Greece has begun its two-year term as a non-permanent member of the United Nations Security Council on January 1^st 2025. On December 6, the 79th Plenary Session of the UN General Assembly adopted by consensus the Resolution on “Return or Restitution of Cultural Property to the Countries of Origin” spearheaded by Greece, with 146 co-sponsorships. This represents the highest number achieved to date and was the first occasion on which all 27 EU Member States, co-sponsored the resolution. highlighting EU unity on such a sensitive political issue.

“It is of the utmost importance for us all to recognize that the protection of human life will always remain our primary concern, but that respect for a people’s cultural identity is also vital. While human life is of greater importance than objects, it is nevertheless necessary to respect the rules for the protection of cultural property, as it is the collective memory of humanity and symbolizes human life itself,” explained Ambassador Evangelos C. Sekeris, the Permanent Representative to the United Nations addressing the Assembly.

The resolution aims at achieving interstate cooperation in protecting cultural property against illicit trafficking in times of peace and war, as well as establishing a common framework of respect for tangible and intangible cultural heritage. Practically speaking, member states will be required to ensure documented proof of origin and provide certificates for cultural goods traded internationally, including those traded online. 

Throughout the years, the UN and UNESCO in particular have played a pivotal role in combating illicit trafficking and promoting the return of cultural property. This is being done through initiatives such as the 1970 UNESCO Convention (on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property) and partnerships with INTERPOL and other organizations.

Going one step further, the newly adopted Resolution expresses serious concern about cultural property removed before the 1970 Convention and calls for its return.  It also encourages the return and restitution of stolen and illegally possessed cultural property to their historic environment.

This Greek initiative is a remarkable diplomatic success given the fact that Resolutions tabled by only one country are rarely adopted by such a large number of co-sponsors. The cross-regional support of the Resolution, with a wide and diverse group of co-sponsoring member states, illustrates the change in attitude on the issue of the return or restitution of cultural property and the high visibility this has gained in recent years.  It is also a very promising beginning for Greece’s tenure as a non-permanent in the Security Council, starting January 2025. 

Protection of world cultural heritage and the Restitution of the Parthenon Sculptures

Recently, Greek Minister of Culture Lina Mendoni addressed the International Symposium titled "Old and New Threats to Global Cultural Heritage: The Role of Prevention," (16.12.2024) organized by the Ministry of Culture to mark the 70th anniversary of the Hague Convention (1954) and the 25th anniversary of its Second Protocol (1999). The event, hosted at the War Museum of Athens, highlighted the significance of international collaboration in safeguarding cultural heritage from evolving threats.  Minister Mendoni emphasized that cultural heritage protection is a top priority for Greece, both tangible and intangible, regardless of its geographic location or historical depth. She underlined Greece’s successful efforts in repatriating illegally exported artifacts, achieved through a coherent policy and the use of institutional tools. Mendoni reiterated that new and complex threats to heritage transcend borders and often occur even in times of peace, making international cooperation vital for effective prevention.  

A meeting between Greek Prime Minister Kyriakos Mitsotakis and UK Prime Minister Sir Keir Starmer (3.12.2025) has reignited discussions in the UK media about the potential return of the Parthenon Sculptures to Greece. Greek officials emphasize that the Sculptures were taken unlawfully and are integral to Greece’s heritage, pushing for their permanent return.

The sculptures are part of a 2,500-year-old frieze that was taken from the Acropolis in the early 19th century by British diplomat Lord Elgin and put on display in the British Museum. Athens says they were removed illegally and wants them returned so they can be displayed alongside the rest of the Parthenon Sculptures at the Acropolis Museum in Athens.

The British Museum is banned by law from giving the sculptures back to Greece, but extensive talks have been held on a long-term loan arrangement. According to sources quoted by British news publication the Guardian, “It is envisaged that any agreement will be underpinned by a cultural partnership between the two countries, with the sculptures returned to Athens and reunited with other pieces currently on display at the Parthenon galleries of the Acropolis Museum – in exchange for blockbuster art works that will take centre stage in rolling exhibitions in London.”  Public opinion in the UK appears to favor the  return of the Parthenon Sculptures to Greece, a, with a YouGov poll showing 53% support for their return.

I.L. with information from News and Documentation Bulletin, Department of Analysis and Research, Directorate E2 of International Communication, Greek Ministry of Foreign Affairs.

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Europe's past is inextricably linked with ancient Greece. In the heart of Macedonia, close to the city of Pella (the capital of the ancient kingdom of Macedon) and Axios River, lies the ancient city of Europus, an important urban center of the ancient Bottiaea region. It was a prosperous city in the heart of the Macedonian kingdom, and the birthplace of Seleucus I, one of Alexander the Great's most important successors and founder of the legendary Seleucid Empire.

The city’s inhabitants are said to have been the first to bear the ethnonym “European” – as the name Europus has the same root as the name Europe. The rather obscure history of Europos is highlighted in the special exhibition “The City of Europeans”, the result of cooperation between the National Archaeological Museum and the Ephorate of Antiquities of Kilkis, as part of the “National Museum Encounters” initiative.  The exhibition will run until Sunday March 16, 2025, and will be accompanied by lectures, guided tours and other activities for the public.

Visitors to the exhibition will have the opportunity to discover key features of the ancient city through Hellenistic tombs, as well as installations and laboratories that shed light on many little-known aspects of daily life.

Europus: an ancient crossroads between the Aegean Sea and the Balkans

The ancient city of Europus lies southeast of Mount Paiko, west of Axios River. Its location allowed it to control the waterway between the southern Aegean and the Balkans. The region's dense forests and the possibility of transporting timber across the Axios contributed to its early development as an intermediate trading post with southern Greece.

The first traces of human settlements date back to the prehistoric period (c. 3000 BC). In classical times, the town was part of the administrative region of Bottiaea, and Thucydides refers to it in his account of the Peloponnesian War. In Hellenistic and Roman times, the town was put to the test by repeated invasions, as witnessed by the honorary statues of Roman officials who helped repel the invaders.

