Metal hoarding practices in Europe and the Aegean during the Bronze Age have received considerable attention from scholars, yet interpretations remain debated mainly focusing on the reasons behind their initial gathering and burial. Their contexts, composition and quantity varies in time and between regions. In Crete during the Bronze Age, the hoarding phenomenon is quite peculiar and different from mainland Europe as most of them are retrieved inside buildings. An other particularity is the preponderance of tools within these assemblages. The tools represented are diverse (double axes, chisels, saws, adzes, drills, etc.) and in small number (a median number of 5 tools per deposit). They are thus commonly referred to as “toolkits” and could potentially be associated with various crafts. While prior research has identified 13 of them as “carpenter’s hoards”, my investigation has extended this to 26 such deposits in Middle and Late Bronze Age Crete (2050 – 1100 B.C.E.). The terms used to described them (hoards, deposits, toolkits) need to be put in perspective with the different contexts in which they were uncovered. In this regard I conduct a comprehensive review of their spatial distribution within buildings and archaeological strata. By analysing newly published data and a return to first hand publications, I also examine their organisation whether found grouped together, scattered or in unknown arrangements. In particular, I’ll carry out an in-depth look at the contexts of four examples from Malia. In order to consider the crafts they could be related to (i.e. carpentry), I also take into account the tools’ association, and the intertwined relationship between copper alloy and lithic tools included in the same assemblages. In a broader perspective I also examine the place of these deposits in the evolving socio-economic context of Middle and Late Bronze Age Crete, notably their connection or independence to palatial control. In this presentation, I argue that they can effectively be understood as toolkits and that the deposition practice they represent is primarily a storage purpose pending future use for several crafts, especially wood- and stoneworking.