15 Best Sights in Heraklion, Crete

Standing in a class of its own, this museum guards practically all of the Minoan treasures uncovered in the legendary excavations of the Palace of Knossos and other monuments of Minoan civilization. These amazing artifacts, many 3,000 years old, were brought to light in 20th-century excavations by famed British archaeologist Sir Arthur Evans and are shown off in handsome modern galleries. It's best to visit the museum first thing in the morning, before the tour buses arrive, or in late afternoon, once they pull away. Top treasures include the famous seal stones, many inscribed with Linear B script, discovered and deciphered by Evans around the turn of the 20th century. The most stunning and mysterious seal stone is the so-called Phaistos Disk, found at Phaistos Palace in the south, its purpose unknown. (Linear B script is now recognized as an early form of Greek, but the earlier Linear A script that appears on clay tablets and that of the Phaistos Disk have yet to be deciphered.)

Perhaps the most arresting exhibits, though, are the sophisticated frescoes, restored fragments of which were found in Knossos. They depict broad-shouldered, slim-waisted youths, their large eyes fixed with an enigmatic expression on the Prince of the Lilies; ritual processions and scenes from the bullring, with young men and women somersaulting over the back of a charging bull; and groups of court ladies, whose flounced skirts led a French archaeologist to exclaim in surprise, "Des Parisiennes!," a name still applied to this striking fresco.

Even before great palaces with frescoes were being built around 1900 BC, the prehistoric Cretans excelled at metalworking and carving stone vases, and they were also skilled at producing pottery, such as the eggshell-thin Kamares ware decorated in delicate abstract designs. Other specialties were miniature work such as the superbly crafted jewelry and the colored seal stones that are carved with lively scenes of people and animals. Though naturalism and an air of informality distinguish much Minoan art from that of contemporary Bronze Age cultures elsewhere in the eastern Mediterranean, you can also see a number of heavy rococo set pieces, such as the fruit stand with a toothed rim and the punch bowl with appliquéd flowers.

The Minoans' talents at modeling in stone, ivory, and a kind of glass paste known as faience peaked in the later palace period (1700–1450 BC). A famous rhyton, a vase for pouring libations, carved from dark serpentine in the shape of a bull's head, has eyes made of red jasper and clear rock crystal with horns of gilded wood. An ivory acrobat—perhaps a bull-leaper—and two bare-breasted faience goddesses in flounced skirts holding wriggling snakes were among a group of treasures hidden beneath the floor of a storeroom at Knossos. Bull-leaping, whether a religious rite or a favorite sport, inspired some of the most memorable images in Minoan art. Note, also, the three vases, probably originally covered in gold leaf, from Ayia Triada that are carved with scenes of Minoan life thought to be rendered by artists from Knossos: boxing contests, a harvest-home ceremony, and a Minoan official taking delivery of a consignment of hides. The most stunning rhyton of all, from Zakro, is made of rock crystal.

An imposing mansion houses a varied collection of Early Christian and Byzantine sculptures, Venetian and Ottoman stonework, artifacts of war, and rustic folklife items. The museum provides a wonderful introduction to Cretan culture, and is the only place in Crete to display the work of famed native son El Greco (Domenikos Theotocopoulos), who left the island—then part of the Venetian Republic—for Italy and then Spain around 1567; his Baptism of Christ and View of Mount Sinai and the Monastery of St. Catherine hang amid frescoes, icons, and other Byzantine pieces. Upon entering, look out for the Lion of St. Mark sculpture, with an inscription that says in Latin "I protect the kingdom of Crete." Left of the entrance is a room stuffed with memorabilia from Crete's bloody revolutionary past: weapons, portraits of mustachioed warrior chieftains, and the flag of the short-lived independent Cretan state set up in 1898. The 19th-century banner in front of the staircase sums up the spirit of Cretan rebellion against the Turks: eleftheria o thanatos ("Freedom or Death"). A small section is dedicated to World War II and the German invasion of 1941. Upstairs, look in on a room arranged as the study of Crete's most famous writer, Nikos Kazantzakis (1883–1957), the author of Zorba the Greek and an epic poem, The Odyssey, a Modern Sequel; he was born in Heraklion and is buried here, just inside the section of the walls known as the Martinengo. The top floor contains a stunning collection of Cretan textiles, including the brilliant scarlet weavings typical of the island's traditional handwork, and another room arranged as a domestic interior of the early 1900s.

