The anniversary exhibition “Gennadius 100: A Century of Inspiration” (1.4-26.7.2026) narrates the history of the Gennadius Library through approximately 100 exhibits—matching the number of years since its founding. The Gennadius Library of the American School of Classical Studies at Athens, one of the country’s most important intellectual institutions, serves as a treasure trove of knowledge, remarkable collections, and rare books—some of which are being presented to the public for the first time in this exhibition.

The items featured in the exhibition offer visitors the opportunity to explore a world where history, art, and research coexist. From materials that narrate the evolution of Hellenism from antiquity to the present day, to personal archives of important figures and rare historical maps of the eastern Mediterranean, a multilayered account unfolds—telling both the story of the Library and the broader course of Hellenism itself.

The Gennadius Library: Opened in 1926 with the 26,000 volume collection of diplomat and bibliophile Joannes Gennadius, the Gennadius Library houses today 145,000 titles of rare books and bindings, research materials, manuscripts, archives, and works of art that illuminate Hellenism, Greece, and neighboring civilizations from antiquity to modern times. Rare maps of the Mediterranean, early editions of Homer's Iliad and Odyssey and a laurel wreath belonging to Lord Byron are just some of the unique items to be found here. In addition to its role as an internationally renowned library and research institution, the Library is an active participant in the Athenian and international cultural community through its public lectures, seminars, concerts, exhibitions, and publications.

Founders Joannes and Florence/Anthi Gennadius (upper left), Opening of the Gennadius Library, April 23, 1926 (upper right), Officials arriving at the opening of the Gennadius Library (lower) (Photos: www.ascsa.edu.gr)

Approximately 100 selected objects—rare books, manuscripts, works of art, maps, and archival material—highlight the journey of an institution that evolved from a private collection into an international research center. The exhibits, complemented by photographs and audiovisual material, shed light not only on the collection itself but also on the people behind it: collectors, donors, researchers, and librarians who shaped the identity of the Gennadius Library.

“The exhibition is not only a retrospective of the past, but also a starting point for the future. It highlights the dynamic nature of knowledge as a living process that continues to evolve,” notes the Director of the Gennadius Library, Maria Georgopoulou, curator of the exhibition, together with Irene Solomonidi, Head Librarian.

Forming a unified narrative, the exhibition is structured into ten thematic sections presenting:

• “The Vision” – the creation of Ioannis Gennadios’s collection
• “The Foundation” – the birth of the Library as an institution
• “The Legacy” – the donations that shaped it
• “The Collections” – rare books, manuscripts, and archives
• “Beyond the Book” – works of art, maps, and visual material
• “People” – the individuals behind the Library
• “Research” – its contribution to the humanities
• “Networks” – its international presence and collaborations
• “A Library Without Borders” – its cultural outreach
• “The Future” – its digital transition and role in the 21st century

One of the exhibition’s most engaging features is a section created by 45 researchers who have worked or studied at the Gennadius Library. Using their mobile phones and QR codes, visitors can discover the researchers’ favorite items from the Library, along with the reasons they selected them

The exhibition sections are arranged within the I. Makriyannis Wing in Kolonaki district in a way that allows visitors to follow multiple paths—historical, thematic, and experiential—each shaping their own personal interpretation of the Gennadius Library. Admission to the exhibition is free.

Rare editions presented, among others, at the exhibition:

• The grammar of Laskaris, the first dated Greek edition, marking the birth of Greek printing in the West.
• The Athenian edition of “The Lyric and Bacchic Poems” by Athanasios Christopoulos, the first Greek book printed in the city (1825).
• The first edition of Lucian, printed in Florence by Lorenzo de Alopa in 1496, edited by Janus Laskaris.
• The first edition of Homer’s works (Florence, 1488), produced by the Greek scholar Demetrios Chalkokondyles.
• The complete works of Aristotle, first printed in Venice in five volumes (1495–1498), the first major printing achievement of Aldus Manutius.

• The first printed edition of “Erotokritos” by Vitsentzos Kornaros, published in 1713 in Venice by Antonio Bortoli.

Read also: History of Greek Printing by the American School of Classical Studies at Athens

Exhibition “Gennadius Library 100. A Century of Inspiration”, American School of Classical Studies at Athens

Source: https://www.amna.gr

Photos: https://www.facebook.com/GennadiusLibrary/

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The APSIM project (Applications of Situated Simulations) aims to promote the Greek culture using innovative technologies, assisting both the general public and the new generations to get familiar and love the archaeological wealth of Greece. Using an Augmented Reality (AR) application, visitors of archaeological sites and museums will have the opportunity to enjoy a completely different tour-experience in the archaeological sites, resembling one of a video gaming!

Through the Augmented Reality application CirculAR, cultural heritage sites are transformed into immersive, interactive experiences that connect the past with the present. By combining scientifically documented content with advanced 3D modeling, spatial mapping, and gamification techniques, CirculAR enables users to explore monuments in their original form directly within their physical environment. Using a smartphone or tablet, visitors can visualize reconstructions, navigate around monuments, and engage with historical narratives in a dynamic and intuitive way. The appliation is available free of charge for Android devices via the Google Play Store and for iOS via the App Store.

The creation of the CirculAR application was the result of multifaceted collaboration among scientists from different fields: archaeologists, historians, computer engineers, interface designers, educators, and specialists in cultural policy development. It was developed within the framework of the European APSIM project, coordinated by the I-SENSE research team of the Institute of Communication and Computer Systems (ICCS) of the National Technical University of Athens (NTU), with the participation of the Ephorate of Antiquities of the Cyclades, the Department of History and Archaeology of Aristotle University of Thessaloniki (University Excavation of Dion), the Epigraphic Museum of Athens, and the companies “GEOANALYSIS S.A.” and “Comic IKE.” The project is implemented under the “Research–Create–Innovate” action of the General Secretariat for Research and Technology, co-funded by the European Union.

The island of Delos- sacred in antiquity serving for millennia as a cultural, economic, and religious center - comes to life once again with the help of the innovative Augmented Reality application CirculAR. Using a simple smartphone or tablet, users of the application can experience an augmented reality journey: they can bring the monuments of Delos to life, view them in three dimensions, rotate them, walk around them, and enjoy a completely new, immersive visiting experience. The Temple of Apollo, the Stoa and the House of the Naxians, the Propylaea, the Terrace of the Lions—all those monuments that today are discernible only through their architectural remains—are revived through augmented reality and the use of scientifically documented content.

