Phaistos, contemporaneous with Knossos, was placed on a steep ridge, controlling access to the Messara Plain from the sea, and was walled. These circumstances cannot necessarily be imputed to other Minoan palaces. It had no steep heights, remained unfortified, and was not very high off the surrounding ground. This hill was never an acropolis in the Greek sense. In ancient times, Knossos was a town surrounding and including the Kephala. The term palace complex is more accurate. Most of the structures, however, were designed to serve a civic, religious, and economic center. The palace was never just the residence of a monarch, although it contained rooms that might have been suitable for a royal family. Después de 1922, el propietario principal, Arthur Evans, tenía la intención de recrear un facsímil basado en la evidencia arqueológica.įrom an archaeological point of view, the terms “Knossos” and “palace” are somewhat ambiguous. Esto comenzó por preservar el lugar de la escorrentía provocada por las lluvias torrenciales del invierno. Además, se ha reconstituido con materiales modernos. Por lo tanto, el palacio nunca fue exactamente como se puede ver hoy en día. Actualmente es una acumulación de varios siglos, la cual, la última es la más dominante. Las características del palacio dependen de su construcción a lo largo del tiempo. Opinions range, however, from most skeptical, viewing the palace as pure fantasy based on 1920s architecture and art deco, to most unquestioning, accepting the final judgements of Arthur Evans as most accurate.
The palace is not exactly as it ever was, perhaps in places, not even close, and yet in general, judging from the work put in and the care taken, as well as parallels with other palaces, it probably is a good general facsimile. After 1922, the chief proprietor, Arthur Evans, intended to recreate a facsimile based on archaeological evidence. The custom began in an effort to preserve the site from decay and torrential winter rain. In addition, it has been reconstituted in modern materials. Thus, the palace was never exactly as depicted today. Currently visible is an accumulation of features over several centuries, the latest most dominant. Thus it is possible that the male god, depicted from the beginning primarily with animals, and later on with a spear and a shield, could be Enyalius (Enualios), known from Linear B script, 4 and who is equated in Greek literature with Ares, the god of war.The features of the palace depend on the time period. His attributes, mainly the shield, became frequent decorative motives in Mycenaean art and pottery production. The warlike tendency of the Mycenaean society was growing, and this could be the reason why their male god had to assume another responsibility. After 1500 BCE and during the fourteenth century BCE the nature of this figure changed. The Mycenaeans took this type from the Minoan belief system, which was the origin of this deity. In my opinion, the Master of Animals could represent from the beginning of the Late Helladic period, a nature god who is related with hunting. He believed, that the spear and the shield became a religious symbol of this god. Nilsson posed an interesting observation about the close relation between the Master of Animals and the armed god, as a hunter and war god. 2 But sometimes this deity, accompanied by a lion, is armed with a spear and a shield and at other times he is again armed, but without the company of animals. Some authors suppose that the Master of Animals could represent a hunting deity and protector of nature, or even a nature god. He is a counterpart of the Mistress of Wild Animals ( Potnia theron) 1 portrayed with wild animals, mainly lions, and exerting his power over them. In Minoan and Mycenaean mythological and religious iconography appears a male deity, called later by the Greeks, Master of Animals. Master of Animals - a Late Bronze Age deity.
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