CHAPTER VIII

MINOAN OR ÆGEAN ARCHITECTURE

In so far as the prehistoric remains of Minoan or civilisation belonged to the Polished Stone Age and Bronze Age, they are in the phase of development that is represented in the Peruvian remains of the city of Machu Picchu. Meanwhile, in its active consciousness of beauty as a motive, the Minoan reached a perfection within the limits of its possibilities that carried it far beyond the Peruvian.

This may have been partly due to the influence of the neighbouring civilisation of Egypt, and also to the fact that the people of the Ægean area mixed freely in their roving life with one another and with outside peoples, so that there was a free-trade in ideas, and the seed which they planted grew and multiplied. But it must also have been due to something inherent in the race itself. What the race was has not been determined. So far, the examination of skulls and bones in Cretan tombs has established only the fact that the race, while showing signs of mixture, belonged on the whole to the dark, long-haired “Mediterranean race,” whose probable origin lay in Mid-Eastern Africa. The main interest of this is to discredit an Asiatic source for Minoan civilisation. It is apparent from its achievements in engineering and the arts and industries that it was a race of great intelligence, with an active interest in life that led it to strive for the beauty as well as the conveniences of living.

=Palace of Cnossus.=--The palace of Cnossus occupies an area of about six acres, surmounting the debris of human settlements, which go back, it has been estimated, to a distance of from 12,000 to 14,000 years before the Christian era. The remains show that the palace formed a hollow square, constructed around a central court. The principal entrance was upon the north, though what appears to have been the royal entrance was upon the west, opening on to a paved court.

The west wing contained a small council chamber, or office, in which was found a throne, made of gypsum in a design curiously Gothic, around which were lower stone benches. The walls of this chamber were decorated with sacred dragons represented in a Nile landscape. They were executed, like the other paintings found in these Cretan palaces, in fresco; that is to say, in water colours mixed with some gelatinous medium, laid on the still damp plaster, so that as the latter dried the colour became incorporated in the actual material of the walls. To this council chamber was attached a bathroom, probably for ritual purposes.

Near it was also discovered a small shrine, containing figures and reliefs, exquisitely fashioned in faience, one of which shows a snake goddess and her votaries; this being one of the aspects of the chief divinity. The walls and pillars of these chambers are repeatedly decorated with the sign of the Double Axe, while miniature frescoes on the walls exhibit pillared shrines, with double axes stuck into some of the wooden pillars.

For the remains of the palace itself show that the pillars used in this construction were of wood, rounded like posts. The circular sockets still remain in the stonework and a comparison of the top and bottom ones shows that the pillar tapered downward, the diameter at the bottom being six-sevenths of the top one.

Another feature of this west wing is a series of eighteen magazines or storerooms which contained quantities of clay documents and great stone jars. The latter are decorated with horizontal bands, connected by diagonal ones, like the straw work on a modern ginger jar. This design, wrought upon the stone surface of these colossal jars, is an interesting memento of one of the primitive methods of clay modelling. For, before the invention of the potter’s wheel, the method of shaping, almost universally adopted, was one of the three following: (1) _scooping_ out from a ball of clay; (2) or _coiling_, in which the clay was rolled out into thin ropes, which were coiled round and round upon one another and then smoothed over; (3) or the building up of the form upon a shape of _basket-work_ or _matting_.

A large bathroom was discovered in the northwest corner of the quadrangle but the actual residential quarters seem to have occupied the east wing. There are the remains of a _Megaron_, or great hall of state, approached directly from the central court, near which were found painted reliefs, illustrating scenes of the bull-ring, with female as well as male toreadors. These and other reliefs, some of which also commemorated incidents of bull-fighting, were not carved upon the stone, as in the Egyptian temples, or executed in tiles, as in Assyrian or Persian temples, but applied to the wall with hard plaster. This method, known as _gesso_ work, was used later in Byzantine decoration and by the Italians of the Renaissance, for decorative details; by Pinturricchio, for example, in the Borgia apartments of the Vatican. It has been revived by modern mural decorators; John S. Sargent, for instance, employing it in some of his panels in the Boston Public Library.

To the south of the great hall a staircase, of which three flights and traces of a fourth are still preserved, descended to a series of halls and private rooms. Attached to one of these, identified as the “Queen’s Megaron,” was a bathroom, decorated with frescoes of flying fish. The drainage system in this part of the palace includes a water-closet and is of a complete and modern kind.

The character and features of this palace are repeated on a smaller scale in those discovered at Phæstus, Hagia Triada, and other spots in Crete, and resemble in the main those of Mycenæ and Tiryns.

A glance at the map of ancient Greece shows that these last two cities, situated at the north of the rich plain of Argolis, commanded the approaches to the peninsula of the Peloponnesus; Mycenæ occupying a strategic position on the highroad; Tiryns, on the sea. They were equally important in resisting invasion from the North across the Isthmus of Corinth, and in the struggle for supremacy that was waged between Argolis and the Peloponnesus. Accordingly, the distinguishing feature of each city was that it occupied an acropolis, the natural strength of which was increased by fortifications built with irregular blocks of stone of great size, in the style known as _Cyclopean_.

