.). After the volcano eruption, there was nothing but the silvers of broken rib-like land (Ibid.). Pellegrino thinks that to the ancient Egyptians finding the still smoking and blooming crater probably meant that the whole island and its inhabitants had simply sunk and disappeared (Ibid.). In centuries to come a great legend was heard of a Utopian island society that vanished in the sea “in a single day and night” (Ibid.).
Did the Egyptian priests mean Thera in their written story of the sunken island that they retold to Solon? According to some scholars, the history of the volcanic disaster on Thera may have been recorded by the ancient Egyptians and survived in repeatedly embellished stories (Mitchell 2011). In the fourth century BC., they may have inspired the Greek philosopher to write a morality play about the rise and fall of a great civilization, called Atlantis (Ibid.). For centuries, Plato’s words were considered a legend, until archaeologists discovered a lost world on Thera (Ibid.).
In one day and one night
The legend of Atlantis has teased human imagination ever since (Westbrook 1995). Some scholars definitely claims the story is a myth, others believe it is a true story and they either still keep looking for it or point to the small dot in the Aegean between Egypt, Greece and Asia, today just a rim of volcanic rock jutting out of the sea (Ibid.). Is Thera a legendary Atlantis? (Ibid.). Plato described the island of Atlantis as alternating rings of land and sea (Mitchell 2011). The port was full of ships and buyers from all over the world (Ibid.). Such great wealth had never been seen before (Ibid.). Bulls grazed at Poseidon’s temple, and ten princes hunted for them using wooden sticks and ropes (Ibid.). Then came powerful earthquakes and floods (Ibid.). In one day and one night, Atlantis was swallowed up by the sea and disappeared (Ibid.).
After some enthusiasts of the legend, like Pellegrino, there are some convincing clues and local finds that confirm that Plato’s Atlantis was in fact the island of Thera (History Channel 1980s; Mitchell 2011). “Like the Atlanteans, the Minoans were island-dwellers with shipyards, powerful fleets and a thriving maritime commerce. They had fine houses and superb artifacts, and were skilful builders and engineers – again like the Atlanteans. As in Atlantis, the bull, sacred to Poseidon the earth-shaker, was important in Minoan rituals (Harpur, Westwood 1997:21). Also Plato describes Atlantis as an island made of sea and land rings (Mitchell 2011). Thera’s reconstructions before the volcanic eruption show that the island could have fit this description (Ibid.). The unusual terrain was the effect of the most powerful geological forces on earth, always active beneath the island throughout its geological history (Ibid.). Nevertheless, there would have just been one concentric ring of land and two of water, building up the island, whereas Plato describes Atlantis as a fortified dwelling place with concentric rings, two of land and three of water (Harpur, Westwood 1997:18). Thera, as one of the Minoan colonies in the Mediterranean, was too small to be self-sufficient (Mitchell 2011), yet it was as wealthy and self-assured as much as the settlements of Minoans on Crete (Lilley 2006). Its geographical location made it an important trading point in the Mediterranean (Mitchell 2011). Its buyers acted as intermediaries by trading precious metals, oil, wine, ceramics and spices from Africa, Asia and Europe (Ibid.).
Also the bull, especially bull-leaping, is a recurring theme in Minoan art and there are many depictions of this powerful animal (Westbrook 1995). Such representations echo Plato’s description of Atlantis; there are described golden cups with scenes of bull ceremonies engraved on the sides, also analogous to Plato’s narrative (Ibid.). Such details as bulls being tied up by nooses and with rope furthermore match the author’s descriptions (Ibid.). Pellegrino also recounts the moment ‘early in [the twentieth] century, when the Minoan civilisation was being unearthed’ (Ibid.). ‘Some of the first archaeologists to arrive on the site, looking at the paintings of the bull ceremonies, and so on, said: ‘that’s Plato! That’s his Atlantis story!’, he claims (Ibid.). Plato also mentions that “first noble and innocent, the Atlanteans in time became power-hungry aggressors, seeking to subjugate neighbouring lands. Eventually, they were however, defeated by the Athenians, and then their island was destroyed by natural forces, earthquake and flood” (Harpur, Westwood 1997:18). As archaeological records suggest, the Greeks indeed invaded and conquered the Minoans in the second half of the fifteenth century BC. Moreover, like the wonderful civilization of Atlantis, Thera was destroyed by a terrible cataclysm during its greatest heyday and vanished (Westbrook 1995). “If Plato’s date for Atlantis, 9 000 years before Solon, were to lose a zero (a scribal error, perhaps, or storyteller’s exaggeration), [after some scholars], it would fit neatly into the timescale of Minoan culture” (Harpur, Westwood 1997:21).