Excavations and unexpected discoveries complete the evidence of aspects of the city's public, private, economic and religious life.

The archaeological site includes an excavated part of the Europus cemetery, where the good preservation of surface structures and enclosures has made it possible to track social stratification, the latter being traced in the selection of category, size, building material of funerary monuments (Macedonian, carved or brick, vaulted or with a simple tile roof) over a long period of use, from the Classical to the early Christian period (4th B.C.). Χ.- 4th-6th).

Translated from the original article which appeared on Grèce Hebdo (Intro photo: Panoramic view of the ceramic kiln in the workshop area of the ancient city. Source: Ephorate of Antiquities of Kilkis)

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Located in the south-western Peloponnese, 30 km from the city of Kalamata, ancient Messene is one of the most impressive and best-preserved archaeological sites in Greece. Combining the grandeur of Delphi with the tranquility and natural beauty of Olympia, the site now ranks among the most important remains of Greek antiquity. The green valley where the site is located, washed by the Pamisos River, has remained intact through the centuries. This is why the ancient city of Messene has the rare advantage of not having been destroyed or built over by later buildings.

Ancient Messene was founded in 369 BC by general Epaminondas from Thebes, putting an end to the long Spartan occupation of Messenia. The conquest of the fertile land of Messenia by the Spartans following the First Messinian War (743-724 BC) was crucial to the dominant role of the city-state of Sparta, and its occupation for 400 years enabled Sparta to become a military superpower that, along with its rival Athens, would shape the history of classical Greece.

Yet the Messenians never forsook their identity and constantly tried to regain their freedom. When general Epaminondas freed the Messenians, the new Messene was founded. The founding of Messene marked the end of Spartan domination. The city became the political, economic, social, religious and artistic center of the free Messenians who, in the preceding centuries, had been reduced to the status of helots (a slave-class) or Perioeci (second-tier citizens) under the Spartan rule.

The ancient Messene, set in a natural environment rich in resources that favored the development of an agricultural economy, was in ancient times the most important and dynamic center of a people that, on the basis of its mythological, religious and heroic past, was able to evolve into an independent political entity and shape its own national identity.

The city developed at the foot of Mount Ithome, a natural fortress with the sanctuary of Zeus Ithomatas at the summit and the sanctuaries of Artemis Limnatida and Ilithyia or Eileithyia (goddess of childbirth and midwifery) on the southern slope. Built according to the Hippodamian urban system, a symmetrical grid system rather than the more typical labyrinth to repel attack, the city was protected by solid fortification walls with a total length of 9.5 km.

The city flourished mainly during the Hellenistic and early Imperial periods (3rd century BC - 1st century AD) as an important political, religious and artistic center. The heart of the city's public life was the building complex of the Asclepieion (healing temple dedicated to Asclepius) and the nearby Agora.

Among the various secular buildings were the theater, the stadium-gymnasium, the Arsinoe fountain, along with bath complexes and Roman urban villas. Sacred buildings and temples were dedicated to the cult of Artemis, Demeter and Dioscuri, Zeus Soter (savior), Poseidon, Aphrodite, Cybele, Serapis and Isis, as well as to heroes and locals such as Aristomenes and Epaminondas, and venerable Roman emperors.

The most important buildings are the following:

The theater

The first monument to encounter is the theater, built in the 3rd-2nd centuries BC and considered one of the largest of its kind, reaching almost 100 meters in length and once seating 10,000 spectators. It was used for political gatherings as well as performances and has been restored to serve as a summer festival venue.

The Arsinoe fountain

Next to the theater is the fountain of Arsinoe, Asclepius’ mother, who was the daughter of the mythical Messenian prince Leucippus. The fountain was fed by the Klepsydra spring and had a 40-meter-long cistern.

The Agora

The immense square-shaped agora was surrounded by stoas (covered porticos), and was the center of everyday life. Excavations are ongoing, but finds include fragments of a representation of Zeus’ winged thunderbolt and the temple of Zeus Soter.

Stadium and gymnasium

Among the most impressive buildings, the well-preserved stadium features 18 rows of seats, separated by staircases and surrounded by Doric stoas, where the gymnasium was housed.

Asclepieion

Together with the Agora, it was the center of life in ancient Messene. A space of 72 x 67 meters, with four internal stoas opening onto a courtyard, it was described by Pausanias more as a gallery of bronze statues and other works of art than as the sanatorium more typical of the Asclepieia found at other sites.

The Heroön

Originally a four-storey Doric building that formed part of the stadium, the Heroön served as a funerary monument to prominent citizens who received a hero's burial.

The Ecclesiasterion-Odeion

This is a theater structure forming part of the Asclepieion architectural complex. The first phase of its construction dates from the late 3rd century B.C. Repairs to the stage walls and orchestra, carried out in the 1st and 3rd centuries A.D., are visible.

The fortifications

The imposing walls of ancient Messene once stretched for 9 km, interrupted only by Mount Ithome, which served as a natural fortification. One of the city's two monumental entrances, the Arcadian Gate, has survived, along with eight impressive towers. 

A museum housing over 12,000 finds from the excavations has been built on the site, within the ancient city walls.

Messene and its monuments are known from the writings of the Pausanias (traveler and geographer, 2nd century AD) and from the accounts of European travelers (19th century). The first archaeological excavation of the site was undertaken by French archaeologists from the scientific commission of the Morea expedition led by Guillaume Abel Blouet, on April 10, 1829, towards the end of the Greek War of Independence.

Excavations under the auspices of the Archaeological Society of Athens began in 1895 by Themistocles Sofoulis and were continued by George Oikonomos (1909 and 1925) and Anastasios Orlandos (1957-1974). But it was under the direction of Petros Themelis that a vast excavation and restoration project was carried out from 1986 to 2023, transforming the area into an impressive archaeological site.

Thanks to his personal initiatives, this visionary archaeologist has succeeded in restoring, stone by stone, the ancient city of Messène. For him, the "find" of an excavation was not a goal in itself. His personal satisfaction was in the restoration. That's why the current appearance of the Messene site is so impressive.

