The digital application "Paths of Culture in Sikinos" and the project "Recording and Highlighting the Flora of Sikinos" are two new initiatives implemented in 2025 with funding from the Cycladic Identity Initiative of the Museum of Cycladic Art.

Cycladic Identity aims at protecting the cultural and natural heritage of the Cyclades, as well as preserving, restoring, and showcasing their unique identity. With Culture, Biodiversity, and Intangible Cultural Heritage as its core priorities, the initiative functions as a platform for attracting and distributing resources to programs implemented by organizations active on the islands. The initiative is now completing its second year, having already supported 16 programs across 11 Cycladic islands, including one inter-Cycladic project. (Cover photo: Cycladic Identity Initiative)

The network of paths in the Cycladic islands is part of the region's cultural heritage and unique character. These trails were created over centuries with great effort and a deep sense of aesthetics by the local inhabitants. On Sikinos, the trail network includes seven marked routes with a total length of 56 kilometers, connecting landscapes of exceptional natural beauty with archaeological sites, chapels, and traditional settlements. (Photo: Cycladic Identity Initiative)

The "Paths of Culture in Sikinos" application, implemented by the Hellenic Society for the Environment and Cultural Heritage (ELLET), is a digital tool that allows visitors to explore the island’s historic trails safely, accurately, and with in-depth information about its cultural identity. In July, the first presentation of the app was held at Sikinos Elementary School. The event included a live demonstration of the application’s features, as well as an open discussion with the local community about the importance of preserving and highlighting the Cycladic identity through digital tools.

The new application, “Sikinos Paths”, available for free on both Android and iOS, serves as a navigation assistant for hikers, enhancing their safety through offline maps and reliable trail information. It also provides bilingual content (Greek–English), supporting the tourism promotion of Sikinos and attracting visitors looking for authentic exploration experiences. To ensure maximum accessibility, the island's trail signage has been updated with modern signs featuring QR codes that link directly to the application.

Trail 1 (Chorio – Episkopi – Manalis Well – St. Panteleimon – Alopronia) - walking distance12,9 km, distance Time 4 hours 30 mins - includes sightseeing of traditional windmills, the Episkopi church and ancient monument, the Byzantine churches of St. Anne and St. George, cobbled paths with impressive low stone walls, the chapel of St. Panteleimon, and  traditional vineyards (Source: GREEK PATHS OF CULTURE) (upper photos: Cycladic Identity Initiative)

Footpaths were shaped over the centuries through the hard work and refined sense of beauty of our ancestors. They connected towns and villages, facilitating not only the movement of goods but also the exchange of culture. Over time, however, with the advent of modern transportation, many of these paths were abandoned—overgrown by vegetation or, in some cases, bulldozed and paved over as a convenient way to build road networks. The Hellenic Society for the Environment and Cultural Heritage (ELLET), through its “Paths of Culture” initiative, seeks to breathe new life into surviving footpaths of particular natural beauty and historical value. The “Greek Paths of Culture” program has already been implemented in 12 regions across Greece, and in October 2019, it  was honored with a Europa Nostra Award in the Awareness-Raising category. (Source: Hellenic Society for the Environment and Cultural Heritage - ELLET)

Flora of Sikinos (Photos: Cycladic Identity Initiative)

The second program completed in Sikinos is "Recording and Highlighting the Flora of Sikinos". Implemented by the Sikinos Association, this important initiative focuses on the scientific documentation, educational use, and public presentation of the island’s natural wealth. The project concentrated on cataloguing endemic and aromatic plants, as well as documenting the various flora species found on Sikinos. As part of this effort, a physical herbarium—a collection of dried and carefully documented plant specimens—was created. In July, the program and the herbarium exhibition were presented at Sikinos Elementary School. Students on Sikinos will now have the opportunity to learn about the island’s flora, gaining valuable knowledge with the aim of becoming future stewards of their natural heritage. Additionally, a proposal is underway to develop plans for cultivating aromatic plants on the island, focusing on native species with the best potential to thrive.

The island of Sikinos, one of the last inhabited islands in the Cyclades to retain significant uninhabited areas, has been proposed for a detailed study of its flora. Covering an area of 41,000 acres, with approximately 4,500 acres historically cultivated, Sikinos has traditionally maintained a predominantly agricultural lifestyle, setting it apart from many other small Cycladic islands. Unlike its neighbors, it lacks a strong maritime tradition, focusing instead on cultivation. The island’s cultivable lands, rocky barren landscapes, gorges, and uncultivated areas provide a unique habitat for characteristic flora, including potentially many endemic species that remain largely unaffected by cultivation, pesticides, road construction, and building developments. (Photo: Cycladic Identity Initiative)

Sikinos is a relatively small Cycladic island, perfect for a quiet holiday filled with relaxing walks through scenic locations and swimming in crystal-clear waters—far from the crowds. The visitor escapes the stress and anxiety of everyday life on this charming island, nestled between Ios and Folegandros. Sikinos is characterized by terraced landscapes, low stone fences, and countless chapels scattered across a scenery bathed in the stunning green and blue hues of the Aegean Sea. While its terrain is largely rocky and lacks abundant greenery, the island’s most striking feature is the steep cliff on its northwest side, where the picturesque Chora is perched. (Source: visitgreece.gr, Photo: aegeanislands.gr)

Chora is one of the most beautiful capital towns in the Cyclades, with stone manors and narrow alleys. It has two settlements, the oldest of which is called Kastro (Castle), also called Sikinos, while the second settlement, Chorio (the Greek word for village), has been built in recent years. (Photo: aegeanislands.gr)

The monastery of Zoodochos Pigis (meaning Life Giving Fountain) or Chrysopigi, built at the top of a cliff, in an amazing location, gives at first the impression of a castle. It was built in 1690 and as it appears from the fortification, the battlements and the murder holes, it was a last resort of the Sikinians every time the Castle was under malicious raiders. The visitor enjoys a breathtaking sunset from there.  (Photos: aegeanislands.gr)

The monument of Episkopi on Sikinos is a Roman mausoleum dating back to the 3^rd century. Because of its conversion to a Byzantine church, it was continuously used and has therefore survived nearly intact. Its ancient structure, combined with interventions from several historical periods, offers an incomparable palimpsest of archaeological periods that is rarely preserved in ancient monuments. The Ephorate of Antiquities of the Cyclades decided to restore the building in 2016 and reopen it to the public. During the restoration work on Episkopi, archaeologists made many valuable discoveries, such as inscriptions and remnants of Roman and Byzantine wall paintings, which were preserved by implementing a microclimate monitoring system. The most important find was the hermetically sealed grave of a woman of high rank, named ‘Neiko’, which was dated to the 3^rd century. This "palimpsest of history" was awarded the European Heritage Award / Europa Nostra Award in 2022 for its significant cultural value and restoration efforts. (Source: europeanheritageawards.eu,  Photo: Ephorate of Antiquities of the Cyclades )

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The post Exploring Sikinos Island: Cultural Trails and Natural Treasures Through Innovation appeared first on Greek News Agenda.

