The web portal Study in Greece is campaigning for the promotion and international visibility of Greek Universities and the comparative educational advantages of our country. In particular, the campaign focuses on the foreign language study programs that Greek Universities offer to Greek and international students. The initiative is supported by the General Secretariat of Higher Education of the Ministry of Education and Religious Affairs and the General Secretariat for Greeks Abroad and Public Diplomacy of the Ministry for Foreign Affairs. In this context, a number of educational programs and actions are presented in detail on a regular basis, such as undergraduate and postgraduate programs, summer schools etc, to inform international students about the many foreign language options offered by Greek Universities.

Manolis I. Stefanakis is Professor of Classical Archaeology and Numismatics in the Department of Mediterranean Studies at the University of the Aegean, where he also serves as Director of the BA in Eastern Mediterranean Studies (Archaeology–History–Culture). His research focuses on Classical Archaeology and Ancient Greek Numismatics, with particular emphasis on the interdisciplinary fields of Archaeology and Sustainability and Archaeoseismology.

Study in Greece interviewed Professor Manolis I. Stefanakis on the BA in Eastern Mediterranean Studies, its features and what it has to offer to international students.

Professor Stefanakis, please give us an overview of the brand new BA program in Eastern Mediterranean Studies, its structure and its main research areas.

The BA in Eastern Mediterranean Studies (Archaeology–History–Culture) is a four-year, interdisciplinary undergraduate program, fully taught in English and exclusively addressed to an international student body. The program focuses on the study of the Eastern Mediterranean from prehistoric times to the late Byzantine and medieval periods, combining approaches from archaeology, history, and classical and cultural studies. Its structure offers students a solid theoretical background alongside methodological training, encouraging comparative and cross-cultural perspectives. The main research areas include material culture, historical processes, cultural interaction, and the long-term dynamics that shaped societies across the Eastern Mediterranean world in the past.

How does your BA align with the general extroversion strategy and internationalization goals of the University of the Aegean?

The program is fully aligned with the internationalization strategy of the University of the Aegean. Being the first undergraduate program of the university taught entirely in English and exclusively addressed to international students, it significantly enhances the institution’s outward-looking orientation and global academic presence. By welcoming students from different countries and academic backgrounds, the BA in Eastern Mediterranean Studies promotes academic mobility, intercultural exchange, and international collaboration.

Could you give us more insights about the correlation between the subject of the program and the university’s key location?

The program’s subject matter is deeply connected to the geographical location of the Department of Mediterranean Studies: Archaeology, Linguistics, International Relations of the University of the Aegean, based on the island of Rhodes. Situated at a historical crossroads of the Eastern Mediterranean, Rhodes offers a unique living laboratory of archaeological sites and cultural landscapes spanning multiple historical periods. This strategic location allows students to directly engage with the material and historical realities they study.

What future prospects does your BA program open up for its graduates in the academic field and in the job market?

Graduates are well prepared for postgraduate studies and academic research in archaeology, history, heritage studies, and Mediterranean studies. Beyond academia, the program equips students for careers in museums, cultural institutions, heritage management, education, cultural tourism, international organizations, and the public and private sectors.

Your program is the first international undergraduate program featured in the University of the Aegean. Would you say that it is the first of many to be established in the university?

As the first, indeed, international undergraduate program of the University of the Aegean, this BA marks an important milestone. It reflects the institution’s commitment to expanding English-taught degrees and strengthening international outreach. While no official announcements have been made, I am sure that the program will serve as a model for future international initiatives.

What would you say to students that are interested in pursuing an academic path in this specific discipline to consider your program?

Students interested in the history, archaeology, and cultures of the Eastern Mediterranean will find this program an excellent foundation for an academic career. It offers a rigorous interdisciplinary curriculum within an international academic environment. The program prepares students to contribute meaningfully to scholarship, cultural heritage, and international dialogue, while offering an insight on living history on the island of Rhodes.

Applications are now open! For more, follow the link:

https://apply.studyingreece.edu.gr/en/programmes/bsc/1728/details/eastern-mediterranean-studies-archaeology-history-culture

The post International Program Stories / BA in Eastern Mediterranean Studies appeared first on Greek News Agenda.

The National Strategy for the Protection of Cultural Heritage from the Impacts of Climate Change was recently presented by the Minister of Culture Lina Mendoni at the auditorium of the Acropolis Museum. “This is the first systematic effort to integrate the climate dimension into the management, protection, and promotion of cultural heritage in Greece, and one of the few internationally that incorporates and synthesizes updated and reliable guidelines,” emphasized Lina Mendoni, referring to the project, which integrates international standards from the UN and the EU (Cover photo: The archaeological site of Delos, Source: Ministry of Culture).

The National Strategy was developed within the framework of the project “Protection of Iconic Sites and Monuments of Cultural Heritage from Climate Change,” funded with €22,000,000 from the Recovery and Resilience Facility. This project forms part of the national effort to address the impacts of climate change in the cultural sector and marks a significant step toward strengthening the resilience of the country’s cultural heritage.

The National Strategy was designed by the Ministry of Culture, through the Directorate of Prehistoric and Classical Antiquities, in collaboration with the National and Kapodistrian University of Athens and the National Hellenic Research Foundation, having carried out detailed climate-risk assessments examining threats such as wildfires, flooding, extreme heat, landslides, and coastal erosion. Its development and implementation were carried out in close cooperation with the Ministry of Climate Crisis and Civil Protection and the Ministry of Environment and Energy, ensuring a holistic and coordinated approach to safeguarding cultural heritage against the impacts of climate change.

(Source: https://www.amna.gr, https://www.culture.gov.gr)

Key elements of the strategy include:

• Climate risk assessment across the country, considering exposure, vulnerability, and hazard levels
• Preventive infrastructure projects, including fire protection, flood control, and landslide mitigation at vulnerable archaeological sites
• Digital tools and platforms for evaluating risks and selecting tailored adaptation plans.
• Monitoring and evaluation systems aligned with international indicators set at COP30 (2025) in Belém, Brazil
• Training programs for Ministry of Culture staff on climate adaptation measures
• International collaboration with the UN, UNESCO, and EU initiatives to integrate cultural heritage into global climate action

 (Source: https://www.tovima.com/culture/greece-unveils-plan-to-protect-monuments-from-climate-change/ )

More specifically, the National Strategy seeks to promote international collaboration, which includes, among other initiatives:

• Establishing a framework for collaboration with 54 additional United Nations Member States (Group of Friends for Culture-Based Climate Action) to integrate cultural heritage into the priorities of the UNFCCC (adaptation and mitigation)
• Maintaining systematic cooperation with UNESCO and other international organizations
• Participating in the European Union Working Group on enhancing the resilience of cultural heritage to the impacts of climate change
• Creating a dedicated program within the Forum of Ancient Civilizations and drafting a memorandum of cooperation with all member states, as well as establishing a network of contact points within the Forum to ensure coordination and coherence of activities in the field of cultural heritage protection from climate change
• Participating in national and international research initiatives

(Source: https://www.culture.gov.gr)

Firefighting systems at the archaeological site of Mystras. Within the framework of the project, infrastructure and risk management interventions were also implemented, such as the installation of fire protection systems in Philippi and Mystras, flood protection works in Dion and Malia, as well as measures to mitigate landslides and rockfalls in Delphi. These interventions clearly reflect the transition from scientific knowledge and strategic planning to the implementation of concrete protection policies

Minister Lina Mendoni stressed, among others, that “the Ministry of Culture, since 2019, has been implementing a comprehensive program for the identification and assessment of climate risks, as well as for prevention and resilience-building, in alignment with international standards and in harmony with the broader National Strategy for Adaptation to Climate Change. Our aim is for it to serve as a reference framework for all relevant state institutions in safeguarding monuments and archaeological sites, while promoting the integration of cultural heritage management with climate resiliency. The National Strategy follows a long-term plan with a horizon extending to 2050, including intermediate targets every five years. It provides for adaptation plans for 40 archaeological sites by 2030 and makes use of modern technologies and planning tools.