By using the camera, sensors embedded in mobile phones, and spatial mapping and positioning algorithms, the application “reads” the landscape and digitally places monuments or traces of the past exactly where they once stood. “The user participates, learns, and forms an emotional connection with the monument, transforming historical memory into a personal experience. And this is precisely the goal—so that we can creatively reconnect with the past,” notes researcher Dr. Tina Katika, Head of the XR Department at I-SENSE. (Source: apsim-project.eu,  amna.gr)

APSIM’s Pilot Demonstrations in Delos Island

According to Dr. Angelos Amditis, project coordinator and Director of Research and Development at ICCS/NTUA, speaking to the Athens–Macedonian News Agency (ANA-MPA), “We are effectively bridging today’s imagination with life in the past. Through the application, you don’t simply see stones or foundations—you see stories, you see architecture, you see human activities. As a result, the application becomes a means of interpretation and understanding, as well as an educational tool grounded in scientific accuracy, essentially transforming the ordinary citizen from a passive observer into an active explorer. In this way, every visit becomes a process of discovery, navigation, knowledge gathering, interaction, and connection”. “The greatest value of the application is that it functions as a bridge across time, carrying the past into the present and the present into the future. In this way, it helps us preserve not only the material but also the intangible dimension of History—creating knowledge and experience, and forging a meaningful relationship between people and place.” (Source: amna.gr)

The application is not limited to Delos. Through the same technology, users can also explore other monuments across Greece. The aim is to incorporate additional monuments into the application in the future.

The Episcopal Basilica of Dion in Pieria.  The ancient Dion, in the region of Pieria, was a sacred site of the Macedonian kingdom. The Roman colony of Dion flourished during the imperial period, particularly in late antiquity. Dion became an episcopal see, which reinforced its importance as an urban centre for the wider region. Near the centre of the ancient city and at a short distance from the Forum, the so-called Episcopal Basilica was built in the 5^th century CE, with at least two successive building phases.

The Philo’s Arsenal (Skeuotheke of Philon), located in the port of Zea (Piraeus), is a significant building preserving the technological memory of ancient warships. In 347 BC, the Athenians decided to construct a building in Piraeus to store the equipment of the military fleet—such as sails, ropes, and tents—during the winter months. The rectangular building, 130 meters long and 18 meters wide, called the Skeuotheke, was designed by the architects Philo and Euthydomos. Ancient writers considered the building the most eminent among the structures of ancient Greek architecture. Its virtual reconstruction was based on a surviving marble inscription, now exhibited at the Epigraphic Museum of Athens, which has been preserved in its entirety.

I.A.

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The painting exhibition “Alexander the Great – Back to Egypt” was inaugurated in Alexandria on 13 December 2025, constituting a cultural event of high symbolic significance dedicated to the timeless figure of Alexander the Great, founder of Alexandria and a universal emblem of intercultural dialogue. The exhibition presents 53 works by the internationally acclaimed Greek artist and architect Makis Warlamis (1942–2016), including large-scale paintings, sculptures, and complex visual compositions. Through a contemporary artistic approach, the works highlight Alexander the Great not merely as a historical figure, but as a universal symbol of knowledge, creativity, and the synthesis of civilizations.

The exhibition is hosted at the Bibliotheca Alexandrina under the auspices of the Embassy of Greece in Cairo, the Hellenic Ministry of National Defence, the Aristotle University of Thessaloniki, and the Association of Greek Regions (ENPE). It is organized in cooperation between the Bibliotheca Alexandrina and the Experimental Workshop of Vergina, the Central Union of Municipalities of Greece (KEDE), the Hellenic Research Institute of Alexandrian Civilization, and the Waldviertel Art Museum, Austria.

At the opening ceremony, Dr Ahmed A. Zayed, Director of the Bibliotheca Alexandrina, referred to the historic role of the ancient Library of Alexandria. He emphasized that the modern Library constitutes the intellectual and cultural continuation of its ancient predecessor, carrying forward its mission as a global centre of knowledge. Special reference was made to the hosting of the Αlexandria Center for Hellenistic Studies which, inspired by the spirit of the Hellenistic era, offers a postgraduate programme in cooperation with Alexandria University.

The Ambassador of Greece to Cairo, Mr Nikolaos Papageorgiou, expressed his deep emotion at the realization of the exhibition, describing it as the “return” of Alexander the Great to the city he founded and cherished. He recalled that works by Warlamis had been presented in Cairo during the 1990s; however, their exhibition in Alexandria carries particular significance, as no other city is so closely linked to Hellenism. He further emphasized that Greek–Egyptian relations are currently at their highest level, serving as a model of cooperation and mutual respect in the Eastern Mediterranean.

Mr Pavlos Trochopoulos, Director of the Experimental Workshop of Vergina, described the exhibition as a cultural and human encounter between Greece and Egypt, highlighting the participation of a large Greek delegation that travelled specifically for the event. He referred to the profound human dimension of Makis Warlamis’ work, stressing that his art brings to the fore values such as kindness, love, and selfless offering to one’s fellow human being. He underlined that, through Warlamis’ perspective, Alexander is not merely a historical figure but an idea embodying tolerance, respect for diversity, and the unity of humanity, inviting each visitor to discover their own “Alexander”.

The Governor of Alexandria, Mr Ahmed Khaled Hassan Said, highlighted that the city honours through the exhibition a historic figure who left an indelible mark on world history and on the very character of Alexandria itself. He emphasized that the 53 works of Makis Warlamis convey a clear message of peace, coexistence, and mutual understanding, values intrinsically linked to the city’s identity. He also recalled that the founding of Alexandria in 331 B.C. was no accident, but the result of Alexander’s vision, creating a city that served as a bridge between East and West and as a global capital of knowledge and culture.

Τhere followed a roundtable discussion titled “Alexander between the Legend and the City”, coordinated by Professor Mona Haggag, President of the Archaeological Society of Alexandria. She illustrated how Alexander’s achievements transformed him from a historical figure into an almost mythical symbol, with Alexandria ideally embodying this convergence of history and legend. Professor Mohamed Abd El Ghani, Professor of Greek and Roman History, referred to the relationship between Alexander the Great and Egypt, analysing the political and religious circumstances that enabled his peaceful entry into the country in 332 B.C. Ms Kalliopi Papakosta, Director of the Hellenic Research Institute of Alexandrian Civilization, emphasized that Alexander was a transformative force in human history and that Alexandria represents the purest expression of the Hellenistic spirit. Finally, Ms Sofia Avgerinou-Kolonia, Emeritus Professor of the National Technical University of Athens, spoke about the uniqueness of Alexandria as a city of knowledge, science, and culture. She emphasized that although Alexander did not live to see the city completed, his vision indelibly shaped its trajectory through the centuries.

© Selected photos: Experimental Workshop of Vergina https://warlamis.gr/

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Christmas, the happiest time of the year is just around the corner! Throughout this festive season, celebrated across the world, millions of people spend time with loved ones, exchange gifts, taste special treats and practice local traditions. 

In Greece, Christmas is primarily a religious holiday, strongly influenced by the Greek Orthodox tradition, as well as by local customs. It is also a great opportunity family and friends to get together and celebrate. It is a joyful season and its proximity to New Year's Eve makes it even brighter. If Epiphany (Theophania) is also added, the whole festive period runs from December 24th to January 7th. So, let’s get to know some special traditions that make Christmas so special in Greece!

The Christmas Carols (kalanda) is one of the oldest customs in Greece. Tradition calls for an early wake up on the Eves of Christmas, New Year and Epiphany. Children, in groups of two or more, holding triangles (small traditional percussion instruments), go door-to-door, knocking and asking “shall we sing them?”. If the landlord's response is positive, the kids sing the Christmas carols and wish for health and joy for the upcoming year. In the old times, children would be offered holiday sweets and pastries, but today they are usually given some money.

