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In Greek mythology, the Labyrinth (Greek λαβύρινθος labyrinthos) was an elaborate structure designed and built by the legendary artificer Daedalus for King Minos of Crete at Knossos. Its function was to hold the Minotaur, a creature that was half man and half bull and was eventually killed by the Athenian hero Theseus. Daedalus had made the Labyrinth so cunningly that he himself could barely escape it after he built it.[1] Theseus was aided by Ariadne, who provided him with a skein of thread, literally the "clew", or "clue", so he could find his way out again.
In colloquial English labyrinth is generally synonymous with maze, but many contemporary scholars observe a distinction between the two: maze refers to a complex branching puzzle with choices of path and direction; while a single-path (unicursal) labyrinth has only a single, non-branching path, which leads to the center. A labyrinth in this sense has an unambiguous route to the center and back and is not designed to be difficult to navigate.[2]
Although early Cretan coins occasionally exhibit multicursal patterns,[3] the unicursal seven-course "Classical" design became associated with the Labyrinth on coins as early as 430 BC,[4] and became widely used to represent the Labyrinth – even though both logic and literary descriptions make it clear that the Minotaur was trapped in a complex branching maze.[5] Even as the designs became more elaborate, visual depictions of the Labyrinth from Roman times until the Renaissance are almost invariably unicursal. Branching mazes were reintroduced only when garden mazes became popular in the Renaissance.
Labyrinths appeared as designs on pottery or basketry, as body art, and etched on walls of caves or churches. The Romans built many primarily decorative labyrinth designs on walls and floors in tile or mosaic. Many labyrinths set in floors or on the ground are large enough that the path to the center and back can be walked. They have historically been used both in group ritual and for private meditation.
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Pliny's Natural History mentions four ancient labyrinths: the Cretan labyrinth, an Egyptian labyrinth, a Lemnian labyrinth and an Italian labyrinth.
Labyrinth is a word of pre-Greek (Minoan) origin absorbed by Classical Greek and is perhaps related to the Lydian labrys ("double-edged axe", a symbol of royal power, which fits with the theory that the labyrinth was originally the royal Minoan palace on Crete and meant "palace of the double-axe"), with -inthos meaning "place" (as in Corinth). The complex palace of Knossos in Crete is usually implicated, though the actual dancing-ground, depicted in frescoed patterns at Knossos, has not been found. Something was being shown to visitors as a labyrinth at Knossos in the 1st century AD (Philostratos, De vita Apollonii Tyanei iv.34).[6]
Greek mythology did not recall, however, that in Crete there was a Lady who presided over the Labyrinth. A tablet inscribed in Linear B found at Knossos records a gift "to all the gods honey; to the mistress of the labyrinth honey." All the gods together receive as much honey as the Mistress of the Labyrinth alone. "She must have been a Great Goddess," Kerényi observes.[7]
The labyrinth is the referent in the familiar Greek patterns of the endlessly running meander, to give the "Greek key" its common modern name. In the 3rd century BC, coins from Knossos were still struck with the labyrinth symbol. The predominant labyrinth form during this period is the simple seven-circuit style known as the classical labyrinth.
The term labyrinth came to be applied to any unicursal maze, whether of a particular circular shape (illustration) or rendered as square. At the center, a decisive turn brought one out again. In the Socratic dialogue that Plato produced as Euthydemus, Socrates describes the labyrinthine line of a logical argument:
"Then it seemed like falling into a labyrinth: we thought we were at the finish, but our way bent round and we found ourselves as it were back at the beginning, and just as far from that which we were seeking at first." ... Thus the present-day notion of a labyrinth as a place where one can lose [his] way must be set aside. It is a confusing path, hard to follow without a thread, but, provided [the traverser] is not devoured at the midpoint, it leads surely, despite twists and turns, back to the beginning.[8]
Wrapped in legend, but also clearly manifested in the archaeological record, is the huge Bronze Age labyrinth at Knossos. The Cretan labyrinth had been a dancing-ground and was made for Ariadne rather than for Minos. This was mentioned by Homer in the Iliad xviii.590–593, where, in the pattern that Hephaestus inscribed on Achilles' shield, one incident pictured was a dancing-ground "like the one that Daedalus designed in the spacious town of Knossos for Ariadne of the lovely locks." Even the labyrinth dance was depicted on the shield, where "youths and marriageable maidens were dancing on it with their hands on one another's wrists... circling as smoothly on their accomplished feet as the wheel of a potter...and there they ran in lines to meet each other."
