In palaces as well as houses, the lower parts of walls were still normally built of rough fieldstones held together with mud, the upper stories being continued in mud brick. Carefully squared and fitted blocks of limestone, however, were employed for some important facades. Now, as earlier, walls were often tied together with a framework of timbers set vertically and horizontally and joined by crossbeams running through them. There was also an extensive use of timber for columns and pillars and for the rafters supporting upper floors and roofs, which, it seems, were usually flat. Pictures of wooden columns show them with a characteristic downward taper, which may reflect an original custom of placing tree trunks upside down. The lower parts of the walls inside the palaces and great houses were often clothed with large slabs of attractively veined gypsum, a soft crystalline stone that outcrops in the region of Knossos and Phaistos. Gypsum was also much employed for pavements, but a hard lime plaster was more commonly used for coating walls and floors. Plastered walls were decorated with brightly coloured pictures, which may be an innovation of this period, since they are not yet attested for certain earlier in Crete. These pictures are described as frescoes because they were normally painted while the plaster was still damp. Lines impressed with string in the wet plaster helped to guide the artists. White, red-brown, or blue were usually chosen as a background, while yellow and black were among the other basic colours used. Many of these pictures, especially those from the palace at Knossos, were concerned with religion; they show elaborately dressed goddesses, together with sacred dances and ceremonies, such as bull leaping, which appears to have had a religious or magical basis. Yet scenes such as a frieze of partridges and hoopoes adorning a room in what seems to have been an inn for strangers opposite the palace at Knossos look entirely secular. Monkeys, imported from Egypt, are depicted more than once, along with native wild goats and extraordinarily lifelike flowers—rose, ivy, saffron crocus, lily, and papyrus—but often imaginary hybrids. Some frescoes may represent permanent magic gardens. The pictures ranged in scale from those with life-size figures, which might occupy most of the wall surface, to panels and friezes, including a class of miniatures with figures of men and women two to three inches (five to seven centimetres) high. Parts of some wall pictures at Knossos were in relief, and plaster reliefs of this kind are occasionally found elsewhere in Crete. Floors and ceilings might also carry painted decoration.
Their wall paintings were probably the finest achievements of the Cretan artists, but only battered or fire-discoloured fragments of these have survived. The minor arts are better represented in the archaeological record. Now, if not earlier, hard rock crystal began to be used for making vases and seals, together with the volcanic glass, obsidian. A variety flecked with spots of white pumice, from Yialí (Glass Island), near Cos, was favoured for vases. Other fine stones imported for vase manufacture were Egyptian alabaster (calcite) and green and red marbles (antico rosso and lapis lacedaemonius) from the southern Peloponnese. Antique stone vases from Egypt might be adapted to local tastes by the addition of spouts and handles. Vessels with narrow necks were carved in two pieces that were afterward joined together, an example being a crystal libation vase from Zákros with the handle formed of crystal beads threaded on copper wire. A number of cult vases are carved with pictures in relief, including an octopus, a mountain shrine with birds perched on horns of consecration, altars in an enclosed courtyard, and wild goats and, on other vases, youths engaged in ritual competition, a ritual dance of some kind, and games, such as bull leaping, wrestling, and boxing, which apparently had magical or religious connotations. Soft stones, such as chlorite or serpentine, were used for making these vases, the surfaces of which were often coated with gold leaf, to judge from the scraps that have survived. This economical system of gilding was sometimes applied to seal stones, although solid gold and silver seals also occur. A class of gold signet rings has oval bezels engraved with ritual scenes that may be from the story of a goddess and her consort and include scenes of worship at an altar or a tree, with a shield or sacral knots as attributes, or dancing. Seals of other shapes, in a wide range of attractive stones, display a variety of designs, including animals, such as lions, bulls, and wild boars. Sometimes a bull is being attacked by a lion, or a wild goat is escaping or standing at bay before a hound. Birds, fish, and butterflies also figure on these seals, and most of the designs appear to be entirely secular in character. A class of gems crudely engraved with pictures of jars and leafy branches may have been rain charms, however.
