 Heraklion is a city I visited in the summer of 2022 during my stay in Rethymno with my sister. We were based in this beautiful city and from there we explored various locations on the island of Crete on day trips, including Heraklion. In reality during our trip we landed in this very city, at an undersized and somewhat retro airport that nevertheless had its own charm. In recent years, I've developed a preference for things with a vintage style because they take me back to a time when we were freer, less controlled and genuine. Heraklion airport, with its small, slow-moving baggage claim and classic signage, gave me a sense of security: a giant print sign was not at risk of going out due to a fault and was not dependent on electricity. In other words, I liked the atmosphere of Heraklion airport despite the infrastructure's practical inconveniences. Even before leaving, Heraklion had intrigued me, especially because of the archaeological site of Knossos, about five kilometers from the city. Besides its historical importance, it was also linked to legends, such as the labyrinth where the Minotaur was imprisoned. My interest, therefore, was primarily tied to this archaeological site, and in particular to an image of part of the temple that piqued my interest. It goes without saying that the tour, beyond the visit to Knossos, always continued in the morning with an exploration of the historic center. The visit to Heraklion included all the necessary elements for discovery; the visit to places connected to the myth and the idea of retracing the rocky roads of Crete were very stimulating from a visual and photographic perspective. Knossos The bus ride from Rethymno to Knossos took just over an hour, and after picking up our guide on the outskirts of town, we headed to the archaeological site, where we arrived just after 8 AM. Our guide took some time to collect our tickets, and then we entered the archaeological site, which appeared as a large structure surrounded by walls with an uneven stone paving all around. At the edges of the site were numerous, very tall trees. Already in that area were the busts of the people who, for better or worse, had shaped the history of the archaeological site: the bust of Minos Kalokairinos, an antiquarian from Heraklion who had discovered the site in 1878, and that of the Englishman Sir Arthur Evans, who later took full credit for the excavations. Our guide, in fact, focused on the bust of the eminent English archaeologist, recounting the events that led to the discovery of Knossos. Minos Kalokairinos was a simple antiquarian who had discovered the site, and more precisely, an entire room of the palace. Unfortunately, the Turks, who owned the land at the time, had denied him permission to continue the excavations. Others were subsequently denied permission to do so, but finally, "luck" favored Arthur Evans, who, albeit controversially, completed the excavations, bringing to light the so-called Palace of Knossos. Controversial because, to make the site accessible, he restored entire sections by reconstructing elements in reinforced concrete, and where the frescoes that had been discovered were replaced with copies, taking the originals to the museum. Of course, I didn't know either of these men, but later, studying the Englishman, I realized that his wasn't luck, but simply the privilege of belonging to an imperialist nation that, in one way or another, prevailed over those of lower economic means. When I read that Sir Arthur Evans was the son of an artist, that he was a member of the Royal Numismatic Society, it didn't take me long to understand the true nature of this individual. Even a naive person today understands that societies with cultural goals are actually front societies where eminent figures gather to decide the fate of the weakest; in other words, for me, Evans was a Freemason with a thousand privileges whose goal was to preserve his own species. The very fact that excavations, where the true history of humanity can be discovered, are assigned to an elite group of people, demonstrates how almost the entire history of our humanity has been manipulated and changed. We have no direct testimonies or written accounts of what happened in the past, but only texts written in the modern era by an elite, so trusting modern texts means blindly trusting this elite. As soon as we began exploring the site after stopping at the first point of interest, its uniqueness became apparent. On one side, large stone blocks formed roads and even walls; on the other, reconstructions of visibly new parts of the palace. The peculiarity was that parts, such as sections of a room, were depicted as if they had been destroyed, but in reality they were new. The presence of columns, stone walls, and reproductions of frescoes were entirely new and contrasted sharply with the original ruins. Walking through the reproductions, I had the impression of visiting a furniture fair where a bedroom or living room is recreated in just a few square meters. Even without explanations, it was easy to tell which parts were reconstructed and which were original, and frankly, I couldn't understand the meaning of what was, let's say, staged. The site's location was undoubtedly highly evocative, and from the large section, one could admire the ruins and feel as if one were standing before an ancient place. However, the reproductions, such as parts of the palace with entire colonnades, became elements of folklore. There were certainly many beautiful features, such as the vases present in many parts, or entire stone floors, as well as more hidden areas like the basements where one could perceive a sense of antiquity. However, I was very disappointed to discover that the part that had most impressed me in the photos was practically the most fake of all, or at least half fake. It was the reconstruction of part of the palace where the façade, with a colonnade, cornice, and frescoes, had been rebuilt on the ruins of a large uneven stone wall. The entire uneven wall where the new section had been created was decidedly different, and both the colonnade, which in the photos had struck me with its red color, was visibly new, as were the colorful frescoes. Although an interesting location for taking photos, the part I wanted to see so much clearly disappointed me because it was essentially a work of art whose new construction was very evident. Beyond this, it was the conception of the place as a sort of historical Disneyland where, rather than reproducing the princess's