“The National Strategy is structured around 4 pillars of action: Diagnosis, Monitoring, Prevention, and Response. These pillars do not operate in isolation, but in an interconnected and functionally sequential manner. They constitute a unified risk management cycle: they begin with the scientific understanding of threats, move on to systematic monitoring, organize prevention, and culminate in targeted field interventions. This is a structure that allows the Strategy to be translated into practical public policy,” added L. Mendoni. “It is part of a broader, dynamically evolving international, European, and national institutional framework, which in recent years has been gradually shaping a new approach to environmental governance and climate policy”.

Readiness drill at Mystras

The Minister of Climate Crisis and Civil Protection, Giannis Kefalogiannis, stated that “the protection of monuments can no longer be limited to restoration after damage, but must be based on prevention, preparedness, and systematic planning.” He also referred, among others, to the cooperation developed in recent years between the Ministry of Culture and the Ministry of Climate Crisis and Civil Protection, which was established with the signing of a Memorandum of Cooperation in 2021 and further strengthened in subsequent years through more targeted actions, particularly in addressing the risk of wildfires. He also referred to the establishment of a special Fire Protection Regulation for archaeological sites and monuments, being developed jointly by the two ministries. This regulation provides for specific preventive measures, such as the systematic management of vegetation, improved access for firefighting forces, the provision of safe evacuation routes for visitors and staff, and the strengthening of preparedness procedures in emergency situations.

At the Minoan Palace of Malia in northern Crete, an integrated drainage network and upgraded protective canopies help safeguard the archaeological site from rainfall and erosion

The National Strategy for the Protection of Cultural Heritage from the Impacts of Climate Change represents the first comprehensive national effort to assess climate risk and design adaptation measures for the protection of cultural heritage. The methodology developed is based on a multidimensional approach to climate risk assessment, with a pilot application in 19 archaeological sites across the country. It serves as a reference framework for all relevant institutional and administrative levels—the Ministry of Culture, particularly the Ephorates of Antiquities, the competent ministries, regional and local authorities, as well as academic and research institutions and local communities—strengthening the connection between cultural heritage management and climate resilience. At the same time, it constitutes a dynamic strategic planning tool that can be adapted to new scientific data, updated climate projections, and evolving needs for the protection and management of cultural heritage.

(Source: https://www.amna.gr, https://www.culture.gov.gr)

The post Greece Unveils National Strategy to Protect Cultural Heritage from Climate Change appeared first on Greek News Agenda.

On the occasion of the national anniversary of October 28^th, 1940, the National Archaeological Museum (NAM) has published online a selection of valuable archival photographs documenting the concealment of antiquities during World War II. In the shadow of war and throughout the Nazi occupation the employees of the first museum of the country were assigned the task of safeguarding the archaeological treasures against destruction and looting. (Cover photo: NAM 1940-41. The Kouros statue (inv. no. 2720), dated around 600 BC, from Sounion, ready to by hidden below the floor of its exhibition room).

“The safekeeping of antiquities during the occupation and the ensuing care for the reconstitution of the National Archaeological Museum were posts of responsibility before which we stand today with respect, admiration and gratitude”, notes Dr. Maria Lagogianni-Georgakarakos, former and honorary Director of the National Archaeological Museum, in the statement accompanying the online exhibition.

The burial of marble sculptures. The hermaic stele (inv. no 385) of Sosistratos kosmetes of ephebes, the statue of Aphrodite (inv. no 3524) of Syracuse type, the statue (inv. no 1828) of a man of the early 1^st century BC, from Delos, a statue of a seated woman (inv. no 380) from Rheneia, dated in the 2^nd century BC, and two statues of Hermes, from Aigion (inv. no 241) and Troizen (inv. no 243) both of the Roman period and copies of classical and late classical prototypes, can be seen in the pit. (Photo NAM)

While on the Greco–Italian war front Greek heroic soldiers were accomplishing the epic feat of the «No» crying out the famous battle cry «Aera» («Air»), another catchphrase sounded in the spaces of the museum. «Fire up» was one of the commands given by the sculptor Andreas Panagiotakis when the craftsmen pulled with chains and ropes the marble statues in order to place them in large pits they had opened in the north wing.

In April 1941 the museum looked deserted. Sculptures, bronze and clay artworks had been packed and transported to various raid shelters in Athens (35 crates were stored in the cave of the Enneakrounos and another 22 in the prison of Socrates near the Acropolis) the gold objects had been hidden away in the basements of the Bank of Greece, the large statues had been deposited in large trenches that were dug in the floor of the museum halls.

Drawing of a pit in the National Archaeological Museum for the burial of marble sculptures (Photo NAM)

Pulley transportation of the marble statue of Themis (inv. no 231), dated around 300 BC, from Rhamnous, Attica (left), The burial of the marble statue of Poseidon (inv. no 235), dated around 125-100 BC, from Melos (right) (Photos NAM)

Packing of the Geometric amphora (inv. no 803), of the years around 760-750 BC, from Dipylon, Athens, and other vases before hiding (Photo NAM)

Christos Karouzos and Semni Papaspyridi-Karouzou were the leading archaeologists that together with other archaeologists, museum guards, and their families, and many other people undertook the hiding of antiquities in 1940-1941. Testimonies and personal experiences of Semni Karouzou relating to that dramatic period were presented in March 1967 and published in 1984 in the Proceedings of the First Congress of the Greek Archaeologists Association. Referring specifically to the National Archaeological Museum, Semni Karouzou hands down to us: «It took six whole months, over the entire duration of the epic advance on the Albanian front, for our antiquities to be safely stored, the fate of which was a matter of such great concern to the people upon hearing about the war… Very early in the morning before the moonset, those who had undertaken this task were gathering to work in the Museum, it was night when they were leaving to go home». «When the occupation army entered the capital in April 1941, the task of concealing the ancient treasures of the National Museum had already been completed».

Christos Karouzos and Semni Papaspyridi-Karouzou. When Athens was occupied by the German army in 1941, the Karouzos were the only archaeologists in Greece to withdraw their membership of the German Archaeological Institute in protest (Photo: Draft of the letter sent by the Karouzos to the German Archaeological Institute of Athens, Source: Review Archaeological Issues, Sept/Dec2021). The letter was forwarded to Berlin through Walther Wrede, Director of the Athens Institute and representative of the Nazi Party in Greece. The Karouzos escaped imprisonment in a concentration camp thanks to the intervention of certain prominent German archaeologists. (Source: Wikipedia Semni Karouzou, Wikipedia Christos Carouzos).

In his interview of the 16^th June 1945, Christos Karouzos, Director of the National Archaeological Museum, states to the philological periodical Eleftera Grammata: «Since many years the Institute had stopped having any relation to Science and it was imperative to cut short their hope that they would achieve anything at all by making an attempt, which I could guess would be systematic and methodical, to stain the reputation of us all with innocent propositions for peaceful cultural collaboration».