Nestled in the shadow of the Ayios Minas cathedral is one of Crete's most attractive small churches, named for St. Katherine and built in 1555. The church now houses a museum of icons by Cretan artists, who often traveled to Venice to study with Italian Renaissance painters. Look for six icons by Michael Damaskinos, who worked in both Byzantine and Renaissance styles during the 16th century. Crete's most famous artist, Domenikos Theotocopoulos, better known as El Greco, studied at the monastery school attached to the church in the mid-16th century.

This 13th-century church is named for Venice's patron saint, but, with its modern portico and narrow interior, it bears little resemblance to its grand namesake in Venice. Concerts and recitals are often staged in the afternoons.

This huge, lofty cathedral, dating from 1895, can hold up to 8,000 worshippers, but is most lively on November 11, when Heraklion celebrates the feast of Minas, a 4th-century Roman soldier-turned-Christian. Legend has it that on Easter Sunday 1826 a ghostly Minas reappeared on horseback and dispersed a Turkish mob ready to slay the city's Orthodox faithful. Curiously, few of Heraklion's inhabitants are named after Minas, which is unusual for a city's patron saint. The reason is that many years ago babies born out of wedlock were left on the steps of the church, and were named Minas by the clergy who took these children in and cared for them. Thus, the name Minas came to be associated with illegitimacy.

A chapel to the left of the entrance contains St. Tito's skull, set in a silver-and-gilt reliquary. Titus is credited with converting the islanders to Christianity in the 1st century AD on the instructions of St. Paul. Ayios Titos was founded in the 10th century, rebuilt as a mosque under Turkish rule in the 19th century, and rededicated as a church in the 1920s, when the minaret was removed.

Heraklion's inner harbor, where fishing boats land their catch and yachts are moored, is dominated by this massive fortress so named by the Turks but, in fact, built by the Venetians as the Castello del Molo in the 16th century and decorated with the three stone lions of St. Mark, the symbol of Venetian imperialism. On the east side of the fortress are the vaulted arsenal; here Venetian galleys were repaired and refitted, and timber, cheeses, and sweet malmsey wine were loaded for the three-week voyage to Venice. The view from the battlements takes in the inner as well as the outer harbor, where freighters and passenger ferries drop anchor; to the south rises Mt. Louktas and, to the west, the pointed peak of Mt. Stromboulas.

A gathering place for the island's Venetian nobility, this open-air arcade, with a meeting hall above, was built in the early 17th century by Francesco Basilicata, an Italian architect. Restored to its original Palladian elegance, it adjoins the old Venetian Armory, now the City Hall.

Six bastions shaped like arrowheads jut out from the well-preserved Venetian walls. Martinengo is the largest, designed by Micheli Sanmicheli in the 16th century to keep out Barbary pirates and Turkish invaders. When the Turks overran Crete in 1648, the garrison at Heraklion held out for another 21 years in one of the longest sieges in European history. General Francesco Morosini finally surrendered the city to the Turkish Grand Vizier in September 1669. He was allowed to sail home to Venice with the city's archives and such precious relics as the skull of Ayios Titos—which was not returned until 1966. Literary pilgrims come to the Martinengo to visit the burial place of writer Nikos Kazantzakis. The grave is a plain stone slab marked by a weathered wooden cross. The inscription, from his writings, reads: "I fear nothing, I hope for nothing, I am free."

One of Heraklion's oldest monuments, dating from the 13th century, has been been rebuilt many times over the years and has done duty as a church, monastery, mosque, and movie theater. St. Peter's is now an exhibition hall and its 15th-century frescoes, the oldest in the city, have been beautifully restored.

The city's biggest square is paved in marble and dotted with fountains. The Archaeological Museum is off the north end of the square; at the west side is the beginning of Daidalou, the main thoroughfare, which follows the line of an early fortification wall and is now a pedestrian walkway lined with tavernas, boutiques, jewelers, and souvenir shops.

This square is graced with a Venetian fountain and an elegant Turkish stone kiosk. Odos 1866, which runs north from the square, houses Heraklion's lively open-air market, where fruit and vegetable stands and souvenir vendors alternate with butchers' displays of whole lambs and pigs' feet.

"The Lions," a stately marble Renaissance fountain, remains a beloved town landmark. It's the heart of Heraklion's town center—on Eleftheriou Venizelou Square, a triangular pedestrian zone filled with cafés and named after the Cretan statesman who united the island with Greece in 1913. The square is also known simply as Ta Liontaria or Plateia Liontarion and was the center of the colony founded in the 13th century, when Venice colonized Crete, and Heraklion became an important port of call on the trade routes to the Middle East.