castle, they reproduced the destroyed parts of a palace from a distant era. As I wrote in the post on Pompeii, I'm of the opinion that the site isn't what they claim, but at least they pretend to find new things by conducting excavations that I always find suspect and untrustworthy. It's clear to me that the site of Pompeii is a place where a civilization built more recent buildings on ruins constructed by another, likely more advanced civilization. This is evident from the use of large stone blocks, combined with the use of simple rectangular bricks. The visit to the archaeological site of Knossos lasted about an hour and a half, and I often broke away from the group to explore on my own. Overall, the hill on which it stood was very beautiful, offering a striking view, as was the sense of antiquity that the area conveyed even when viewed casually, without lingering on the details. Despite the small disappointments, I had a pleasant and interesting exploration there, because somehow I managed to perceive the sense of antiquity, primarily due to the large stone blocks present in abundance. Another beautiful thing was the sense of space and grandeur, something I always appreciate and enjoy experiencing when I find myself in places like this.  Minos Kalokairinos               City CenterThe journey from Knossos to the center of Heraklion took about half an hour, and the bus dropped us off in a small square in front of the statue of Eleftherios Venizelos. Gathered at the foot of the statue, our guide explained the political past of the man represented by the statue, after which we walked toward the historic center, which we reached in about ten minutes. The guide stopped us in front of the Morosini Fountain, where he also gave us some explanations. The fountain dated back to the Venetian period and was built in the 17th century by the commander Francesco Morosini, from whom it took its name. From an aesthetic point of view, the fountain didn't particularly impress me, even though it had some interesting details. It was built of stone, and its shape was like a series of three-dimensional flowers all gathered around a central part. The upper part of the flowers was covered in bas-reliefs, while in the center were mythological animals with almost human-like faces. From what one could imagine, from above, the fountain must have had the shape of a rose window, like those found in cathedrals. I'm not sure whether the Morosini Fountain actually reproduced a frequency that was perhaps only symbolic, not functional. After explaining the statue and giving us some tips about the historic center of Heraklion, our guide left us free for about an hour and a half to explore the old town on our own. For me, this was wonderful news, because even during the visit to Knossos, I had struggled to fit in with the group. 25th Avgoustou led from the fountain, passing through the most important sites and reaching the port, another area of historical interest. One of the first important buildings we saw was the Venetian Loggia; a beautiful two-level structure, where arches were interspersed with columns. On the ground floor, there was a portico surrounding the structure, while on the first floor, the arches were closed with windows. I don't know, and I haven't been able to determine, whether the first floor also originally had a portico, later closed and converted into various rooms. The structure, like the fountain, was made of stone, and its design clearly stood out among the other structures in the historic center, which were different and much more recent. A few blocks from the loggia was the Church of Saint Titus, a stone structure with an exotic rather than sacred feel. The church was a very linear stone rectangle with eight stained-glass windows spread across two levels. There was also a central dome, not very visible but which was the element that made the structure feel like a sacred place. The two low palm trees, right next to the entrance door, probably gave the building an exotic feel. The low rectangular shape, the yellow stone, and the palm trees gave it the feel of a South American mission rather than a European church. To me, it was a beautiful building, impeccably restored, but it felt more like a private residence, like those of landowners in ancient times, before capitalism changed or modified the concept of property and wealth. In front of the church was a beautiful, large, asymmetrical plaza, flanked by shops and restaurants, which served as a sort of blurring of lines that connected to 25th Avgoustou. This street was very distinctive due to its gentle slope and its access to the harbor. These two details created a highly original natural spectacle, as walking down the street offered a view of the sea, giving the illusion that the street ended right there. Another characteristic of the street were some of the buildings along it: some were very old, uninhabited, and decaying, while others had been renovated. Unfortunately, there were also buildings that, at a glance, dated back to the 1960s—residential buildings with a bland design and lacking character. Exploring the historic center through some of the works I had previously seen, as well as some buildings on 25th Avgoustou, I noticed the imprint of a past attributed to the Venetian era, but which personally seemed to me to be of Greco-Roman inspiration. There was one building in particular on the street leading to the sea that looked to me like one of the typical neoclassical buildings, constructed of stone, with details such as the columns on the first floor surmounted by a triangular cornice. What confused the true origin of Heraklion's architectural works was their poor state of preservation. The palace I just mentioned, for example, was in poor condition, and later renovations could be seen that bore no resemblance to the original style. My belief is that Heraklion was originally entirely built in the style of the Morosini Fountain or the Venetian Loggia, and that subsequently, as a result of some extreme event, much of it was lost. Arriving at the port offered another unique view, dominated by the turquoise sea and the Venetian Fort, located slightly to the left. The long arm of the pier leading to the fort further reinforced the building's sense of robustness. Everything was built of stone, and although the design was quite simple, it still conveyed the impression of something large and indestructible. The right side of the port was similar to the more modern piers, where private boats of all sizes were primarily