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Knossos (/(k ə) ˈ n ɒ s oʊ s,-s ə s / ... The symmetry and use of templates made possible a degree of reconstruction beyond what was warranted by only the flakes ...
Detail of reconstruction: head and crown, Heraklion Archaeological Museum ("AMH") Evans later changed his mind, and the reconstruction reflects his later idea of the figure as a "Priest-King"; he used the image on the cover of all volumes of his main publication on the Knossos excavations, despite the cost of gold-embossing the crown. [9]
The ruins at Knossos were discovered in either 1877 or 1878 by Minos Kalokairinos, a Cretan merchant and antiquarian.There are basically two accounts of the tale, one deriving from a letter written by Heinrich Schliemann in 1889, to the effect that in 1877 the "Spanish Consul," Minos K., excavated "in five places."
The Knossos excavations were now directed by Sinclair Hood, who continued to employ de Jong in the recording and reconstruction of the Knossos material. In 1952, de Jong relinquished his post as Knossos caretaker, but continued to produce watercolours and reconstructions both at Knossos (1957–61), and for a number of other archaeological ...
One of the two Griffins facing the throne The throne room prior to reconstruction.. Initially, Evans believed that this area was designed to serve a religious purpose, [2] while he claimed that this was the priest-king's seat and that the presence of the griffins confirmed that this king was somehow beyond mortal realms. [4]
The Knossos figurines, both significantly incomplete, date to near the end of the neo-palatial period of Minoan civilization, around 1600 BCE. [1] It was Evans who called the larger of his pair of figurines a "Snake Goddess", the smaller a "Snake Priestess"; since then, it has been debated whether Evans was right, or whether both figurines ...
Part of the palace at Knossos, as controversially reconstructed by Sir Arthur Evans.. Minoan palaces were massive building complexes built on Crete during the Bronze Age.They are often considered emblematic of the Minoan civilization and are modern tourist destinations. [1]
Close-up of central figure of the Taureador Fresco. [3]Arthur Evans recognized that depictions of bulls and bull-handling had a long tradition represented by copious instances in multi-media art, not only at Knossos, and other sites on Crete, but also in the Aegean and on mainland Greece, with a tradition even more ancient in Egypt and the Middle East.