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/

The post “Gennadius Library 100. A Century of Inspiration” appeared first on Greek News Agenda.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Missolonghi welcomes the iconic painting by Eugène Delacroix

In a highly charged atmosphere, marked by deep emotion and admiration, the Xenokrateion Archaeological Museum of Missolonghi welcomed on Saturday, March 14, the iconic painting by Eugène Delacroix, “Greece on the Ruins of Missolonghi” (La Grèce sur les ruines de Missolonghi), during an official press conference attended by the Minister of Culture, Lina Mendoni. The work was lent by the Museum of Fine Arts of Bordeaux as part of the events commemorating the 200^th  anniversary of the Exodus of Missolonghi and will remain at the Xenokrateion until November 2026. As of Sunday, March 15, the public has the opportunity to view up close the historic painting by the great Philhellene artist, who, just a few months after the heroic Exodus of 1826, created a work of profound symbolic power, despite never having visited the city. (Cover photo by journalist Nikos Aliagas (https://www.instagram.com/nikosaliagas/p/DV1LJ4iCFcl/). Nikos Aliagas notes that “it is a profound journey through time, where art invites us to reflect on the relationship between human beings and the non-negotiable ideals of existence. Artistic masterpieces are not merely visual achievements; they embody the universal truths that shape societies, traversing the centuries and our shared destiny”).

The Minister of Culture Lina Mendoni and journalist Nikos Aliagas at the press conference (photo https://www.tanea.gr)

The Minister of Culture emphasized that Delacroix’s choice of Missolonghi was far from accidental, as the Third Siege and the Exodus of 1826 shook Europe and secured for the city a distinct place in the memory of Philhellenes. As she noted, the months of starvation, the resistance to the very end, and the conscious decision of the inhabitants not to surrender but to undertake an exodus that was at once doomed and redemptive transformed Missolonghi into a timeless symbol of self-sacrifice and moral transcendence. She further pointed out that the designation “Sacred City,” later attributed to Missolonghi, was not merely honorary, but reflected the conviction that an act of the highest human dignity took place there, worthy of History itself. According to the Minister, it was precisely this deeper moral dimension that Delacroix succeeded in capturing in a unique way. Ms Mendoni further emphasized that Delacroix’s work is not confined to illustrating historical events, but brings to the fore the spiritual essence and cultural depth of the Greek Revolution. As she noted, it is an image that remains timeless and relevant, and has come to be established as one of the most recognizable symbols of the struggle for freedom, not only for the Greeks but more broadly.

Eugène Delacroix, Greece on the Ruins of Missolonghi, 1826, oil on canvas, Dimensions: 213 x 142 cm (frame excluded), Acquisition: bought by the Salon de la Société des Amis des Arts de Bordeaux, 1852, Musée des Beaux-Arts Bordeau (MUSBA)

Temporary exhibition “Exodus, 1826–2026” in Missolonghi

The National Historical Museum (NHM) and the Region of Western Greece, on the occasion of the 200^th anniversary of the Exodus of Missolonghi, co-organize an exhibition titled “Exodus, 1826–2026”, to be held in Missolonghi from March 20 to October 15, 2026, at the Chryssogelos Mansion. The exhibition offers a concise presentation of the events of the Second Siege of Missolonghi, their impact, and their influence on the shaping of national collective memory.

Odysseas Maroulis (1878–1956), Relief topographic map of the fortification of Mesolonghi during the final siege, National Historical Museum

A. Jaquème, “The remaining members of the garrison of Mesolonghi at the moment they set fire to the powder magazine to blow themselves up,” oil painting, Michalis and Dimitra Varkarakis Collection

Polychronis Lembesis(1848–1913), Ioannis Trikoglidis [1891–1962], “Athanasios Razikotsikas” (1929), oil painting, National Historical Museum (left), “Christos Kapsalis” (1881), oil painting, National Historical Museum (right)

The exhibition unfolds on two distinct levels and is divided into two parts. The first part, dedicated to the historical events, is structured into three thematic sections: (i) the Siege, (ii) the Exodus, and (iii) Memory. Unique artifacts—including paintings and engravings, personal belongings and weapons, costumes, medals, and decorations from the collections of the National Historical Museum, as well as documents, newspapers, and photographs from the Archive of Historical Documents and the Photographic Archive of the Historical and Ethnological Society of Greece—have traveled to Missolonghi, some for the first time. The second part of the exhibition features representations of the Exodus in public history, highlighting the symbolism and interpretations of the event through compositions accessible to younger audiences.

