Crete's Archaeological Museum of Herakleion

After the National Archaeological Museum in Athens, this is the second largest and second most important museum in Greece. Telephone: 2810 22 60 92. It is located just north of Plateia Eleftherias, on Xanthoudidhou St. and opposite the OTE building. Open 8 a.m. to 7 p.m. Tuesday through Sunday; 12:30-7 p.m. Monday. Admission 4.40 Euros.

The most important collection of Minoan art and artifacts is housed in this museum. For those interested in Minoan civilization, it is suggested that you visit this museum first, spending at least half a day in it, before visiting the various Minoan sites, which will greatly increase your appreciation and understanding of the sites. You might want to return afterward as well. To avoid the huge high season crowds, it is also suggested that you come early or late in the day, or at lunchtime. Also-given the immensity of the collection, you should be aware that you may use the same ticket all day long for re-entry, and come and go at your leisure. There are several guides on sale. Highly recommended is the one by J.A. Sakellarakis. (Below left early votive figurine)

Cretan archaeologists Jos. Chatzidakis and Stephanos Xanthoudides, Ephors of Archaeological Service created this museum during the years 1904-12. In 1937 a new earthquake-proof building was constructed. Though damaged during WWII, the efforts of Prof. Nicolaos Platon ensured the s museum's survival. He arranged exhibitions during the early 50s and a new wing was added to the museum during the 60s.

The finds span the six thousand-year period from Neolithic to Roman times (4th cent. A.D.) and include all periods of Cretan history, most important of which are from the Minoan civilization, believed to be first advanced European culture which was inspired in part by Mesopotamian and Egyptian civilizations. It reached its peak on Crete during the period from 1700-1450 B.C. and is divided into three phases (as is Cycladic civilization): 3000-2100 B.C. (Early); 2100-1500 B.C. (Middle); and 1500-1100 B.C. (Late). During the Early period, many elements of Neolithic societies persisted, but after 2500, the Minoan culture (named for the mythical King Minos) emerged as a unique culture. The Middle period represents the climax of Minoan civilization, of which pottery and metalwork on a high level of beauty and skill are manifestations. During the Late period Mycenaeans from the mainland (competing both commercially and militarily) and, around 1100 B.C., Dorian invaders and natural disasters brought it to a finish. During their peaks, both the Minoan and Cycladic civilizations were maritime powers all over the Mediterranean.

Much scholarly attention has been focused on the literacy of the Minoans, with their first script resembling Egyptian hieroglyphs and their later one (known as Linear A) based on syllables. It is believed that these scripts, engraved on clay tablets, had to do with domestic accounting (contents of storerooms, etc.) and trade transactions.

Seismic events also played a large role in the downfall of the 900-year Minoan civilization with destruction of the palaces at Knossos, Phaestos, Malia and Zakros by a massive earthquake in 1700 B.C. and the later volcanic explosion that blew out the entire center of the island of Thera (later known as Santorini) around 1500 B.C., is said to have caused massive tsumami-like tidal waves and horrific fallout of volcanic ash which may have caused crop failures. Inbetween destructions, palaces were rebuilt, and made larger and more luxurious with advanced drainage systems, royal apartments, apartments for staff, storerooms and workshops, reception halls. Beautiful frescoes adorned the walls, which have been pieced together from fragments and which occupy the second storey of the Herakleion museum.

The twenty exhibit halls of the Herakleion Archaeological Museum house artifacts arranged both chronologically and geographically (ie. according to where items were found--palaces, graves, villas, etc. Jewelry, metalwork, furniture, weapons, tools, sculpture, ceramics, masonry, household items, idols, sarcophagi, and frescoes are represented, mostly from Knossos and Ayia Triada. The latter demonstrate the Minoans' love of movement and games, and of nature.

Room 1

Neolithic and Early Minoan periods. From around 6000 B.C. to Early Minoan phase (Pre-Palatial period). A Neolithic fertility goddess among the statuettes. Stone jars, pottery, miniature sculpture including a clay bull with acrobats clutching its horns (related to later bull sports) Engraved seal stones, including one from Mesopotamia. Jewelry.