The Christmas boat is the traditional seasonal decoration in Greece. The Christmas tree, which is the most ubiquitous one nowadays, wasn’t brought to our country until 1833, when it was introduced by the state’s first king, of a Bavarian royal line. Until that time, a decorated miniature boat (karavaki in Greek) was the centerpiece of the season. Children would also carry it while caroling as a symbol of Christmas while their companions would hold the triangle as they sang. Today, depending on the region, it can still be seen in town and city squares or as ornaments for the Christmas tree or Christmas lights arrangements. The Christmas boat tradition is closely connected to the maritime tradition of the country. Many Greeks working in the shipping industry were away during Christmas time, and the tiny boat would symbolize the family's prayers for them. Today, many families decorating their homes with both trees and boats.

The Christmas Mass is another important tradition, still followed by many families in Greece. It bears special significance especially for those who have observed the 40-day Christmas fast, since after this service that they may finally break the fast and enjoy a festive meal.

The Christmas treats traditional top Greece are among the most popular staples of the season. Among the most popular ones we find the “kourabiedes”, a special kind of almond butter cookie dusted with icing sugar,“melomakarona” a delicious soft cookie soaked in honey and sprinkled with walnuts and “diples”, pieces of dough deep-fried until they take a golden color, and afterwards drizzled with honey and sprinkled with cinnamon and nuts.

On Christmas day, the whole family gathers around the table for a sumptuous meal. The main dish is usually roasted pork or lamb although nowadays turkey stuffed with chestnuts and dried fruits is gaining ground.

“Christopsomo” (Christ’s bread), is also served. Considered as an offering to Jesus Christ, it is a special kind of round shaped bread prepared the previous day just for the occasion. Usually made with nuts, raisins, cloves and honey, it features the cross of Christ as well as various decorations. It is believed to bring health, good luck and happiness to the household. Depending on the skill and time invested it can be turned into a true work of art!

New Year’s Eve is probably the most joyful event of the season. It is always celebrated in good company with family and friends, traditionally around another festive meal. Contrary to most traditions of the western world, gifts are not usually exchanged on Christmas. Most Greeks do that on New Year ’s Day, which is also the name day of St Basil, the Greek equivalent of Santa Klaus/Father Christmas. Gifts are usually placed under the Christmas tree until the last day of the year.

“Vassilopita” is the traditional cake of New Year’s Eve. It is a sweet cake that is cut in a special way.  The first slice is for Christ, the second for Our Lady, the third for St. Basil, then for the household, the head of the family, and so on to all other family members. Inside the cake there is a hidden coin. The one that finds it is considered to have a lucky and prosperous year ahead.  On the morning of New Year’s Day, a pomegranate, symbol of fertility and happiness, is often broken at the step of each house’s front door. The red arils, spread across the doorstep, symbolize happiness and good fortune for the family, for the year ahead.

The Kallikantzaroi are, according to Greek folklore, mischievous spirits, malicious creatures living under the surface of the Earth. Their purpose all year long is to saw down the tree of life which is holding up the world. When Christmas comes around and their work is almost done they come up to the surface to bring trouble to mortals for the next 12 days. On Epiphany, however, when the priests sprinkle holy water everywhere, they are forced to go back underground, only to discover that the tree of life has regenerated thanks to the holy water, and they have to start over for another year.

Theophania (January 6^th) marks the end of the festive season. The baptism of Christ is celebrated with the blessing of the waters. A cross is thrown by the priest into the sea or another body of water, and believers dive into the ice-cold waters to retrieve it. The one that brings it back to the priest is rewarded with a special blessing.

Read also via Greek News Agenda: The Greek New Year’s tradition of the vasilopita; Greek and Roman origins of Christmas traditions; Theophania: The Greek Orthodox feast of Epiphany; Arts in Greece | Nikephoros Lytras, the Artist behind Greek Christmas’ Most Celebrated Painting

DT (Intro Photo Nikephoros Lytras, Carols, 1872 Private collection)

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The Municipal Theater of Piraeus, a landmark of the city of Piraeus, celebrates its 130th anniversary this year. With a long and remarkable history linked to that of Piraeus, the Theater, which opened its doors on April 19, 1895, reflects the economic, social, and political life of Greece's leading port.

The decision to build the theater was taken in 1883, at a time when Piraeus was in its economic, industrial and cultural heyday. The presence of eminent figures from the worlds of literature and the arts in the city helped advance the idea of its creation, along with the establishment of other important cultural institutions.

At that time, Piraeus had a population of 25,000 inhabitants, having become an industrial, commercial and shipping hub. Given the city’s economic prosperity, the founding of the Theater would not only offer a place that could host various events but, most importantly, it would be a status symbol. It should be noted that, by the late 19^th century, not only Athens was the site of the National Theater of Greece, but also the important urban centers of Hermoupolis (the capital of the Cyclades, on Syros) and Patras boasted grand theater buildings (both primarily influenced by La Scala in Milan).

The construction of the Municipal Theater began on April 1884 and lasted for about a decade. The official inauguration, although the work was not yet complete, took place on April 9, 1895, by mayor Theodoros Retsinas.

The building

The theater in the center of Piraeus, facing away from the commercial harbor. It was designed by architect Ioannis Lazarimos, born in Piraeus in 1849, who had studied at the École des Beaux-Arts in Paris, but also in Germany. Lazarimos designed a majestic building, 45 m long and 34 m wide, not including the marble porticos and exterior staircases. It combines elements of French and German traditions, with the portico, entrance foyer, staircase, and large foyer on the first floor clearly inspired by German eclecticism, while the auditorium, stage, two cafeterias, and auxiliary spaces (dressing rooms, offices, etc.) are typical of French theaters. The primary inspiration for the interior design was the Théâtre de l'Odéon in Paris.

The theatre’s façade is impressive thanks to its monumental gateway with its four Corinthian columns, disproportionately slender in relation to their height, and a triangular pediment. The roof of the building is topped by a terrace that also features a pediment.

In addition to the auditorium, which can seat 600 spectators, the theater would include three rows of 23 boxes each, for a total of 69 boxes that can seat 414 spectators, and a balcony with a capacity of 300 spectators. The municipal theater could seat a total of 1,314 spectators and, if necessary, 1,500 spectators.

A history linked with the life of the city

Throughout the 19th and 20th centuries, the heart of the city beat at the Foyer, a meeting place for the bourgeoisie, artists, and the city's intellectual life. The Municipal Theater of Piraeus has had the privilege of hosting some of the leading figures of the Greek theater scene, such as: Aimilios Veakis, Dimitris Rontiris, Mimi Fotopoulos, Vasilis Diamantopoulos, Mimi Traiforos, Mano Katrakis, Alekos Alexandrakis, Dimitris Horn, Kyveli, Aspasia Papathanassiou, Katina Paxinou, and Elli Lambeti.

It has also hosted soirées, exhibitions by important painters, and lectures by important intellectuals, as well as concerts by some of the country’s most important composers, including Menelaos Pallantios, Manos Hadjidakis, Mikis Theodorakis, Dionysis Savvopoulos, and Giorgos Kouroupos.