Konrad Lange (1806–1856), Commemorative medal with a symbolic depiction of the Exodus of Mesolonghi (1836), National Historical Museum (left), “The women of Mesolonghi in battle, ” Porcelain plate from the Montereau faience factory, National Historical Museum (right)

Vryzakis Theodoros (1814 or 1819 - 1878), Kapsali’s Sacrifice, Oil on canvas, 134 x 144 cm, Athens National gallery. The sacrifice of Christos Kapsalis (1826) stands as a supreme act of self-sacrifice during the Exodus of Missolonghi, when the local notable blew up the gunpowder store to prevent the remaining elderly, wounded, and women and children from falling into Ottoman hands.

Temporary exhibition “Missolonghi 1826: 200 Years since the Exodus” at the Benaki Museum

On the occasion of the bicentennial of the Exodus of Missolonghi, the Benaki Museum is organising an anniversary exhibition dedicated to the Holy City of Missolonghi, the Greek War of Independence, and the Philhellenic movement. The aim of the exhibition is, on one hand, to honor this pivotal event in the Greek Revolution, which shocked international public opinion and greatly strengthened Philhellenism, and, on the other hand, to highlight the significance and timelessness of the heroic Exodus of the people of Missolonghi.

Through representative paintings, drawings, engravings, books, and objects, the exhibition presents an extensive and multi-layered selection of the iconography of Missolonghi, the national liberation struggle, and Philhellenism. Rare artefacts from the Benaki Museum, the Dr John Robertson collection of drawings and engravings, as well as other institutions and private collections, shed light on how revolutionary Missolonghi served as a point of reference for both political Philhellenism and the intellectual formation of modern Greece. The exhibition combines iconic works with unknown and previously unpublished artefacts, offering a renewed and enriched perspective on Missolonghi and the Greek Revolution. Selected thematic sections (from ephemera and artistic practices to the role of the Press, the family, women, and public spectacles) highlight the broader cultural and ideological context of the era.

Giovanni Berselli (1802-1860) (engraver) – Narducci Pietro (1793-1880) (draughtsman), Missolonghite mother with her child, 1837, Tinted etching, Spyros Sakalis Collection (left), Announcement of Lord Byron’s death in the newspaper Telegrafo Greco, issue no. 6, 24 April 1824, British School at Athens. The foreign language newspaper Telegrafo Greco aimed to inform international public opinion on the events in Greece. It was printed in Missolonghi, at the press of Johann Jakob Meyer and Dimitris Mestheneas, with Count Pietro Gamba as editorial director (right)

Pistol belonging to Lord Byron, Wood, steel, Benaki Museum, donated by R. J. H. Jenkins. In 1834, Dionysios Solomos gave the two pistols to Lord Nugent, the liberal British Governor of the Ionian Islands (1832-1835)

Johann Lorenz II Rugendas (1775-1826) (draughtsman), The Exodus of Missolonghi, 1826, Coloured aquatint, Benaki Museum

Alphonse-Marie de Neuville (1835-1885) (draughtsman), The Defence of Missolonghi, Tinted lithograph, Benaki Museum

Commemorative fan from the concert held at the Vauxhall Hall in Paris, on 26 April 1826, in support of the Struggle of the Greeks, Paper, wood, Benaki Museum

Read also:

Missolonghi – Sacred City: 200 Years Since the Exodus (1/2)

Poem of the Month: “On This Day I Complete My Thirty-Sixth Year” by Lord Byron

Book of the Month: “The Greek Revolution of 1821 and its Global Significance” by Roderick Beaton

Greek Revolution in the works of foreign artists

The post Missolonghi – Sacred City: 200 Years Since the Exodus (2/2) appeared first on Greek News Agenda.

In 2026, 200 years are completed since the Exodus of Missolonghi, on April 10, 1826, an emblematic moment of the Greek Revolution—an event that shaped the course of the struggle and became a symbol of humanity’s fight for freedom and dignity. The long siege and the tragic outcome of the Exodus established Missolonghi as a point of reference for ideals and universal values that transcend the boundaries of our national history.