Room 2

Middle Minoan period. Objects from earliest occupation of Malia and Knossos. Miniature glazed reliefs of Minoan houses at Knossos ('the town mosaic') ; devotional offerings from sanctuaries including figurines with arms crossed on the chest, tiny animals, and 'taximata' or representations of parts of the human body which needed healing (something one can see in Greek chapels and churches of present times; Kamares ware pottery, often with intricate white and red decoration on a darker background, which was esteemed highly by the Egyptians.

Room 3

Same periods as Room 2, but at Phaestos. Most elaborate Kamares ware pottery, (discovered in and name for sacred caves of Kamares) which reached its acme at Phaestos, and exemplified by a vase with white flowers in bas relief which is part of a set used for royal banquets.

Famous Phaestos disc with 242 hieroglyphic symbols inscribed in spiral pattern from edge to center which were stamped on the clay with sealstones before the disc was fired and cited by many as first example of printing. Symbols as of yet undeciphered but the grouping of signs has been interpreted as scholars to represent words, possibly prayers.

Room 4

Also from Middle Minoan period, but more specifically, from the New Palace period (1700-1450 B.C.) after rebuilding of palaces following destructions. New decorative styles on Kamares pottery during this period with dark colors on a lighter background and often marine motifs. Jug of Reeds a good example.

Snake Goddess figurines (from Palace of Knossos). Among items connected with a snake cult, some of which may have actually been containers for snakes, which were symbols of immortality for the Minoans. Thin-waisted goddess with exposed breasts above the bodice, flounced skirt with apron, arms upraised with snakes coiling around them, presumed to be priestesses performing sacred rituals. Faience sculptures (decorated earthenware and porcelain). 17th-16th centuries B.C.

Bull's head Rhyton Libation vessel carved from a block of black steatite in the shape of bull's head. Details incised, with fine curls on head, very life-like eyes inlaid painted rock-crystal and jasper; muzzle inlaid white shell mother-of-pearl; horns (restored) of gilded wood. Exp. of fine lapidary wkmanship . 17-15th B.C. from the Little Palace of Knossos.

Other animal heads as well including white limestone head of a lioness and a leopard's-head axe from Malia. Other animal sculptures include an ivory acrobat assumed to be a bull-leaper (connected with Minoan bull cult) and a faience relief of the wild goat-the Kri-kri-suckling her calf.

There are also a Gaming Board from the 'Corridor of the Draughtsboard' (Knossos) of ivory, crystal and gold, blue paste, silver leaf and ivory fragments; two small cups with Linear A inscriptions written with cuttlefish ink; and a collection of mostly bronze tools and weapons decorated with semi-precious stones, ivory, and gold.

Room 5

Mainly from Knossos. Last period of Palace culture (1450-1400 B.C.) Pottery vessels show Mycenaean influence (especially on large pithoi/amphorae) and are not as interesting. This room also contains Egyptian items found at Knossos which reflects trade between Crete and Egypt. Pottery, bronze figurines and seals, including Linear A and B tablets. Clay model of houses form Archanes near Knossos with small rooms and windows to protect dwellers from wind and sun and with roof terrace with tapered columns, commonly found in present-day Cretan villages.

Room 6

Finds from same period as Room 5 from Minoan cemeteries (Knossos, Phaestos, Archanes) Small groups of figures found in a beehive-shaped Mycenaean tomb from Phaestos, one of which depicts four men dancing in a circle with their arms on each other's shoulders. A ritual dance possible for a funeral; the group inside a circle decorated with horns. Crudely executed but powerful.

Another with three figures in a room with two columns on the side. All groups show a smaller figure offering two larger seated ones libations. Found in a 1300s tholos tomb at Archanes is the strange display of the bones of a horse, believed to be an animal sacrifice, possibly for some member of royalty buried in the same tomb or, alternatively, for some ritual form of worship.

The animal had been dismembered after slaughter, its parts carefully arranged in the locations where they were found. Jewelry items include gold-work and bead-work-necklaces, signet rings, golden sword hilts. There are also helmets, one's of boar's tusks, another of bronze. The martial character of the latter items attests to the increasing Myceanean influence, which was more warlike than that of the Minoan culture.