In the 1910s, Greece -and, by extension, Piraeus and the Municipal Theater- entered a troubled period, with the Balkan Wars being followed by the Great Division, Greece’s entrance in WWI, the Greco-Turkish War and the Asia Minor Catastrophe. According to the needs of the times, the premises of the theater were used as barracks, schools, or to host various public services. Especially following the Asia Minor Catastrophe, in the early 1920s, it housed Greek refugees from the Ottoman Empire who had arrived at the port of Piraeus having left behind their homes and all their belongings.

During the Nazi Occupation (1941-1944), the Municipal Theater was commandeered by the occupying forces to provide entertainment for the troops. Moreover, the frequent bombing of the port during World War II, and in particular the Allied bombing of the city on January 11, 1944, took a heavy toll on the building.

In 1980, the Municipal Theater was designated a protected monument, but it suffered significant damage during the 1981 earthquake, with repairs beginning in 1984. The earthquake of September 1999, combined with the regular use of the building for exhibitions, civil weddings, and school events, added to the existing issues.

Between 2008 and 2013, the Municipal Theater underwent extensive restoration works by the Ministry of Culture's Directorate of Protection and Restoration of Modern and Contemporary Monuments. Since it was restored to its former glory, it has once again become a landmark of Piraeus, housing performances by important figures of the arts, and attracting audiences from all over Attica to its packed auditoriums. The Municipal Theater has hence successfully regained its status and established itself as one of the most important theaters in the Greece.

Translated from the original article from Grèce Hebdo (Photo source: Municipal Theater of Piraeus official Facebook page)

Read also via Greek News Agenda: The architectural treasure of Piraeus documented and recorded by MONUMENTA; The regeneration of Piraeus; Lycabettus Theater opens up again

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The Benaki Museum, in collaboration with the Cultural Association 'Skiathos', is organizing an exhibition titled “Dimitris Pikionis: Shape and Form” at the Holy Monastery of the Annunciation of the Virgin Mary on Skiathos island (on view until October 15). The exhibition offers a concise overview of the work and personality of Dimitris Pikionis, whose archive was donated to the Benaki Museum by the Pikionis family in 2001. A distinctive figure of Greek Modernism, Pikionis profoundly influenced the architectural consciousness of Greece and continues to shape it to this day (Cover photo: Landscaping of the Acropolis–Philopappou Hill by D. Pikionis, 1954–57, Benaki Museum, Exhibition Catalogue).

Another major exhibition on Pikionis’s legacy, titled “Dimitris Pikionis: An aesthetic topography” – named after one of his theoretical writings - will be presented at the Benaki Museum in Athens from October 23, 2025, to January 25, 2026. This exhibition will focus on his renowned landscape design for the entrances to the Acropolis of Athens.

D. Pikionis photographed at Delphi (Source: Benaki Museum)

Dimitris Pikionis (1887-1968) was born in Piraeus to parents of Chian descent. In 1906, while studying civil engineering at the National Technical University of Athens (from which he graduated in 1908), he became the first student of the distinguished Greek painter Konstantinos Parthenis. A friend of the painter Giorgio De Chirico, continued his studies in architecture in Munich and later pursued fine arts at the École des Beaux-Arts in Paris. There, he encountered modern painting—particularly the work of Cézanne and Paul Klee—as well as the sculpture of Rodin. Upon returning to Greece, he rediscovered his architectural calling without abandoning painting, and eventually taught at the National Technical University of Athens. During this period, he also collaborated with a group of artists to co-edit the influential magazine To Trito Mati ("The Third Eye") alongside his close friend, the painter Nikos Hadjikyriakos-Ghikas. The publication played a key role in introducing the European avant-garde to Greece.

Although a contemporary of Le Corbusier and Mies van der Rohe, Pikionis developed a unique architectural language that sought to integrate tradition with modern abstraction. His work aimed to synthesize formal innovation with a deep sensitivity to cultural identity—an effort to reconcile modernity with the spirit of place and heritage. (Source: Benaki Museum)

D. Pikionis, from the “Attica” series (Benaki Museum, Exhibition Catalogue). In Pikionis’s work, the typology of modern architecture opens up to vernacular inspirations, to the part-ancient, part-mythical past, and to the natural environment—from which all cultural forms originate and to which they will be ultimately returned. (Source: Kassel Dokumenta 14)

The landscaping project for the Acropolis and Philopappos Hill, on which he worked between 1954 and 1958, is considered Pikionis’s foremost and most unique achievement (Benaki Museum, Exhibition Catalogue)

"Pikionis’s landscaping for the Acropolis and Philopappos Hill took the form of a system of footpaths, individually paved with stones, antique spolia and modern urban rubble, that followed and extended the existing paths on the two hills that had been walked upon, often for centuries. This landscaping is groundbreaking and radical—precisely because it is ultimately modest and thoroughly in situ—a piece of architecture learning from its context. Working collectively with his students and local stonemasons, Pikionis practiced the careful and laborious technique of paving using salvaged debris from the violently developing capital of Greece. His landscape design, created in opposition to both industrial and archaeological transformations of land, remains the only urban-scale project ever to take place on the slopes surrounding the Acropolis” (Source: Kassel Dokumenta 14)

Acropolis-Philopappou hill landscaping by D. PIkionis, 1954-57, photographs by Helen Binet (Benaki Museum)

Acropolis-Philopappou hill landscaping by D. PIkionis, 1954-57 (Benaki Museum)

Kenneth Frampton, the prominent British architect, critic, and historian, has written extensively about Dimitris Pikionis, recognizing him as a pivotal figure in 20th-century architecture: “When I first visited the Acropolis in 1959 I found myself walking virtually by accident on the adjacent landscape of Philopappou Hill and there I felt, with surprise, the almost literal movement of the ground as my frame was drawn by the tactile resistance of the paving, up and down the undulating labyrinth of the terrain; a site designed so as to be experienced as much by the body as by the eyes. Equally surprising were the stone-paved terraces and benches and, above all, the wood-framed temenos and tea pavilion, built adjacent to the reconstructed Loumbardiaris church. These last seemed as though they had been drawn from Japan over eons of time via the cultural sieve of Byzantium. I did not realize at the time that this staging ground was not quite finished and that the seventy-two-year-old architect was still supervising the work” (excerpt from a text first appeared in Dimitris Pikionis, Architect 1887­–1968: A Sentimental Topography, London: Architectural Association, 1989, Source: Kassel Dokumenta 14).

D. Pikionis, Acropolis-Philopappou landscaping, Resting place and Church of Agios Dimitrios Loumbardiaris, 1954-54 (Benaki Museum, Catalogue of the exhibition)

The exhibition “Dimitris Pikionis: Shape and Form”  is a concise and comprehensive presentation of Pikionis’s work, through reproductions of archival material and includes: the Moraitis House (1923), the Karamanos House (1925), the Lycabettus Primary School (1932), the Kotopouli Summer Theatre (1933), the plans for the Delphi Centre (1934), the Thessaloniki Experimental School (1935), the Apartment Block at Heyden Street (1936), the Residence / workshop for sculptress Froso Efthymiadou-Menegaki (1949), the Potamianos Residence in Filothei (1953-1955), the Xenia Hotel in Delphi (1951-1956), the Forest Village in Pertouli (1953), the Pouris Residence (1953-1955), the plans for the settlement of Aixoni (1950-1957), the landscaping of the area around the Acropolis and the hill of Filopappou (1954-1958) and the Children's Garden in Filothei (1961-1964).