About 100 years ago, Greek photographer Elli Souyioultzoglou-Seraidari (1899-1998), –better known by her professional name of Nelly's, visited Santorini (Thira) and captured the island’s daily life and landscapes through her camera lens. Her black-and-white photographs reveal the uniqueness of the Aegean landscape, skillfully playing with light, shadow and the geometry of volumes. From approximately 200 glass negatives that Nelly’s captured during her regular summer visits to the island (1928-1932), 40 themes were selected and are now presented as contemporary digital prints at the exhibition “Nelly’s: Santorini between the Wars” at the Kastelana Photography Centre in the medieval village of Pyrgos (cover pohoto: Nelly’s, Santorini 1928-1932 ©Benaki Museum/Photographic Archives).

The exhibition is co-organized by the Benaki Museum and the Kastelana Photography Centre, under the auspices of the Municipality of Thira and is part of the initiative "Santorini 2025: Year of Promotion and Support of Authenticity", aiming to emphasize the island's unique cultural identity and sustainable future.

The exhibition “Nelly’s: Santorini between the Wars” is curated by Aliki Tsirigialou, Head of the Benaki Museum Photographic Archives, and Tonia Noussia, Architect – Museologist, Founder of the Kastelana Photography Centre. Almost a hundred years later, Nelly’s images return to their birthplace creating a dialogue with the changed space of today's Santorini.

Nelly’s, Santorini 1928-1932 ©Benaki Museum / Photographic Archives

Nelly’s visited Thera for the first time in the summer of 1928, at the urging of her sister Maro Sougioultzoglou and her Santorinian husband Spyridon A. Malaspina. The steep volcanic landscape and the island’s unique architecture immediately attracted her interest. The dark shades of lava and the deep blue of the sea are harmoniously balanced, in tones of white and black, with the dazzling Aegean light as it reflects on the surface of houses. The curves outlined by the shadows on the buildings, the arches in the picturesque streets, the domes of the churches, but also the morphology of the terrain itself, are made manifest in her compositions. The human presence is discreet, so much so that the island seems deserted. The few elderly women and children who appear in her photographs have been placed deliberately, serving her iconographic style. (Source: Benaki Museum, Kastelana Photography Centre)

Nelly’s, Santorini 1928-1932 ©Benaki Museum / Photographic Archives

From the medieval settlement of Pyrgos where the family stayed at the time, Nelly's toured the island, camera in hand. She walked along the cliffs of caldera, highlighting the awe-inspiring volcanic landscape. She stood in front of Skaros Rock in Imerovigli, capturing the vertical layers of the rocks with the texture and colors of the geological formations. She walked on the black sand beach of Kamari and observed the fluid continuity of land and sea. She followed the path to Mount Profitis Ilias and captured the expanse and vastness of the landscape, and she also wandered the cobbled streets of Pyrgos and Fira, where she recorded the life of human presence and absence.

Nelly’s, Santorini 1928-1932 ©Benaki Museum / Photographic Archives

It is noteworthy that Nelly's visit to Santorini coincided with the discovery of Cycladic architecture by the pioneers of modernism. The charm of the island landscape that influenced Le Corbusier and other important architects of the time was captured in a unique way by Nelly's lens, creating a valuable testimony to the evolution of aesthetic perception in the 20^th century. Unlike her contemporary European photographers such as Herbert List or Henri Cartier-Bresson, who sought the "exotic" element in Greek landscapes, Nelly's approached the place with a deep understanding of its cultural identity. (Source: Benaki Museum, Kastelana Photography Centre)

In the summer of 1956, a major earthquake in the region of Amorgos struck the island of Santorini, causing significant damage to houses and infrastructure. We owe much of our knowledge of the island’s pre-earthquake appearance to its extensive recording by Nelly’s.

Nelly’s, Santorini 1928-1932 ©Benaki Museum / Photographic Archives

Nelly’s, Santorini 1928-1932 ©Benaki Museum / Photographic Archives

Nelly's (1899–1998), was a pioneering Greek photographer originally from Asia Minor. Influenced early on by German photographic masters, she developed a classical aesthetic marked by freedom and movement. After establishing her studio in Athens in 1924, she focused on Greek subjects, capturing portraits of interwar Athenian society and Greek immigrants in the USA. Between 1927 and World War II, Nelly’s traveled extensively across Greece, documenting its people, landscapes, and ancient monuments, helping shape Greece’s visual identity in tourism. Known for her innovative use of natural light and thematic cohesion, she later worked in the USA, expanding into advertising and street photography. Nelly’s legacy remains influential for both its artistic quality and cultural significance.

In 1984, Nelly’s donated her entire archive, comprising over 50,000 negatives and 20,000 original prints, to the Benaki Museum Photographic Archives, contributing significantly to the preservation and dissemination of Greek photographic heritage.

Kastelana is a Photography Centre housed in a three storey listed building, part of the original gateway into Kasteli, Pyrgos medieval fortification. The aim of the Centre is to host photography exhibitions from contemporary or archival sources as well as giving the opportunity to visiting artists to show their work to the public. The administration and care of the collection of photographs by Antonis Lagadas is also one of the primary aims of the Centre.