docked. The fort and its pier were also attributed to the Venetians, but after walking through it, I noticed another series of structures that confirmed my belief that Heraklion likely had other origins. I don't know if the Venetians were inspired by Roman times or something similar, but what I think is that I certainly don't trust the official narrative: there were works in Heraklion that resembled those of a very ancient and mysterious past. What I saw walking along the pier was, in fact, another series of arched structures, resembling stone tunnels, very tall and very ancient. Personally, I had never seen anything like it. Perhaps there are similar structures in Rome, but I had never seen them so close to the sea. These structures had no particular use today; I believe they were simply closed off by high fences. I can't say what the official narrative claims those structures were, but looking at them in their current context, they were totally different from the hideous newer buildings that surrounded them. It must be said that what remained of those structures wasn't beautiful, but it had a mysterious allure, today contaminated by more recent, worse-built, and less functional dwellings. Studying Heraklion in that part of the city, my state of mind was a bit ambivalent; On the one hand, I liked those mysterious structures, but on the other, I had the feeling that the city lacked its own identity, and this created a conflict in me because I couldn't appreciate the place from an aesthetic point of view. My sister and I then moved to the pier to reach the fortress and admire it up close. Even before reaching it, the pier offered several views of Heraklion's historic center, where I personally focused on taking more photos, including the arched structures I mentioned earlier, along with the boats and the historic center. I must say that perspective was my favorite, despite the fortress being a very beautiful and unique building. That day, there were strong waves crashing both on the pier and sometimes even on the fortress. This spectacle drove everyone there to search for the perfect wave to photograph and my sister and I also joined in this fun game, which also had its drawbacks. Being entertained by the spectacle of the waves, I neglected, or rather, didn't devote enough time to, the fortress, which I took few photos of and didn't study in depth. Although the structure was linear in shape but characterized by many protruding stones, I'm sure that if I hadn't been distracted by the waves, I would have certainly found some interesting and mysterious insights into the structure. It goes without saying that the time spent there was fun and carefree, so I have no particular regrets because when you reach a serene state of mind, it's no good asking for more. The return to the meeting point was a bit long, but before reaching it, we managed to see two other characteristic places in the city. First, we passed through the street of the bazaars, an alley made even narrower by the merchandise displayed outside the shops, which nevertheless created a very characteristic Medina atmosphere. The last thing we saw before returning was the Bembo Fountain, the oldest in Heraklion. The structure, built of marble, reminded me of the Rimomdi Fountain in Rethymno, which I described in my post. However, compared to the one in Rethymno, which seemed designed for people of small stature, this one was more normal, albeit strange. The fountain was rectangular, composed of four columns, two round and two square. The sides were decorated with bas-reliefs, while the central section was smooth. In the center was the statue of a male figure, but without a head. At the foot of the statue was a hole where the water was supposed to flow. I say supposed because unfortunately the fountain was dry because there was no water flowing. Even though the visit was quick, I sensed something strange about the fountain's design; it certainly gave me the impression of something only partial, or part of a structure that was originally intended to be larger. However, I do regret not having spent more time studying the fountain and grasping the secrets that such a structure must have contained. The Bembo Fountain was the last thing of interest we saw in the city, after which we walked toward the statue of Eleftherios Venizelos, the one that had greeted us at the beginning. Normally, when I travel with my sister and a group, when they let us go, we're always the last to join the group, exceeding our allotted time. That day in Heraklion, strangely enough, we even returned early, and in fact, we were the ones waiting. Personally, I took this as a good omen, and at the same time, I didn't have the negative feelings of someone who wasn't respectful towards a group. Probably also because of this detail, I faced the return trip to Rethymno even more relaxed, and fate also gifted me with beautiful natural scenery, some of which I managed to capture with my camera. The morning spent in Heraklion had a magical feel, an exploration that gave me the feeling of a long journey. This was certainly partly due to the road it took to get there, but above all, it was the journey of imagination to the imaginary places of the past I experienced in Knossos. Regardless of the merits of those who discovered the site and those who were subsequently granted the concession to manage it, it goes without saying that the place conveyed a sense of the past, a very distant one. The fact that after Knossos, exploration continued in the historic center, also full of very ancient elements and in contrast with the majority, gave the city an aura of mystery. For me, half a day in Heraklion was an experience of multiple journeys through time, in search of the truth and immersed in mystery. Of course, there are official explanations because today we live in a society that has provided official explanations for everything, explanations I have never considered because they do not align with my feelings and instincts. The magic of Heraklion, therefore, was that of a place where six hours felt like an eternity, but perhaps it is more accurate to say that the city was the medium that took me back in time, a place whose reality was better discovered with one's own senses than with the explanations of academics.  Eleftherios Venizelos  Morosini Fountain  Venetian Loggia   Church of Saint Titus  25th Avgoustou  25th Avgoustou  25th Avgoustou  The Port   The Venetian Fort     Bembo Fountain A.M.
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