Even more generally, labyrinth might be applied to any extremely complicated maze-like structure. Herodotus, in Book II of his Histories, describes as a "labyrinth" a building complex in Egypt, "near the place called the City of Crocodiles," that he considered to surpass the pyramids in its astonishing ambition:
It has twelve covered courts — six in a row facing north, six south — the gates of the one range exactly fronting the gates of the other. Inside, the building is of two storeys and contains three thousand rooms, of which half are underground, and the other half directly above them. I was taken through the rooms in the upper storey, so what I shall say of them is from my own observation, but the underground ones I can speak of only from report, because the Egyptians in charge refused to let me see them, as they contain the tombs of the kings who built the labyrinth, and also the tombs of the sacred crocodiles. The upper rooms, on the contrary, I did actually see, and it is hard to believe that they are the work of men; the baffling and intricate passages from room to room and from court to court were an endless wonder to me, as we passed from a courtyard into rooms, from rooms into galleries, from galleries into more rooms and thence into yet more courtyards. The roof of every chamber, courtyard, and gallery is, like the walls, of stone. The walls are covered with carved figures, and each court is exquisitely built of white marble and surrounded by a colonnade.[9]
During the 19th century, the remains of the Labyrinth were discovered "11 1/2 miles from the pyramid of Hawara, in the province of Faioum."[10] The Labyrinth was likely modified and added upon "at various times. The names of more than one king have been found there, the oldest" name being that of Amenemhat III.[10] "It is unnecessary to imagine more than that it was monumental, and a monument of more than one king of Egypt."[10]
In 1898, the Harpers Dictionary of Classical Antiquities described the structure as "the largest of all the temples of Egypt, the so-called Labyrinth, of which, however, only the foundation stones have been preserved."[11]
Herodotus' description of the Egyptian Labyrinth, in Book II of The Histories, inspired some central scenes in Bolesław Prus' 1895 historical novel Pharaoh.
Pliny the Elder's Natural History (36.90) lists the legendary Smilis, reputed to be a contemporary of Daedalus, together with the historical mid-sixth-century BC architects and sculptors Rhoikos and Theodoros as two of the makers of the Lemnian labyrinth, which Andrew Stewart[12] regards as "evidently a misunderstanding of the Samian temple's location en limnais ['in the marsh']."
According to Pliny, the tomb of the great Etruscan general Lars Porsena contained an underground maze. Pliny's description of the exposed portion of the tomb is intractable; Pliny, it seems clear, had not observed this structure himself, but is quoting the historian and Roman antiquarian Varro.
At about the same time as the appearance of the Greek labyrinth, a topologically identical pattern appeared in Native American culture, the Tohono O'odham labyrinth which features I'itoi, the "Man in the Maze". The Tonoho O'odham pattern has two distinct differences from the Greek: it is radial in design, and the entrance is at the top, where traditional Greek labyrinths have the entrance at the bottom (see below).
A prehistoric petroglyph on a riverbank in Goa shows the same pattern and has been dated to circa 2500 BC. Other examples have been found among cave art in northern India and on a dolmen shrine in the Nilgiri Mountains, but are difficult to date accurately. Early labyrinths in India all follow the Classical pattern; some have been described as plans of forts or cities.[13]
Labyrinths appear in Indian manuscripts and Tantric texts from the 17th century onward. They are often called "Chakravyuha" in reference to an impregnable battle formation described in the ancient Mahabharata epic. Lanka, the capital city of mythic Rāvana, is described as a labyrinth in the 1910 translation of Al-Beruni's India (c.1030CE) p. 306 (with a diagram on the following page).[14]
By the White Sea, notably on the Solovetsky Islands, there have been preserved more than 30 stone labyrinths. The most remarkable monument is the Stone labyrinths of Bolshoi Zayatsky Island - a group of 13–14 stone labyrinths on 0.4 km2 area of one small island. It is considered that these labyrinths are 2,000–3,000 years old.[15]
In antiquity, the less complicated labyrinth pattern familiar from medieval examples was already developed. In Roman floor mosaics, the simple classical labyrinth is framed in the meander border pattern, squared off as the medium requires, but still recognisable. Often an image of the Minotaur appears in the centre of these mosaic labyrinths. Roman meander patterns gradually developed in complexity towards the fourfold shape that is now familiarly known as the medieval form. The labyrinth retains its connection with death and a triumphant return: at Hadrumentum in North Africa (now Sousse), a Roman family tomb has a fourfold labyrinth mosaic floor with a dying minotaur in the center and a mosaic inscription: HICINCLUSUS.VITAMPERDIT "Enclosed here, he loses life" (Kerenyi, fig.31).