The interior of the space remains unaltered over many centuries and together with the original furniture provides a setting for the appreciation of a typical house within the fortification, while the outside offers stunning views of the island. At the ground floor café, visitors can enjoy a range of Santorini gastronomic specialties.

Panoramic view of Pyrgos Kasteli (Castle) (Photo: santorini-view.com). It was one of the five castles built by the Venetians in the 15^th century (the other ones were those of Akrotiri, Skaros, Aghios Nikolaos in Oia and Emporio). It followed the style of a settlement fortification with a subsequent yard: around the core, in the centre of which there was a tower initially and a church at a later stage, a fortification yard was later developed, consisting of the external walls of the houses. In its centre stood the small square with the churches of Panagia and Aghios Georgios. Around the square, four more residential pockets were developed, while the (now demolished) public bakery stood to the north. (Source: santorinipyrgos.com)

The medieval village of Pyrgos is 7.5 km to the east of Fira and recently, it has become a significant attraction of the island. Built at the foot of Mesa Vouno, it is one of the most beautiful settlements of Santorini and stands out from a distance along many of the routes visitors can follow. In 1995, Pyrgos was declared a “preserved monument” by UNESCO.

The visitor steps back in time wandering through the charming paths of Kasteli in Pyrgos (Photo: santorini-view.com).

Dozens of visitors come every day at Pyrgos, surrounded by whitewashed churches and vineyards with their typical Santorinian vines (Photo: santorini.gr). They go up to the castle, explore the cobbled streets with the Cycladic and the neoclassical buildings, many of which have been rebuilt, drink coffee or soft drinks at coffee shops, enjoy their lunch or dinner at the settlement’s restaurants and taverns, see the sunset over the caldera at the top of the castle or on the terraces of the winery of the island’s Wine Producers Association, visit the museum of Aghia Triada, and do their shopping at the village’s shops. (Source: santorinipyrgos.com)

Timeless architecture and rugged beauty, exploring the historic Pyrgos Kasteli (Photo: santorini-view.com)

Santorini 2025: Year of Promotion and Support of Authenticity

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The post Nelly’s Santorini Photographic Journey (1928-1932): The Aegean in Black and White appeared first on Greek News Agenda.

Serifos, a small island in the western Cyclades, has a long history tied to its iron and copper mines, which brought prosperity from ancient times. After the end of the Greek Revolution in 1830, mining resumed on a large scale, focusing on surface iron deposits and boosting the local economy — albeit under harsh and unsafe conditions. During this period, the island’s population increased by approximately 2,000 people, as workers arrived from other Aegean islands (Paros, Karpathos, Amorgos, etc.) as well as from other regions of Greece (e.g., the Peloponnese) to work in the mines. In August 1916, miners went on strike to improve dangerous working conditions, demand fair wages, and establish the eight-hour workday. Following violent clashes, the mining company was forced to implement improvements. This strike became a landmark moment in the Greek labor movement. Mining eventually declined as resources were depleted, and today, no mining operations remain on the island (Cover photo: The loading bridge at Megalo Livadi, Source: serifos.gr/en). Serifos is now renowned for its beautiful beaches and for having one of the most picturesque Chora (capital town) in the Aegean.

Megalo Livadi is a village that developped around a sheltered bay in the southwest of the island in 1880, during the peak of Serifos’s mining activity. The village featured workers’ homes, a police station, a chemical laboratory, grocery stores, cafes, taverns, and a primary school (operating between 1900 and 1914). In 1890, the offices of the Serifos Spilialeza company, which exploited the island’s mines, were relocated here. They were housed in a neoclassical administrative building known as “Dioikitirio” designed in the style of the famous German architect Ernst Ziller. The building's ruins still stand at the edge of the beach and are currently undergoing restoration (at the right side of the photo above, Source: serifos.gr/en). Nearby stands the Miners’ Memorial, which honors those who lost their lives during the 1916 labor strike. Remnants of the mining era - including galleries, loading bridges, wagons, rail tracks, and building ruins - can still be seen on the bay’s left side.

Historic mining carts near Megalo Livadi loading bridge (upper, Photo: Or. Karamanlis), The Almyros Bathhouse, built in 1898, stands on the rocky coastline of the bay of Mega Livadi, and remains well-preserved despite constant exposure to sea winds and waves. The baths were used by the workers for therapeutic purposes (lower left, Photo: D. Mavrokordatou), Remains of mining equipment at Koutalas loading area (lower right, Photo: V.Pougkakioti) (Source: www.wmf.org/monuments/serifos-historic-mining-landscape)

Serifos’ historic mining landscape in the island’s southwest has been added to the World Monuments Fund’s (WMF) 2024 Watch List for endangered cultural heritage. The inclusion highlights the site’s vulnerability due to tourism development plans. “The island’s historic mining relics, including loading stairs in Megalo Livadi and Koutalas, face deterioration without protective measures”. “Serifos has an invaluable industrial heritage requiring protection to prevent its loss,” the WMF emphasized. Local archaeologist Ourania Vizyinou explained that the local community initiated this nomination after years of concern for the site’s preservation and that it was backed by the National Technical University of Athens and the University of the Aegean. Professor Ioannis Spilanis of the Aegean University said, “We trust this listing will drive collaboration between the Culture Ministry and local stakeholders to preserve the site and its history” (Source: ekathimerini.com)

The Ephorate of Antiquities of the Cyclades, in collaboration with the Cultural Association of Megalo Livadi Serifos and Assistant Professor Orestis Karamanlis (National and Kapodistrian University of Athens), is organizing a multimedia exhibition in summer 2025 titled "In the Years of Modern Mining Activity: Megalo Livadi, Serifos 1880–1960". The exhibition aims to highlight the unique identity and modern history of the area through its mining activity, as well as its intangible cultural heritage. It features AI-restored historical photos, rare press material, and archival content from the municipality, the miners' association, and local residents. The project seeks to uncover the often-overlooked recent past of Serifos – particularly of Megalo Livadi - while engaging both residents and visitors with this heritage.  It also encourages awareness of the area's dinstict identity and promotes collaboration toward a better-managed and more sustainable future for Serifos (Source: cyclades.culture.gov.gr, exhibition25.megalivadi.org/)

The exhibition is hosted at the Archaeological Museum of Serifos, housed in the former Municipal Hostel "Perseus," a building designed by architect Philippos Vokos between 1962 and 1963. It is a typical example of modernist architecture, reflecting the distinctive typology of the Xenia hotels—a network of publicly owned accommodations built in Greece during the 1950s and 1960s as part of a government initiative to develop the country’s tourism infrastructure. (Source: cyclades.culture.gov.gr)

Workers at the mines of Serifos, late 1880s (Photo: National Historical Museum of Athens, Source: exhibition25.megalivadi.org/).

