The main result of the season of 1902 was the practical reconstruction of a large part of the Eastern or Domestic Quarter of the palace. The chief room in this part of the building was the Queen's Megaron, an inner chamber divided transversely by a row of pillars, along whose bases ran a raised seat, where, no doubt, the maids of honour of the Minoan Court were wont to sit and gossip. The pillared portico opened upon another elongated area, a characteristic feature of Minoan architecture, which served the purpose of a light-shaft, illuminating the inner room. The light-well had been covered with a brilliant white plaster, on which were the remains of a bird fresco--a long, curving wing, with feathers of red, blue, yellow, white, and black. Adjacent to the Queen's Megaron was a small bathroom, constructed for a portable bath--a fragment of which, in painted terra-cotta, was found in the portico of the adjoining hall. The fresco of the bull-fight, already referred to, was paralleled in subject, and more than matched in artistic quality, by the discovery, in a small secluded room which had apparently served as a treasury, of a deposit of ivory figurines of the most exquisite workmanship. The height of the best preserved specimen is about 11-1/2 inches, and it is hard to say whether the boldness of the design or the precision with which the details of the tiny figure are wrought out is the more admirable. The attitude is that of a man flinging himself forth in the abandon of a violent leap, with legs and arms extended. His straining muscles are indicated with perfect faithfulness, and even the veins in the diminutive hand and the nails of the tiny fingers are clearly marked. The hair had been formed by curling strands of thin gold wire inserted in the skull. There can be no doubt that these figures formed part of a scene like that of the toreador fresco, for the violent motion suggested is consistent with nothing but some desperate feat of agility like bull-grappling. Probably the leaping figures were suspended by thin gold wires over the backs of ivory bulls, and thus presented a realistic miniature reproduction of the Minoan bull-ring. The extraordinary multiplication of such scenes, in painting, in the round, on gems and seal impressions, helps one to realize the hold which the passion of bull-fighting, or, rather, bull-grappling, had upon the Cretan mind, a hold no doubt connected with the important part which the bull appears to have played in the Minoan religion (Plate XIX.). [Illustration XII: MINOAN PAVED ROAD (_p_. 110) NORTH ENTRANCE, KNOSSOS (_p_. 75)]