D. Pikionis, Children’s Play-Garden, Filothei, 1961-64 (Benaki Museum, Exhibition Catalogue)

Elementary school, Pefkakia, Lycabettus, 1932 (left), Thessaloniki Experimental School, 1935 (right). Pikionis states: “The Lycabettus School was built in 1933, but as soon as it was completed, I found it did not satisfy me. It occurred to me then that the universal spirit had to be coupled with the spirit of nationhood; and this led me to make buildings like the Experimental School in Thessaloniki (1935)…” (Benaki Museum, Exhibition Catalogue)

In the exhibition catalogue, George Manginis, Academic Director of the Benaki Museum, writes “among the greats of Greek modernism, Dimitris Pikionis stands out for his championing of the humanist ideal: the belief that humankind constitutes the ultimate measure of things. His approach to materials combined a deep knowledge of their limitations more expected from a traditional craftsperson, with an acumen more akin to a historian of art and architecture; his sense of proportion opted for minor scale and quiet emotion, but embraced the monumental as a mechanism of remembrance, sometimes even nostalgia; and his universal vision for the vocation of the architect was founded on both an open perception of society and a personal, nearly mystical approach to the concept of place”.

Painting works by D. Pikionis presented at the exhibition: From the “Paris” series, “The Three Graces”, 1914 (upper left), From the “Nature” series, “House in the Sacred Way” (upper right), From the “Vernacular” series, untitled (lower left), From the “Vernacular” series, “Elpis” (“Hope”) (lower right) (Benaki Museum, Exhibition Catalogue)

D. PIkionis, Sketch for Aixoni Settlement, Glyfada, 1953-55 (not realized) (Benaki Museum, Exhibition Catalogue)

The Monastery of the Annunciation of the Virgin Mary - commonly known as Evangelistria by the locals – is hosting the exhibition and is located in the northeast of Skiathos island, approximately 5 km from the main town, at an altitude of about 200 meters. Among the oldest Monasteries in Greece, Evangelistria is the only “active” monastic community on Skiathos today. It was founded by Kollyvades monks from Mount Athos, with construction beginning in 1794 and completed in 1806. The monastery was known for its strict adherence to Athonite monastic rules, including a historical ban on the entry of women. Evangelistria played a crucial role in the national awakening and revolutionary movements of the time, offering both moral and material support. In 1807, it became the site where the first Greek flag—featuring a white cross on a sky-blue background—was designed, made, blessed, and raised for the first time. Today, the monastery houses a library and a folklore museum, showcasing sacred relics and historical exhibits that reflect its spiritual and national significance. (Source: skiathos.gr, Photo: monastiria.gr)

Skiathos, the most cosmopolitan island in the Northern Sporades, is a true paradise on earth, —blessed with lush pine forests, picturesque landscapes, and crystal-clear azure waters. Unspoiled and naturally beautiful, the island boasts more than 60 stunning beaches, each with its own charm and pristine waters.

The town of Skiathos - both the island’s only settlement and its capital - is located on the southeast part of the island, nestled along a tranquil bay that is divided by the small peninsula of Bourtzi. . It is a relatively new settlement, founded in 1829–1830 on the site of the island’s ancient town, which dates back to 800 B.C., and is built across two seaside hills. The local architecture of Skiathos reflects a unique blend: traditional island style mixed with elements of Pelion village design, enriched by neoclassical influences (Source: skiathos.gr)

Koukounaries is the most famous beach on Skiathos and one of the best-known in Europe, frequently featured in international rankings of the world's top beaches (skiathos.gr)

Lalaria is located on the northeastern coast of Skiathos and is accessible only by sea—and strictly on days of dead calm—via daily boats departing from the port of Skiathos. It is considered one of the most beautiful beaches in Greece, with its iconic images having travelled the world and helped put Skiathos on the global map. For millennia, the fierce northern winds have sculpted the steep white cliffs that rise dramatically from the sea, shaping the smooth white pebbles known as lalaria, which give the beach its name (skiathos.gr, Photo: visitgreece.gr)

Skiathos Experience - Explore Skiathos

Read also:

Bookshelf: Exploring Greek Architecture

The “Generation of the Thirties” (Part A): Aesthetic Dilemmas

The “Generation of the Thirties” (Part Β) The return to the roots movement and Greekness in art

I.A.

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Wandering through the streets of Athens, one is easily captivated by the marble of the Acropolis and the enchanting view of the ancient city. Yet, if one looks a little closer, they will see that Greek culture is not only found in museums, but also in the people who bring this narrative to life. Exiting the Monastiraki station in the heart of Athens, on the left, lies a small alley; Adriannou street– the most famous and well-known flea market of the city. Flea markets can be found in almost every big city, showcasing and selling handmade goods, such as jewelry, pottery, leather items, souvenirs, antiques and vintage pieces. For tourists or antique lovers, it is an exciting opportunity to buy “a piece of memory” of this city.

Flea Markets through Athenian Eyes

If you take a stroll at flea markets, it is not just the items and the products per se that are old. Flea markets and antiquarian shops are some of the last and few places where the past has been preserved and it is open for anyone to take a “sip”. Flea markets shall be seen as accessible museums to human senses; you can see the objects, touch them, try to connect yourself with them and wonder about their value in your everyday life. Each of us is not just a potential buyer, but rather a successor of a story– of an object that once used to have value in someone’s life, helping them in their daily tasks, or simply making their space more pleasant.

Why do we find beauty in the past?

There is a common impression that the future always holds better things. The present and the future, in relation to the past, reflect technological, scientific and social evolution. Historically, as time passes, humanity has managed to overcome many of its primitive challenges in any aspect of its life. The modern person does not have to face many of the struggles of the past.

However, shouldn't the past signify something less comfortable, less beautiful or more difficult? This narrative is not the past that flea markets convey. Flea markets do not express a primitive past. On the contrary, they reflect the recent past, the everyday reality for many of our parents and grandparents. Greek flea markets encompass the history of the modern Greek state and the less hectic, more relaxed everyday routines of the past. They evoke the carefree days when people spent more time outdoors, children played freely, and families followed the rhythm of daily life. In these markets, one can still find the beloved handmade toys and dolls that children used to play with, the school books that taught letters, and clocks that signaled when it was time for the family to gather for meals, objects that carry the memories of everyday life and now tell their story to anyone who visits.

Over time and by observing the goods of a flea market, we can observe a notable shift in the art of craftsmanship. Flea markets sell handmade products, crafted with care and attention by carpenters, artisans and other trades, that have gradually disappeared due to industrialization and mass production, which required dozens of hours of work to reach their final form. Door handles, once ornate, with gracefully curved grips, have given way to plain, straight metal designs. Furniture that used to bear intricately carved flowers, patterns, or delicate lines, reflecting the unique expression of its maker, has been replaced by monochrome, featureless wood.

