She noted the evident love of nature, both wild and cultivated, in Minoan art and architecture. She also noted the lack of a striving for monumentality in Minoan palaces, and the absence of war and motives dramatizing a sense of destiny, guilt and brooding. She contrasts Minoan art and architecture to the heavy, foreboding and warlike architecture of Mycenae and the strong presence of themes of fate, martial heroism and moral guilt in later Greek mythology, some of the stories of which must, in an early form, already have existed at Mycenae (as well as similar motives in Babylonian literature, e.g., in the Gilgamesh epic). Although we do not know anything of the specific content of Minoan myth and folklore, themes of the kind mentioned—war, destiny, guilt, curses—do not even seem to be alluded to in the art of the period, as also noted by Hawkes. This perspective on the differences between Crete and Mycenaean Greece has remained controversial but has also spurred discussion about Minoan Crete, its religion, the nature of its monarchy and the wider set of relations between Minoan, Mycenaean and later Greek cultures.