The bronze statue of Poseidon, or Zeus according to another view (inv. no 15161), dated around 460 BC, from the sea at Artemision, Euboea, covered with tar paper, before its hiding (Photo NAM)

Pit in a room of the museum filled with sculptures, before their hiding (Photo NAM)

National Archaeological Museum, 1940-1941. Hiding of funerary vases and reliefs in the basement (upper left), Rectangular pit for the hiding of the sculptures in the Room of Classical Funerary Sculptures (upper right), Placement of antiquities in boxes for hiding (lower), (Photos: NAM)

National Archaeological Museum, 1940-1941. Burial of entrance to a room for the hiding of antiquities (left), Museum Room with empty cases after the removal of antiquities for hiding (right) (Photos: NAM)

National Archaeological Museum, 1941. Sacks with sand protected the windows of the new extension of the Museum building. Antiquities were stored for hiding inside this part of the building (left), National Archaeological Museum, after 1949. Works in progress for the improvement of the Museum building (right) (Photos: NAM)

To uncover the buried antiquities was the main priority after the end of the war. Along with the anxiety about their fate: «What had happened under the thick layer of sand, which was the state of preservation of the buried sculptures…». Semni Karouzou later recalled that "It was with pride for our people that I was assured, in the end of the war when the boxes were opened and the antiquities received, despite [the] fatally insufficient supervision [of the packing process] not a single gold object, no precious gem was missing". After the end of World War II, Christos Karouzos and Semni Karouzou were responsible for reinstalling the museum collections, using the catalogues Karouzou had made; this reinstallation was completed in 1947.

List of hidden objects (Photo: NAM)

As Semni Karouzou narrates, unique was the emotion when in 1947 the first three halls of the museum were opened, in the new wing with its entrance on Tositsa street: «It was the first presentation of antiquities after the war. At that time the 100 years since the founding of the French Archaeological School were also celebrated and it was the first gathering of archaeologists from all over the world. They had the opportunity among the other known and beloved artworks of the Museum to admire a new acquisition since the end of the occupation. A splendid Kouros with his name engraved on the statue base: Aristodikos».

Moments from the recovery of the ancient statues describes for us in his own way George Seferis, the Greek Nobel prized poet,  in the Days:

«Tuesday, 4th of June 1946

Noon in the Archaeological Museum. They now unbury – some in crates and some placed totally nude in the soil – the statues. In one of the old large halls, familiar to us since our school days with its rigid appearance that recalled somewhat the austere public library, the workers were digging with pickaxes and shovels. The floor, if one did not look at the ceiling, the windows and the walls with the golden inscriptions, could have been any other location of excavations. The statues sunken still in the earth, were visible from the waist up naked, planted in fate. …It was a resurrection dance of rising figures, a Day of Reckoning of bodies that filled you with mad joy».

(Source: National Archaeological Museum, Athens/Photographic Archive, © Hellenic Ministry of Culture and Sports /Archaeological Receipts Fund, Editor of the Photographic Exhibitions and e-book: Dr. Maria Chidiroglou)

I.A.

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The Portal of Digital Collections of Mobile Monuments of the Ministry of Culture (National Archive of Monuments) includes objects – movable monuments that primarily originate from the collections of the Ephorates of Antiquities and the Museums of the Ministry of Culture and the broader Public Sector. The portal is being gradually updated and provides access to approximately 710,000 registered entries through the Integrated Information System (IIS) of the Ministry of Culture. (Cover photo: Attic red-figure Kerch lekanis with scene of a wedding preparation, Marsyas painter, 350 B.C, Archaeological Museum of Thessaloniki)

The objects included are both ancient and more recent monuments. The vast majority of the entries concern finds from excavations and archaeological research conducted and continuously carried out by the Archaeological Service from the 19^th century to the present day. A second group of objects consists of portable icons, liturgical vessels, and manuscripts. A third, smaller group includes testimonies mainly of modern Greek culture and comes from various collections. Overall, the monuments registered in the National Monument Archive reflect the richness, diversity, and typological and chronological range of the cultural heritage of the Greek territory.

Online visitors can learn about the place where the objects were made, the materials used, as well as the uses or functions these objects served. They can read about the stories the objects have to tell and others that have already been created to inspire. Visitors can also create their own narratives by combining new knowledge with their personal experiences.

The Archaeological Cadastre, also available online, records and documents Greece's immovable monuments, archaeological sites, historical sites, and their protection zones. Today, the Archaeological Cadastre Portal contains descriptive (archaeological, and administrative) and geospatial data for more than 21,500 monuments, approximately 3,400 archaeological sites and historical sites, 844 protection zones and 220 museums.

The Tatoi Collections  of the former Royal Estate was recently registered online. It is the largest collection of its kind in Greece, dedicated to fine and applied arts and to Greek history, comprised of more than 70.000 objects that were recorded and documented by the Ministry of Culture. Focusing on European art and design of the 19^th and 20^th centuries, the Tatoi Collections span both time and geography—from the European continent to the Far East, and from ancient Greece to everyday objects of the 1960s. All of the above are complemented and interpreted through the preserved evidence—documents and photographs—in the Tatoi Archive, thus unlocking the study of previously unknown aspects of more than a century of Greek and European history.

The Portal of Digital Collections of Mobile Monuments also offers interesting featured online exhibitions. Three of them are presented here as follows: Recycling, a Good Old Habit; Our Oldest Friend (The Dog); and Braids, Hats, and Wigs.

Recycling, a good old habit

The concept of sustainability is not a product of our modern era, where environmental management is emerging as an urgent priority through recycling or the use of recycled materials. Reusing materials and architectural members is a timeless phenomenon that is observed both in antiquity and in modern times. The main reason was saving resources. Durable materials with a distinctively high cost, difficult to mine and transport, were reused most frequently. More specific cases, however, such as the reuse of columns, sculptures, and architectural members, beyond the purely practical purposes they served, also implied the preservation of an aesthetic continuity, while for religious buildings and sanctuaries this meant the “sanctification” of materials and, by extension, of places.

Double questioning: Lead oracle tablet from Dodona with the question of the faithful and the response of the oracle on each side respectively. On the first side there are other older questions / inscriptions that have been erased, Dodona, 4^th century BC, Ephorate of Antiquities of Ioannina

Supporting the house of God: The stele bears an inscription of Nero’s proclamation of the freedom of the Greeks of Achaia and was a votive offering to the sanctuary of Apollo on Mount Ptoon by a prominent citizen of Acraephia. In modern times it was used as construction material in the church of St George in Akraifnio, Boeotia, 1^st century BC, Ephorate of Antiquities of Boeotia (Left) – Amazons and Saints: Base of a statue, probably of a Roman emperor, with an embossed representation of Amazonomachy. It was later used as a pulpit base in the Basilica of Alkison in Nikopolis. For this purpose, part of the representation was scraped off and a mosaic representation was attached over it, from which the figures of two saints are preserved, 1^st century BC, Ephorate of Antiquities of Preveza (Right)

One grave, more tenants: Inscribed marble sarcophagus. This inscription is apotropaic in nature and bears witness to its reuse in the mid-4^th century AD, 2^nd-3^rd century BC, Archaeological Museum of Thessaloniki

Collecting water: Marble inscribed sarcophagus, whose two small circular holes bear witness to it having been reused as a water tank. It is unknown when this conversion took place. It was found in Sintrivani Square in Thessaloniki, 2^nd century AD, Archaeological Museum of Thessaloniki

A votive altar that was reused - upside down - as a funereal tomb marking, on which an inscription was engraved with the name and the father's name of the deceased, which it bids farewell. It was found at the archaeological site of Atrax, in the regional unit of Larissa, 1^st century BC Antiquities Ephorate of Larissa

Our oldest friend

It’s certain that our relationship with dogs is the oldest companionship and cohabitation relationship between us and the representatives of the rest of the animal kingdom, constituting an important milestone both in the history of humanity and in zoology. The human history of dogs is reflected in our intangible and tangible heritage, highlighting a relationship of companionship and faithfulness, care and love, as well as power, and, sometimes, exploitation.