Elephants on Thera?
“But problems remain, not least the fact that Plato explicitly states that Atlantis lay beyond the Pillars of Hercules, [on the Atlantic Ocean]” (Harpur, Westwood 1997:21). Although Thera’s explosion blew the island apart, it only precipitated the downfall of Minoan Crete, which eventually happened generations after the volcano eruption with the invasions of Mycenaeans from Greece (Ibid.:21). Correspondingly, the Minoans were not defeated by “the Athenians” before the natural disaster but long after it. There are also other differences between Plato’s story and archaeological facts about ancient Thera. Among animals living on Atlantis, there were elephants, which did not live on Thera, at least not in the Bronze Age (Ibid.:18). Thera was also too small to fit Plato’s description or to be divided into ten kingdoms between Poseidon’s descendants, like Atlantis actually was (Ibid.:18).
What is more, Crete and not Thera was the headquarters of the Minoan empire. And, unlike the legend of Atlantis says, Crete did not disappear in a single night (Westbrook 1995). It was only Thera that vanished (Ibid.). Plato does not either mention any volcano eruption on Atlantis but the fact the island was destroyed by earthquakes and floods (Masjum 2006). Moreover, although recurring representations of bull ceremonies are the traces left by the same civilization, the evidence is hardly found on Santorini (Westbrook 1995). Yet it is abundant on Crete (Ibid.). Or maybe was Thera (and the Minoans) just a legacy of the Atlanteans, and not Atlantis itself?
Fatal thread to Cretans
Prof. Walter Friedrich, a geologist, thinks that the volcano eruption was entirely fatal for Thera, but not for Crete (History Channel 1980s). For Cretans living on the northern coast of their island, the biggest thread came from the sea (Ibid.). Giant waves of tsunamis swept across the Aegean, destroying their glamorous architecture and powerful fleet (Ibid.). The tsunami was enough to bring a great civilization to its knees but there were survivors (Lilley 2006). Knossos, the Minoan capital was too far inland to be destroyed (Ibid.). According to archaeological evidence, the Minoans rebuilt their palaces, and although they never regained their full power and influence, they could still create exquisite works of art (Ibid.).
‘Did the volcanic eruption on Santorini directly destroy the Minoan culture’, asks Dr Don Evely, the archaeologist (Masjum 2006). ‘The answer is simply no. If, however, we ask a more subtle question: did it contribute to the decline? Did it undermine the Minoan power? The answer is almost certainly yes.’ (Ibid.). The devastating effects of Thera’s eruption on Crete are not limited to the number of dead and destroyed palaces (Mitchell 2011). Minoan society suffered a serious shock (Ibid.). Archaeological data testifies a deep social unrest; towns and temples were looted and set on fire (Ibid.). People were probably sacrificed (Ibid.).
Invaders from Greece
A final outburst of destruction overtook the Minoans in around 1450 BC (Lilley 2006). In western Crete, an excavation in the heart of the modern town of Chania has revealed evidence of arson, which proves strong fires once took place there (Ibid.). It is a pattern repeated also in other sites across the island (Ibid.). Was this a revolution within the Minoan society or is it the evidence of conquest by outsiders? (Ibid.). The archaeologist, Dr Maria Vlazaki, discovered a highly unusual cemetery in Chania (Ibid.). It dates from the same period as the widespread destruction in the Minoan world (Ibid.). ‘These are warrior graves’, she claims (Ibid.). ‘They are single burials, something that is in opposition with the traditional [Minoan grave. The buried were of the age] between twenty-four and thirty. They [were] tall, robust and they look [like] invaders’ (Ibid.). These invaders’ burials have been also found at Knossos and elsewhere on Crete so it suggests an invasion from the mainland of Greece (Ibid.). The invaders are believed to have slashed and burned their way across Crete, overwhelming the Minoans (Ibid.).