"Monuments are not secured- restored – promoted to remain empty shells, entrenched and inaccessible to citizens, but to be open, to become socialized in the present day. They must experience with us a second, if possible, eternal life", as Petros Themelis would say. According to him, cultural heritage is a fundamental element of a region's identity and a comparative advantage in terms of its contribution to economic development, social cohesion, historical continuity and collective memory.

Since 2014, the archaeological site of Ancient Messene has been included in Greece’s Tentative List for consideration by Unesco to be included in its World Heritage List.

Translated from the original article by Ioulia Elmatzoglou which appeared on Grèce Hebdo (Intro photo: The stadium, photo by Giorgos Mosaidis)

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Beyond its busy port, Aegina has the seductive, casual character of a typical Greek island, but with the added bonus of several important sites of historic interest. Weekenders from Athens liven up the mix of laid-back locals and travelers who use the island as an Athenian suburb. Aegina's special delights PDO-designated pistachio nuts, the 5th-century classic Temple of Aphaia, and the impressive Byzantine ruins of Paleochora.

The island of Aegina is one of the most popular tourist destinations as it is the closest one to Athens (only 16.5 nautical miles from the port of Piraeus). For a brief period, from 1/11/1827 to 3/10/1829, the city of Aegina was the temporary capital of the newly founded Greek state. It was during this period that Governor Ioannis Kapodistrias, Greece’s first head of state, had impressive neoclassical mansions built to house his headquarters, which are well worth a visit. Aegina is the ideal place for a day trip from Athens but also as a destination for summer or spring vacations.

A little bit of mythology and history

Archaeological research has shown that the first inhabitants of the island settled in the area where Kolona is today, to the left of the port of Aegina (however, there are indications that there were inhabitants on the northeastern side). It is believed that they originated from the Peloponnese, and their main occupations were probably agriculture and fishing. From this time until the end of the 12th century BC, Aegina received successive influences from the Minoan and Mycenaean cultures, thus creating a distinct culture of its own.

In general, from mythical times until it was ravaged by the corsair Barbarossa, Aegina attracted more and more new settlers, who were constantly assimilated. The origin of its first inhabitants is lost in mythical traditions; King Aeacus and his subjects supposedly arrived in Aegina from some region of Thessaly around 8,OOO BC, already finding indigenous people there. Aegina constantly attracted new inhabitants because its natural harbors provided security, and its gentle terrain, with no high mountains or thick forests. Aeacus was famous for his justice, and after he died he became one of the three judges in Hades alongside Minos and Rhadamanthos.

When Aegina became a member of the amphictyonic league of Kalaureia (based on the Temple of Poseidon on modern-day Poros island), trade increased and its ships reached all the ports of the Mediterranean.   At the beginning of its alliance with the king of Argos, Phaedo, in the 8th century BC, Aegina began to experience its greatest artistic and economic flourishing, which continued until 459 BC. The island's rapid growth was mainly due to its key position across from the port of Piraeus.   Athens' only means of communication with most of the known world at that time was the sea. And these routes necessarily passed through Aegina, which profited from that fact.

It was only around the 6th century BC, after the reforms of Solon, that the Athenians began to engage in trade, without yet posing a threat to the flourishing economy of Aegina. In 500 BC the population of Aegina reached 440,000, of which 40,000 were free citizens. At that time, the island was full of sanctuaries and temples, which were created by the island’s celebrated artists. Gradually, however, the locals began to be more concerned about the rise of Athens and its trade. Apart from their commercial, maritime and generally economic differences, Aegina and Athens were also divided by political ones, since Athens was a democracy, while Aegina was ruled by oligarchs controlled by merchants. When the Persian Wars first broke out, Aegina initially sided with the Persians, and they were blamed for this stance. 10 years later, however, in Xerxes' campaign in 48O BC, the people of the island fought alongside the rest of the Greeks, participated in the naval battle of Salamis with 30 triremes and were distinguished for their bravery.

However, immediately after the naval battle of Salamis, the animosity with the Athenians was rekindled. On the pretext that Aegina wanted to ally with Corinth, the Athenians attacked the island and destroyed its fleet during a naval battle that took place in 459 BC off the modern-day island of Agistri. The Athenians forced the inhabitants to surrender their fleet, demolish their walls, and become tributaries to Athens. Altough things settled for some time, the start of the Peloponnesian Wars found the Athenians fearing that Aegina would side with the Spartans; they thus invaded it and expelled its inhabitants. Athenian families settled on the island, including those of Aristophanes and of Plato's father, Ariston.

The inhabitants of Aegina fled to Sparta, in the region of Thyres, and returned at the end of the Peloponnesian War in 404 BC, when Lysander defeated the Athenians and captured their city. By then, however, Aegina had lost its former glory. It joined the Achaean League and later the Aetolian League. In 133 BC, Attalus III handed over the island and the entire state of Pergamum to the Romans, who used it as a resort for the rulers of the Roman Empire.

Many centuries later, in the period after the Greek Revolution, Aegina welcomed the first Governor of the free Greek state, Ioannis Kapodistrias. On January 12, 1828, on the beach of Perivola, the first Ioannis Kapodistrias, Modern Greece’s first head of state, arrived on the English warship Warspate, accompanied by the French Hera and the Russian Helen. On January 26, 1828, Kapodistrias was sworn in at the Cathedral of Aegina as the first Governor of Greece and Aegina became the first capital of the newly created State, becoming its administrative, commercial and intellectual center.

Its population grew rapidly and is estimated to have reached 100,000 inhabitants, although the General Gazette of Greece estimated it to be less. At this time, Aegina was home to a number of magnificent buildings, either to be used as residences for government officials and other wealthy people, or to be used as public buildings and institutions. After the transfer of the capital to Nafplion on in 1829, Aegina went through periods of economic crisis, while most of the inhabitants who had come here left the island and returned to their homelands.