Fragment of a mural fresco at from the Mycenaean Palace of Orchomenos, Boeotia, depicting a dog behind a chariot in a hunting scene, 1350-1250 BC, Ephorate of Antiquities of Boeotia (upper left), Section of a floor mosaic depicting an amphora with a hunting scene on either side, from a roman mansion, 324 A.D - 700 A.D, Ephorate of Antiquities of Phthiotis and Evrytania (upper right), Dog figurines, Ephorate of Antiquities of Boeotia (lower left), Part of a bronze furniture-attachment in the form of a dog, 500 B.C - 301 B.C, Ephorate of Antiquities of Phocis (lower right)

Marble funereal stele with relief depiction of a funeral feast. On the bed , the deceased is depicted holding what is probably a bottle. In front of him there is a three-legged table with food and fruits, and beside him a dog looks at (most probably) its master, 170 A.D - 230 A.D, Archaeological Museum of Thessaloniki (left), Votive stele depicting Artemis-Bendis in a hunting scene in which a dog attacks a deer, 100 A.D - 299 A.D, Ephorate of Antiquities of Kavala (right)

Braids, hats and wigs

The garments, footwear, hairdos, and other elements that complement our external appearance reveal the fashion of the time, but they also reveal something deeper. They declare and express the gender, age, social status, and even the mental or emotional state of the person wearing them. Going further in depth, often they function symbolically for temporary or permanent situations and transmit a clear and concise message. Hair and anything adorning one’s head had to be part of this interpretation. Long hair that came down to the chest or shorter hair that came down to the neck, let down or tied in simple or elaborate buns, wavy or straight, with plenty of long or shorter curls, looser or tighter like small shells, adorn the heads of women and men. They often look like or are wigs, while on top all kinds of hats complete the ornamentation of one’s head and send the appropriate message regarding the identity, temporary or permanent, of the wearer.

A plank-shaped figurine with a distinctive bird-shaped head. It wears a tall hat (polos crown), while two long tendrils fall to the right and left in front of the chest, rendering the archaic hairstyle in horizontal lines, 550 B.C - 501 B.C, Ephorate of Antiquities of Boeotia (left), Part of a female figurine with rich long curly middle-parted hair that cascades behind its shoulders, 500 B.C - 401 B.C, Ephorate of Antiquities of Boeotia (middle), Terracotta female figurine, probably Aphrodite, resting her right foot on a rock, while holding a mirror in her right hand. Her hair is held in a high bun while it is combed into thick bundles, 300 B.C - 251 B.C, Ephorate of Antiquities of Boeotia (right)

Terracotta figurine head wearing a low polos crown above the forehead, while the hair is rendered as three horizontal wavy curls that reach the base of the neck, 700 B.C - 480 B.C, Ephorate of Antiquities of Lasithi, Crete (left), Terracotta female figurine, doll. Its hair, rich and wavy, is gathered high and tied in an impressive leaf-shaped piece of jewellery that looks like a large bow fastened with two large pins at the top of the head, 100 B.C - 1 B.C, Archaeological Museum of Thessaloniki (left)

Read also:

Ancient Voices on Lead: the Tablets of the Dodona Oracle and the Timeless Search for Answers to Human Concerns

I.A.

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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 )

Read also:

Cycladic Identity initiative moves into its second phase – “Greek Islands Trail, Cyclades” to propose a unified hiking route

Cycladic Identity: keeping alive the heart of the Cyclades

Cycladic architecture, stunningly blending with the endless blue of the Aegean sea

I.A.

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

Yiannis Bouteas’s exhibition, "Stratifications – Transformations," is currently running at the Archaeological Museum of the Saronic island of Poros. The exhibition is co-organized by CITRONNE Gallery in collaboration with the Ephorate of Antiquities of Piraeus and Islands. Art historian Dr. Tatiana Spinari-Pollali and archaeologist Dr. Maria Giannopoulou co-curate the exhibition. CITRONNE Gallery is also presenting Yiannis Adamakos’s solo exhibition "In Between" (both exhibitions run until September 21). It’s a great opportunity to visit Poros, the greenest island of the Argosaronic Gulf. Its beauty has been celebrated by artists, poets and writers alike. The town of Poros is known for its charming neoclassical buildings (cover photo, visitgreece.gr), while pine forests blanket the island’s hills, reaching all the way down to its sandy beaches.

"Stratifications – Transformations" is an exhibition that focuses on the concept of timelessness, as it is conceived and expressed through the power of contemporary art. Bouteas's objects-symbols, coming directly from everyday life, start a dialogue with the ancient objects of the archaeological museum, and may initially surprise the visitor. A man of antiquity would probably feel a similar surprise if he saw his personal objects in the museum displays today, accompanied by scientific theories and (mis)interpretations. (Source: citronne.com/en) (Photo Credit: Installation view, ©Yiorgos_Brousalis)

The artist challenges the commonly accepted perception of time as a linear unfolding reality and creates his own timeless Museum. Fragmented, oversized digital prints of images depicting ancient sculptures are juxtaposed with archaeological artifacts, serving as a hyper-analyzed and distorted representation of our past. Utilitarian objects from everyday life—both from the present and the recent past—are combined with natural rocks and geological strata, all wrapped in images of artworks. These elements form a composition of contrasting symbols, each carrying its own distinct charge, all grounded in a visual aesthetic framework. Serving as a threshold for all of this is a barcode motif—an allusion to the inescapable digital reality that now dominates every aspect of our lives. (Source: culturenow.gr) (Photo Credit: Installation view, ©Yiorgos_Brousalis)

Bouteas's installation ultimately seems like an unexpected preview of an archaeological museum of the - perhaps not so distant - future. (Photo Credit: Installation view, ©Yiorgos_Brousalis)

Citronne Gallery Poros, housed in an 18^th century austere example of island architecture on the promenade of Poros, opened in the summer of 2006. The name of the gallery refers to the well known lemon grove of Poros. Α determining element to Citronne’s identity deriνes from its location. Poros is an atypical island with a transitory nature. Α Saronic island in close distance to Athens, its proximity and economic and social interaction to the Peloponnesian coast across it, and its large and inviting natural harbor, make Poros, as its name suggests, a ‘passage’. Citronne aspires to be a ‘passage’: a destination, a focal point, a place for assembly and exchange of ideas. Citronne Gallery Athens, which commenced its activity in November 2018, continues—and widens—the endeavor begun in Poros.