Message by the Deputy Minister of Foreign Affairs Yiannis Loverdos

In 2021, we celebrated 200 years since the outbreak of the Greek Revolution, a struggle that achieved a successful outcome because it was a blend of heart and reflection. As historian Mark Mazower notes, the success of the Greek struggle was due not only to epic moments of bravery and acts of courage, but primarily to the endurance and sacrifice of ordinary people. The Exodus of Missolonghi is an emblematic expression of this dimension—the choice of freedom over submission—and embodies a new political vision that places sacrifice at the forefront as a contribution to forging a national society.

Missolonghi, the Garden of the Heroes (photo: www.discovergreece.com2-best-things-do-messolongi)

The history of Missolonghi begins as early as antiquity, and the city is geographically connected with the wider region of ancient Aetolia, where ancient Pleuron was located, mentioned by Homer in the Iliad. The founding of the modern city of Missolonghi most likely dates back to the post-Byzantine period. In the 16th century, in texts related to the Battle of Lepanto, Missolonghi is mentioned as an area of fish farms and small fishing settlements. During the 18th century, the settlements of the Missolonghi lagoon developed into a notable naval and commercial center, where significant shipbuilding activity took place, contributing to the city’s economic growth. The failed uprising of the Greeks in 1770, within the framework of the campaign of the Russian admiral Orlov, proved disastrous: the settlement of Missolonghi was set on fire, a large part of the fleet was destroyed, and the inhabitants were forced to abandon their homes and seek refuge in the Ionian Islands. After the destruction of 1770, the city was gradually rebuilt, and economic growth and maritime activity followed.

With the Revolution of 1821, Missolonghi assumed a central role in Western Central Greece. The presence of Alexandros Mavrokordatos was decisive in shaping institutions and administration, while the elected leader of the Missolonghiots, Athanasios Razis-Kotsikas, contributed substantially to the fortification of the city and its military preparation. Through this duality of political presence and local military leadership, Missolonghi capitalized on its strategic position—which allowed it to control western Central Greece and access to the Gulf of Patras—and was transformed into a crucial factor in the outcome of the struggle.

Vryzakis Theodoros (1814 or 1819 - 1878), The Reception of Lord Byron at Missolonghi, 1861, Oil on canvas, 155 x 213 cm, Athens National Gallery

Philhellenes from many countries rushed to Missolonghi as early as 1821. Among them were the German Karl Albert Normann (1784, Stuttgart – 1822, Missolonghi), the Swiss Johann Jakob Meyer (1798 Zürich – 11 April 1826, Missolonghi), publisher of the Ellinika Chronika—and the British William Parry, as well as numerous volunteers from France, Germany, Italy, Poland, Sweden, and the United States. In 1824, Lord Byron arrived in Missolonghi; he collaborated with Mavrokordatos and contributed to the struggle not only by providing financial support but also by rekindling international interest.

Frédéric Boissonnas (1858–1946), Sieges of Missolonghi (1926), photolithograph, National Historical Museum. This piece is a reproduction of a famous painting originally commissioned by the Greek General Yannis Makriyannis between 1836 and 1839. The original series was painted by Panagiotis Zografos, a folk artist and veteran of the revolution, under Makriyannis's specific instructions to document the struggle for independence

In 1822, Missolonghi was besieged for the first time by Kioutachis and Omer Vryonis, but after two months the Ottomans, having suffered heavy losses, were forced to withdraw. Three years later, the Sultan once again assigned Kioutachis to capture the city, coordinating his actions with Ibrahim Pasha’s campaign in the Peloponnese. The second siege began on April 15, 1825, when Kioutachis returned under the Sultan’s orders. In December 1825, Ibrahim Pasha arrived in Missolonghi and took over the direction of the siege, which was organized more systematically, making the blockade suffocating. The prolonged siege, deprivation, and famine had exhausted the approximately 10,000 inhabitants and fighters, who nevertheless continued to reject Kioutachis’s repeated proposals for surrender. Ultimately, the people of Missolonghi decided on the Exodus, planned for the night of Lazarus Saturday into the early hours of Palm Sunday, April 10, 1826. That dramatic moment has been captured in modern Greek literature—among others in Isidoros Zourgos’s novel Aidonopita—and remains to this day a symbol of ultimate sacrifice.