Megalo Livadi in the late 1880s. Visible are the two ore loading ramps, one at the right and one at the left end of the bay. The elongated neoclassical building on the right is the Dioikitirio, the residence of the German mining contractor Emile Grohmann (Photo: National Historical Museum of Athens, Source: exhibition25.megalivadi.org/).

The exhibition about the island’s Modern Mining Activity enters into dialogue with Bob McCabe’s photographic exhibition “The Magic of Serifos”, which will also remain open to visitors this summer (photos above)

Serifos is an island with a glorious history, and a distinct character character of its own. Visitors are struck by the serenity of the landscape, as all the senses become attuned to its natural beauty. Composed of iron and granite, Serifos is the rockiest island in the Cyclades. Although arid, it boasts some of the most beautiful beaches in the Aegean Sea. The island’s villages are built in the traditional Cycladic style: whitewashed houses with brightly colored window frames that harmonize beautifully with the surrounding landscape.

In Homer's Odyssey, it is said that the island of Cyclops Polyphemus was Serifos, and that his residence was the “Cave of Cyclops”, located beneath the “Throne of Cyclops” near the settlement of Megalo Livadi (phohto left, Source: e-serifos.com).  According to the myth, Perseus arrived on the shores of Serifos with his mother, Danae, locked in a chest. To punish Polydectes, King of Serifos, Perseus killed the Gorgon Medusa - a mythical creature with living snakes for hair - and showed her severed head to Polydectes, who was instantly turned to stone. Perseus then lay down to rest. However, the frogs of Serifos, with their relentless singing, would not let him sleep. Annoyed, he asked Zeus to silence them. This story gave rise to the ancient expression "Serifian frog", which was used pejoratively to mock someone who lacked rhetorical skill. The archaic silver stater of Serifos (c. 580 BC), was based on a pun referencing the “Serifian frog” (photo right)

Chora is among the most beautiful villages in the Cyclades. Small whitewashed houses cover the rocky hillside overlooking the cove and Livadi, the island’s port. The village consists of two neighbourhoods - Pano Chora (Upper Chora, also known as Castro, meaning Castle) and Kato Chora (Lower Chora) - connected by a series of stairways. The entire layout of the town exudes harmony and elegant simplicity. The castle was constructed by the Venetians in the 15^th century on the ruins of an ancient settlement. Upon reaching the top, where picturesque chapels stand, visitors are rewarded with breathtaking views of the vast blue sky and the equally blue sea below. At the Piatsa, the marble-paved square in the heart of Ano Chora, stands the beautiful neoclassical Town Hall, built in 1907. (Source: visitgreece.gr)  

The White Tower (Aspros Pyrgos), a circular marble structure of the Late Classical to Hellenistic period, is a significant monument, dated between the 4^th and the 3^rd centuries BC. Built from large white marble blocks, it originally stood about 12 meters high and included a ground floor and two upper levels arranged in a circular layout. Today, only a portion of the structure survives, with a maximum remaining height of nearly 5 meters. Its architectural features, along with the panoramic view from its location, suggest it was used as an observatory. In the late 19^th century, a small cemetery and a church dedicated to Agios Charalambos were established nearby, incorporating marble stones from the ancient tower into their construction. (Source: serifos.gr/en)

Serifos is renowned for having some of the most beautiful beaches in the Aegean, with over 70 scattered along its intricate, lacy coastline. The island is dotted with numerous small and larger bays, accessible on foot, by road, or by boat—inviting visitors to explore and discover their own slice of paradise. Most of the island’s beaches remain unorganized and naturally preserved, retaining their timeless, untouched beauty. (Source: serifos.gr/en/paralies/)

Livadakia is located just below the settlement of the same name, next to the port on the south side of the island. It is home to the only organized campsite on Serifos. The golden sandy beach is shaded by numerous tamarisk trees, providing a pleasant spot for visitors to relax. (Source: serifos.gr/en)

Psili Ammos is considered the most famous beach on the island and was named the best beach in Europe by The Sunday Times in 2003. Its turquoise waters and fine golden sand create a dreamy setting. The shallow waters make it ideal for carefree family moments, while plenty of tamarisk trees provide ample shade during the summer months. (Source: serifos.gr/en/)

Ganema is one of the largest and most picturesque beaches on Serifos, located on the south side of the island. Known for its crystal-clear waters, dark sand, and abundant tamarisk trees lining the shore, it is considered one of the island’s most beautiful beaches. At sunset, the sun dipping into the sea creates one of the most breathtaking moments of the day. (Source: serifos.gr/en)

The beach of Agios Sostis is located on the east side of the island and takes its name from the chapel of the same name, situated on the nearby cape. It is arguably the most picturesque beach on Serifos—a small bay of exceptional natural beauty, shaded by a few tamarisk trees. (Source: serifos.gr/en)

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The post Serifos: The Intangible Cultural Heritage of Its Mining Activity appeared first on Greek News Agenda.