Yiannis Bouteas at the Archaeological Museum of Poros, ©Yiorgos_Brousalis (left). “Untitled”, 1974-80, installation including rope, neon and iron, Collection National Museum of Contemporary Art, Athens (EMST). Exhibition ANTIDORON, The EMST Collection, Fridericianum, Kassel, 2017, photo Nils Klinger

Yiannis Bouteas represented Greece at the Greek Pavilion during the 44^th  Venice Biennale in 1990, alongside Georges Lappas, with Manos Stefanidis serving as commissioner. Bouteas exhibited works from the “Anaptygmata” (“Developments” or “Unfoldings”) series and the “Tomes” (“Sections” or “Cuts”) series. Materials used in these works included sheet metal, iron, stones, and neon light. These works reflected Bouteas’s interest in form, materiality, modularity, and spatial dynamics. The use of industrial and geological materials, alongside the luminous element of neon, aligned with his broader sculptural and conceptual exploration.

Yiannis Bouteas (Kalamata, 1941) studied printmaking at the Athens School of Fine Arts (1959-64) and continued his studies at the École des Beaux-Arts in Paris (1966-70), where he lived for ten years. His work includes constructions and installations, with light – whether natural or artificial – serving as his primary expressive medium, often in the form of neon tubes. The poor materials he selects (ropes, strings, stones, iron sheets, playdough, rubber, asphalt, and later mirrors), retain their autonomous expressive and conceptual power while becoming part of a larger artistic gesture. His compositions are typically spread across the floor or walls. Bouteas participated in the art group Processes-Systems (1976) and has presented his work in numerous solo exhibitions. He represented Greece at the São Paulo Biennale (1981), the Venice Biennale (1990), and the Kassel Documenta (2017). In 2007, he created the work Layerings-Energy Images XVI for the Kerameikos station of the Athens Metro. (Source: Contemporary Greek Art Institute, ISET)

CITRONNE Gallery - Poros also presents Yiannis Adamakos’s solo exhibition "In Between"( June 14 - September 21, 2025). One of the most distinguished figures in abstract Greek painting, Yiannis Adamakos creates indeterminate landscapes—reflections of a sensory world refracted through memory. He is deeply engaged in exploring the boundaries between explosion and calmness, light and darkness, spontaneity and order. He is particularly concerned with the rendering of emptiness, as a space imbued with richness of meaning and sensation. (Photo: Yiannis Adamakos, In Between 16, 2025, Mixed media, 32x42 cm, ©Vagelis_Zavos)

The Archaeological Museum of Poros was built in 1967-1968 at the site of the old residence of Alexandros Koryzis (Prime Minister of Greece in 1941)( feft). There are two exhibition galleries in the Museum, one on the ground and one on the upper floor, hosting exhibits from the entire Troezenian region (Poros, Galatas, Troezen-homeland of the Athenian hero Theseus, Methana and other areas) as well as some finds from older excavations at Hermione. A 6^th c. BC clay sima from the sanctuary of Aphrodite Akraia at Troezen is particularly impressive, given that it preserves its painted decoration and a lion-head spout (right).

Poros is the greenest island of the Argosaronic Gulf. The Poros Strait, and the seaside area of Galata with its pine, olive, and lemon groves surround the picturesque Poros town, where beautiful neoclassical buildings grace the seafront. The visitor can also explore the inland; go biking and hiking through Poros’ pinewoods. (Source: visitgreece.gr)

Poros town and the harbour area have been built on the hillside, opposite the shores of Troezenia. The town’s picturesque alleys, Neorio, and Bourtzi Islet are some of the must-visit places on the island. The visitor is impressed by the neoclassical style of most buildings. The clock tower of Poros is the island’s landmark, located on the hilltop, and surrounded by prickly pear trees and pine trees. This spot offers an amazing view of the harbour, the shores of the Peloponnese, and the lemon tree forest. (Photo: visitgreece.gr)

At the Red House (Villa Galini), the imposing stone mansion built in 1892 by architect Anastasios Metaxas (the architect who restored the Panathenaic Stadium in Athens) on the coast between Poros and Galatas, prominent figures were hosted during the summers—among them Eleftherios Venizelos (Greek statesman and prominent leader of the Greek national liberation movement) in 1931. Many famous artists, poets, and writers were hosted at Villa Galini. Among them George Horton, Marc Chagall, Henry Miller, Greta Garbo, James Merrill, and Peter Gray, Lucian Freud  enjoyed the solitude and the stillness of the site enchanted by the unique light of Poros and found inspiration in the beauty of the landscape. (Source: visitporos.com)

The great Greek poet George Seferis (Nobel Prize in Literature, 1963) lived in Galini from 1946 to 1949. “Galini, that Victorian house, Pompeian red, gave me for the first time after many years the feeling of a solid home, not a temporary camp: that makeshift stuff I had grown used to thinking was no longer built,” the poet writes in a letter included in his Essays (1962). At Galini, he also wrote the poem “Kichli” (1946), borrowing its title from the small boat that used to anchor in front of the romantic house.

Κίχλη Γ’ (Thrush)

…

Sing little Antigone, sing, O sing. . .

I’m not speaking to you about things past, I’m speaking about love;

adorn your hair with the sun’s thorns,

dark girl;

the heart of the Scorpion has set,

the tyrant in man has fled,

and all the daughters of the sea, Nereids, Graeae,

hurry toward the shimmering of the rising goddess:

whoever has never loved will love,

in the light;

                      and you find yourself

in a large house with many windows open

running from room to room, not knowing from where to look out first,

because the pine trees will vanish, and the mirrored mountains, and the chirping of birds

the sea will empty, shattered glass, from north and south

your eyes will empty of the light of day

the way the cicadas all together suddenly fall silent.

                                          Poros, ‘Galini’, 31 October 1946

Copyright Credit: George Seferis, "’Thrush’" from Collected Poems ( (Princeton University Press, 1995), translated, edited, and introduced by Edmund Keeley and Philip Sherrard. (Source: poetryfoundation.org )

Poros is the ideal destination for water sports and outdoor activities such as swimming. Don’t miss the beautiful beaches at Mikro Neorio and Megalo Neorio, as well as the romantic ‘Cove of Love’. Go diving in the crystal clear waters or sailing around the nearby islands and along the coast of the Peloponnese. For those who enjoy inland adventures, Poros also offers great opportunities for biking and hiking through its scenic pine forests.

Love Bay is a beautiful small bay surrounded by trees, which will captivate the visitor’s mind and heart (Source: visitporos.com)

The Russian Bay is a beautiful and picturesque bay, which is classified as a historical monument, because of its great architectural and historical interest. The old Russian Naval Dockyard is located there, at 5km NW of the town and the harbour. The original structures included warehouses and bakeries built to provide for the needs of the Russian Fleet stationed there back in 1834.Today it is a beach where unforgettable summer concerts take place every year. (Source: visitporos.com)

Read more:

Visual Arts in Greece: 1950s–1990s – Part 3/6- “From Sculpture to Energy”

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Skarkos, on the Aegean island of Ios, is the largest, most important and best preserved Early Bronze Cycladic settlement known to date. A temporary exhibition titled “Cycladic Nexus – A Journey of Connections Across Time: Skarkos”, hosted at the Archaeological Museum of Ios (28.6-31.10.2025), aims to create a dialogue between contemporary art and the dynamic of the ancient Cycladic community of Skarkos, and by extension, the Cycladic civilization.

