Linear A haiku, violets parallel to violets for Kaniami, from her father, in Linear A, archaic Greek, English and French:
As can clearly be seen from the original inscription on this exquisitely crafted golden pin from the A.Y. Nikolaos Museum, Crete, the text of the haiku closely follows the original:
How beautiful the Prince of Lilies and his consort on the Knossos fresco must have looked!
On the fresco:
In life, ready for marriage to the equally beautiful Princess of Knossos:
As she might have appeared on one of the Knossos frescoes:
And in life:
Linear A roundel pendant, Titisutisa, the name of a princess?
This Linear A roundel bears what is ostensibly a personal name ending in a. If indeed the feminine nominative singular ends in a in the Minoan language, as it does in most Indo-European occidental languages. However, since there are no genders in Basque, a language isolate, it is possible that there are none in Minoan, provided that it too is a language isolate. But even if it is, that does not necessarily imply that there are no genders.
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:
I am therefore finally convinced that decipherment of Mycenaean derived New Minoan is an eminently attainable goal.
Minoan Costume History synopsis: a wonderful site!
You simply have to check this site out! I have never seen such an in-depth study on Minoan costume, female and male alike, on the Internet. Here is just a small excerpt:
An era of great development, contemporaneous with the civilization of ancient Egypt and Phoenicia, and which may be dated about 2000-1500 B.C., had preceded the civilization that came from Asia Minor into Crete and Greece. Such fragments of Cretan culture as have come down to us reveal a beauty of technique and a delicate sense of form to which no contemporaneous civilization provides any parallel. (italics mine). It is certainly true that the Minoans were far more style-conscious than people of any other contemporaneous civilization, such as the Egyptians, Babylonians, Assyrians and Hittites. No question about it.
Owing to the lack of written records, the processes and methods of manufacture are still wrapped in obscurity, but although we are thus reduced to surmise regarding the materials used, the dress of that time is of the highest interest in view of its connexion with the costumes of other peoples. Our attention is especially attracted by the dress worn by the women. The slim, wiry figures of the men are clothed almost universally with a loincloth, richly patterned and splendidly decorated. Here and there we see wide cloaks that clothe the whole body, giving it a large appearance. Women also, it would seem, wore the short loincloth, but we find them wearing in addition skirts put together in an almost fantastic manner that betrays a highly developed knowledge of the technique of dressmaking. These skirts are constructed in tiers, separated by strips of rich ornamentation.
Illustrations from this site (there are many more, just as striking as these!)