Dr McGillivray believes that the tsunamis and forthcoming social unrest may have actually helped the Mycenaeans to attack Crete (Lilley 2006). Coastal towns of the Minoans, like Malia, had no protective walls (Ibid.). Minoan defences rested instead on their control of the sea as the leading naval power in the ancient world (Ibid.). ‘The [islanders] were so confident in their navy that they were living in unprotected towns and cities all along the coastline’, he explains (Ibid.). All that naval force must have been, however, smashed and lost in the waves of tsunamis (Ibid.). Meantime, the fleet of Mycenae had grown in power (Ibid.). ‘[Their] traditional homeland is on the southern shores of the Gulf of Corinth’, says Dr McGillivray (Ibid.). The archaeologist thinks that the tsunami could not reach into there because of its geographical landscape and natural closure from the sea (Ibid.). ‘Mycenaean Greeks up there were probably the only people who had survived with a navy, possibly in the whole eastern Mediterranean’, he explains (Ibid.). Hence their upcoming powerful empire.
Did these invaders encounter a dark side of Minoan culture? (Lilley 2006). In Knossos, archaeologists have found grisly human remains (Ibid.). ‘One of the most telling and horrifying deposits from the post-Thera eruption period in Crete was a deposit recovered in the town of Knossos up along the Royal Road and that [were] these cannibalized youths’, says Dr McGillivray (Ibid.). ‘The analysis of these bones from this […] deposit strongly [suggests] that [the bones] have been hacked up in order to take the flesh off [and] eat [it]. This cannibalistic aspect of the Minoans is probably one of the things that was recalled when the Greeks first arrived in Crete’ (Ibid.). Was this an origin of the Minotaur myth? (Ibid.). Did the Greeks imagine that these unlucky victims had been led to the labyrinth to be sacrificed to the Minoan bull god? (Ibid.). Whatever is the truth of their myth’s origins, within a generation of their arrival, the Greeks had conquered Crete (Ibid.). The last embers of Minoan culture flickered out (Ibid.).
A major controversy
Dating the Thera’s eruption has become one of the major controversies in academic world.
“For more than two centuries archaeologists have refined the Bronze Age Mediterranean historical framework by observing the relative order of superimposed levels on a series of sites. Next, they established inter-site relationships based on common cultural characteristics – primarily in ceramics, art and architecture” (MacGillivray 2007:150). “Based on archaeological correlations between the Aegean, Egypt and the Levant, the eruption of Santorini was believed to have occurred around 1500 BC., after the beginning of the New Kingdom in Egypt, [that is to say in the sixteenth century BC.]” (Ehrlich, Regev, Boaretto 2018). “The traditional date around 1500 BC. was first proposed in the 1930s by Marinatos. It has […] been challenged by a controversial new date of around 1600 BC., dividing prehistorians into two camps and generating heated debate” (Castleden 1998-2001:191).
Turning for help to ancient Egyptians
In 1980s, two scientists first disputed the archaeological dating (History Channel 1980s). These were the German geologists, H. Pichler and W. L. Friedrich who radiocarbon-dated the charcoal found in the volcanic rocks (Ibid.). According to the results they obtained, the eruption of the volcano took place around 1650 BC. (Ibid.). It would mean that Thera’s explosion was over one hundred years earlier than it was primarily thought (History Channel 1980s; Wengler 2009). Accordingly, “the Minoans in [their] mature stages [would have been] contemporaries of the ‘Foreign Princes’ of Egypt’s Hyksos period, a century earlier than Hatshepsut’s reign in the historical chronology” (MacGillivray 2007:150).
In this case, some scholars turn for help to Egyptian texts, which “may give a clue to the absolute date [of Thera’s eruption” (MacGillivray 2007:159). And they find there interesting records, which may actually refer to the volcanic explosion and its devastating results. At the turning of the fifteenth century BC., “one of Hatshepsut’s best known dedications was the rock-cut temple to the lioness-goddess Pakhet, near Beni Hasan in Middle Egypt. […] Here, Hatshepsut carved a very revealing account of herself and her deeds in that region over the architrave” (Ibid.:159). Some scholars interpret the text “as Hatshepsut sending braziers to her subjects driven by raging storms and total darkness into the temples” (Ibid.:159). One of her deeds “was to care for refugees who swarmed into Middle Egypt from the Nile delta because of the incursion of the sea there” (Ibid.:160). There is also another text from much later Ptolemaic period (third or second centuries BC.), but referring to the events having happened during the Eighteenth Dynasty (Ibid.:160). Namely, the words of an Egyptian scribe recall biblical descriptions of darkness covering the earth (Ibid.:160). “[He writes:] ‘there was no exit from the palace by the space of nine days. Now these days were in violence and tempest: none, whether god or man, could see the face of his fellow’. This nine-day period reads suspiciously like an Egyptian multiple of three, which meant ‘a long time’, and so refers to a lengthy period of storms and darkness” (Ibid.:160).