The Flea Markets of Athens

The first impression of the Greek flea market is often a vendor of old Greek coins (drachmi), which were replaced by the Euro in the early 21st century. He is usually sitting in a chair, watching people come and go, with a small radio playing beside him. As you continue strolling, you come across small tourist shops filled with souvenirs, but also craftsmen, traditional cobblers, who bring you back to another era of Athenian society. In the small square on the right, the street bursts with antiques; old furniture, chairs, wall clocks decorating a traditional home, as well as books and vinyl records, filled with the most beloved songs of the past. It is really interesting to look at those newspapers from 30 to 50 years ago, gaining an awareness of the milestones we have reached as a society, and perhaps realizing that some of the everyday problems have remained unchanged.

Just one station away from Monastiraki, is Thissio station. The Thissio flea market is a unique experience; nestled in the ancient city of Athens, beneath the shadow of the Acropolis and the Parthenon, the visitor may wander through the flea market while listening to the street musicians playing on Areopagitou Street, where the flea market gains another character– a more vital, living and romantic one. This flea market does not have a specific organised structure; it is made up of small vendors and collectors who, daily, from early in the morning, until late at night, set their stalls, welcoming passersby. The market features small stalls, mainly with handmade jewelry, books and painted canvases, stretched along the entire length of Areopagitou Street.

The spiritual treasure of the flea market: rare Books

Beyond furniture and jewelry, one cannot overlook the quiet power of books, found in flea markets. Words alone are too limited to describe their significance: the way books connect to past and present and reflect the spirit, hopes, and ideas of our ancestors. Nevertheless, there is the need to speak about rare books and engravings. Rare books are not easy to find in bookshelves or digital libraries; these books are uncommon, old, and highly valued for their historical, cultural or artistic significance. Some rare books preserve the works of famous philosophers, scientists and authors. Likewise, engravings are artworks, carved or engraved onto cardboards, depicting maps, landscapes, portraits, historical scenes, illustrations from books or motifs. These editions are often preserved only in specialised antiquarian shops, where collectors and enthusiasts keep them alive for future generations.

One of them is Vassilis Korivessis– a man who, for the past four decades, has dedicated his life to collecting and preserving rare books, engravings, and old maps from various authors and intellectuals who lived in Greece and abroad. From the very moment you enter his antiquarian bookshop, in Adriannou 7, you are greeted by a library of volumes, preserved over centuries, enshrining ideas for a society – perhaps more ideal that the present one.  “Collecting was something I truly longed for: it didn't come about by chance. I myself studied Mathematics, but I always had a passion for the past. For 40 years i have maintained this shop, these collections”

During our conversation, several tourists entered the shop, seeking to take a piece of Greece back to their homeland - a book, an engraving, something bearing the trace of old times. Locals, too, searched for specific editions or artworks with historical or emotional value. Observing, I asked Vassilis: Who are the people that come through your door? “There is the audience that reads: surely they will find books here.  But mainly we cater to those who seek to find a specific piece. We have editions of Aristotle that date back two or three centuries.”  As a rare books and antiquities shop located in the heart of Athens, a significant portion of visitors are foreign travellers: “Tourists are interesting people: they show a great interest in Greek history and mythology.”

Surrounded by an atmosphere filled with the past, thoughts inevitably turn to the future, I couldn't help but ask what the future holds for Vassili’s shop. “ I am retired now, but my children really love this job. When you have books that date 300 years, you hope that, just as they came to you, they will pass on to the next”.  In a mix of feelings Vassilis concluded: “The books will find their owner.” Both of us were deeply absorbed, observing the collections, and he was eager to speak not only about his shop, but about something deeper — a national and global responsibility. His final words, before leaving that small window to the past, were the most profound: “The Greek language and the cultural heritage it encompasses, must be preserved by us Greeks, but also by foreigners in whose languages this spirit has been infused. Without it, we simply lose out on culture”.

Αthanasia Santikou [written during her internship at the Department of Digital Communication of E1 Directorate for International Public Relations]

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Nestled in the heart of Mykonos, in the historic area of Tria Pigadia, the Aegean Maritime Museum, is a cultural institution dedicated to safeguarding and celebrating Greece's profound connection to the sea.  Established in 1983 and opening its doors to the public in 1985, the Aegean Maritime Museum is a private non-profit institution focused on the preservation, study, and promotion of Greek naval history and tradition, particularly that of the Aegean's merchant fleet.

The museum's historical significance is multifaceted, beginning with its visionary founder, Georgios Drakopoulos, a native of Mykonos. His pioneering efforts in establishing the museum were recognized with an award from the Academy of Athens in December 1987. The physical home of the museum itself also carries a rich history. It is housed in a traditional 19th-century Cycladic building that once belonged to the legendary Captain Nikolaos Sourmelis. Captain Sourmelis played a crucial role in aiding the Cretans during their struggle against the Ottomans, using his merchant ship, the "ENOSIS," to provide significant assistance. This historical residence imbues the museum with an authentic connection to the maritime past it strives to preserve.

A Treasure Trove of Naval History

The museum boasts one of the most significant collections of naval history in Greece. Its extensive exhibits span a vast timeline, from the pre-Minoan era to the early 20th century. Visitors can explore a diverse array of artifacts, including: ship models, historical maritime documents, rare engravings and maps, ancient artifacts, nautical instruments, fittings, and tools, coins with naval themes, dating from the 5th century BC to the 5th century AD.

Further enriching its offerings is a continuously expanding naval library, which houses approximately 5,000 rare editions, manuscripts, and photographic archives. The museum's outdoor space also features marble replicas of tombstones from Delos and Mykonos, depicting scenes of shipwrecks and sailors lost at sea, adding a poignant dimension to the exhibits.

Preservation of living historical exhibits

The Aegean Maritime Museum holds the distinction of being the first museum in Greece to undertake and complete the rescue and preservation of living historical exhibits. These remarkable artifacts include:

• The "Armenistis" Lighthouse of Mykonos (built in 1890)

Perched on the northwestern tip of Mykonos, the Armenistis Lighthouse was one of the largest and most iconic lighthouses of the Aegean. It was first lit on September 19, 1891, built in response to a maritime tragedy that shocked both Greece and the international community.

In 1887, the British steamship Volta ran aground on the northern coast of Mykonos. The accident claimed the lives of 11 out of 22 crew members, sparking international outcry. In the aftermath, the then–Prime Minister of Greece, Charilaos Trikoupis, ordered the construction of a lighthouse at Cape Armenistis to ensure that such disasters would not be repeated.

The original lighting mechanism, built by Sautter Lemonier and awarded at the Paris International Exhibition, operated with kerosene. The system vaporized the fuel and, through a specially designed optical assembly, produced a powerful light visible up to 30 nautical miles away. The beam stood 184 meters above sea level and 12 meters above the base of the building, providing sailors with a much-needed beacon of safety in the once treacherous waters of the central Aegean.

For nearly a century—from 1890 until 1983—the Armenistis Lighthouse shone continuously, guiding countless ships safely through the region.

In 1983, the lighthouse was modernized and automated, replacing the old optical system with more efficient technology that no longer required the presence of a lighthouse keeper.