The hill of Skarkos, featuring the Early Cycladic II settlement, overlooks the Lower Plain and the port of Ios from the east. Discoveries at Skarkos of raw materials and finished products imported to Ios from other Cycladic islands, mainland Greece, and other parts of the Aegean indicate that the settlement played an active role in the maritime trade of the period. (cyclades.culture.gov.gr )

 Skarkos hill occupies a privileged geographic position in the middle of the western side of Ios, where one of the most spacious and safe natural harbors of the Cyclades coexists with one of the island’s largest arable lands, the Lower Plain (cover photo: www.presidency.gr). Human presence at Skarkos was continuous from at least the Early Cycladic I period (3200 to 2800 BCE) through to late antiquity. However, the architectural remains dominating the hill belong to a large, flourishing settlement dating from the period of significant development and outward expansion of the Early Cycladic world, known as the Early Cycladic II period or the cultural unity of Keros-Syros (2700 to 2400/2300 BCE). This major settlement has been preserved in an exceptional state of conservation, providing a comprehensive picture of Cycladic societies of the mid-3^rd millennium BCE, which were previously known mainly from cemetery finds, often looted. (Dr. Mariza Marthari, director of the Skarkos excavation, cyclades.culture.gov.gr, odysseus.culture.gr)

The site of Skarkos has been systematically excavated between 2002 and 2007. The project was honored with the 2008 EU Prize for Cultural Heritage / Europa Nostra Top Prize for Conservation, recognized for the outstanding quality of conservation work and, above all, for the minimal and extremely sensitive nature of the interventions, which caused no detrimental impact on this unique landscape.

The settlement of Skarkos is organized around the hilltop and features a drainage system for the removal of rainwater. The dense urban fabric develops along two main central roads, each up to 2 meters wide, which encircle the summit of the hill and periodically widen to form small or larger open spaces. Short roads, perpendicular to these main arteries, connect the foothills to the hilltop and vice versa. The road network incorporates building blocks, each comprising between two and eight structures. (Source: cyclades.culture.gov.gr , photo www.presidency.gr)

Skarkos, Early Cycladic II settlement: the entrance of Building B (left) and the external staircase of Building D (right). To date, 55 buildings have been uncovered, most of which are impressive two-story structures featuring spacious entrances, stone-built staircases, paved upper floors, built-in wall cupboards, and chests made from schist slabs. These buildings are primarily private residences and exhibit remarkable similarities in their internal layout and use of space. However, one building, known as the Building of the Figurines, has been excavated with a different primary function: it served as a workshop. This building housed a marble carving workshop where figurines and vessels were crafted from local white and blue marble (cyclades.culture.gov.gr )

Skarkos, Early Cycladic II settlement: Figurine made of blue marble, Archaeological Museum of Ios (cyclades.culture.gov.gr)

The movable finds, like the buildings, reflect a relatively advanced lifestyle for the southern Aegean in the 3^rd millennium BCE. There is an abundance of clay tableware, storage containers, and cooking vessels. Stone vessels and tools also appear in great variety. Additionally, mainly schematic marble figurines have been identified, along with objects made of metal, bone, and clay. Movable finds from Skarkos are on display at the Archaeological Museum of Ios.

Skarkos, Early Cycladic II settlement: Local amphora (upper), Bowls of the Urfirnis ceramic category, imported to Ios (lower), Archaeological Museum of Ios (cyclades.culture.gov.gr)

Skarkos, Early Cycladic II settlement: Local tableware (lower), Archaeological Museum of Ios (cyclades.culture.gov.gr)

Skarkos, Early Cycladic II settlement: Local pithos (left), Presentation of the findings at the Archaeological Museum of Ios

Skarkos , Early Cycladic II settlement: Stamped, clay, cube-shaped objects. The seals, the stamped vessels, and the many clay, cube-shaped, stamped objects—which were tied like tags to bags and containers and found inside the buildings—leave no doubt that sealing was a common practice at Skarkos. It seems that in certain cases, declaring ownership or personal identity was useful or necessary. (cyclades.culture.gov.gr)

The Cyclades Ephorate of Antiquities, in collaboration with the Non-Profit Civil Company FIGMENT, presents contemporary artworks at the Archaeological Museum of Ios, fostering a creative dialogue with the museum’s exhibits. The temporary exhibition titled “Cycladic Nexus – A Journey of Connections Across Time: Skarkos” (June 28–October 31, 2025) bridges past and present through contemporary artistic expressions.

The exhibition draws inspiration from the prehistoric settlement of Skarkos and, by extension, the Cycladic civilization. Artists from diverse disciplines explore themes such as movement, communication, and connection through painting, sculpture, installations, embroidery, and digital prints. The human trace—whether presence or absence, journey or trauma—runs through the works, prompting reflections on collectivity and historical consciousness.

Stavros Kassis, Ephemera, objet trouvé papers, postcards, photos, cardboard, clips, glass, 31 x 42 cm (upper left), Thanos Makris, Ephemeral Exercises of Melancholia – After Skarkos VII, 2025, Digital print on acryluxe, 29.7 x 42 cm (upper right), Antigoni Kavvatha, Journey IV, 2018, arylics on mylar, 61 x 440 cm (lower)

Constantin Massos, The Passage, 2016, mixed media on canvas, 100 x 140 cm (upper left), Ifigeneia Sdoukou, Sailing, 2023, hand-dyed and embroidered fabric, 100 x 65 cm (upper riglht), Miltos Skouras, Untitled, 2022, oil on canvas, 70 x 160 cm (lower)

The exhibition’s curators, Evgenia Iskou and Natalia Mitsioni, explain: “The exhibition is not merely a reference to cultural continuity. It is an artistic proposition that views history not as a static archive, but as a dynamic topography — a field of meaning that directly concerns us. In the encounter between the ancient and the contemporary, viewers are invited to reflect on movement, transition, exchange, and collectivity — not as abstract concepts, but as fundamental lived experiences shared by both the Early Cycladic inhabitants and the modern individual”.

Giorgos Alexandridis, Accommodations, 2020, installation, stoneware clay, 21 x 12 x 11 cm (each)

Nikos Tranos, Nausea (from the series terrain), 2017, 50 ceramic heads glazed in lifebuoy orange and double-fired at 1020°C, 2 Viennese chairs — domestic furniture salvaged from the streets of Athens, 150 corks from champagne and wine bottles, iron rods, 113 x 55 x 115 cm (Courtesy of Zoumboulakis Galleries)

Participating artists: Giorgos Alexandridis, Odysseas Glykas, Antigoni Kavvatha, Stavros Kassis, Thanos Makris, Konstantinos Massos, Varvara Mavrakaki, Antonios Panagopoulos, Periklis Pravitas, Ifigeneia Sdoukou, Miltos Skouras, Nikos Tranos.

The island of Ios is a charming Cycladic destination, famous among young visitors for its vibrant nightlife. According to ancient tradition, Ios was the burial place of Homer and also the homeland of his mother. The island’s name, Ios, derives from the ancient word “ion,” meaning flower, a reference to the abundant blossoms that once covered the island in antiquity. Ios is home to several sites of significant archaeological and historical value.

Chora lies very close to the harbor in Ormos and warmly welcomes travelers arriving on the island. Built on a hillside, its summit is crowned by the ruins of a medieval castle. Chora is one of the finest examples of a traditional village designed according to Cycladic architecture. Its snow-white houses, picturesque arcade-covered alleys (stiyadia), twelve windmills, and churches with arched belfries and light blue domes create a uniquely charming residential area. (visitgreece.gr)

The landscape of Ios is determined by the numerous churches and chapels that are scattered everywhere and are, as one would say, an integral part of the beauty of the island. The local tradition wants the churches of the island to be 365, one for each day of the year.(visitiosgreece.com/en/churches-and-monasteries/)

The Hiking Network of the Municipality of Ios is a network of short paths, which is addressed to visitors to the island who wish to get to know the natural and cultural environment of Ios.

Ios offers a plethora of lovely bays and beaches with golden sand and blue-green waters.

Gialos is the large beach with fine sand, next to the port. A part of it is organized but it also has many tamarisk trees that can offer their shade.

Mylopotas is the most organized and busy beach of the island. A beach with golden sand and clear blue waters south of Chora (3 km). Along the beach there are umbrellas, sunbeds and beach bars for all ages. (Source: aegeanislands.gr)

Tris Klissies, three wonderful windless beaches in the southern part of the island. Due to their protection from the winds, the port of the island was old. At the bottom of the sea, the visitor can see the remains of the old port.

Manganari is a series of sandy coves that form at least three large beaches and numerous smaller, with easy access to the southern part of Ios. Its natural beauty is renowned not only on Ios but throughout the Cyclades. Manganari caters both to visitors seeking organized beaches with umbrellas, sunbeds, restaurants, and beach bars, and to those who prefer a quieter, more secluded beach experience.

(Source : https://visitiosgreece.com/en/)

Read also:

The Gaitis-Simossi Museum on Ios Island

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The post Skarkos on Ios: Early Cycladic Heritage Meets Contemporary Art appeared first on Greek News Agenda.

Αt the northeastern edge of Attica, about 60km from Athens, next to the Euboean Gulf, lie the ruins of the ancient deme of Ramnous (Ramnountas). Ramnous is the best-preserved ancient Attic deme site and belonged to the Aiandidae tribe (Demes were suburbs or subdivisions of the ancient city-state of Athens - after Cleisthenes' reforms, Athens was divided into 139 demes). The name "Ramnous" derives from the local Mediterranean shrub 'rhamnos' (Rhamnus Alaternus). Within the walls, public buildings, sanctuaries, and homes were constructed. An Athenian garrison was permanently stationed at the town's acropolis, overseeing the sea route between Attica and Euboea (Cover photo: Ephorate of Antiquities of Eastern Attica).

General view of Ramnous (Ephorate of Antiquities of Eastern Attica)

The famous Temple of Nemesis at Ramnous is the most important sanctuary of the deity in the Greek world. Nemesis was the goddess of indignation against, and retribution for, evil deeds and undeserved good fortune. She personified the resentment felt by people towards those who committed crimes with apparent impunity or enjoyed excessive good fortune. According to the myth, to win her over, Zeus transformed himself into a swan while she took the form of a goose. After their union, Nemesis laid an egg, which was given to Leda. From this egg hatched the beautiful Helen (the central figure of the Trojan War) and the Dioscuri. The sanctuary honoring Nemesis is believed to have been founded in the early 6^th century BCE, reaching its peak during the 4^th and 5^th centuries BCE.

The Temple of Nemesis (Photo: wikipedia.org). The area was shaped by the construction of strong isodomic retaining walls on the north and east sides to support the soil. The first archaic limestone temple was destroyed by the Persians in 479-480 BCE, along with many other buildings in Attica. A new, larger temple was built after the mid-5th century BCE, north of and very close to the previous one. It is a Doric peripteral temple with 6 columns on the short sides and 12 columns on the long sides. The temple consists of a pronaos and an opisthodomos with two columns between pilasters and measures 21.40 by 10.05 meters. Today, only ruins of this temple remain (Source:  searchculture.gr)

The restored entablature of the Temple of Nemesis (above) and restored columns of the Temple (lower left). Although the beginnings and ends of the characteristic flutings of the Doric order were properly carved, the work was never completed, leaving the large temple with the appearance of an unfinished project. Reconstruction of the statue of Nemesis at Ramnous (lower right). Inside the temple was kept the famous statue of the goddess Nemesis, a work by Agorakritos of Paros, a student of Phidias. The sculpture has survived only in a very fragmentary condition and is dated to the decade 430–420 BCE. The statue, standing 3.50–3.60m tall (4.40m including its base), was made of Parian marble and depicted the goddess standing, dressed in a chiton and himation, holding a phiale in her extended right hand and a branch in her left. The base of the statue was made of marble from Dionysus and has been restored from numerous fragments found scattered around. The relief decoration depicts the presentation of Helen to her mother Nemesis by Leda. The destruction of the statue of the goddess by Christians is dated to the late 4th century CE (Photos: huffingtonpost.gr/).

The area of Ramnous has been continuously inhabited since the Neolithic period. Ramnous is mentioned by the geographer Scylax as an important fortress. The sanctuary of Nemesis at Ramnous inspired the Athenian army to fight at nearby Marathon. The fortress of Ramnous, like that of Sounion on the southern coast of Attica, is believed to have been constructed during the Peloponnesian War to control the ships carrying grain to Athens. In 322 BCE, the admiral of the Macedonian army, Cleitus, landed troops at Ramnous but was expelled by Phocion, who captured the fortress. In 296 BCE, the fortress was taken by Demetrius the Besieger. The decline begins during the Hellenistic period. Pliny mentions visiting Ramnous in the mid-1^st century CE. The temple of Ramnous also interested Herodes Atticus, who perhaps funded its repair. The area was gradually abandoned, but the temples of Nemesis continued to be maintained until the 4th century CE (Source:  odysseus.culture.gr).

Ruins of houses with simple walls. The stronger wall was made of large, well-built stones (Ephorate of Antiquities of Eastern Attica)

The first excavations at Ramnous were carried out by the Dilettanti in 1813 and by Dimitrios Filios in 1880. Between 1890 and 1892, excavations conducted by V. Stais uncovered the sanctuary, the fortress, and many burial enclosures. From 1975 to the present, the archaeological site of Ramnous has been systematically excavated and studied, funded by the Archaeological Society and directed by the archaeologist, V. Petrakos.

The fortress, along with the wall surrounding the settlement, small sanctuaries, the theater, and the city’s gymnasium, have been preserved. Remarkable statues were found inside the early 6^th century BCE small temple, which no longer survives today, but its existence was confirmed by preserved Laconian roof tiles. The small temple was rebuilt in the early 5^th century BCE with polygonal masonry, and its ruins are visible today. (Source:  odysseus.culture.gr).

Statue of Themis (left). Sculpted by Chairestratos, made of Pentelic marble, height 2.22m, dated to around 300 BCE. Discovered in 1890 at the small temple of Nemesis and dedicated to Themis by Megacles, as inscribed on the base. Now housed in the National Archaeological Museum of Athens. Themis was the goddess of divine law and order. She was the first to instruct humankind in the primal laws of justice and morality, including the principles of piety, hospitality, good governance, proper conduct in assemblies, and devout offerings to the gods (Photo: el.wikipedia.org). Statue of Aristonoe, priestess of the goddess Nemesis (right). Pentelic marble,1.62m in height, dated to the 3^rd c BCE. Discovered in 1890 at the small temple of Nemesis. According to the inscription on the base, the statue was commissioned by Hierocles. Aristonoe was the daughter of Nicocrates from Ramnous. During the excavation, a tomb was found on the temple floor in front of the pedestal. This tomb may have belonged to Aristonoe herself, who, due to her status as a priestess, was likely buried within the temple and honored with a statue.  (Photo: el.wikipedia.org)

Inside the fortified enclosure, both private and public buildings have been uncovered. Notably, the theater and the gymnasium stand out, while the agora of the deme was also located this area. At the top of the hill—within the inner fortified zone—stood the military installations, including the fortress. Below the fortress, on the coastline, two small harbors—the eastern and the western—served ships tasked with controlling passage through the Euboean Gulf.

The fortress surrounding the settlement of Ramnous consists of an outer enclosure wall, approximately 800m in length, and a smaller inner enclosure that surrounds the hilltop. The main entrance of the outer enclosure is on the southern side and is flanked by rectangular towers for protection. Similar rectangular towers were also built at various other points along the wall to reinforce the fortifications (Ephorate of Antiquities of Eastern Attica)

The Southern Gate (Ephorate of Antiquities of Eastern Attica)

Excavations also uncovered a section of the ancient road that once led to the deme of Ramnous. This road passed in front of the Sanctuary of Nemesis and continued up the fortress. Along this route, archaeologists discovered numerous luxurious burial enclosures dating from the Classical period, featuring remarkable funerary reliefs, small shrines, and columns. Several of these enclosures have been carefully restored (Ephorate of Antiquities of Eastern Attica)

Funerary Monuments from Ramnous. A funerary small temple (naiskos) belonging to the Pytharchos family features a typical depiction of a farewell "reception" between father and son, with the young grandson resting on his grandfather’s knees. Behind them stands, likely, his wife, Pythocriti (upper left). The large funerary naiskos of the Diogeiton family, in the Ionic order, restored and preserved, was part of the family’s burial enclosure (upper right). The funerary stele of the Menestides family portrays a touching family grouping (lower). A missing fragment, lost due to looting in 1879, is now housed in the National Archaeological Museum. The scene depicts two men on the left — Menestheus and Menesthenes, sons of Menestides — and three women on the right: their two sisters standing, and their mother, Nausiptolema, seated. (Photos: huffingtonpost.gr/).

(Source: welovemarathon.gr)

A visit to Ramnous today can be ideally combined with a nature hike or a refreshing swim at the nearby beaches (visitgreece.gr). Access to the beach is a bit challenging due to the dirt road leading to it, but the final destination is well worth the effort. The beach lies directly below the Sanctuary of Nemesis, tucked away in a secluded and scenic cove. Its exotic beauty and the natural surroundings, including a pebbled shoreline and peaceful atmosphere, make it an ideal spot for those seeking a close connection with nature. Since the beach is not organized, visitors are advised to bring all necessary supplies for their stay. Due to its isolation and crystal-clear waters, the beach has also become a popular choice for naturists.

Ramnous beach (Photo: tripadvisor.com.gr)

Ramnous beach (Photo: athensvoice.gr)

(Source: athensvoice.gr)

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Argos, located in the Argolis region of northeastern Peloponnese, is considered one of the oldest continuously inhabited cities in Western Europe. A living testimony to over 7,000 years of history, Argos is an ideal destination for history buffs and mythology enthusiasts, far from the crowds.

Heroes and legends: the mythical origins of the town

The origins of Argos, like those of many Greek cities, are lost in a maze of myths from a variety of traditions.

During the Mycenaean period (1600-1100 BC), Argos became a prominent city, with close links to sites such as Mycenae and Tiryns. It was during this period that many of the founding myths of Greek civilization were born, linked to the legendary kings of Argos.

According to legend, Argos has been inhabited since ancient times by pre-Hellenic peoples, whom Ancient Greek writers referred to as “the Pelasgians”; their first king, Pelasgus, was said to be the son of Zeus and Niobe.

According to one version, the city's founder was the river-god Inachus, son of the Titans Oceanus and Tethys, and father of Io (Zeus' lover, transformed into a cow). Argos, also known as Argus Panoptes, was a hundred-eyed giant who is said to have guarded Io on behalf of Hera, Zeus' distrustful wife and patron goddess of Argos.

The economic development of Argos is attributed to Danaus, founder of a new dynasty and eponym of the people who bear his name - the Danaans, who also built its acropolis.

The Danaus myth suggests that at the beginning of the Mycenaean period, around 1600-1500 BC, a new people took power in Argos, originally from Egypt and Phoenicia, while another version suggests that the new inhabitants were Achaeans. In any case, Argos became a powerful center in the Mycenaean period. Around 1300 BC, the king of Argos, Adrastus, accompanied by six other citadel kings, marched against Thebes, an event described in Aeschylus' tragedy Seven Against Thebes.

Argos is also home to many legendary heroes, including Perseus, the slayer of Medusa, and Diomedes, one of the major heroes of Homer's Iliad, who ruled Argos at the time of the Trojan War.

With the arrival of the Dorians around 1100 BC, a hypothesis challenged by historians, Argos became one of the first Peloponnesian cities to come under Doric rule. The Dorians of Argos occupied a vast territory stretching from Cynuria to Aegina, and from Argolis they colonized Rhodes, founding Lindos and the southern Cyclades. The first king of Argos after the arrival of the Dorians is mentioned as Temenus, founder of the Temenid dynasty. The cult of Hera also seems to have begun in Argos at this time.

The first inhabitants and the archaic period

The site of Argos is dominated by two hills: Larisa, almost 300 meters high, and the hill of the Prophet Elias - colloquially called “Aspida” (meaning “shield” in Greek) due to its shape - with an altitude of around 90 meters.

The first traces of human presence in Argos date back to the Neolithic period, around 5000 B.C. Thanks to its strategic position on a fertile plain close to the sea, Argos quickly developed as an agricultural and commercial center.

During the Archaic period (8th - 6th century BC), Argos emerged as one of the most powerful cities in the Peloponnese, rivalling even Sparta. This was a time of cultural, political and military expansion for the city, and one of the key figures of this period was King Pheidon (7th century BC).  He is credited with three major achievements reuniting the Argive kingdom, standardizing weights and measures and taking control of the Olympic festival.

Argos also became an outstanding artistic center, especially for sculpture. It was here that major artists such as Polymedes (in the Archaic Period) and Polykleitos (in the Classical Period) were born or trained, and their work had a lasting influence on Greek art. The Argos school developed a realistic, harmonious style centered on the idealized proportions of the human body.

Argos went into gradual military decline, particularly in the face of Sparta's expansion, but retained its autonomy and cultural prestige well into the Classical era.

From Frankish knights to today's town

The history of Argos later became intertwined with that of the Roman Empire, which evolved into the Eastern Roma (Byzantine) Empire. The crusaders of the principality of Achaia conquered it around 1212, forming the seigniory of Argos along with the neighboring city of Nafplion; it would later come under Venetian and, subsequently, Ottoman rule, until the Greek War of Independence (1821-1829).

Today, Argos is a little-known destination, ideal for lovers of mythology, history and authentic discoveries far from the tourist crowds. Close to Nafplio, Mycenae and Epidaurus, Argos features a must-see archaeological site, with the ancient theater, the Heraion (sanctuary dedicated to Hera), the archaeological museum, the Roman baths, the remains of the ancient Agora, and Larisa, the acropolis of Argos, with its panoramic view and medieval fortifications.

Read also via Greek News Agenda: The archaeological sites of Mycenae and Tiryns; Visit Nafplion, One of Europe’s Most Beautiful Towns; The medieval ghost town of Mystras

Translated from the original article from Grèce Hebdo

The post Argos, one of Europe’s oldest continuously inhabited cities 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 post Poliochne on the Island of Lemnos: The Earliest Evidence of Social and Civic Structure in Europe appeared first on Greek News Agenda.