178 i Flora Unveiled
- According to the Red Data Book of Rare and Threatened Plants of Greece (Hellenic
Botanical Society, 2009), the distribution of Phoenix theophrasti is restricted to Crete. - Marinatos, N. (1984), Art and Religion in Thera: Reconstructing a Bronze Age Society.
Athens. - Nilsson, M. P. (1949), The Minoan- Mycenaean Religion and Its Survival in Greek Religion,
second edition. C. W. L. Gleerup, Lund. - Morris, C. (2004), “Art makes visible”: An archaeology of the senses in Minoan elite art,
in Neil Brodie and Catherine Hills, eds., Material Engagements: Studies in honour of Colin
Renfrew. McDonald Institute Monographs, pp. 31– 43; and personal communication. - Warren, P. (1988), Minoan Religion As Ritual Action. Studies in Mediterranean Archaeology
and Literature. P. Astroms, Gothenburg. - Chapin, A. P. (2004), Power, privilege, and landscape in Minoan art. Χ ΑΡΙΣ, 47– 64.
- Numerous authors erroneously refer to the source of saffron as the stamens, rather than
the stigmas, of the crocus flower. - Ference, S. C., and G. Bendersky (2004), Therapy with saffron and the goddess at Thera.
Perspectives in Biology and Medicine 47: 199– 226. - Sfikas, J. (1992), Wild Flowers of Crete, second edition. Efstathiadis Group.
- Mathew, B. (1977), Crocus sativus and its allies (Iridaceae). Plant Systems Evolution
128: 89– 103. - Warren, Minoan Religion As Ritual Action.
- Rutkowski, B. (1986), The Cult Places of the Aegean. Yale University Press.
- Reusch, H. (1956), Die Zeichnerische Rekonstruktion des Frauenfrieses im Böotischen
Theben. Akademie- Verlag, Berlin; Immerwahr, S. (1990), Aegean Painting in the Bronze Age,
Pennsylvania State University Press. - Kistai were, according to Mylonas, “cylindrical, pyxis- like receptacles with close- fitting
covers that sealed the contents firmly.” See Mylonas G. E. (1961), Eleusis and the Eleusinian
Mysteries. Princeton University Press. - Mylonas, Eleusis and the Eleusinian Mysteries.
- Marinatos, Art and Religion in Thera.
- Ference and Bendersky, Therapy with saffron and the goddess at Thera.
33. Ibid. - In the introductory chapter, we noted the changes in the gender associations of pink and
blue in the United States since World War II. In Classical Greece, the color yellow was tradi-
tionally regarded as a feminine color. For example, the peplos, or robe, that was woven for the
statue of Athena each year was dyed yellow with saffron. In his comedy, The Frogs, Aristophanes
satirized Dionysus, the god of drama, as a feminized man by having him wear a yellow chiton
(sleeveless tunic)— the equivalent, in modern terms, to having him wear pink. The gendering of
the color yellow as female by the Greeks of the Iron Age probably originated with the medicinal
and religious uses of saffron in Minoan society. - Although “adyton” is the term used by archaeologist Nanno Marinatos (Art and Religion
in Thera), it should not be assumed that this room had the same function as the Greek adyton. - Goodison, L., and C. Morris (1999), Beyond the “Great Mother”: The sacred world of the
Minoans, in L. Goodison and C. Morris, eds., Ancient Goddesses. University of Wisconsin Press. - Marinatos, N. (1993), Minoan Religion: Ritual, Image, and Symbol. University of South
Carolina Press.