 Earliest recovered labyrinth, incised on a clay tablet from Pylos. |
 Minotaur in Labyrinth—a Roman mosaic at Conímbriga, Portugal. |
 Sketch by Villard de Honnecourt (c.1230) |
 Wall maze in Lucca Cathedral, Italy (probably medieval). |
 Illustration of Jericho in a Farhi Bible (14th century) |
 Basilica of St-Quentin, Aisne, France |
 Cathedral of Amiens, France |
 Stone labyrinth on Blå Jungfrun (Blue Virgin) island, Sweden |
 Seven-ring classical labyrinth of unknown age in Rocky Valley near Tintagel, Cornwall, UK. |
 Small turf maze near Dalby, North Yorkshire, UK. |
 Turf maze at Wing in Rutland, UK. |
 Portrait of a man, by Bartolomeo Veneto, Italy, early 16th century |
 Minotaur at center of labyrinth, on a 16th-century gem. |
 Edinburgh labyrinth, George Square Gardens, Edinburgh, Scotland, UK |
 9/11 memorial labyrinth, Boston College, USA. |
The full flowering of the medieval labyrinth design came about during the twelfth and thirteenth centuries with the grand pavement labyrinths of the gothic cathedrals, notably Chartres, Reims and Amiens in northern France and the Duomo di Siena in Tuscany. These labyrinths may have originated as symbolic allusion to the Holy City; prayers and devotions may have accompanied the perambulation of their intricate paths.[16] No contemporary evidence, however, supports this.[17] It is this version of the design that is thought to be the inspiration for the many turf mazes in the UK, such as survive at Wing, Hilton, Alkborough, and Saffron Walden.
Over the same period, some 500 or more non-ecclesiastical labyrinths were constructed in Scandinavia. These labyrinths, generally in coastal areas, are marked out with stones, most often in the simple classical form. They often have names which translate as "Troy Town". They are thought to have been constructed by fishing communities: trapping malevolent trolls or winds in the labyrinth's coils might ensure a safe fishing expedition. There are also stone labyrinths on the Isles of Scilly, although none is known to date back as far as the earliest Scandinavian ones.
There are examples of labyrinths in many disparate cultures. The symbol has appeared in various forms and media (petroglyphs, classic-form, medieval-form, pavement, turf, and basketry) at some time throughout most parts of the world, from Native North and South America to Australia, Java, India, and Nepal.
In recent years, there has been a resurgence of interest in the labyrinth symbol, which has inspired a revival in labyrinth building, notably at Willen Park, Milton Keynes; Grace Cathedral, San Francisco; Tapton Park, Chesterfield; Old Swedes Church in Wilmington; the Labyrinth in Shed 16 in the Old Port of Montreal, and Trinity Square in Toronto.
Countless computer games depict mazes and labyrinths.
On bobsled, luge, and skeleton tracks, a labyrinth is where there are three to four curves in succession without a straight line in between any of the turns.
In modern imagery, the labyrinth of Daedalus is often represented by a multicursal maze, in which one may become lost.
The myth of the labyrinth has in recent times found incarnation in a stage play by Ilinka Crvenkovska which explores notions of a man's ability to control his own fate. Theseus in an act of suicide is killed by the Minotaur, who is himself killed by the horrified townspeople.[citation needed]
The Argentine writer Jorge Luis Borges was entranced with the idea of the labyrinth, and used it extensively in his short stories (such as "The House of Asterion" in The Aleph). His use of it has inspired other authors' works (e.g. Umberto Eco's The Name of the Rose, Mark Z. Danielewski's House of Leaves). Additionally, Roger Zelazny's fantasy series, The Chronicles of Amber, features a labyrinth, called "the Pattern", which grants those who walk it the power to move between parallel worlds. The avant-garde multi-screen film, In the Labyrinth, presents a search for meaning in a symbolic modern labyrinth. Australian author Sara Douglass incorporated some labyrinthine ideas in her series The Troy Game, in which the Labyrinth on Crete is one of several in the ancient world, created with the cities as a source of magical power.