Fortunately, the story of the original mechanism did not end there. In 1987, the Aegean Maritime Museum requested its preservation. After extensive restoration work, the historic device—complete with its lenses, pulleys, lamps, and fittings—was relocated to the museum’s lush garden, where it is proudly displayed and in working order once again.

•  The Aegean type sailing ship "Evangelistria," built in 1940

The “Evangelistria” is one of the last authentic Aegean sailing vessels of the traditional perama type. It was built in Syros in 1940 by the renowned shipwright Mavrikos and his sons, commissioned by the Mykonian captain Antonis K. Bonis.

With a capacity of around 90 tons, an overall length of 20 meters, and a beam of 6.38 meters, the vessel was a remarkable feat of craftsmanship. It carried two masts with sails totaling 220 square meters. In its prime, the Evangelistria was not only a reliable merchant ship but also a magnificent presence on the Aegean Sea, turning heads wherever it appeared.

For decades, it served as a vital link between the islands of the Aegean, transporting essential goods and supplies. During World War II, despite the dangers of wartime, the Evangelistria continued to sail, delivering food and provisions to the islands and even reaching as far as Thessaloniki.

A symbol of maritime tradition and resilience, the Evangelistria remains a testament to the artistry of Aegean shipbuilding and the seafaring spirit of Greece.

•  The cable steamship "Thales of Miletus," built in 1909

The vessel that would later be known as “Thales of Miletus” was originally built in 1909 at the Newport News Shipbuilding and Drydock Co. in Virginia, USA, under the name Joseph Henry, commissioned by the U.S. Government. In 1947, the ship was transferred from the United States to Greece, handed over to the Hellenic Telecommunications Organization (OTE), and renamed Thales of Miletus.

As the first Greek cable-laying ship, the Thales of Miletus played a vital role in modernizing communications across the Aegean and Ionian Seas. It was tasked with laying and maintaining submarine telephone cables between the Greek islands—a mission it carried out tirelessly until its retirement in 1983. During its long service, the ship laid 140 new cables and performed repairs on more than 630 existing lines, ensuring the steady flow of communication in an era when reliable telephony was still in its infancy for many island communities.

The Thales of Miletus holds a special place in maritime history as the oldest surviving cable ship in the world. Remarkably, it still preserves its original engine room, complete with two authentic steam propulsion engines. It also remains the oldest vessel registered in the Greek Shipping Registry with exceptionally high technical specifications for its time.

Today, the ship stands not only as a monument to Greek maritime and telecommunications history but also as a floating museum. Beyond its historic steam-powered cable-laying machinery, visitors can find fascinating exhibits that trace the evolution of telecommunications from the early 20th century. Onboard displays include optical telegraphs, radar equipment, and other instruments that mark milestones in the field.

Both the "Evangelistria" and "Thales of Miletus" are meticulously maintained and can be visited as floating museums.

Modernization and a Dynamic Future

Recognizing that cultural heritage is not a static imprint of the past but a dynamic axis of identity and development, the museum recently underwent a comprehensive modernization. This project, spearhead by the Museum itself and supported by a programmatic agreement between the Ministry of Culture, the Municipality of Mykonos, , included:

• Renovation of infrastructure while respecting its traditional 19th-century Cycladic architecture.

• Upgrading internal functionality and improving conditions for exhibiting and preserving artifacts.

• Introduction of new technologies, including the digitization of collections and the creation of a virtual tour via its new website.

• Implementation of a "phygital" approach, blending physical and digital spaces to offer an authentic and experiential visit.

This modernization effort, with significant technical, administrative, and political support from the Municipality of Mykonos, ensures that the museum can project its naval tradition to a global audience, from Mykonos to the most remote corners of the planet. It reinforces Mykonos's role as a hub of culture, history, and modern creativity leaving a legacy for future generations. Beyond its physical presence, the museum actively participates in international conferences, exhibitions, and events -such as Maritime Week, and engages in significant publishing activities related to Greek maritime history.

Through its extensive collection, unique live exhibits, and recent embrace of digital technologies, the Aegean Maritime Museum stands as a dynamic and revitalized institution, dedicated to preserving and showcasing Greece's rich maritime heritage and continually evolving to share its rich history with the world.

I.L.

All photos from Aegean Maritime Museum's Facebook page

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Athens: A City in Perspective is a new collectible photo album that captures the vibrant, evolving nature of Athens beyond its historic landmarks. Created by the Municipality of Athens in collaboration with Naftemporiki and Militos Publications, this English-language edition features 120 pages of photographs and captions showcasing both iconic sites and everyday scenes from neighborhoods, parks, street art and festivals.

As the Mayor of Athens, Haris Doukas, pointed out in his opening remarks at the photo album launch, Athens is a mosaic of eras, sounds, faces, a city in constant flow and this album is a remarkable attempt to capture that dynamic spirit of Athens.

The album portrays Athens as a timeless, globally relevant city rich in culture and creativity. Most images were contributed by photographer Giannis Giannelos. The goal of the publication is to present the city, as a living mosaic of history, modernity and inspiration. Simplicity, human stories and natural light define the artistic perspective of the album. The publication emphasizes human stories, inviting the visitor to discover the multifaceted spirit of Athens.

Contemporary Athens: A Living Palimpsest of Urban Culture

Contemporary Athens defies easy categorization. Beyond its picture postcard image lies a living, breathing metropolis full of unexpected contrasts. While globally iconic for its ancient heritage, the modern city operates as a rich palimpsest where remnants of antiquity intersect modern complexities. Contemporary Athens is not a city frozen in time. It's a sprawling urban experiment where tradition collides with subversion and where creativity blooms in unlikely corners.

Athens is a vibrant mosaic; bohemian cafes tucked into aging neoclassical buildings, entire facades wrapped in large-scale murals, local festivals popping up across the city, often in unconventional venues. To truly understand Athens today, you have to look beyond the marbles and the mythology. Athens today is a city in flux inviting visitors and residents alike to embrace complexity, contradiction and the often-unfinished stories of urban life. Athens is not a city that offers itself all at once. It must be walked, watched, and listened to. Its beauty is often found in its contradictions; ancient and modern, grand and intimate, refined and rough-edged.  Soon the city begins to reveal itself.

Athens pulses with life. It's not just ancient ruins and postcard views. Modern Athens is vibrant, restless, and full of surprises. It’s a city in constant motion, where bohemian cafés sit beside Byzantine chapels and high-concept art galleries share walls with crumbling 1960s apartment blocks tagged with graffiti. This is where the old world meets the fiercely contemporary—and where travelers willing to look beyond the Parthenon find a cultural capital reinventing itself from the ground up.

That’s the spirit Athens in Perspective aspires to capture. Each photo taken in Athens is not just a snapshot, but a portal into this dialogue between eras, styles, and social textures. Athens isn’t just a city you visit—it’s a city you feel, layer by layer. That’s where you’ll find the true magic of Athens—not just as a destination, but as a way of being.

