Cretan pictograms, Medallion E, Knossos, after Sir Arthur Evans:
A few of the Cretan pictograms on Medallion E, Knossos, lend themselves to possible/probable/definite decipherment. These are:
definite: 5. & 8. (adze, labrys)
probable: 3. & 7. (spice container, saffron)
possible: 9. 11. 12. (olive oil lamp, some kind of floral crop, dagger)
Everything else is indecipherable.
Exquisite golden pin Zf 1 (Ayios Nikolaos Museum) fully deciphered in New Minoan:
This inscription, which appears to be entirely in Mycenaean derived New Minoan, is one of the loveliest I have ever come across, whether in Minoan or Mycenaean. There are similar inscriptions on Linear B tablets from Phaistos. The text waxes almost poetic and is quintessentially suited to the magnificent craftsmanship of this exquisite golden pin. The text in its entirety is utterly coherent, and is probably spot on. The syntax of the Greek had to be adjusted to meet the grammatical exigencies of the Minoan language. This explains the anomaly of qakisenuti, which is probably Minoan instrumental, hence “with (fine) craftsmanship”. And the craftsmanship is certainly that! This decipherment lends greater credence than I had previously imagined to the distinct probability that at least a few Minoan inscriptions were in fact written entirely in Mycenaean derived proto-Greek with the syntax adjusted to the requirements of the Minoan language. I have already fully addressed this phenomenon in a previous post, which I urge you to reread, in order to place this decipherment in its proper perspective. You can read that post here: Partial decipherment of Partial decipherment of Linear A tablet ZA 15 (Zakros) and the phenomenon of orthographic adjustment of superstratum words in the substratum language: https://linearbknossosmycenae.wordpress.com/2017/05/06/partial-decipherment-of-linear-a-tablet-za-15-zakros-and-the-phenomenon-of-orthographic-adjustment-of-superstratum-words-in-the-substratum-language/ I am therefore finally convinced that decipherment of Mycenaean derived New Minoan is an eminently attainable goal.
Displays of exquisite Minoan-Mycenaean jewellery # 4 as a prelude to the stunning gold pin from the Ayia Nikolaos Museum:
All of these displays illustrate just how exquisite Minoan-Mycenaean craftsmanship was.
The last of these displays is that of the stunning gold pin from the Ayia Nikolaos Museum. This pin is of particular interest to us here because in the next post I succeed in completely deciphering the inscription, which is written entirely in Mycenaean derived New Minoan.
Displays of exquisite Minoan-Mycenaean jewellery # 2 as a prelude to the stunning gold pin from the Ayia Nikolaos Museum:
All of these displays illustrate just how exquisite Minoan-Mycenaean craftsmanship was.
Displays of exquisite Minoan-Mycenaean jewellery # 1 as a prelude to the stunning gold pin from the Ayia Nikolaos Museum:
A series of 5 Linear B fragments on vessels (pottery) with 2 beautiful illustrations of amphorae:There can be no surprise that 4 these 5 fragments follow one another serially, while the last one is in the same numeric series (700s). I do not understand why 708b just shows the number 8 but has no framework in which it is supposed to be set (i.e. no fragment). Fragment 709 M m 01 appears to have originally been a longer tablet, since there is text (? na) left-truncated prior to the ideogram and right-truncated (ya) after it. It is impossible to recover the “absent” meaning of the word of which these syllabograms a a part. 776a M f 01 is very peculiar. The “amphora” at the top is clearly unfinished, and even the one on the bottom is rudimentary. This is uncharacteristic of Linear B scribes. Was he alseep at the switch? Was it the end of the day? Was the tablet started, only to be discarded? If so, why? We shall never know. Examples of exquisite Minoan amphorae from Knossos:
Canadian Zen Haiku canadien ISSN 1705-4508 
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