The labyrinth is also treated in contemporary fine arts. Examples include Piet Mondrian's Dam and Ocean (1915), Joan Miró's Labyrinth (1923), Pablo Picasso's Minotauromachia (1935), M. C. Escher's Relativity (1953), Friedensreich Hundertwasser's Labyrinth (1957), Jean Dubuffet's Logological Cabinet (1970), Richard Long's Connemara sculpture (1971), Joe Tilson's Earth Maze (1975), Richard Fleischner's Chain Link Maze (1978), István Orosz's Atlantis Anamorphosis (2000), Dmitry Rakov's Labyrinth (2003), and Labyrinthine projection by contemporary American artist Mo Morales (2000).
Prehistoric labyrinths are believed to have served as traps for malevolent spirits or as defined paths for ritual dances. In medieval times, the labyrinth symbolized a hard path to God with a clearly defined center (God) and one entrance (birth).
Labyrinths can be thought of as symbolic forms of pilgrimage; people can walk the path, ascending toward salvation or enlightenment. Many people could not afford to travel to holy sites and lands, so labyrinths and prayer substituted for such travel. Later, the religious significance of labyrinths faded, and they served primarily for entertainment, though recently their spiritual aspect has seen a resurgence.
Many newly made labyrinths exist today, in churches and parks. Labyrinths are used by modern mystics to help achieve a contemplative state. Walking among the turnings, one loses track of direction and of the outside world, and thus quiets the mind. The Labyrinth Society[18] provides a locator for modern labyrinths all over the world.
Labyrinth is a 1986 film about a young girl named Sarah who, angry with being forced to babysit her little brother, Toby, wishes for the goblins to take him away. To her surprise, the goblins do, and the Goblin King, Jareth, arrives to make her an offer. In exchange for her brother, she can have her dreams, but Toby will be turned into a goblin and remain in Jareth's kingdom forever. Sarah refuses the offer and must make her way through a dangerous labyrinth to Jareth's castle and retrieve her brother before her time limit of 13 hours is up.
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LABYRINTH (Gr. Aaf3uptvOos, Lat. labyrinthus), the name given by the Greeks and Romans to buildings, entirely or partly subterranean, containing a number of chambers and intricate passages, which rendered egress puzzling and difficult. The word is considered by some to be of Egyptian origin, while others connect it with the Gr. Xavpa, the passage of a mine. Another derivation suggested is from Aaf3pus, a Lydian or Carian word meaning a "double-edged axe" (Journal of Hellenic Studies, xxi. 109, 268), according to which the Cretan labyrinth or palace of Minos was the house of the double axe, the symbol of Zeus.
Pliny (Nat. Hist. xxxvi. 19, 91) mentions the following as the four famous labyrinths of antiquity.
r. The Egyptian: of which a description is given by Herodotus (ii. 148) and Strabo (xvii. 811). It was situated to the east of Lake Moeris, opposite the ancient site of Arsinoe or Crocodilopolis. According to Egyptologists, the word means "the temple at the entrance of the lake." According to Herodotus, the entire building, surrounded by a single wall, contained twelve courts and 3000 chambers, 1500 above and 1500 below ground. The roofs were wholly of stone, and the walls covered with sculpture. On one side stood a pyramid 40 orgyiae, or about 243 ft. high. Herodotus himself went through the upper chambers, but was not permitted to visit those underground, which he was told contained the tombs of the kings who had built the labyrinth, and of the sacred crocodiles. Other ancient authorities considered that it was built as a place of meeting for the Egyptian nomes or political divisions; but it is more likely that it was intended for sepulchral purposes. It was the work of Amenemhe III., of the 12th dynasty, who lived about 2300 B.C. It was first located by the Egyptologist Lepsius to the north of Hawara in the Fayum, and (in 1888) Flinders Petrie discovered its foundation, the extent of which is about l000 ft. long by Boo ft. wide. Immediately to the north of it is the pyramid of Hawara, in which the mummies of the king and his daughter have been found (see W. M. Flinders Petrie, Hawara, Biahmu, and Arsinoe, 1889).
