These are only a few examples, amongst many, which go to demonstrate that the sport of "bull-leaping"—or ταυροκαθαψια [Greek: taurokathapsia], as it was called by the Greeks—was beloved of the Minoans and was probably practised in the precincts of the palace.
In the light of these discoveries Dr. Evans concludes that the palace of Knossos was the Labyrinth, or House of the Labrys, which gave rise to the classic legend, the idea of the Minotaur originating in the practice of training captives to participate in the dangerous sport of bull-leaping. (Tauros = bull, hence Minotaur = Bull of Minos.) We will refer further to the etymology of "labyrinth" in a later chapter. The palace was certainly of sufficient complexity to render it difficult for the uninitiated to find their way about it, but the plan of its remains exhibits no resemblance to a designed labyrinth of the conventional type. There is, however, a suggestion of the latter in the meander pattern painted on one of the walls, to which reference has been made above. The notion as to the Labyrinth having been a prison from which escape was impossible may also have some connection with two deep pits beneath the palace, whose function was possibly that of dungeons for prisoners.
In considering the origin of the legend, we must remember that a period of several centuries elapsed between the destruction of the Knossian buildings and the first written account of the Labyrinth, and must take into account the probability that the people who in later ages became the dominant race in Crete would be likely to make ample use of their imagination in formulating an explanation of the vast and complicated ruins of the burnt city, with their mysterious frescoes and enigmatic symbols.
It may also be borne in mind that the excavations in Crete have by no means reached a final stage, and that, although no architectural remains of a plan conforming to the usual conception of a formal labyrinth are yet forthcoming, there is a possibility that something of the kind may yet turn up, though indeed the chance seems very remote. Even as this book is going to press appears an article in The Times by Sir Arthur Evans announcing yet further enthralling discoveries; he finds abundant signs of a great earthquake, causing ruin over the whole Knossian area, about 1600 B.C., also evidence—including portable altars and huge ox-skulls—indicating an expiatory sacrifice recalling Homer's words, "in bulls doth the Earthshaker delight"; and finally, on a floor-level about thirty feet down, the opening of an artificial cave with three rough steps leading down to what was apparently the lair of some great beast. "But here, perhaps," says Sir Arthur, "it is better for imagination to draw rein."
[CHAPTER VII]
THE ETRUSCAN OR ITALIAN LABYRINTH
In addition to the Egyptian and Cretan labyrinths, a few other structures are referred to as being in the same category, but not until a fairly late period.
Pliny (died A.D. 79) mentions one built by Smilis of Aegina, after the Egyptian model, on the island of Lemnos, and says that it was renowned for the beauty of its 150 columns and that remains of it existed in his time. He also mentions one at Samos, said to have been built by Theodorus, and says that "all of these buildings are covered with arched roofs of polished stone." No other details concerning these edifices have come down to us, but Pliny quotes from Varro (116–27 B.C.) a detailed description of a very extraordinary tomb at Clusium (the modern Chiusi), said to be that of the great Etruscan general Lars Porsena. This is the only Etruscan tomb described by the ancient writers, and is mentioned by Pliny solely because it was alleged to contain a subterranean labyrinth. It must have been a most elaborate, not to say extravagant, monument. Even Pliny feels some qualms about accepting responsibility for the description, and therefore makes it clear that he is simply quoting from information received.
"It is but right that I should mention it," he says, "in order to show that the vanity displayed by foreign princes, great though it is, has been surpassed. But in view of the exceedingly fabulous nature of the story I shall use the words given by M. Varro himself in his account of it: 'Porsena was buried below the city of Clusium in the place where he had built a square monument of dressed stones. Each side was three hundred feet in length and fifty in height, and beneath the base there was an inextricable labyrinth, into which, if anybody entered without a clue of thread, he could never discover his way out. Above this square building there stand five pyramids, one at each corner and one in the centre, seventy-five feet broad at the base and one hundred and fifty feet high. These pyramids so taper in shape that upon the top of all of them together there is supported a brazen globe, and upon that again a petasus[3] from which bells are suspended by chains. These make a tinkling sound when blown about by the wind, as was done in bygone times at Dodona. Upon this globe there are four more pyramids, each a hundred feet in height, and above them is a platform on which are five more pyramids.' The height of the latter, Varro is ashamed to add, but, according to the Etruscan stories, it was equal to that of the rest of the building. What utter madness is this, to attempt to seek glory at a great cost which can never be of use to anyone; not to mention the drain upon the resources of the country. And all to the end that the artist may receive the greater share of the praise!"