Photo credits: ©Naftemporiki / Militos

Dora Trogadi

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Johanna Hanink is professor of Classics at Brown University, and her work in Classics focuses on classical Athens, particularly on the intellectual and political life of the city's fourth century BCE. She is especially interested in the construction and reception (in both antiquity and more modern times) of the idea of the ancient 'Greek miracle'. Some of her work touches on the points of contact between modern politics and ideas about ancient Greece, and antiquity more generally. She is the author of Lycurgan Athens and the Making of Classical Tragedy (Cambridge 2014) and The Classical Debt: Greek Antiquity in an Era of Austerity (Harvard 2017). She is is a translator Ancient as well as Modern Greek, having translated among others The Archeologist and Selected Sea Stories (Penguin 2021; a volume of works by Andreas Karkavitsas), she is active in Brown's Program in Modern Greek Studies  and hosts a biweekly podcast called Lesche: Ancient Greece, New Ideas.

Professor Hanink spoke to Rethinking Greece* on how she was inspired by other academic podcasts and her desire for more informal scholarly dialogue to create her own podcast, Lesche, which aims to foster a sense of community within academia. Hanink discusses featuring authors of longue durée studies, as well as translators—such as Emily Wilson and Daniel Mendelsohn—whose work offers a unique bird’s-eye view of entire Ancient Greek texts and makes them more accessible to contemporary readers.

She also highlights the wealth of creative work inspired by Greek mythology, such as Kaos, the British mythological dark comedy TV series, whose creator Charlie Covell, appeared on the podcast. Hanink emphasizes that the barriers between academics and creatives should be lower, and that there should be space for open dialogue between the two groups about their work on Greek antiquity. Finally, she expresses her hope that the podcast will gain listeners among undergraduates—not just classicists—especially at a time when the Humanities are under threat; students need to know that Humanities research demands real expertise and generates new knowledge.

Professor Hanink, your podcast Lesche brings together Hellenists to discuss their latest work. What inspired you to create this kind of conversational platform, and why did you choose the format of a podcast over more traditional academic dissemination? How does this concept of a lesche inform your approach?

During the pandemic, I hosted a few Zoom events for my department for which I interviewed colleagues about their newly published books. I really enjoyed the format—the conversations last about 45 minutes, and covered everything from the book’s conception to the author’s ideas for their next project. Then, over the last couple of years, I became an avid listener of Anthony Kaldellis’ podcast Byzantium and Friends. We didn’t have anything quite like that in the field of Ancient Greek Studies (nor is there one for Roman Studies, as far as I know). By “like that” I mean a podcast hosted by an active researcher in the field who curates a program of conversations with colleagues about their latest work in the field. It all finally clicked into place last summer, when some exciting titles came out: e.g., Rachel Kousser’s Alexander at the End of the World, but also Ferdia Lennon’s wonderful Glorious Exploits, which takes an anecdote from Plutarch about the Athenian invasion of Sicily during the Peloponnesian War and spins a whole novel out from it. When those books appeared it pushed me over the edge, and I decided to give podcasting a try.

The concept of the lesche certainly informs the vibe I’m going for: I wanted the podcast to feel like a place where people can chat informally about their work and ideas. Honestly, I often prefer those kinds of relaxed conversations to formal academic lectures. The ideas seem to flow more naturally, and I like to be able to joke around a little with the guests. I also like that the word lesche has similar, positive resonances of friendship and idea-exchange in both Ancient and Modern Greek.

Your focus is on the latest work of Hellenists in the field of Classics. What trends or shifts in Hellenistic studies have you noticed emerging through these discussions? Are there particular themes you find repeatedly surfacing?

I try to cover a good spread of topics, but the books/projects I do choose to cover inevitably reflect my own interests. I spend a lot of time scouring publishers’ lists of forthcoming books, though, and on the basis of those I’d say that there is still a lot of interest in classical Athens, and that maybe the boom in Hellenistic Studies is subsiding somewhat. (I hope that I’m wrong.) I’ve especially enjoyed speaking to guests about projects with very long temporal ranges—John Ma on his Polis book, Emma Greensmith on her new Cambridge Companion to Greek Epic, and archaeologist Alex Knodell on the Small Cycladic Islands Project (SCIP). Those kinds of longue durée studies are really important.

Translation is another big theme; the first season featured Emily Wilson on her Iliad and Daniel Mendelsohn on his Odyssey. I hope to have more translators on to discuss their work in Season 2. Classicists tend to read very small passages from texts in a fragmented way, whereas translators gain a unique birds-eye view of the entire work they’ve translated. There’s a lot of insight to be had in that.

Season one of Lesche features conversations about monumental translation efforts like Daniel Mendelsohn’s Odyssey and Emily Wilson’s Iliad, as well as the Cambridge Greek Lexicon. What do you think these projects reveal about how we’re reimagining access to ancient Greek texts today?

Both Wilson and Mendelsohn’s translations of Homer and Diggle’s Cambridge Greek Lexicon share an aim of rendering Ancient Greek texts more accessible to contemporary readers, whether those readers know no Ancient Greek whatsoever or are experts who still need to consult a good lexicon every so often. I work with both kinds of texts, in my teaching (for which I assign translations of Homer) and my research (I’m writing a commentary, and use the CGL all the time). There really is still a strong interest in these texts, and it’s been exciting to host conversations with scholars who are making better access to them possible.

The podcast has been running for a year now. What has been a particularly memorable or insightful moment for you as a host, perhaps one that deepened your own understanding or sparked new ideas?

I have to say it was really a thrill to do an episode with Charlie Covell, creator of the Netflix show Kaos. Kaos sparked a lot of discussion in the U.S., Britain, Greece, and beyond, and I loved talking to Charlie about their vision for the show and how they brought it to life. After the episode came out Charlie and I stayed in touch, and we were lucky enough to host them for a week in the Classics Department at Brown last spring. For their final event with us, Charlie did a table reading, with a Brown undergraduate actor, of their short one-act play called “Asphodel,” which had marked the start of Charlie’s worldbuilding for Kaos. There is so much creative work out there inspired by Greek mythology, and I’d love to see more dialogue between those creators and academics. Creators read academic works, and academics teach about creative reception of antiquity, so the barriers between them really should be lower. Meeting Charlie through the podcast helped me see that more clearly.

Looking ahead, what role do you see for the podcast in engaging with these broader, perhaps more critical or unconventional, perspectives on ancient history and classics, beyond traditional scholarly work? Are there audiences beyond academia you especially hope to reach?

I’m always happy to hear that audiences outside academia are interested in the podcast, but one of the reasons I started Lesche was to improve the sense of community within the academic field. There are amazing podcasts out there that speak to wide general audiences, but I do want Lesche to be a place where both academics and creatives can speak about their work on Greek antiquity in technical terms. I initially envisioned the podcast as an academic one, but something I love about conversation is that it can make even highly-specialized topics very accessible—much more accessible than on the pages of an academic journal. A lot of the listeners are non-academics.

I would be very happy to see the podcast gain listenership among undergraduates, and not just classicists. I think it’s good for students to be exposed to academic research in the Humanities—that is, to learn that Humanities research really does require expertise and produce new knowledge. In a moment when the Humanities are very much under threat (we always say that, but it’s truer than ever right now), people need to know that Humanities work is serious, and the most basic aim of Lesche is to showcase the serious and exciting new work going on in my field.

*Interview to: Ioulia Livaditi

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