2. The Cretan: said to have been built by Daedalus on the plan of the Egyptian, and famous for its connexion with the legend of the Minotaur. It is doubtful whether it ever had any real existence and Diodorus Siculus says that in his time it had already disappeared. By the older writers it was placed near Cnossus, and is represented on coins of that city, but nothing corresponding to it has been found during the course of the recent excavations, unless the royal palace was meant. The rocks of Crete are full of winding caves, which gave the first idea of the legendary labyrinth. Later writers (for instance, Claudian, De sexto Cons. Honorii, 634) place it near Gortyna, and a set of winding passages and chambers close to that place is still pointed out as the labyrinth; these are, however, in reality ancient quarries.
3. The Lemnian: similar in construction to the Egyptian. Remains of it existed in the time of Pliny. Its chief feature was its r 50 columns.
4. The Italian: a series of chambers in the lower part of the tomb of Porsena at Clusium. This tomb was 300 ft. square and 50 ft. high, and underneath it was a labyrinth, from which FIG. 1. - Labyrinth of London and Wise.
it was exceedingly difficult to find an exit without the assistance of a clew of thread. It has been maintained that this tomb is to be recognized in the mound named Poggio Gajella near Chiusi.
Lastly, Pliny (xxxvi. 19) applies the word to a rude drawing on the ground or pavement, to some extent anticipating the modern or garden maze.
On the Egyptian labyrinth see A. Wiedemann, Agyptische Geschichte (1884), p. 258, and his edition of the second book of Herodotus (:890); on the Cretan, C. Hock, Kreta (1823-1829), and A. J. Evans in Journal of Hellenic Studies; on the subject generally, articles in Roscher's Lexikon der Mythologie and Daremberg and Saglio's Dictionnaire des antiquites. In gardening, a labyrinth or maze means an intricate network of pathways enclosed by hedges or plantations, so that those FIG. 2. - Labyrinth of Batty Langley. who enter become bewildered in their efforts to find the centre or make their exit. It is a remnant of the old geometrical style of gardening. There are two methods of forming it. That which is perhaps the more common consists of walks, or alleys as they FIG. 3. - Labyrinth at Versailles.
were formerly called, laid out and kept to an equal width or nearly so by parallel hedges, which should be so close and thick that the eye cannot readily penetrate them. The task is to get to the centre, which is often raised, and generally contains a covered seat, a fountain, a statue or even a small group of trees. After reaching this point the next thing is to return to the entrance, when it is found that egress is as difficult as ingress. To every design of this sort there should be a key, but even those who know the key are apt to be perplexed. Sometimes the design consists of alleys only, as in fig. 1, published in 1706 by London and Wise. In such a case, when the farther end is reached, there only remains to travel back again. Of a more pretentious character was a design published by Switzer in 1742.
FIG. 4. - Maze at Hampton Court.
This is of octagonal form, with very numerous parallel hedges and paths, and "six different entrances, whereof there is but one that leads to the centre, and that is attended with some difficulties and a great many stops." Some of the older designs for labyrinths, however, avoid this close parallelism of the alleys, which, though equally involved and intricate in their windings, are carried through blocks of thick planting, as shown in fig. 2, from a design published in 1728 by Batty Langley. These blocks of shrubbery have been called wildernesses. To this latter class belongs the celebrated labyrinth at Versailles (fig. 3), of which Switzer observes, that it "is allowed by all to be the noblest of its kind in the world." Whatever style be adopted, it is essential that there should be a thick healthy growth of the hedges or shrubberies that confine the wanderer. The trees used should be impenetrable to the eye, and so tall that no one can look over them; and the paths should be of gravel and well kept. The trees chiefly used for the hedges, and the best for the purpose, are the hornbeam among deciduous trees, or the yew among evergreens. The beech might be used instead of the hornbeam on suitable soil. The green holly might be planted FIG. 5. - Maze at Somerleyton Hall.
as an evergreen with very good results, and so might the American arbor vitae if the natural soil presented no obstacle. The ground must be well prepared, so as to give the trees a good start, and a mulching of manure during the early years of their growth would be of much advantage. They must be kept trimmed in or clipped, especially in their earlier stages; trimming with the knife is much to be preferred to clipping with shears. Any plants getting much in advance of the rest should be topped, and the whole kept to some 4 ft. or 5 ft. in height until the lower parts are well thickened, when it may be allowed to acquire the allotted height by moderate annual increments. In cutting, the hedge (as indeed all hedges) should be XVI. 2 kept broadest at the base and narrowed upwards, which prevents it from getting thin and bare below by the stronger growth being drawn to the tops.