Room 7

Objects from minor sites from the entire main Palace period and after (1700-1300 B.C.) such as sacred caves and villas and including the larger Ayia Triada complex. Malia jewelry including the famous bee pendant -a marvelous piece of gold jewelry showing two bees depositing honey into a comb, the honey depicted as a golden disc around which the bees are hovering. There are also other gold animal necklaces, rings, and pendants from Malia. Three stone (steatite) vases from Ayia Triada, the finest of which is is known as the 'Harvesters' Vase', which depicts harvesters returning from the fields led by a long-haired, oddly-dressed character with a long stick, and musicians accompanying them. The others show scenes of boxing and wrestling matches, and some official transaction. Bronze figurines include worshipers leaning backward in some ritual gesture. Enormous bronze cauldrons also included, made from metal sheets and nailed together with rivets which were discovered at Tilissos, the excavation of which was preceded by discovery of the cauldrons. Large copper ingots also found in this room.

Room 8

Finds from Palace at Zakros (1700-1450 B.C.) Includes Rock-crystal rhyton: libation vessel carved from large block of rock-crystal; handle of crystal beads threaded on bronze wire and a gold-encased collar hiding the joining of two pieces. Restored from more than three hundred small fragments. Peak sanctuary rhyton: made of green stone and depicting in relief a peak sanctuary. Wild goats and birds decorate the sanctuary. A bull's head rhyton, smaller than that of Room 4. Miniatures of both stone and ceramic; pottery from peak of floral and marine periods; source materials used by craftsman such as bronze ingots and a huge elephant tusk.

Room 9

Same period as Room 8, from minor sites to the east. Terra-cotta figurines from a peak sanctuary at Piskokephalo, models of sanctuaries, miniature animals, bronze tools and weapons (Gournia-from the workers' village). Seal stones-- the largest collection in the museum. Intricately carved, and depicting many aspects of life in Minoan times including hunting scenes, religious ceremonies, individual portraits, religious ceremonies, nature. Used to sign letters, to fasten parcels, or perhaps used as amulets.

Room 10

Postpalation/post-Minoan period (1350-1100 B.C.) when the war-like Mycenaeans now increasingly dominant in Crete. Artistic decline marked by near-disappearance of the fine stone-work that marked earlier periods, as well as repetition of old themes in pottery decoration. Less naturalism in figurines from sanctuaries. Clay sculpture of a dancing group with lyre player from Palekastro echoes the past but also reflects the ascendant Mycenaean influence. A child on a swing (though without its head) is one of the more interesting items.

Room 11

Period of arrival of Dorian Greeks (1100-900 B.C.) The old Minoan goddess religion persists in clay figurines-votive offerings- depicting birth, pregnancy, sexual intercourse, at the cave sanctuary of the Minoan goddess of childbirth, Eileithyia (east of Iraklio), and the goddess with raised arms persists, but new images appear with the newcomers: clay carts pulled by bodyless oxen a new form of ritual vessel. Tools now made of iron instead of bronze, with advent of Iron Age.

Room 12

Items bring collection to around 650 B.C. with earlier exhibits looking back towards earlier periods, and later ones showing eastern, especially Egyptian influence. Griffins, as well as the kind of figures used in pottery decoration, exemplify this. Gold jewelry, pottery and bronze items as well to be found in this room.

Room 13

Minoan sarcophagi. Various periods. Notably, the most impressively beautiful of these is in Room 14, upstairs, the sarcophagus from Ayia Triada. Coffins are small because Minoans buried people with their knees bent up to their chests. Some have lids, others not, and may have been used as bathtubs first (!) Painted decoration of sarcophagi are in style of pottery of the time. Stairs led up to second floor from this room.

Room 14

Hall of Frescoes (along with Room 15). Most frescoes in museum date from the New Palace period (1600-1400 B.C.) and were taken from Knossos. The Procession Fresco led all along the Corridor of the Procession at Knossos, of which four panels are exhibited in the museum. A diagram of the entirety gives an idea of its great size. A female figure is shown, supposedly a goddess or priestess with two groups of youths walking towards her. The Shields which decorated the Grand Staircase of the main Palace are also exhibited as well as the Lily Prince; a large relief of a Bull's Head; Ladies of the Court in a fresco that required intensive restoration; the the famous Dolphin fresco from the Queen's Apartment; the fresco of Athletes Leaping Over a Bull; the Griffin Fresco from the Throne Room at Knossos as well as a series from the villa at Ayia Triada, some of them with scorch-marks from fires, among them, a Wild Cat and a floor painting of a seascape. Also shown are two simple pictures of lilies from the walls of a villa at Amnisos. The Ayia Triada Sarcophagus, which stands in the middle of the room, is also impressive, and is decorated in the style of the frescoes. Though the decorations are of painted plaster, the sarcophagus itself is of stone, and the only one found in Crete. There are depictions on the sides of animal sacrifice (a dead bull on the altar, and two tied goats awaiting their end). The other side shows possible offerings being made to assist the deceased in its journey. The elaborate decorations of the sarcophagus have led to the assumption that it was originally used for a royal burial. On its end is the painting of a Chariot of Goddesses Drawn by Griffins as well as of a Chariot With Two Women Drawn by Goats with a procession of men below them.