Vryzakis Theodoros (1814 or 1819 - 1878), The Exodus from Missolonghi, 1853, Oil on canvas, 169 x 127 cm, Athens National Gallery

François-Émile de Lansac (1803-1890), Episode of the siege of Missolonghi (1827), Missolonghi Municipal Gallery

The testimonies regarding the consequences of the Exodus are shocking. The Austrian consul in Patras, Vincenzo Micarelli, reported a number of 3,100 “ears” collected by the Ottomans—a practice that provoked horror in European public opinion. The fall of Missolonghi acted as a catalyst for strengthening the philhellenic movement. When the tragic news of the Exodus reached Paris, the reaction was intense and influenced European governments, contributing to a shift in the policy of the Great Powers and to the convergence that led to the Battle of Navarino. The fall of Missolonghi was not the end, but the beginning of a new European awakening in favor of Greek independence. As the national poet Dionysios Solomos notes in The Free Besieged, this small “threshing floor” became a symbol that transcended its historical moment and passed into eternity.

Manuscript of the Greek national poet, Dionysios Solomos from “The Free Besieged”. Inspired by this crucial conflict of the Greek War of Independence, it is considered one of the greatest poems of Dionysios Solomos, “the greatest Greek poem ever written” in the words of Bruce Merry. It is an epic unfinished work, which consists of three separate poems in fragmentary form, written in a period of more than twenty years. The Free Besieged does not have a continuous narrative, but consists of a series of scenes and glimpses that occurred during the last days of the siege. The central theme, according to Solomos’ notes, is the defenders’ power of the will, which is tested by a number of afflictions. Indeed, apart from the armed conflicts, the defenders also had to undergo a spiritual struggle against those that threaten to weaken their resistance. It was not only their physical condition of starvation and destitution, but also the far more subtle and insidious effect on them of the spell cast by nature itself: the work is set in the last days of the siege, just before the Easter of 1826, during springtime, and two of its sections are dedicated to the beauty of spring. The besieged, according to Solomos, become truly free because of their spiritual victory over all their trials. This was described by the poet as an inner freedom of the will.

Read also: https://www.greeknewsagenda.gr/poem-of-the-month-the-free-besieged-by-dionysios-solomos/

Two hundred years later, the Sacred City of Missolonghi honors the memory of self-sacrifice, reflects on its identity, and highlights its contemporary dynamism, remaining a place of memory and inspiration for future generations.

Missolonghi, the Laggon (photo: https://www.discovergreece.com/travel-ideas/best-of/12-best-things-do-messolongi)

Missolonghi – Sacred City: 200 Years since the Exodus (1826–2026)

Read also:

Poem of the Month: “On This Day I Complete My Thirty-Sixth Year” by Lord Byron

Book of the Month: “The Greek Revolution of 1821 and its Global Significance” by Roderick Beaton

Greek Revolution in the works of foreign artists

The post Missolonghi – Sacred City: 200 Years Since the Exodus (1/2) appeared first on Greek News Agenda.

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/ )

The post Rare Photographs of the Nazi Occupation and the Kaisariani Execution Presented by the Ministry of Culture appeared first on Greek News Agenda.

The historic signing of the construction contract for the Holocaust Museum of Greece in Thessaloniki marks a historic milestone for a project of national and international significance. The contract was signed between the Jewish Community of Thessaloniki and the construction company METKA S.A., following the successful completion of the required public tendering process and preliminary works, thus signaling the transition of the Museum from planning to implementation. The project reflects Greece’s commitment to historical memory, education, and responsibility toward future generations.

The realization of the Holocaust Museum of Greece has been made possible through the decisive contribution of major donors. Key supporters include the Greek Government, the Federal Republic of Germany, the Stavros Niarchos Foundation (SNF), the Tavma Foundation, and the Genesis Prize Foundation, through a donation by Albert Bourla. Their sustained support has played a critical role in the maturation, advancement, and launch of this important project.

The Holocaust Museum of Greece will be constructed on the site of the former Thessaloniki Railway Station, a location deeply connected to the memory of the city’s Jewish population, as it was from there that the Nazis deported Thessaloniki Jews to concentration camps during World War II. The plot of land was granted to the Jewish Community of Thessaloniki by GAIAOSE S.A. (the public utility company operating in the management and development of railway real estate assets), with the essential and continuous engagement of the Municipality of Thessaloniki, which actively backs the realization of a project deeply embedded in the city’s historical and cultural identity.