The maze in the gardens at Hampton Court Palace (fig. 4) is considered one of the finest examples in England. It was planted in the early part of the reign of William III., though it has been supposed that a maze had existed there since the time of Henry VIII. It is constructed on the hedge and alley system, and was, it is believed, originally planted with hornbeam, but many of the plants have been replaced by hollies, yews, &c., so that the vegetation is mixed. The walks are about half a mile in length, and the ground occupied is a little over a quarter of an acre. The centre contains two large trees, with a seat beneath each. The key to reach this resting place is to keep the right hand continuously in contact with the hedge from first to last, going round all the stops.
The maze in the gardens at Somerleyton Hall, near Lowestoft (fig. 5), was designed by Mr John Thomas. The hedges are of English FIG. 6. - Labyrinth in Horticultural Society's Garden.
yew, are about 62 ft. high, and have been planted about sixty years. In the centre is a grass mound, raised to the height of the hedges, and on this mound is a pagoda, approached by a curved grass path. At the two corners on the western side are banks of laurels 15 or 16 ft. high. On each side of the hedges throughout the labyrinth is a small strip of grass.
There was also a labyrinth at Theobald's Park, near Cheshunt, when this place passed from the earl of Salisbury into the possession of James I. Another is said to have existed at Wimbledon House, the seat of Earl Spencer, which was probably laid out by Brown in the 18th century. There is an interesting labyrinth, somewhat after the plan of fig 2, at Mistley Place, Manningtree.
When the gardens of the Royal Horticultural Society at South Kensington were being planned, Albert, Prince Consort, the president of the society, especially desired that there should be a maze formed in the ante-garden, which was made in the form shown in fig. 6. This labyrinth, designed by Lieut. W. A. Nesfield, was for many years the chief point of attraction to the younger visitors to the gardens; but it was allowed to go to ruin, and had to be destroyed. The gardens themselves are now built over. (T. Mo.)
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Labyrinth | Table of Contents |
Walkthrough
| Labyrinth | |
|---|---|
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| Developer(s) | Lucasfilm Games |
| Publisher(s) | Activision |
| Release date(s) | |
| Genre(s) | Adventure |
| System(s) | Commodore 64/128, Apple II, MSX2 |
| Players | 1 |
Labyrinth (also known as Labyrinth: The Computer Game) is a graphic adventure computer game, inspired by the Jim Henson fantasy film, Labyrinth. The game was developed by Lucasfilm Games (now LucasArts) and published by Activision in 1986 for the Apple IIe and IIc, Commodore 64/128, and translated into Japanese by Pack-In-Video for the MSX2. It was the first adventure game to be developed by the LucasArts development house, and as such it can be seen as a more primitive precursor to the development of the SCUMM game engine. It is also one of the few adventure games made by the company to not use a variation of the SCUMM game engine (the other games being the GrimE-based Grim Fandango and Escape from Monkey Island). The game engine and graphics are very similar to a later work by Lucasfilm Games called Habitat.
Labyrinth is a menu-driven adventure game, played from a third-person perspective. The game begins by asking the player their name and gender, the game then opens as a text-based adventure. During the text-based portion of the game the player goes to the theater to see the film Labyrinth. The movie starts and an image of Jareth comes on the movie screen, after which the game becomes a graphic adventure.
 Japanese MSX2 box |
Labyrinth/Table of Contents
   | The International Labyrinth Society - The Labyrinth Society: Welcome! |
| | Jeff Saward's Labyrinthos site - Welcome to the Labyrinthos Homepage |
| | Bibliography. - Mazes and Labyriths: Appendix: Bibliography of Mazes and Labyrinths |
| | W.H. Matthews, ''Mazes and Labyrinths: Their History and Development'' - Mazes and Labyriths Index |
| | Labyrinth Society - World-Wide Labyrinth Locator - Welcome |
| | Maze classification - Think Labyrinth: Maze Algorithms |
| | Mystery Labyrinth - mymaze = Geheimnis Labyrinth |
| | Labyrinth Arts - Stoke-on-Trent (UK) based Community Group - labyrintharts.co.uk |
| | IRRGARTENWELT.DE - IRRGARTENWELT - Die schönsten Irrgärten und Labyrinthe von Lars O. Heintel - Rätsel, Spiele, Lernspiele, Kinderspiele, Tipps, Infos, Geschichten, Gedichte |
| | Jo Edkins's Maze Page - History of Mazes and Labyrinths |
| | ''The Labyrinth'' - Maja Dzartovska-Hill Fine Art |
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