In the late 19th and early 20th centuries, trade and especially fishing and sponge processing became the driving forces of the island's economic development. This is the time when wealthy merchants built the neoclassical buildings that adorn the port of Aegina today. At the same time, the production of its famous jugs and the widespread use of local limestone helped the economy, even if only temporarily. At the same time, a new crop appeared in Aegina: the pistachio tree, whose first plants were brought to the island by Nikos Peroglou from Syria, to become in the following years the most important and effective crop, which not only gave Aegina an economic boom, but made it known again to the world, giving its name to this type of nut.

Moving on to the present day, Aegina is a destination appreciated mainly for the short distance that separates it from Attica, but also for its quaint beauty.

The city of Aegina, the capital of the island, stands out for its well-preserved buildings. The white church of Agios Nikolaos in the harbor and the brightly painted neoclassical buildings of the coastal boulevard are the first thing you see when you get off the ship. The neoclassical houses that dominate the harbor took their present form in the mid-19th century, when the island's sponge industry developed. This is when when the houses were painted, and impressively designed balconies were added. The main commercial street is Aphaia Street, parallel to the coastal avenue.

Although the island is small, it boasts numerous sites of historical interest and natural beauty. During your stay, you will have the opportunity to explore ancient monuments and ancient monasteries, such as the Temple of Athena Aphaia, the most important monument on the island. Located near Agia Marina, it is a Doric temple dating back to 500 BC. The temple was founded there and formed an equilateral triangle with the Parthenon in Athens and the temple of Poseidon in Sounion, the so-called "sacred triangle" of antiquity. The most impressive part of the temple are its magnificent sculpted pediments, a large part of which are on display in the Munich Glyptotheque. Finds from the excavations are also on display in the Archaeological Museum of Kolona.

You can also visit the Temple of Apollo in Kolona. It is located a short distance from the port and owes its name to an upright column (kolona in modern Greek) in the Doric style, the only one remaining from the temple of the 6th century B.C. Kolona was the religious center of the ancient city. Archaeological research has revealed the existence of more than ten historic buildings dating from the Neolithic (5th millennium BC) to the Mycenaean period (1600- 1200 BC). You can see some of the finds from the excavations at the Kolona Archaeological Museum.

During your stay in the town of Aegina, be sure to visit the Archaeological Museum of Kolona, the Tower of Markellos, which was built by Markellos, hero of the War of Independence of 1821 and later Governor of the island, which today houses the Kapodistrian Cultural Center. Stop also at the Kapodistrian Orphanage, the first public building during Kapodistrias' reign, and the Eynardio, a Doric-style building from 1829. Finally, visit the Cathedral of Aegina, the first cathedral of the modern Greek state, which also housed the Kapodistrian government and the first parliament of the modern Greek state.

In the surrounding area you can find pretty little villages with a strong traditional flair, such as Agia Marina, Perdika, Souvala, Kypseli, Agioi and Vagia. Aegina is also surrounded by many smaller islands, such as Moni, Metopi, Diaportia, Lagousses, Kyra, Dorousa and Spalathonissi, which can be visited by boat from the port of Aegina. The archaeological site of Paleochora, in Agia Marina, preserves the island’s heritage from the Byzantine period. This area is known as the "Mystras of Aegina" because it once had 565 churches, 28 of which (with excellent frescoes) have withstood the ravages of time, as have the ruins of the medieval castle and two magnificent monasteries. Near Paleochora, in the direction of Souvala, is the impressive monastery of St. Nektarios, one of the largest in the Balkans. It was built in the 20th century (between 1904 and 1910) on the site of a small Byzantine monastery.

Another interesting sight is the "Route of the Artists"; a beautiful coastal route from the port of Aegina to Plakakia (5 km, 1 hour) which you can take to follow in the footsteps of the great artists who were inspired by Aegina. Starting from the Varotsos sculpture in the harbor, the glass "Gate of Aegina", you can head towards ancient Kolona and follow the Nikos Kazantzakis coastal road to photograph the Untitled sculpture by the great Yannis Moralis against the backdrop of infinite blue. After a stop at the romantic Bouza Lighthouse, continue straight ahead to the Statue of the Mother by painter and sculptor Christos Kapralos - you can also visit the museum of the same name. Finish the walk by admiring from outside the house where Kazantzakis, the writer who loved Aegina and its unique light, lived.

Translated from the original article which appeared on Pamorama Griego (Image source: Visit Greece [except where cited]) 

Read also via Greek News Agenda: Visit Nafplion, One of Europe’s Most Beautiful Towns; The medieval ghost town of Mystras; Hydra: a haven for international artists; There are over 100 Greek PDO products

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Hadrian's Aqueduct in Athens is the only Roman aqueduct of this type and size that has been constructed in Europe and that still carries water. This monumental technical construction of the ancient world does not only have great cultural value, but it can also be utilized to reduce the city's environmental footprint.

The Greek government is supporting a multi-dimensional plan to put this ancient aqueduct back into use, in order both to cover current needs for irrigation water, and to develop new places of cultural and environmental interest. The restoration of Hadrian's aqueduct is part of the sustainable development strategy of the Water Supply and Sanitation Agency of Athens (EYDAP), undertaken in cooperation the Ministry of Culture and Sports, the Attica region and the municipalities concerned.

The History of Hadrian´s Aqueduct

Hadrian's Aqueduct is a marvel of engineering:  its construction begun in 125 AD, it was completed in 140 AD, and it remained the main water supply for the wider region for centuries, operating without any change until the time of the Ottoman Occupation, in 1456. The aqueduct was designed through drilling 465 water-wells along the length of its alignment design; the running waters came from extracting water though the underground aquifers as well as from water streams that the aqueduct came across.

The underground tunnels of the ancient aqueduct start at the top of Mount Parnitha, in the north of Athens, and end up in the upscale district of Kolonaki, at the heart of the Greek capital, covering a distance of approximately 25 kilometers. The aqueduct connects various suburbs in Attica, running under seven municipalities: Acharnes, Metamorfosi, Heraklion, Marousi, Halandri, Pilothei-Psychiko and Athens and still proving water that is suitable for irrigation and other non-drinking uses.

Due to the inclination, water flows naturally inside the aqueduct’s underground tunnel (of 1,2m -1,6m height and 0,8m width). The aqueduct’s reservoir was abandoned during the Ottoman Empire’s occupation, causing most residents to become reliant on wells. Restoration of the aqueduct began in 1847, and the aqueduct was cleaned and repaired at various times between 1870 and 1932 – when parts of it were included in the new water supply network of Athens that the Ulen water company constructed. In 1929 with the completion of the Marathon Dam, the Hadrian aqueduct ceased to be the main provider of water for the city of Athens, although it continued to work as a supplementary source for many years.

Today, Hadrian's Aqueduct is destroyed in several places due to its disrepair and the development of the city above it (engineering works related to the construction of the metro, Olympic Games, etc.). To date, 390 water-wells of the original 456 wells of aqueduct have been located; 228 of them are visible and 174 can be found in public spaces.

Restoring the Hadrian Aqueduct

In 2018, engineers and scientists from EYDAP (public Water Supply and Sanitation Agency of Athens) and the National Technical University of Athens, have started exploring Hadrian’s Aqueduct in order to estimate the quantity and the quality water supply of the network, so that it can be used for the irrigation of public land in the city.

In 2021 EYDAP announced that, with the aim of highlighting the aqueduct as a monument and reutilizing it as a water supply source, it is providing the resources for the strategic planning of the project of the restoration of the Hadrian Aqueduct.

The restoration project aims to preserve the monument; use its underground waters in local irrigation; green the areas through which it passes in order to reduce the average temperature of Athens, and to enhance its sustainability by connecting it to local cultural, educational and economic activities.  The development of the aqueduct is carried out in cooperation with the Ministry of Culture and Sports, the Attica region and the seven municipalities concerned. “The underground water route from Parnitha to the center of Athens can evolve into conduit for development, greening and more oxygen for all the municipalities through which it passes. EYDAP is ready to offer everything needed for the success of the joint effort”, according to a statement by Harry Sachinis, the CEO of EYDAP.

So far, EYDAP, in cooperation with the Municipality of Halandri and 6 other partners, participates in the project CULTURAL H.ID.RA.N.T. The project, implemented through the European program Urban Innovative Actions and co-funded by the European Regional Development Fund, focuses on the utilization of the non-drinking water of Hadrian's Aqueduct for the Municipality of Halandri, as well as highlighting the Aqueduct as a monument of great cultural value.

The project is running since 2020; it is a particularly innovative urban regeneration project, based on the principles of sustainability and rational water management. Cultural H.ID.RA.N.T.  raises heritage awareness through the re-exploitation of water from the Hadrian Aqueduct, the regeneration of Hadrian routes and the transformation of urban spots into Hadrian-watered “urban gardens”. As a result, water becomes a kind of cultural heritage ambassador, while the same time, cultural heritage re-initiates sustainable water use.

Cultural H.ID.RA.N.T gained worldwide acclaim as the Municipality of Halandri won the first prize for it in the 6th International Competition of Urban Innovation of Guangzhou, in the category "Sustainable Management of Cultural Heritage”. The awards were presented on Thursday, December 7 2023, as part of the Global Mayors Forum.  The project and the Municipality of Halandri had qualified for the final among 274 nominations from 193 municipalities in 54 countries, as one of the leading examples of urban innovation.

I.L., based on the article L’aqueduc d’Hadrien d’Athènes | Un rare monument romain, voire une ressource en eau précieuse by sister publication Grèce Hebdo and information from EYDAP, CULTURAL H.ID.RA.N.T. and the Municipality of Halandri.

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How are Jealousy, Envy, Evil, Slander, human passions and emotions personified? And what about Eros (Love), Pothos (Longing), Himeros (Desire), Hypnos (Sleep), Dream and Death? The new exhibition titled NoHMATA "Meanings". Personifications and Allegories from Antiquity to Today, at the Acropolis Museum, focuses on πersonified concepts and meanings with human or animal form and allegorical stories – from celestial objects, islands, rivers and cities to concepts like Justice and Injustice.

This exhibition forms a unique Tetralogy, where the Greek word NoΗΜΑ (meaning) becomes a NΗMA (thread), and includes various artworks – statues, reliefs and vases, coins, jewellery, paintings, uniting theAntiquity with Byzantium, Renaissance and Modern Art. It comprises 165 works of small, medium and large size from different materials and periods: coins, ceramic and clay ostraca (sherds, fragments), vases, reliefs, statues, manuscripts and books, frescoes and paintings.

A mix of artworks in marble, clay, metal, canvas and colour, most of which are travelling for the first time and come together to delight and inspire, to puzzle and to make you think. Among the artworks that will be presented is the painting of Rubens from the Museo del Prado showing Cronos, the personification of Time, devouring his children, the personified Painting of Bourdon from a private Collection in Rome, the bronze statuette of Hypnos from the Kunsthistorisches Museum in Vienna, the famous Nike Sandalbinder from the Acropolis Museum, a vase by the Meidias Painter from the British Museum, the mosaics of Sea and Ocean from the Archaeological Museum of Thessaloniki, the Allegory of Divine Ascension from the Byzantine & Christian Museum of Athens, the sculpture of Eros and Psyche from the Musei Capitolini in Rome, the Seasons from the National Archaeological Museum, alongside the Seasons of Yannis Tsarouchis from a private Athenian Collection, the Allegory of Slander by Botticelli and his botega, etc.

The exhibition is curated by Professor Nikolaos Chr. Stampolidis, Director-General of the Acropolis Museum, and his associates.

The exhibition is organized into six sections –Time, Nature, Deities, Man, Institutions and Allegories– which become interwoven, leading up to an Epilogue. Each of these has one or more subsections with personifications, symbolic representations and allegories, depending on the number of artifacts and artworks it comprises. In each of the subsections an attempt is made to maintain a chronological order from the earliest to the latest works, but for reasons of emphasis or for practical reasons this principle is not always followed.

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"The Ancient Theater of Larissa is finally given back to the citizens, decades after the restoration work began, ready to be part of the city’s life." With these words, Minister of Culture Lina Mendoni handed over the newly restored monument to the citizens of Larissa in September 2023, after more than 20 centuries.

The Hellenistic theater’s systematic maintenance and restoration began in 2002, with the aim of restoring it to the state it was in the Roman era. In the last four years, works had become more intensive, resulting in the complete restoration of the theater's cavea (audience seating area). The works are expected to be fully completed by early 2024, making the theater accessible to people with disabilities.

The Theater

The first Theater of Larissa, an imposing construction which could hold over 10,000 spectators, was built in the first half of the 3rd century B.C. on the southern slopes of Frourio ("Fortress") Hill, where the city’s fortified acropolis was. It functioned until either the late 3rd century or the early 4th century AD; in the late 2nd or early 3rd century AD, an earthquake destroyed the second floor of the stage, part of the Doric facade, and part of the upper theater. A second powerful earthquake in the 7th century AD ruined the theater almost completely.

It was oriented southward toward the ancient market, which, according to reliable archaeological evidence, was located in the center of the modern-day city, where the Central Square and the Post Office Square now lie.

The monument has the typical structure of Hellenistic theaters, with their three main parts: cavea - orchestra - stage. The cavea is divided by ten radial stairways into eleven cunei, each with twenty-five rows of marble seats, the front row of which was reserved for the dignitaries.

The construction of the Ancient Theater is directly related to the worship of the god Dionysus and the performance of ancient drama. It was also the center of the social life of the ancient citizens of Larissa. This is evidenced by a multitude of artifacts, mainly inscriptions and sculptures, discovered during excavations. In the first century BC the theater was transformed by the Romans into an arena that hosted exclusively gladiatorial contests and public spectacles such as animal hunts etc.

The stage is the best preserved part of the monument. It is essentially a majestic freestanding building consisting of four rooms with three entrances between them, with a total length of 37.50 meters and a height of 3.00 meters. The two central rooms, communicating with each other, served as dressing rooms for the actors, while the two vestibules that have an entrance on the south side functioned as storerooms.

When the ancient theater was transformed into an arena by the Romans, the citizens of Larissa built a second, more modest theater for dramatic performances and other group events. This is attested to by ancient inscriptions according to which, during Roman times, the great Panthessalian (of all the region of Thessaly) festival of "Eleftheria" was held, featuring horse races in the hippodrome and as well as theater, poetry, dance and music competitions, housed in the theater.

Ancient Larissa

Like modern-day Larissa, the ancient city stretched along the northeastern part of the Thessalian plain, near the banks of the Pineios River. Not many details have survived regarding the city’s ancient history, but the minimal evidence from ancient sources and archaeological excavations indicates that it must have had the same form of social and economic development like the other cities of Thessaly. However, from the end of the 7th century BC, Larissa had a leading role in the economic and social life of the region. In the 6th and 5th centuries it was the capital of the Pelasgiotis, one of the four tetrads (administrative regions) of theThessalian tetrarchy, and the seat of Thessaly's monetary union.

In the 4th century, the cities of Thessaly formed a political-economic federal state, called the "Common of Thessaly" and headquartered in Larissa. Under Roman rule, both the city itself and the whole of Thessaly obtained numerous privileges.  Following the Octavian Augustus, who was a protector of the city, it suffered a gradual decline, until it became an insignificant city of the Roman Empire.

Read also via Greek News Agenda: Delphi: the navel of the ancient world; Ancient Olympia: Panhellenic Sanctuary and home of the Olympics; Delos, the Sacred Island; Temple of Apollo Epicurius at Bassae

N.M. (Translated from an original article in Punto Grecia)

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The Kotsanas Museum of Ancient Greek Technology is located in the heart of Athens, in a historic Art Nouveau building located on Pindaru Street, in the Kolonaki neighborhood. Since 2018, it offers visitors the opportunity to discover two very interesting aspects of ancient Greek culture through its permanent exhibitions "Ancient Greece - The Origins of Technology" and "Musical Instruments and Toys of Ancient Greece".

Although the contribution of the ancient Greeks in the fields of philosophy, fine arts and sciences is widely known, there is relatively limited awareness of the technological advances of the time. The goal of this museum is to shed light on this largely obscure aspect of ancient Greek civilization and to show the public that the technology of the ancient Greeks just prior to the end of the ancient Greek world was remarkably similar to the origins of our modern technology.

Some of the most interesting examples include Philo's automatic servant (the first functional robot in history), as well as the mechanical puppet theater and the hydraulic automatic doors system, both invented by mathematician and engineer Heron of Alexandria. The doors were installed in a temple and opened up when triggered by altar fire.

Other remarkable examples include Ctesibius’ water clock, force pump and counterweight-adjustable mirror and, of course, various inventions by Archimedes, the famous Antikythera mechanism and other astronomical devices, among 400 innovative inventions spanning the period from 2000 BC to the end of ancient Greece are documented.

The museum's approximately 400 exhibits are functionally and scientifically documented. The 30 years of research and study work of the museum's founder, Kostas Kotsanas, is based exclusively on careful studies of ancient Greek, Latin and Arabic texts, information from clay pots and other relevant archaeological finds.

The permanent exhibition "Ancient Greece - The Origins of Technology" presents 100 pieces divided into 24 topics, under the themes of Science, Myth and Everyday Life; visitors can enjoy an original educational experience, as many of the exhibits are interactive, based on the principle of experiential learning.

The exhibition "Musical Instruments and Toys of Ancient Greece" includes an impressive collection of 42 reconstructed and fully functional musical instruments of antiquity, the result of many years of research and study by the museum's founder. Visitors can touch the instruments and listen to the authentic sounds, faithfully reproduced with the help of digital audio media.

In the same room, the "Strategy and Board Games" exhibition area is presented with a selection of fully functional reconstructed games played by children and adults in ancient Greece. These museum exhibits have already been shown in more than 250 cities in Greece and abroad.

The Kotsanas Museum is a member of the International Council of Museums (ICOM) and has been nominated "European Museum of the Year 2019" by the European Museum Forum (EMF). Apart from Athens, the Kotsanas network has two more museums, in Crete and the Peloponnese. The museum's exhibitions are under the patronage of the Ministry of Education, the Ministry of Culture and Sports and the Ministry of Development and Investment of Greece.

N.M. (Translated from an original article in Griechenland Aktuell)

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A team of Swiss and Greek archaeologists recently successfully completed the third season of a research program (2021-2025) on the famous wreck of Antikythera, which dates back to the first half of the 1st century BC.

The Antikythera wreck

The Antikythera wreck, discovered by chance by sponge divers in 1900 off the coast of the island of Antikythera, is the most important ancient wreck found in Greece, having yielded many ancient works of art. Some of the most prominent finds, retrieved by the sponge divers, in collaboration with the Hellenic Navy and the Ministry of Education, include the statues of the Antikythera Ephebe and the "Philosopher", as well as the famous Antikythera mechanism, considered to be the oldest analog computer in human history.

Excavations at the site didn’t resume until the mid-70s, under the renowned naval officer and explorer Jacques-Yves Cousteau, at the invitation of the Greek government. A first scientific study with an archaeological approach was carried out between 2012 and 2019 by an international team under the direction of Angeliki Simosi, at the time director of the Ephorate of Underwater Antiquities.

Greek-Swiss collaboration

Since 2021, at the invitation of the Greek Ministry of Culture and Sports, the Department of Classical Archaeology of the University of Geneva (UNIGE) has assumed co-direction of the underwater research project, along with the Ephorate of Antiquities of Evia, under the auspices of the Swiss School of Archaeology in Greece (ESAG).

The project’s main objective is to gain a clearer understanding of the ship, its itinerary and the current state of the wreck, with the help of state-of-the-art techniques. The ESAG is the only permanent Swiss archaeological mission outside Switzerland. As an inter-university training and research center, ESAG encourages the next generation of academics, offering students from Swiss universities the opportunity to take part in field and museum activities every year.

A second wreck revealed

In 2023, researchers have made significant progress in acquiring detailed knowledge of the site's structure, geology, the wreck itself and its precious cargo. Excavations focused on the area at the eastern edge of the wreck site, where last year parts of monumental marble statues were found after the removal of a group of large boulders. This time, the team discovered the bone remains of at least one individual, a victim of the shipwreck.

Artefacts characteristic of the Antikythera wreck, such as lead and wood from the ship's structure, fragments of marble statues, pottery, glassware and items made of copper alloy, were also unearthed. Among the marble fragments discovered, one most likely belongs to the beard of the head of Heracles, previously discovered during the 2022 expedition. These finds confirm the cultural and artistic importance of the Antikythera wreck.

Another exciting discovery, made at a higher stratigraphic level, was that of several fragments of ceramics, indicating that another vessel, probably much smaller, suffered the same ill fate in early Byzantine times.

A five-year research program (2021-2025)

This year's expedition, which took place from May 19 to June 18, 2023, is part of a five-year research program (2021-2025) coordinated by the University of Geneva under the auspices of the Swiss Archaeological School in Greece. Using cutting-edge techniques, this research has provided precious information on the history of this legendary wreck.

An international team of archaeologists, divers, engineers and physical and natural scientists, led by Dr. Angeliki G. Simosi, Head of the Ephorate of Antiquities of Piraeus and the Islands, and Professor of Archaeology Lorenz Baumer (UNIGE), is currently excavating the famous wreck. Underwater operations are supervised by the Ephorate of Underwater Antiquities, while the project is under the official patronage of H.E. the President of the Hellenic Republic, Mrs. Katerina Sakellaropoulou.

This year, previously unexplored areas were meticulously documented, enabling a more transparent and accurate understanding of this legendary vessel. This season's discoveries are essential to formulating a comprehensive vision of this historical event.

Cutting-edge technologies

The progress of the excavations was meticulously documented using remote-controlled drones and digital recording by the divers. This data was processed daily using 3D modeling software, enabling the site to be visualized and analyzed with remarkable precision. In addition, all archaeological discoveries were rigorously documented and continuously integrated into a Geographic Information System (GIS), enabling analysis of the spatial and temporal distribution of finds.

The database for this ambitious project includes all known data on the wreck of Antikythera, dating back to the first excavations carried out in 1900-1901. This holistic approach enables an in-depth and comprehensive analysis of the site, taking into account all previously collected information.

This year's new discoveries open up exciting perspectives on the maritime history of the region, and underline the importance of continuing archaeological research in this area.

The research team

The operation was coordinated by vice admiral (ret.) Alexandros Palatianos. Field research was led by Alexandros Sotiriou, research associate at the University of Geneva, with a team comprising Orestes Manousos, Isaac Ogloblin (University of Haifa) and specialized divers. The team was completed with the participation of eight members of the underwater missions unit (specialized diving team) of the Hellenic Coast Guard.

Documentation of the archaeological finds, creation of the 3D models and updating of the GIS were entrusted to Patrizia Birchler Emery and Timothy Pönitz (UNIGE), while the field laboratory was organized by Isaac Ogloblin (University of Haifa), with the participation of Professors Maria Louloudi and Yiannis Deligiannakis (University of Ioannina) and the support of Yanis Bitsakis (UNIGE and Nereus Research Foundation). Geologist Charalampos Fassoulas (Natural History Museum of Crete) joined the team in Antikythera to discuss geological topics related to the shipwreck site. Technical support (audiovisual documentation and underwater drones) was provided by Hublot Xplorations team members Mathias Buttet, Michel Blumenthal, Aloïs Aebischer, Guillaume Champain and Diego Carven. Architect-diver Aikaterini Tagonidou and Athena Patsourou supervised all field activities on behalf of the Hellenic Ministry of Culture and Sport's Ephorate of Underwater Antiquities.