There is little evidence for Bronze Age sculpture in Crete, apart from a few small stone heads that may have come from statues with wooden bodies or a pair of clay feet perhaps supporting a dressed armature. Some bronze curls from the palace at Knossos appear to have adorned the head of a more than life-size wooden statue of a goddess. Figurines cast in solid bronze, though sometimes marred by casting defects, are often of great beauty. They mostly represent worshipers, both men and women, and were placed as votives in sanctuaries. Statuettes of bull leapers and perhaps of gods and goddesses were made of imported ivory in several pieces cunningly joined together by pins and dowels. Faience manufacture was presumably learned from Egypt. Exquisite faience plaques of animals, along with statuettes of goddesses or priestesses and small vases of the same material, appear to be products of the palace workshops at Knossos for shrine or ritual display.
The Late Palace Period seems to have been rich in metals. Although few gold and silver vessels have survived in Crete, many fine vessels in the Mycenae Shaft Graves may have been made by Cretan skilled workers. Even cooking vessels were now being made of copper or bronze, including huge cauldrons in which a sheep or goat could be boiled whole. Among a variety of serviceable bronze tools were axes, adzes, and double-bladed axes such as those of earlier times. The sockets of these were improved toward the end of the period from a circular to an oval shape, which prevented twisting of the haft. New tools current by then included long bronze chisels and immense saws capable of slicing the gypsum required for paving and wall veneer, as well as for cutting timber. Helmets of copper or bronze are depicted on faience inlays from Knossos and on stone relief vases, but plate armour is attested only from the end of the 15th century. For defense, the Cretans of this time, like their Mycenaean and Cycladic contemporaries, appear to have relied on huge rectangular or eight-shaped shields of bull’s hide. (Homer’s description of the shield of Ajax as being “like a tower” preserves a memory of body shields of this kind.) Weapons included spears and daggers, as well as rapiers with long slender blades and short tangs for affixing wooden hilts. Massive pommels of attractive stones, such as rock crystal, or of gold-plated wood or ivory helped to balance the blades. Toward the end of the period, swords are found with strong, flanged hilts and short blades adapted for cutting as well as thrusting strokes. A remarkable set of weapons, often inlaid, enriched with gold, ivory, and designs, was created at Knossos at one or more brilliant sword workshops (which vanished after about 1400).
Signs scratched or painted on clay vases, not only in Crete but on the mainland and in the islands, from about the middle of the 3rd millennium onward may reflect acquaintance with writing among the peoples of the Aegean area. The first positive evidence for the use of writing in the Aegean, however, is found in Crete at the beginning of the Palatial Period—about 2000 or somewhat later. This earliest Cretan writing is known as pictographic or hieroglyphic because its signs are pictures of animals or things; the system appears to be of Cretan origin, even if it was inspired by Egypt or Syria. During the period of the Early Palaces and while the Cretan hieroglyphic script was still in use, a simplified linear script was being scratched on clay tablets at Phaistos. A more evolved script with linear signs of this kind is attested in various parts of Crete and was known in the Cyclades during the Late Palace Period. It is known as Linear A to distinguish it from the variety of script (Linear B) current both in Crete and on the mainland from the end of the 15th century (see below The Linear B texts). Most of what has survived of Aegean Bronze Age writing is on clay tablets of the kind used in Syria and Mesopotamia in early times. Ink was, however, used to write Linear A inscriptions around the insides of two clay cups from Knossos, and the bulk of what was written in the Aegean during the Bronze Age may have been in ink on some kind of paper made from papyrus, as in Egypt, or from palm leaves, as later Greek tradition hints. The two standard forms of tablets are the long narrow “palm leaf” for short transactions and the tall rectangular “page,” which often is a summary or inclusive list. The Knossos tablets supply records of transactions involving personnel, cattle, sheep, goats, oils and spices, wool and textiles, weapons (including arrows, swords, and issues of chariots with armour), stored treasures, and religious offerings. They seem to reflect a period when the former palaces of the several districts were no longer standing, or powerful, but when the surrounding lands still produced agricultural goods that were taxed or tithed at Knossos. The decline of the early Aegean civilizations The eruption of Thera (c. 1500) and the conquest of Crete (c. 1450)