On the morning of March 14, 1943, the Jews of the Hirsch quarter of Thessaloniki were instructed to assemble in the local synagogue, where they were informed that they were to be deported to Poland The next morning, they marched to the station, where they were driven into the waiting cars, which were soon overloaded to twice their capacity, closed, then sealed, and off to Poland. During the next few months, new convoys arrived from various Jewish neighborhoods of the city and they were sent off to the Auschwitz and Birkenau extermination camps. The last convoy left in the 7^th of August 1943. 43,850 Jews, 95% of the Jewish population, were deported from Thessaloniki in these months. Very few Jews of Thessaloniki found refuge in the surrounding countryside where they joined the resistance, or in Athens, where a significant proportion of the Jewish population was saved by the help of the Christian population. (Source, Photos: Jewish Museum of Thessaloniki– The Holocaust, Deutsches Bundesarchiv)

Speaking at the event, David Saltiel, President of the Jewish Community of Thessaloniki, the Central Board of Jewish Communities in Greece, and the Holocaust Museum of Greece, emphasized the symbolic and practical importance of the day. “Today’s signing of the contract marks the transition from planning to action. The Holocaust Museum of Greece is a national project of memory and responsibility. It is a project that concerns the entire country and future generations.” METKA CEO Dinos Benroubi said Thessaloniki will “soon acquire a modern beacon of memory and culture.”

From the signing of the contract. From left: Dinos Benroubi, Panagiotis Pikrammenos, David Saltiel

Representatives of the founding donors were present at the signing ceremony, including Panagiotis Pikrammenos, representing the Greek Government, Mark Strohmenger from the German Consulate in Thessaloniki, and Eleni Agouridi from the Stavros Niarchos Foundation.

Mr. Pikrammenos, former Prime Minister and former President of the Council of State, described the occasion as “a day of joy and emotion.” He highlighted that the Museum was a vision of the late Mayor of Thessaloniki, Yiannis Boutaris, embraced by Prime Minister Kyriakos Mitsotakis, and stressed that it is a project owed to the city of Thessaloniki. “The process is now underway. The Museum will be built and will be a jewel for the city,” he stated.

German Consul Mark Strohmenger underlined the contemporary relevance of the project, noting: “This project is extremely important in our times, in an era when societies are drifting apart. Remembering the past and learning from it is more important than ever.”

The Holocaust Memorial in honor of the 50,000 Greek Jews of Thessaloniki. It was erected in honor of the 50,000 Greek Jews of Thessaloniki who testified in the Nazi camps. It is placed at the southeast corner of Eleftherias Square, the same square where Nazi men had gathered the city's Jewish men and tortured them in July 1942. The monument represents the seven-light lamp, the menorah, with its flames enveloping human bodies. It was designed by the great sculptor Nandor Glid, a Jew of Serbian descent, who had lost almost his entire family in the concentration camps. (Source: visit-centralmacedonia.gr)

Exhibition at Werkbund Galerie in Berlin, presenting the Holocaust Museum of Greece in Thessaloniki, 19.2-15.3.2025 (Source: makridisassociates.com)

The architectural design of the Museum has been developed by EKA Efrat Kowalsky Architects (Israel), HvB Heide von Beckerath (Germany), and Makridis and Associates (Greece), in collaboration with an interdisciplinary team of specialists. The museological and exhibition design has been undertaken by the internationally acclaimed firm Atelier Brückner, in collaboration with Professor of Museology at the Department of Communication, Media and Culture, Panteion University of Social and Political Sciences, Andromache Gazi ensuring a contemporary museum experience aligned with international standards. Overall project coordination and management have been assigned to the joint venture Samaras & Associates S.A. – Hill International.

Project Description (Source: Efrat-Kowalsky Architects):

The architectural concept of the Holocaust Museum of Greece in Thessaloniki is rooted in the dual notion of presence and absence. Rising on the site of the former railway station, the museum embodies both a place of departure and a place of return a space where memory, light, and material converge to tell the story of a lost community. Its octagonal form resonates with the geometry of ancient and sacred architecture found throughout the city, while the interplay of light and shadow across the marble and concrete surfaces evokes the coexistence of life and loss.

Designed as an open and permeable monument, the building invites the public to experience remembrance not as a closed chapter, but as a living dialogue with the present. Transparent thresholds and framed views connect the museum’s interior to the city beyond, transforming the act of remembrance into a civic gesture. Inside, a vertical sequence of exhibition spaces, research areas, and public zones reflects the layered history of Thessaloniki a city where Jewish, Christian, and Muslim cultures once flourished side by side.