Read also via Greek News Agenda: Unraveling the Mysteries of the "Oldest Computer" of Mankind; Underwater excavation at the historic Mentor wreck site (Kythera, 1802); Byzantine shipwreck in Fournoi archipelago reveals its secrets; Peristera: Greece’s first underwater museum

Translated from the original article which appeared on GrèceHebdo (intro image: Underwater excavation work at the site, by GoPro Cam ©ESAG-UNIGE)

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The Acropolis of Athens is listed among the recognized best practice examples in World Heritage Management, adopted by UNESCO’s World Heritage Committee (WHC) in 2011. A report issued on WHC’s official site details the findings, conclusions and recommendations that resulted from a recent on-site examination by a joint WHC/ICOMOS Advisory Mission.

Acropolis as a World Heritage site

The cultural World Heritage property of "Acropolis, Athens" was inscribed on the World Heritage List in 1987, as a site of outstanding universal value fulfilling five out of ten selection criteria. As stated on UNESCO's website, the Athenian Acropolis "is the supreme expression of the adaptation of architecture to a natural site. This grand composition of perfectly balanced massive structures creates a monumental landscape of unique beauty, consisting of a complete series of architectural masterpieces of the 5th century BC" (criterion i).

These monuments have exerted "an exceptional influence, not only in Greco-Roman antiquity but also in contemporary times" (criterion ii), and also bear "a unique testimony to the religions of ancient Greece" (criterion iii). The Acropolis is also "an outstanding example of an architectural ensemble illustrating significant historical phases since the 16th century BC", and its monuments "are distinctly unique structures that evoke the ideals of the Classical 5th century BC and represent the apex of ancient Greek architectural development" (criterion iv).

Finally, the site "is directly and tangibly associated with events and ideas that have never faded over the course of history", such as "the achievements of Classical Greek politicians who lead the city to the establishment of Democracy, the thought of Athenian philosophers and the works of architects and artists" (criterion vi).

Joint WHC/ICOMOS Advisory Mission

An Advisory Mission to the Acropolis was jointly undertaken by UNESCO’s World Heritage Committee (WHC) and the International Council on Monuments and Sites (ICOMOS), from 27 to 29 April 2022. It was carried out by a multidisciplinary team comprised of three experts specialized in the field of architecture, heritage, tourism and management practices, one representing UNESCO World Heritage Centre and two representing ICOMOS.

The purpose of the joint WHC/ICOMOS Advisory Mission was to carry out an on-site examination and discussion with the competent representatives of Greece on the recent interventions on the Acropolis of Athens and the future planning for the conservation, enhancement and overall management of the site.

The mission started on 27 April with the presentation of the key actors of the site’s management and planification, the competent Greek authorities and the overall system of administration and management of the property. This day also included the visit of the Acropolis site and the presentation of the basic aspects of the property’s function.

The second day of the mission was devoted to the presentation of the works carried out on the site the last three years and the major future projects. Half of the presentation was held in the conference room of the Acropolis Museum while the other half was on site. A meeting with Civil Society representatives was also organized.

Finally, the last day was dedicated to in-depth presentations of the past and future projects and to the overall management of the site, discussion, and reflection with key members of the responsible authorities and the Mission.

Main points of the report

According to the Advisory Mission’s report, "the overall status of the Outstanding Universal Value of the World Heritage property of the Acropolis is excellent and very well protected. The property and its buffer zone is well protected by laws and regulations".

More particularly, the Mission notes that:

• The decision-making system ensures that thorough and detailed studies are carried out prior to the approval of any new interventions.
• The property is managed by the State and the main restoration services are also carried out by the State, including the restoration works by anastylosis techniques. Hence, there is a close supervision to ensure that each step of the restoration conservation efforts are systematically carried out.
• The decision-making process for all major restoration and conservation works includes highly qualified experts and academics with a process of documentation, dissemination, and dialogue with experts nationally, and internationally, built into the system.
• The renovation and enlargement of the existing pathways, the new elevator (replacing the 2004 elevator) and the new lighting project do not have a negative impact on the Outstanding Universal Value (OUV) of the Acropolis. All the interventions seem to be fully reversible, as desired, even though the pathways and lighting could be better integrated in the landscape. The new elevator and the renovated pathways also greatly facilitate the disabled in wheelchairs (but also the elderly and small children in strollers), addressing the main objectives of Article 9 of the UN Convention on the Rights of Persons with Disabilities (CRPD).

The Mission also notes that the renovation and enlargement of the pathways, the elevator, and the lighting project were all implemented following studies, examination, and documentation of the Committee for the Conservation of the Acropolis Monuments (ESMA) or the Ephorate. The proposals were subsequently elaborated by the Acropolis Restoration Service (YSMA) employees or external researchers and the studies eventually approved by ESMA and brought before the Central Archaeological Council for their approval.

All the competent authorities of the Ministry of Culture and Sports (different directorates and the Ephorate of Antiquities) also provided their comments on the studies and proposals. The studies for the restoration of the monuments were also presented and debated at the Acropolis International Meetings prior to their implementation. Hence, these interventions have been implemented after detailed investigations according to the established national processes for interventions in the Acropolis.

With regards to the conservation and restoration approaches and proposed projects, the Mission was impressed by the thoroughness, rigor, and extraordinary high quality of work with meticulous attention to detail. Systematic documentation and publication of research and studies prior to and following implementation are undertaken and disseminated. The highest academic research on the Acropolis and archaeology are woven closely together with modern archaeological techniques and exemplary innovative practices including the use of digitization and computers. Many of these practices would serve as models for other heritage conservation efforts globally.

Also, the Western Access project proposed by Greece has been approved, in the preliminary stage, by the Mission, who found no reason to doubt the archaeological and historical accuracy and validity of the study conducted, although further clarifications on certain matters will be needed for the final approval.

The Mission commended Greece on the overall excellent state of conservation of the property and the thorough studies and investigations carried out for each archaeological intervention as well as the thoroughness of documentation.

You can read the entire report of the Advisory Mission here.

(Intro image by Francesco Bandarin © UNESCO)

Intro image by Andrew Griffith via World History Encyclopedia Also read via Greek News Agenda: A new era for the Restitution of the Parthenon Marbles; Exploring the Acropolis #MuseumFromHome; The Acropolis and the Parthenon in Modern Greek art as symbols of national and world heritage; The first photograph of the Acropolis and its history

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