Ancient Poliochne, on the east coast of the North Aegean island of Lemnos is considered one of the major early urban centers of the Early Bronze Age (c. 3200 – 2100 BC) and the first city in Europe with a basic social and civic structure. Positioned on an elongated rise near the cove of Vroskopos and between two rivers, it thrived due to its strategic location and trade connections with the Northeast Aegean, Asia Minor, the Greek mainland, and the Cyclades. Lemnos was part of the cultural sphere of the Northeast Aegean, along with Troy (Minor Asia), Thermi (on the island of Lesbos), Emporio (Chios), and the Heraeon (Samos). Poliochne offered safe mooring, fresh water, and fertile land, and was inhabited from the mid-5^th to the late 2^nd millennium BC. Several other settlements on Lemnos developed concurrently with Poliochne (Cover photo: Aerial view of Poliochne southern sector, Source: poliochne.gr)

A rectangular building with a double row of stepped seats along its long sides, located on the southwest side of the hill of Poliochne, is considered the earliest evidence of democracy in Europe. Dating back to the Yellow Period (2200–2100 BC), this structure measures over 50 square metres and could have accommodated more than 50 individuals. According to Italian archaeologists, who were in charge of the excavations in the area, the building was likely used as a type of "Bouleuterion" (assembly house), serving as a meeting place for the "notables" or elders - representatives of the settlement's families. These individuals would gather to discuss and address the community’s concerns, highlighting an early form of civic organization. (Source: ime.gr, Photo:  Ephorate of Antiquities of Lesbos)

The city of Poliochne featured fortifications, public buildings, squares, paved roads with water drains, wells, mansions, and smaller stone-built houses. Distinctive pottery styles emerged, such as the stemmed fruit-bowl, tripod pot, and depas cup. Residents engaged in farming, fishing, textile-making, the manufacture of stone tools and weapons, and metalworking— employing techniques such as lost-wax casting by the Green Period. (Source: odysseus.culture.gr)

Aerial view of the archaeological site of Poliochne (Source: poliochne.gr). Excavations began in the 1930s, conducted by the Italian School of Archaeology at Athens A. Della Seta, the School's director, along with his students, excavated nearly two-thirds of the settlement between 1931-1936. Further research continued in phases through the 1980s, with the aim of restoring the buildings.

Poliochni’s development during the Early Bronze Age is marked by color-coded phases. The Blue Period (3200–2700 BC), probably before Troy I, saw a population of around 800–1,000, growing to nearly 1,500 in the Green Period (2700-2400 BC). The city declined in the Red Period (2400–2200 BC) and was abandoned during the Yellow Period (2200–2100 BC) after a major earthquake. (Source: poliochne.gr)

The best-preserved and most thoroughly investigated section of the enclosure wall - measuring 130 m in length, 4.50 m in preserved height, and between 0.70 and 2.80 meters in thickness - is the one that defines the west and south sides of the hill of Poliochne. This structure, of a public and multifaceted nature, is closely linked to the architecture and organization of the Early Bronze Age settlement. (Source: poliochne.gr)

Excavation research in the eastern sector (left, Source: poliochne.gr). Depas cup (Amphikypellon) from Poliochne, found in 1953, Early Bronze Age (2200-2100 BC), height 0,224 m, Archaeological Museum of Lemnos. The depas is a distinctive Bronze Age drinking cup mentioned by Homer,  characterized by a tall, narrow beaker with a round base and two opposing handles forming a circle (right, Source:  odysseus.culture.gr)

Room 643 at Poliochne yielded a golden hoard, contemporary with the one discovered by Schliemann at Troy, which demonstrates the owner's financial and political importance and the extent to which wealth was accumulated with the creation of social classes. Hair rings (top left), a pin (bottom left), necklaces (middle) and a choker (bottom right). The hoard is exhibited at the Athens National Archaeological Museum. (Source: Austrian Archaeological Institute)

Basket earrings with dangling pendants, Poliochne, Lemnos, Early Bronze Age (ca. 2450-2200 BC), Athens, National Archaeological Museum. Especially close ties with artifacts in the Trojan Gold are visible in items such as gold basket earrings worked in filigree and granulation with dangling pendants of cutout gold sheet found at Poliochne. (ca. 2450-2200 BC) (Source: academia.edu)

Lemnos is a beautiful island in the northern Aegean Sea, shaped by volcanic eruptions in the distant past. It boasts a centuries-old history and is a popular holiday destination that captivates visitors with its striking rock formations, unusual volcanic landscapes, rolling green hills, fertile plains, vast sand dunes, golden beaches, and wetlands teeming with life — an ideal place to relax. The island is home to impressive archaeological sites, fortresses, traditional villages, and warm, hospitable locals. Its distinctive and delicious cuisine is considered among the best in the Aegean, featuring products renowned since antiquity — including wine, honey, cheese, fresh fish, and seafood dishes.

Myrina is the capital and main port of Lemnos, built on the site of the island’s ancient town on the west coast. It is named after the wife of Thoas, the first king of Lemnos. The town’s slab-paved alleys, seaside promenade lined with traditional residences, and the castle overlooking the harbor offer some of the most picturesque views on the island. The Byzantine castle stands on a steep, rocky peninsula. It was originally constructed by Byzantine Emperor Andronicus I Comnenus and later took its final form in the early 13th century under Filocalo Navigajoso, the Venetian Grand Duke of Lemnos. (Source: visitgreece.gr, Photo: limnos.gov.gr)

Houses of the so-called "Macedonian type," where the second floor projects outward and is supported by wooden beams (known as sachnisi), can be seen in the narrow alleys of Myrina. This architectural style is also found on other islands in the northeastern Aegean. The 19^th century was a period of economic prosperity for Lemnos. The growth of trade and the influx of wealth from Lemnian emigrants created new economic conditions, which are reflected in the island’s architectural character. (Source:  limnosguide.com.gr)

Hephaestia is an ancient town located on the northern coast of Lemnos. The town was named in honor of Hephaestus, the Olympian god of fire and metallurgy, whose worship was prominent on the island. Myth has it that Hephaestus, had his workshop on Limnos Island. He landed on the legendary Mt. Mosychlo, when Zeus, the father of gods, in his anger seized him and threw him away from Mt. Olumpus. From the 8^th to the 6^th century BCE, Hephaestia served as the island’s capital. The ancient Greek theater at the site dates from the late 5^th to early 4^th century BC. (Photo: limnos.gov.gr)

The winding shoreline stretches and curves for 260km, shaping the island’s sheltered coves, picturesque little harbors, and golden sandy beaches washed by crystal-clear waters.

