The Digital Management of the Archive of the Hellenic Institute for Byzantine and Post-Byzantine Studies of Venice has recently been completed and is already operating through the digital infrastructure of the Aristotle University of Thessaloniki, making it accessible to a global audience. It offers free access to an invaluable treasury of materials—including registers, documents, heirlooms, icons, works of art, miniatures, manuscripts, and early printed books—and sheds light on the historical trajectory of the Greek diaspora from the 15^th to the 20^th century.

As was emphasized during the events held following the completion of the project, the Archive of the Greek Community, and later the Archive of the Hellenic Institute of Venice, constitutes one of the most valuable cultural assets to have been digitized in recent years. The archival holdings date from 1498 to 1954 and document the history of the Greek Brotherhood in the city of the lagoons, as well as that of the broader Greek population under Venetian rule. These records, however, are far more than the documentation of routine administrative procedures—they are living history. (Cover photo: Deputy Minister of Education K. Vlasis and the contributors of the digitization program in Venice)

The reconstruction of the church of St George began in 1536, on land purchased a few years earlier by the Greeks of Venice and was completed in 1577. The work was supervised by the architects Sante Lombardo and Zuanantonio Chiona, while the well-known architect Andrea Palladio was the consultant for the construction of the women’s balcony. The church was decorated with icons brought by refugees from Constantinople, such as the Grand Duchess Anna Paleologina Notara, but also from other regions, with works by important painters such as Michael Damaskinos, Emmanuel Tzanes Bounialis, Thomas Bathas and others. The illustration of the dome was entrusted to John the Cyprian, who worked under the supervision of the remarkable Venetian painter Jacopo Tintoretto. (Photo: https://www.ertnews.gr/)

Thirteen years after the Fall of Constantinople (1453), the great wave of exodus from the Byzantine capital—a migration that would permanently alter the course of European history—carried thousands of scholars, philosophers, and theologians to the Italian peninsula. They brought with them precious ancient Greek manuscripts in what may be regarded as the first great "brain drain" to the West. They were followed by heirs of the Byzantine Empire, architects and mosaic artists, painters, craftsmen, aristocrats, members of the imperial court, descendants of noble families, former soldiers, and many others. Venice became their principal destination, owing both to its extensive maritime trade network and to the presence of an already established Greek confraternity. This community would soon develop into one of the most important strongholds of the Greek diaspora and the foremost center of Hellenism in Italy before the Greek War of Independence of 1821.

The formal establishment of the first Greek Community in Venice in 1498, at a time when approximately 5,000 Greeks lived in the city, and the construction of the Orthodox Church of St. George a few decades later, mark what historians describe as a milestone in the history of Hellenism. It was the first organized Greek community, founded some 333 years before the establishment of the modern Greek state.

For five centuries, the Greeks of Venice have maintained a continuous presence, preserving—as the Greek Deputy Minister of Education, Konstantinos Vlasis, aptly remarked in a public address—"the language, the faith, the educational tradition, and the identity of Hellenism." From the late fifteenth century onward, they played an active role in every major period of the nation's history. Following the end of the Second World War, the movable and immovable property of the Greek Community, together with its few remaining descendants, was transferred to the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice. Today, the Institute stands as the historical continuation of that Community, preserving its legacy across both time and place.

The Institute’s Digital Repository now presents to the world hundreds of its rare printed books, most of them in Greek (148), Italian (123), Latin (105), and French (81). As reported to the Athens-Macedonian News Agency (APE-MPE), the program coordinator, Professor of the Aristotle University of Thessaloniki, Ch. Arabatzis, stated that a total of 140,000 documented records are now accessible in high resolution and with thorough documentation to every student, specialized researcher, and interested citizen. This includes approximately 1,000,000 digital images, 10,000 items of images and ecclesiastical artifacts, 1,000 rare printed books, and 47 valuable Byzantine manuscripts. An important aspect of the program was the development of applications with a clear educational orientation. ‘Students and university learners no longer study copies or editions—they work essentially with the original sources themselves, in their physical form and chronological sequence.’ He added that the completion of the project represents an important step in linking Greek cultural institutions with corresponding European programs that are gradually being integrated into Europeana.”

"The Digital Management of the Venetian Archive is a project of exceptional scholarly and national importance," Professor Stratos Stylianidis, former Vice Rector of the Aristotle University of Thessaloniki, told the Athens-Macedonian News Agency (ANA-MPA). "It brings to light," he added, "through the use of advanced digital technologies, an invaluable archival heritage of Hellenism. It constitutes a unique testament to the historical memory, intellectual continuity, and cultural presence of the Greeks within the European world." According to Professor Stylianidis, a faculty member of the Faculty of Engineering at the Aristotle University of Thessaloniki and Vice President of the International Scientific Committee for Heritage Documentation (CIPA – Heritage Documentation), the digital management, documentation, and dissemination of the archive "are far more than a technological intervention. They represent an act of safeguarding our collective memory and an investment in future research, education, and the dissemination of cultural heritage."

