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Updated: June 28, 2025
The work has occupied sixteen years, and ten thousand workmen have been constantly engaged at it. But now it is finished at last, and the Church of the Divine Wisdom, Hagia Sophia, is to be consecrated to-day. The great Emperor of the Byzantine realm, Justinian, drives up in a chariot drawn by four horses. He enters the temple attended by the Patriarch of Constantinople.
From the beginning of Middle Minoan III. to the end of Late Minoan II. a period, that is to say, of either some 500 or almost 2,000 years, according to the scheme of Egyptian chronology which we may adopt the civilization of Crete apparently followed a course of even and peaceful development. At Knossos, Phæstos, and Hagia Triada the great palaces slowly grew to their final glory.
It is not only indicated by the evidence of the Sen-mut and Rekh-ma-ra tombs, but by the parallelism in the styles of art in the two countries. The art of each remains truly national, but the frescoes of Knossos and Hagia Triada and those of the Eighteenth Dynasty in Egypt are inspired by the same spirit, though in either case the result is modified by national characteristics.
The altar cloths and the screens of cloth of gold, richly embroidered and bejewelled, were torn down, and either divided among the troops or destroyed for the sake of the gold and silver which were woven into them. The altars of Hagia Sophia, which had been the admiration of all men, were broken for the sake of the material of which they were made.
A fresco from Hagia Triada represents a curious and elaborate form of dress, consisting apparently of wide trousers of blue material dotted with red crosses on a light ground, and most wonderfully frilled and vandyked. Diaphanous material was sometimes used for part of the covering of the upper part of the body, as in the case of some of the figures from the Knossos frescoes.
Part of the ritual evidently consisted of dancing, and music also had its place, as is evident from the figures of the lyre and flute players on the sarcophagus of Hagia Triada. The question of whether the Minoans had any worship of ancesters or sacrifice to the dead is raised by several relics.
A brother in gray, old and stooped, arose, and replied: "Your Majesty, it cannot be that you are unacquainted with the traditions of ancient origin concerning Constantinople and Hagia Sophia; forgive us, however, if we fear you are not equally well informed of a more recent prophecy, creditably derived, we think, and presume to speak of its terms.
In one of the scenes on the Hagia Triada sarcophagus, a bull is being sacrificed, and his blood is dripping into a vessel placed beneath his head. Behind is the figure of a woman, whose hands are stretched out, presumably to hold the cords with which the victim is bound. Two kids crouch on the ground below the bull, perhaps to be offered in their turn.
Phæstos and Hagia Triada are as devoid of fortification as Knossos. Gournia and Palaikastro are open towns.
The hill of Hagia Triada, about two miles to the north-west of Phæstos, proved sufficiently fruitful to compensate the Italian explorers for the incomprehensible barrenness of Phæstos. Here stand the ruins of the Venetian church of St. George, itself built of stone which was hewn originally by Minoan masons.
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