=Mycenæ.=--Those at Mycenæ surrounded an area which is roughly triangular in plan, the main entrance being through the above mentioned portal of the =Lion Gate=. Its side posts and lintel are composed of monoliths and surmounted by the famous lion-relief, which fills the triangular space formed by the gradual projection of the stones of the wall. The pillar or fetish-post corresponds to the alabaster columns, now in the British Museum, which flanked the entrance of the =Treasury= or =Tomb= of =Atreus=, just outside the Lion Gate.

The shaft of these columns is without a base and tapers slightly to the bottom. Ornamented with bands of repeated _chevrons_, which alternately are plain and embellished with flutings, it supports a cushion or _echinus_, decorated with plain and spiral bands, on which rests a square plinth or _abacus_. It comprises, in fact, the features which in later times were simplified into the Doric column.

The tomb itself is a subterranean chamber, of the style known as _beehive_ or in Greek, _tholos_. Its circular plan has a diameter of nearly 50 feet, and the domed ceiling, commencing at the floor and formed of inwardly projecting courses of stone, rises to about the same height. It leads into a small square chamber and is itself approached by a horizontal avenue, 20 feet wide and 115 feet long, the sides of which are of squared stone, sloping upward to a height of 45 feet.

A trace of this subterranean beehive method seems to survive in some of the rock-hewn tombs at =Myra=, in =Lycia=. Here the façade represents the front of a house, which is clearly of primitive wood construction. In later instances it is composed of Ionic columns and cornices. In the older examples the entrance is surmounted by a gable, which frequently takes the curves of the beehive.

Intermediate between these Lycian Tombs and the Minoan structures are certain rock-cut tombs in =Phrygia= which recall the Lion Gate. The façade comprises a cornice supported by columns, above which is a gable, occupied by colossal lions. At =Arslan=, one of these _pediments_ shows two lions, in this instance not rampant, which support a central pillar. Inside, however, two rampant lions flank a nude human figure.

At Mycenæ are earlier tombs than that of Atreus, which consist simply of a deep shaft lowered into the rock. These are situated just inside the Lion Gate, the area which they occupy being enclosed by two concentric circles of thin slabs, set up on end with others laid across the top of them. It is a feature that in its attenuated form seems to recall Stonehenge. Dr. Schliemann reached the conclusion that these were the graves which were shown to Pausanias, as being those of Agamemnon, Cassandra, and her companions.

On the summit of the Acropolis at Mycenæ are the remains of a palace, similar to, but less extensive than, that of Tiryns, which we may therefore examine in preference.

=Tiryns.=--The palace of Tiryns, which probably dates to a period between the fourteenth and twelfth centuries B.C. , seems to have combined the luxuriousness of the residence of an Oriental king with the feudal state of a mediæval baron and his crowd of retainers. The acropolis is of oval shape, with its long axis north and south, surrounded by immense ramparts of Cyclopean masonry, from 30 to 40 feet in thickness, while the outside height was about 50 feet and that of the inside 10 feet from the level of the ground. In certain parts chambers were embedded in the thickness of the wall, and round its inner side ran a colonnade, supported by wooden posts.

The area thus enclosed was divided into three successive levels, of which the highest was excavated by Schliemann and Dörpfeld, 1884-1885. The plan shows the entrance situated on the west side, away from the sea, which probably was once fitted with a gateway similar to that at Mycenæ. The approach passes between massive walls to another gate, whence it proceeds to a propylæa, with rooms for the guard. This opens into a forecourt, from which another propylæa gives approach to the actual palace.

The first feature of the =Palace= is a court bounded on three sides by a post-supported colonnade. An altar or sacrificial pit is in the same position as that occupied by the altar of Zeus in a later Greek house. It may be possible in this connection to see evidence that the principal deity on the mainland of Greece was already, unlike that of Crete, a male; perhaps a terrible prototype of the later benignant Zeus, to whom human sacrifices were made, as to the hideous Mexican divinity, Huitzilopochtli.

On the north side of the court a portico, succeeded by a vestibule, gives access to the Megaron. In the centre of this is the hearth, a feature not needed in the warmer climate of Crete and therefore not found in the palaces of that island. Four columns supported the roof, the centre of which may have been raised to allow openings for light and smoke escape. Adjoining the sleeping chambers on the west side of this hall is a bathroom, about 12 feet by 10 feet, the floor of which is composed of a single slab of stone, sloped so that the water drained out through a pipe in the wall.

Another group of buildings, supposed, though without authority, to be the women’s quarters, lies to the east of the great hall, from which, however, it is completely cut off by a solid wall; it is entered by two circuitous passages, one leading from the first propylæa, the other from a postern gate in the western rampart. Here again the plan shows an open court, without an altar, from which a vestibule admits to a smaller megaron.

The floors of the megara are of stucco, incised with a series of lines, coloured blue and red, while the walls are decorated with frescoes as in the palace at Cnossus, one of the best preserved paintings showing a bull-fight scene. On the other hand, the palace of Tiryns shows part of a frieze of alabaster, sculptured in relief with rosettes and interlacing patterns and studded with jewel-like pieces of blue glass or enamel.

The walls to a height of about three feet above ground were of stone, above which they were continued with sun-dried bricks; the upper story being probably of wood, with roofs of stamped earth. The doorways, though sometimes of wood, were more usually constructed of monoliths. Bronze cup-like sockets, let into the stone thresholds, show that the doors revolved upon a pivot.

It is agreed that while the palace of Tiryns represents the general character of a royal house, as it is pictured in the Homeric poems, it is a mistake to look in it for an explanation of details of arrangement.