The Alexander Romance by Michael Damaskinos, Theodoros Poulakis, and the Cretan School: Portrait of Alexander the Great standing, dressed in the costume and crown of a Byzantine emperor (left); Alexander the Great dining with Darius (upper right); Alexander the Great conversing with the Gymnosophists (lower right)

Occupying a place of distinction in the new digital portal—as in the cultural heritage of the Greek Community as a whole—is the Alexander Romance, the celebrated and uniquely illustrated fourteenth-century Byzantine manuscript by Michael Damaskinos, Theodoros Poulakis, and the Cretan School (Codex 5, Narrative of Alexander, Pseudo-Callisthenes). The manuscript contains 250 remarkable miniatures embellished with gold leaf, depicting—and imaginatively narrating—the life and legendary exploits of Alexander the Great. Comprising 193 parchment folios bound into twenty-three quires (measuring approximately 32 × 24 cm), the codex recounts the principal events of Alexander's life. He is portrayed not merely as the ancient Macedonian king but as a Byzantine emperor and protector, embodying the cultural legacy of Hellenism while leading campaigns beyond the boundaries of his empire as both a military leader and a just ruler. The Alexander Romance is a work of imaginative literature that achieved worldwide renown and has been translated into eleven languages. The manuscript's extraordinary illustrations vividly portray Alexander's birth and upbringing, his military campaigns, battles, sieges, encounters with foreign rulers, and his death. It is also presented on the digital platform through an interactive application. The Institute also preserves a further forty-seven manuscript books, forty of them in Greek, all of which have now been digitized in their entirety.

Noah’s Ark, second half of the 17th century, work by Theodoros Poulakis (https://istitutoellenico.org/museum/)

At the top of the digitized and documented images and artifacts are the works of Michael Damaskinos, the distinguished Cretan painter of the 16^th century, who managed to ideally combine the strict Byzantine tradition (maniera greca) with the innovations of the Italian Renaissance and the Venetian School (maniera latina) during the period he lived in Venice. The digital archive also presents the entire collection of Orthodox art inherited by the Institute from the Greek Community. This includes masterpieces of Byzantine iconography, such as the icons brought from Constantinople in the 15^th century by Anna Palaiologina Notaras, as well as dozens of works by well-known painters: Georgios Klontzas, Emmanuel Lambardos, Victor (painter), Franghias Kavertzas, Theodoros Poulakis, Ioannis Moskos, and Emmanuel Tzanes and Konstantinos Tzanes, among others. This collection allows every visitor to follow the evolution of Cretan painting from the 15^th to the 17^th century and to be taken on a journey from Byzantium to Crete and Corfu during those centuries. Also available on the same website are impressive icons by unknown artists, such as The Descent into Hades (late 14^th  century, unknown Constantinopolitan painter), The Dormition of the Virgin (second half of the 15th century, unknown painter from a Cretan workshop), and The Ascension (second half of the 15^th century, unknown painter from Candia).

(Source: https://www.amna.gr/)

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The Ministry of Culture recently held a press conference presenting the photographs from the so-called Hoyer Collection—including three depicting some of the most dramatic moments of the execution of 200 Greeks in Kaisariani by Nazi occupation forces on May 1, 1944—and announcing the creation of a National Photographic Archive. At the press conference, in the presence of Minister of Culture Lina Mendoni, the participants included four experts who traveled twice to Belgium to meet Tim de Craene, a collector-dealer, in order to assess the authenticity and legal provenance of the collection, as well as its significance and value. The collection was purchased for €100,000 with funds from the Ministry of Culture.

Minister of Culture Lina Mendoni presented a historical overview, from the initial discovery of the collection - comprising 262 photographs, 16 documents, and four old banknotes offered for sale by a Belgian collector on an online auction site - to the transfer of ownership of the collection to the Ministry of Culture and the Greek state.

National Photographic Archive

Minister Lina Mendoni stated that “with a legislative provision, the Ministry of Culture will establish a National Photographic Archive. It will constitute a distinct body within the National Archive of Monuments and will be interconnected with the other databases of the Directorate for the Management of the National Archive of Monuments”. She emphasized that, beyond the photographs of exceptional importance from Kaisariani and the Hoyer Collection, “there were many reasons why we wished to establish a National Photographic Archive. For example, there are the extremely significant photographic collections from Tatoi for our modern history; photographs of Greek refugees—archives that have already been handled by the Ministry of Culture and which will be housed in the Museum of Refugee Hellenism in Thessaloniki—as well as photographs from the historical archive of the Archaeological Service. The Ministry of Culture holds a large amount of material, and if the collections of the supervised institutions are also taken into account, there was every reason to create this distinct National Photographic Archive within the National Archive of Monuments.” 

Next steps

Regarding the next steps for the Hoyer Collection, L. Mendoni provided the following information: “The Ministry of Culture, since it has now declared the photographs as monuments - that is, they constitute a material monumental relic protected under Law - has already begun to handle the collection according to the procedure required for monuments: protection, conservation, safeguarding, scientific documentation, and ultimately its promotion and wider public presentation. The aim is for it to be used, like all the evidence of our historical and cultural heritage, in public discourse and in education. Throughout the study, what I insist on and what I have requested is strict scientific documentation and testimony. The photographs are monuments of our modern history, and this is how we will treat them. This period requires study and specialists who can address it,” the minister emphasized.

As was announced in the interview, the first step for the collection, after care by the competent Conservation Directorate, is the digitization of all the material. “Digital copies, under certain terms and conditions, may be provided by the Ministry of Culture to specific recipients. A necessary prerequisite is the historical identification of subjects, places, people, and dates, as well as the integration of the collection into its historical context. Obviously, the photographs of the execution will receive special treatment,” the Minister of Culture emphasized, noting that the research work has already been undertaken by the National Hellenic Research Foundation, within the framework of the Cultural Development Programmatic Agreement with the Ministry of Culture, under the scientific supervision of Mr. Schneider and his colleagues at the Foundation. “The collection is in very good condition. However, it is more than 80 years old, so it will require special care. What concerns us now is conservation, digitization, and management in order to protect the collection in the future,” said M. Mertzani, head of the Directorate for the Conservation of Ancient and Modern Monuments of the Ministry of Culture.

The Significance of the Collection

The head of the Directorate of Modern Cultural Heritage of the Ministry of Culture, V. Fotopoulou, emphasizing the importance of the collection and noted: “We were certain from the beginning about the value, importance, and authenticity of the entire set of photographs, and thus - with the very decisive stance of the political leadership - we managed, within 13 days, to bring to completion a very difficult undertaking. We were very confident because we are historians and we know very well what these kinds of collections are photographs taken by soldiers of the Third Reich, the Wehrmacht, and the SS of Nazi Germany, which now circulate widely. We know what happened here. It is estimated that more than 40 million photographs were taken by Wehrmacht soldiers and over 2 million photographs by the propaganda units established by Joseph Goebbels.”

“It is important, first of all, that we study how these individuals were shaped within the context of war. The photographs taken by this particular sergeant, and by many others, are a study of how people are formed through violence. They are also a study of the power of propaganda. Goebbels created a propaganda machine not only with professional photographers from the propaganda units but also by encouraging everyone - soldiers and their families - to take photographs. Why? So that these photographs would return home and create an image of the successes of the Wehrmacht for families, so that in the future - because he was certain that Germany would win - there would be a vast album of memories from the Great War and what Germany had achieved in it. Of course, and fortunately, none of that ever came to pass,” she pointed out.

Photographer Stavros Mavrommatis noted that the “photographer” in quotation marks is completely untrained. “He has almost no instruction for documentation and is simply creating a personal album. He uses a very good camera and excellent photographic paper that was circulating at the time—from this we understood the authenticity of the photographs at first glance. Nevertheless, his photographs are poor in photographic terms; that is, he had no instruction to document events. Rather, he had the instruction to create an album that would show the activities of the Third Reich. He takes the photographs completely detached from what he is seeing—in the album, next to the images of the executions, he places photographs of people swimming at Votsalakia Beach in Piraeus. This is precisely another reason why these photographs have particular value, because they show that they were taken not by explicit order, but in accordance with the spirit that prevailed among the occupation troops,” said.

Valentin Schneider, historian and researcher at the National Hellenic Research Foundation stressed that “these are photographs that have a hybrid character, because on the one hand they are private photographs, documenting private life in the army and during the war. On the other hand, however, it seems that there may have been some low-level instruction, perhaps at the level of the military unit itself, to document the everyday life of the unit so that photographs could be exchanged after the war.”

Valentin Schneider presented several characteristic photographs from the Hoyer Collection, including the 13 images from Kaisariani, three of which were the most dramatic, as they depict the moment of the execution and the minutes immediately afterward.

(Source: https://www.ertnews.gr/eidiseis/ellada/kaisariani-parousiastikan-oi-istorikes-fotografies-apo-tin-ektelesi-ton-200/ )

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