Plati Beach, just a short distance from Myrina, is known for its well-developed facilities. (Source: limnosguide.com.gr)

Agios Ioannis, with its shallow, crystal-clear waters and organized beach awarded the Blue Flag, is an ideal place to watch the sunset. (Source: limnosguide.com.gr)

The silky white sand, and the crystal-clear, green-azure and calm waters, render Zematas one of the most popular beaches on the island. Its shallow waters are excellent for families with young children. (Source: limnosguide.com.gr)

On the north part of the island, on the hillsides of Katalakkos village lies an area of uncommon beauty. Pachies Ammoudies, are dunes of fine sand, which alongside the scattered brush woods recall the charm of the desert at the north of the Aegean Sea. Expanding over an area of 17.5 acres, they create a magnificent landscape that is unique in Greece. (Source: limnosguide.com.gr)

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The “syrmata” (wires) buildings on the island of Milos are traditional small, single-room structures built directly along the coast in small fishing villages. Historically, they were used as boat storage, as shelters during the harsh winter months, or as workshops. They are either fully or partially carved into the volcanic rocks of the island and are just large enough to store a boat (typically about 6 meters long). Some “syrmata” were expanded with a second floor, providing living space for the fishermen. They are characterized by colorful, vibrant wooden doors. The fishermen typically selected the same color for the “syrmata” as their boat, as the buildings were frequently painted with leftover paint from painting the boats. Blue, red, and yellow were the most common colors. They can be found as individual buildings or in groups, usually arranged in a radial layout along the shoreline, following the natural shape of a sheltered bay. (Cover photo: Klima, a traditional fishing village with colorful two-story "syrmata" built into the natural cavities of the rocks, Source: visit.milos.gr)

Firopotamos, a seaside settlement with a creek surrounded by “syrmata”

In total, there are 14 closely-knit groups of “syrmata” on Milos. Most of them are located in the northern and eastern parts of the island, in coastal areas and fishermen villages such as Aghios Konstantinos, Alogomandra, Empourios, Kaminia, Mandrakia, Mytakas, Pachaina, Provatas, Schinopi, Fyriplaka and Fyropotamos, as well as in the traditional settlements of Klima, Areti and Fourkovouni.

“Syrmata” are an example of adaptive architecture—buildings that were designed with specific practical purposes in mind, but over time, they have evolved into an integral and iconic part of the island's architectural, cultural and tourism landscape.

Colorful “syrmata” at Firopotamos, nestled in the white volcanic rocks

Areti (left) and Fourkovouni (right), small fishing villages with colorful “syrmata” (Source: visit.milos.gr)

In recent years, many “syrmata” buildings have lost their traditional function as boat storage facilities and are being converted into private residences or tourist accommodations, often with incongruous additions. In an effort to halt alterations to these local treasures, the General Secretariat for the Aegean and Island Policy has decided to classify them as protected edifices. An initial group of 52 buildings in Mandrakia has already received this status.

Mandrakia, a traditional fishing village, surrounded by colorful “syrmata”

Manolis Koutoulakis, General Secretary for the Aegean and Island Policy, told Kathimerini newspaper that “the syrmata are an image closely tied to Milos, a part of the island’s intangible cultural heritage. They are fine examples of local architectural tradition and landmarks of the island”. “The first attempt to record and protect them was made many years ago but was never completed. We decided to restart the process recently with the help of the Department for Preserved Buildings and Natural Beauty, due to the growing pressure to turn them into accommodations – something that leads to the distortion of these structures and the loss of their character. In total, there are 14 closely-knit groups of “syrmata” on Milos (we are not focusing on individual ones), and we’re starting with Mandrakia, one of the best-preserved clusters.” (Source: Kathimerini newspaper)

 “Syrmata" at Mandrakia (left - commons.wikimedia.org), “Syrmata” at Mytakas carved into volcanic rocks (right - commons.wikimedia.org)

Traditional fishing boats (kaikia) at Mandrakia

The General Secretariat's decision requires that designated buildings be preserved in their original form, excluding later additions, and that surrounding features like pathways, courtyards and stairways be protected as well. Any modifications to the "syrmata" must be removed, restoring their original appearance. The most significant and controversial aspect is the strict limits on their use. Beyond their original purpose as boat shelters or private residences, only small local product shops, cultural venues (e.g., exhibition areas, folk museums or art workshops), and local association offices will be permitted. Accommodations would require a tourism license, which is not feasible due to the design of the structures.

Tripiti, a traditional well-preserved settlement, almost united with Plaka (the capital of the island), built amphitheatrically over the ruins of the classic city of Klima. Its name is due to its soft volcanic rocks, which looked like holes, as well as to the many holes that are carved in the rock on which it is built. (Source: visit.milos.gr)

Located in the southwest part of the Cyclades, Milos boasts a unique range of natural landscapes shaped by volcanic activity. This is reflected in the island's abundance of hot springs, caves, and geological formations.

Milos has a rich history that dates back to ancient times. The island was inhabited as early as the Neolithic period, and its strategic location made it a significant trading hub in antiquity. It was known for its mineral resources, particularly high-quality obsidian, which was used for tools and traded across the Aegean. During the classical era, Milos became famous for its marble. The island is home to numerous significant archaeological sites, including the Bronze Age settlement of Phylakopi, the ancient city at Klima (where the renowned marble statue of Venus of Milo was discovered), the early Christian catacombs, and several interesting museums, such as the Mining Museum, which showcases Milos’ 11.000-years-old mineral history.

The “Lady of Phylakopi”, wheel-made figurine of a goddess or priestess, 45 cm, Late Helladic IIIA period, Phylakopi III, 14^th c BC (left), Pithos jar from Phylakopi III, 14^th c BC (right), Milos Archaeological Museum

The Archaeological Museum of Milos is housed in a neoclassical building of 1870, designed by Ernst Ziller. The museum’s exhibits date from the Neolithic period until Late Antiquity and have been aggregated from the important Prehistoric settlement of Phylakopi in their majority, as well as from other sites of the island. (Source: archaeologicalmuseums.gr)

The ancient Roman Theater was originally built by the inhabitants of the ancient city of Klima, probably during the Hellenistic era (3^rd century BC). However, after the destruction of the city by the Athenians, on top of the surviving bases of the classical building was built a larger one with Parian all-white marble and wonderful reliefs, during the Roman years, which is estimated to hold about 7,000 spectators. (Source: visit.milos.gr)

With more than 75 beaches around the island, Milos is blessed with stunning and pristine shores. This volcanic land, a true wonder of nature, has become a renowned and beloved destination, featuring dramatic lacy shores sculpted by strong winds and powerful waves. Milos boasts an impressive variety of beaches, some with soft white sand, others with pebbly bays surrounded by stones and rocks in shades of white, red, yellow or even black. Visitors can choose from fully organized beaches or quieter, wilder spots with unique colors and varying depths in the sea.

Kleftiko, located in the south of the island, is a remarkable set of gray and white rocks with unique shapes and formations, some of which lead to sandy beaches. Caves and pits, created over centuries by the forces of air and sea, add to its intriguing landscape. The area was once used as a shelter and base by pirates, which is how it got its name.  (Source: visit.milos.gr)

Sarakiniko, the most famous beach in the north of the island, is renowned for its unique lunar landscape. The beach gets its name from its historical use by pirates as a shelter, and the ship’s bollards, still carved into the rock, are a testament to this. The striking whiteness of the rocks, combined with the lack of vegetation, creates a one-of-a-kind atmosphere that visitors are unlikely to forget. (Source: visit.milos.gr)

Next to the ruins of the ancient city of Phylakopi, in the north of the island, are the three caves of Papafragas. Visitors can descend a steep carving in the rock to swim in the turquoise waters, surrounded by gray and white rocks that lead out to the open sea. (Source: visit.milos.gr)

Paliochori beach, located in the south of the island, stretches nearly 2 km and is extremely popular. It features colorful pebbles, coarse sand, and crystal-clear waters. Visitors have the opportunity to experience unique and striking views, a result of the volcanic energy and geological vitality of the area. (Source: visit.milos.gr)

Theiorycheia (the sulfur mines) is one of the island's geological attractions, where visitors can observe wagons on their tracks, old rusty tools, and unused spare parts in the warehouse, all while enjoying a swim in the clear waters and exploring the wild, mysterious landscape. The sulfur mines were in operation until 1956. (Source: visit.milos.gr)

Read also: Cycladic architecture, stunningly blending with the endless blue of the Aegean Sea

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The craft of building wooden boats is a living tradition that has been practiced across all Greece and through all historical periods. In the past it was one of the most prominent expressions of the maritime societies’ technology and craftsmanship with unique technical, typological and cultural characteristics, some of which date back to the Middle Ages and the Byzantine Times. There were many variations, or even different traditions, of boatbuilding that are linked tosea areas, lakes, rivers and lagoons.

The craft’s transmission from one generation to the next took place through empirical apprenticeship, which entails younger people learning the craft by working side by side with a master craftsman. Today empirical apprenticeship is still the only means of learning the craft. he Craft of Wooden Shipbuilding has been listed in the National Inventory of Intangible Cultural Heritage
of Greece.

As Katerina Velentza writes in her paper on Traditional Shipbuilding on the Island of Samos: "Traditional boats, as tangible cultural heritage assets, and the practice of wooden shipbuilding, as a traditional craft and intangible heritage, are expressions of local knowledge of the Aegean Sea communities.

For the Aegean Sea islanders, their attachment to the sea, their insular environment, as well as the availability of particular material resources, such as certain species of timber, resulted in the development of specific types of wooden watercraft and methods of shipbuilding that evolved through several centuries of human interactions with the surrounding natural environment.

The traditional wooden boats, known as kaikia (καΐκια in Greek, καΐκι in singular), were established technologically in the Aegean roughly in the 18th century. The local knowledge of creating and using these wooden boats was a defining element of the island populations and their maritime identities, present in all economic and social activities, until the second half of the 20th century.

With the rapid modernization of Mediterranean societies in the 20th century, the Aegean Sea, as many other maritime regions, saw the rapid reduction of traditional watercraft made of wood and propelled by sails or oars. This concurred with a transition to metal or fiberglass motorboats. The shift resulted in the loss of traditional maritime jobs, the development of touristic rather than maritime economies and the degradation of the marine environment from the extensive use of large-scale polluting fisheries, as well as cargo and tourist ships.

Currently, Greece is experiencing a sharp decline in wooden shipbuilding and use of traditional kaikia. One of the biggest threats to the tangible and intangible heritage assets related to this Greek shipbuilding tradition is the destruction of wooden fishing boats with subsidies provided by the government to enforce the ‘EU Regulation No 508/2014 of aims at reducing the fishing fleet and the environmental impact of the fisheries of each European state. In the last 25 years alone, about 11,000 boats have been lost, many of which were monuments of popular traditional shipbuilding."

Museum of Aegean Boatbuilding and Maritime Crafts

The Museum of Aegean Boatbuilding and Maritime Crafts (MNNTA) in Samos is a thematic technical museum based on the concepts of new museology, designed to operate through a network of educational and research activities. At the heart of the new Museum is both the rescue and promotion of the tangible and intangible heritage in shipbuilding and maritime crafts of the Aegean.

The Museum's exhibition presents key aspects of maritime craftsmanship as explored through ethnographic studies in the boatyards and ports of the Aegean and archeological research on Aegean shipwrecks. The museum's design aims to interpret the material remains and the intangible elements of boatbuilding tradition, focusing on the individuals behind the techniques and on the empirically transmitted knowledge, as well as the more technical aspects of boatbuilding.

The museum operates on four functional units in addition to the permanent exhibition. The first unit is focused on rescuing and exhibiting at least 12 types of boats representing the boatbuilding tradition of the Aegean. Traditional shipbuilding tools and over 300 exhibits are also a large part of the collection, which further includes a number of designs, shipbuilding models and molds. Other categories of exhibits include boat accessories, instruments and mechanisms onboard, logbooks and notarial documents, business records and other evidence from Aegean boatyards and shipping companies.

The Museum also preserves items of intangible cultural heritage, such as recorded or videotaped oral testimonies of craftsmen and sailors, archival photographs and film or video material of boatbuilding and maritime activities in the Aegean. The museum’s Archive of Oral includes recordings from 1984 until today from all over Greece and more than 200 interviews-personal testimonies on the life, employment, woodworking techniques, complementary professions, customs, and social practices of the people of the sea.