The museum is conceived as both a place of reflection and a catalyst for renewal. Through its architecture, it seeks to reconcile the fragmented narratives of the past with the pluralistic identity of Thessaloniki today a city once known as la madre de Israel, “the mother of Israel,” and now reimagined as a beacon of coexistence and hope.

Construction of the Holocaust Museum of Greece is expected to take approximately two years. Upon completion, the Museum aims to become an international center for remembrance, education, and research, serving as a powerful space for historical reflection and dialogue, while contributing significantly to the cultural, educational, and social landscape of Thessaloniki and Greece as a whole.

(Source: amna.gr, ekathimerini.com)

Read also:

“Heritage and Memory: A Focus on Jewish Greece” a virtual event for the International Holocaust Remembrance Day (27.01)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

List of hidden objects (Photo: NAM)

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

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

«Tuesday, 4th of June 1946

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

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

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On "Ohi Day", meaning "Day of ‘No’", celebrated on October 28, we commemorate Greece’s defiant rejection of a fascist ultimatum during World War II, and the heroic counteroffensive against the subsequent Italian invasion of Greece.

The public holiday is Greece’s second national day – the first one being of course the Celebration of the Greek people’s insurgence against the Ottoman Empire on March 25, 1821, which marked the beginning of the Greek War of Independence that led to the establishment of the Modern Greek state.

Historical background – Italy in the interwar period

In the First World War, Italy was on the side of the Allies (or Entente) – that is, the victors. Italy had entered the alliance under promises of Italian territorial expansion against Austria-Hungary and the Ottoman Empire, and of enlargement of its African colonies. However, the terms of the Treaty of Versailles left Italians gravely disappointed, regarding the results of their involvement in the "Great War" as a "mutilated victory".

Hence, public sentiment in the country was negative, and this social turmoil was a decisive factor in the rise to power of Benito Mussolini and the National Fascist Party. Thanks to his propaganda, which focused on Italian irredentism and nationalism, and called for the expansion of Italy’s borders, Mussolini gained a great following. His militia organized the March on Rome in 1922, at which point he assumed office as Prime Minister, and remained the country’s dictator until his overthrow in 1943.

As could be expected, when Adolf Hitler came into power in Germany, the two fascist, militaristic, and expansionist regimes soon found common cause. In 1936, the Rome–Berlin Axis was proclaimed, while in 1939 the two countries signed the Pact of Steel, a formal military alliance committing each to support the other in war. Germany started World War II on September 1, 1939, by invading Poland, while Italy entered on 10 June 1940, after France was nearly defeated, hoping to share in the spoils of German victories.

Historical background – Greece in the interwar period

Greece had followed its own tumultuous path in the interwar period. Having been greatly divided over the prospect of its involvement in the Great War, it finally entered on the side of the Allies, succeeding in substantial gains. Yet, the country faced a harsh defeat in the Greco-Turkish War of 1919-1922, reversing part of its territorial gains. The subsequent migratory influx from Asia Minor and economic difficulties lead to political instability with successive military coups.

This political turmoil along with the purported communist threat led to a coup by Ioannis Metaxas, who established a right-wing dictatorship in 1936, becoming Greece's Prime Minister, with the support of the King. There were however tensions between the two, with the King harboring strong pro-British sentiment, while Metaxas had pro-German feelings, in part due to his studies at the Berlin War Academy.

At the start of WWII, Greece tried to stay neutral, maintaining trade with both Axis and Allied countries. Greek ports and islands were useful for British naval operations in the eastern Mediterranean — something Mussolini saw as a threat. Greece forged closer ties with the UK, which granted a territorial guarantee to Greece against any Italian attack, while at the same time trying to maintain good relations with the Axis powers, especially Italy.

By late 1940, Nazi Germany had conquered most of Western Europe. Mussolini, eager not to be overshadowed, wanted quick territorial gains of his own — especially in the Balkans and North Africa. Italy had already occupied Albania (April 1939) and Libya. From there, Mussolini dreamed of creating an Italian-dominated Mediterranean. Greece's strategic location between the Balkans, the Aegean, and the Eastern Mediterranean made it an obvious target for the Fascist government, who aimed was to establish a Greek puppet state.

Signs of Italian aggression

Even before officially entering the war, Italy shown signs of aggression, with Italian divisions in Albania even moving towards the Greek border at some point. Metaxas had ordered Greek forces to a state of readiness, but still remained staunch in his efforts to maintain neutrality and good relations with Italy.

However, