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 possibly depicts a female idol, representing the Snake Goddess, her Epiphany or the Great Priestess performing religious rituals (Witcombe 1995; Archaeological Institute of America 2017). She is 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: The World Ended 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).
Faculty of History of Art and Archaeology
Cardinal Stefan Wyszyński University in Warsaw, Poland
University College Dublin, Ireland
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