Additionally, there is also a very interesting writing on the fragmented stele, ascribed by some scholars to Ahmose, the pharaoh and founder of the Eighteen Dynasty in the middle of the sixteenth century (Jacobovici, Cameron 2006). ‘It records some tremendous catastrophe that happened to Egypt’, says Prof. Donald Redford, the archaeologist (Ibid.). ‘We aren’t quite clear what it was but it involved rain and thunder and lightening, such a storm that rarely happens in northeastern Africa. I mean that’s a dry area’ (Ibid.). For this reasons, the stele has been known as the Tempest or Storm Stele (“Tempest Stele” (2020). Apart from ravaging storms, it also confirms that Egypt was enveloped in darkness and that statues of its gods were toppled to the ground, which may have happened due to a sequence of severe earthquakes (Jacobovici, Cameron 2006).
Such ancient records are usually pinpointed to the Eighteenth Dynasty, between the second part of the sixteenth and first part of the fifteenth century BC. But are these records dated correctly? If the stele had been really created by Ahmose and it talks about the Thera eruption, that would place it during the reign of the pharaoh, which is believed to have happened between 1550/49 and 1524 BC, or even twenty years earlier (MacGillivray 2007; “Ahmose I” 2020), which in turn, corresponds to the Late Minoan IA period (1600-1500 BC.). On the other side, Hatshepsut’s exact time of reigning is similarly unclear but usually estimated for the first half of the fifteenth century, sometimes between 1504-1483 or 1478-1458 BC. (MacGillivray 2007; “Hatshepsut” 2020), which mostly fell in the Late Minoan IB period (1500-1450 BC). If there are such discrepancies in dating the ruling of particular Egyptian kings, it is also highly probable some ancient texts are either wrongly ascribed (Ahmose’s stela refers just to a pharaoh, not Ahmose himself) or their date estimated incorrectly (Jacobovici, Cameron 2006).
Moving back to the seventeenth century BC., before Egypt’s consolidation by the Eighteenth Dynasty, it was the Egypt’s dark period (Wengler 2009). The kingdom of Egypt was split in two (Ibid.). The northern region (the Nile delta) was ruled by Hyksos, foreign invaders from Asia Minor (Ibid.). The time that followed brought economic decline and serious unrest (Ibid.) The rule of the Hyksos kings for long had reminded a trauma in the Egyptian minds (Ibid.). Did that period overlap with the volcano eruption on Thera?
Geologists make their way
For years now, doubts have been growing among scientists about the exact date of the eruption (Wengler 2009). On Santorini, colossal rocks were hurled through the air by the last great eruption of the Bronze Age (Ibid.).
Between these rocks, a geologist and student of Prof. Friedrich’s, Tom Pfeiffer, found in 2003 – as both geologists say – a critical evidence buried beneath the layers of lava (Wengler 2009; Volcano Discovery 2020). It was an olive branch of a tree smashed by Thera’s eruption (Wengler 2009). Around it, there were remains of olive leaves, twigs and olive stones, which signifies the tree was alive at the time of eruption (Ibid.). As it was an organic material, the remnants were carbon-dated (Ibid.). The moment, the olive branch died would mean the exact date of the volcanic eruption (Ibid.). Since the time of previous results, Prof. Friedrich obtained in 1980s, he has been convinced that the once accepted date of 1500 BC. for the eruption should be officially pushed back a hundred years (History Channel 1980s; Wengler 2009). He was sure that if the previous results had been confirmed by the results obtained by a recently found branch, the new timing would have been unchallengeable (Wengler 2009). Having conducted comparative tests, the geologists have received results confirming that the eruption took place in the seventeenth century BC. and not in the sixteenth century BC. or later (Ibid.). Accordingly, Santorini exploded somewhere between 1620 and 1600 BC (Ibid.). As Prof. Friedrich claims the confirmed date of the tree should have huge consequences for future research and for the understanding of ancient history in general (Ibid.).