Room 15

More frescoes of the same period as in Room 14 are found here. La Parisienne is the most famous, named for the long-haired elegant lady with red lips, big eyes-probably a goddess or priestess.

Note on Frescoes: They were painted on wet plaster with dyes mostly from plants but also from shellfish and minerals, all of which have great lasting power. Certain conventions were followed as to coloring which conformed to Egyptian custom: red for men's skin, white for women's, silver conveyed by blue, gold by yellow and bronze by red. The reconstitution of these frescoes from small fragments is something to be marveled at, achieved partly by laying them on backgrounds consonant with their design so that the final impression would mimic the entire original as faithfully as possible.

Room 16

One finds here a Wooden Model of the Palace of Knossos as well as more frescoes, including The Saffron Gatherer, first believed to have been a depiction of a boy, but now accepted as a blue monkey, and shown in two adjacent versions; The Captain of the Blacks, dated from the end of the New Palace period, and showing African soldiers (possibly Sudanese mercenaries) lead by a Minoan officer, a fresco that reflects the militarism of this new era in Crete.

Room 17

Back downstairs: The Yiamalakis Collection of a doctor of Herakleion, which includes a figurine of (possibly) a Neolithic fertility goddess of the 'steatopygous' (fat-buttocked) type found near Ierapetra on the south coast of Crete; a Bull's Head of gold and other pieces from the Zakros Treasure; bronze and ceramic miniatures, and later Roman figures and a floor mosaic.

Room 18

From 650 B.C. -400 A.D. Archaic period up to the division of the Roman Empire. Wide variety of styles and items.

Room 19

Larger pieces from Archaic period (650-500 B.C. Bronze figurines from the sanctuary of Apollo Delphinios at Dreros of Artemis with their mother Leto. Made from hammered bronze sheets riveted together.

Room 20

Classical Greek and Greco-Roman sculpture.

A Few other Items of Interest

Fenced open area opposite Museum: collection of inscriptions.

Archaeological collection of Archanes. Glyptotheke of Gortyn-at arch. From site of Gortyn Bull-Leaping Fresco: found Palace of Knossos. Shows bull-leaping, a kind of contest, prob. Relig. In char. in which both men and women took part. Man shown jumping over back of bull with female figure on each side. 17-15th centuries B.C. Gold ring from Isopata: found in atomb at Isopata, in vicinity of Knossos. Women in ecstatic ritual dance in a meadow with lilies (shown on bezel). Smaller figure believed to be a goddess descending from the sky. On ground signs of an eye and snakes. Masterpiedce of Minoan goldwork, 15th cent. B.C. Fruitstand of the 'Kamares Style': from Palace at Phaistos. Decorated with painted, multi-colored, spiral patterns and rim adorned with a toothed fringe. 18-17th century B.C.) Clay model of shrine from Giamalakis collection: Terracotta model of circular shrine found Archanes. Opening closed by a detachable door. Inside a seated female figure with raised arms, poss. A goddess. Two human figures on roff, perhaps representing worshipers, watch the goddess through the lightwell; a dog lies near edge. Proto-geometric period 10-9th century B.C. Bronze statuettes: three statuettes of hammered br. Sheetes from Temple of Apollo Delphinios at Dreros. Prob. depict Apollo, his sister Artemis and their mother Leto. First known case of hammered bronze in statues. End 8th cent. B.C. Statue of Aphrodite: Marble from Gortyn, representing Aphrodite kneeling in her bath. A Roman copy of a Hell. Orig. by sculptor Doidalsas. 1st cent. B.C.