The museum is part of a wider effort to safeguard the boatbuilding craftsmanship and to permanently cease the subsidized destruction of traditional fishing boats.

The Vocational Training and Apprenticeship Program in Wooden Boatbuilding

In addition and in close collaboration with to Museum of Aegean Boatbuilding and Maritime Craft, a new Apprenticeship and Vocational Training program will operate in the island Samos. The programs is based on the framework recently established by the Ministry of Education and will be implemented collaboration with the University of the Aegean’s School of Sciences, also based on Samos.

This new boatbuilding educational program will operate from the new academic year (2024-2025) at the Museum of Boatbuilding and Maritime Crafts of the Aegean, with the aim of preserving and developing this inextricably linked to Greek identity craft. The program was presented last December, at the Library of the Aikaterini Laskaridis Foundation, in the presence of the Minister of Culture Lina Mendoni and the Minister of Shipping and Insular Policy Christos Stylianidis.

The program, funded of the Ministry of Culture with the amount of 210,000 euros, includes the pilot operation of an apprenticeship program, the organization and operation of which will be undertaken by the Lifelong Learning Center (KEDIVIM) of the University of the Aegean. The educational program will be of two years duration followed by one year of apprenticeship, in boatyards as at the Museum, especially in the maintenance of the wooden boats on display.

in her speech, minister Mendoni underlined that it is imperative that we establish permanent, multi-year, institutions for apprenticeship and teaching of the craft with a perspective of professional rehabilitation. “There are many examples from other countries, which indicate that wooden boat building based on traditional know-how can emerge as a modern practice, being integrated into sustainable business plans, as well as sustainable local development plans.

Today, Greek carpenters are carriers of know-how and practices, many of which are links in an ancient chain. Boat Carpentry, one of the great arts of modern Greece, requires special knowledge and a long apprenticeship. However, until now the young could only learn through experiential teaching, alongside the older craftsmen. Our primary goal in harnessing our woodworking heritage is to teach this craft to young people who are interested in it and believe in the value of perpetuating it. However, in order to do this, the economic and social acknowledgment of the wooden boats industry must first be restored," she explained.

For his part, the Minister of Shipping and Insular Policy Christos Stylianidis emphasized that "the rescue of traditional boats is intertwined with the rescue of the art of shipbuilding itself, and these will save the carnaya and the tarsanades (shipyards)". Because, as he explained, the traditional shipwright will maintain and repair the existing traditional boats, build new ones and pass on his craft to the next generation. “The wooden boat must remain alive. Either as fishing, tourist or commercial. And the work of the shipwright must be treated as a living art. And not as an art taught in some "elite" workshops, he stated.

Kostas Damianidis, scientific director of the Museum of Aegean Boatbuilding and Maritime Crafts

A few months before the first school of woodworking was opened in Samos, Greek newspaper "Kathimerini" visited Heraio, Samos and spoke with Kostas Damianidis, scientific director of the Museum of Aegean Boatbuilding and Maritime Crafts (MNNTA):

“On the south coast of the island, next to its most important archaeological site, in a quiet seaside settlement stands a building that looks as if it has come from Space. It is a new, state-of-the-art museum that houses a valuable archive of our great national art that is being lost, that of traditional shipbuilding. It is the Museum of Boatbuilding and Maritime Crafts of the Aegean (MNNTA), which is preparing to open its doors soon to show the public precious pieces of tangible and intangible heritage and also to inaugurate an apprenticeship school in woodworking.

There, Kostas Damianidis, scientific director of the new museum, opens the doors to us and offers us a brief tour of its exhibits and facilities. Above our heads, in the lobby of the museum, hang two rigs, one for salt water and one for fresh water, a papadia from the island of Hyrda, and a kurita. Outside the museum, just meters from the shoreline, a scaffolding installation awaits a series of historic exhibit boats, thirteen in all, that have been salvaged or reconstructed in recent years by the museum's research team.
As Kostas Damianidis tells us, "the biggest bet we want to win with this museum is its parallel and complementary function with the school of Wooden Boatbuilding. This is something that does not exist in Greece – it is rare even abroad.

That the life of the museum will be intertwined with the life of the school is an idea that gives a new dimension both to the museum experience and to the context of the education of young people in the craft. It is an approach that is actively supported by the competent department of Culture and we are advancing it together, step by step, together with the University of the Aegean and the Municipality of Eastern Samos. The viability of both the museum and the school will depend a lot on their harmonious coexistence and cooperation."

"It is a thematic technical museum that is a project of the Municipality of Eastern Samos and is financed by the operational program "Competitiveness, Entrepreneurship and Innovation 2014-2020", says the mayor of Eastern Samos Paris Papageorgiou to "Kathimerini". The goal is, as the mayor says, for the museum and the school to open during the 2024-2025 school year, as part of a program funded by the Ministry of Education. "The school is expected to offer two years of study and an additional year of apprenticeship alongside an experienced craftsman, in a shipyard anywhere in the country."

For his part, Kostas Damianidis states that he has no illusions: "I know that out of the 15 apprentices each year, only one or two will go to work in this field. But, with today's conditions, even two people every year becoming professional shipwrights in boatmaking, this will give a great breath of life to the field."

His optimism is also based on the new trends inspired by the threat of climate change: "Woodworking, among its various benefits, also contributes to the proper management of forests, since they must be felled in the right way in order for them to survive, but also to protect them from fire. In addition, a wooden boat has a lifespan of about the same as plastic, but its recycling is environmentally friendly. A plastic boat has materials that are not recycled – even burning it is poisonous. So, in my opinion, the production of wooden boats should also be supported institutionally.

And, of course, there is the obvious acknowledgment that the wooden boat is a valuable piece of cultural heritage that we should save in our seas. Throughout time, boats have always been something very attractive, even for the tourism that concerns us so much - just for the image of our landscapes themselves. Our wooden boats are a quality feature of our islands built and man-made environment.""

I.L., with information from Woodenboats.gr, Kathimerini and the Ministry of Culture; all photos from Woodenboats.gr and their Facebook page

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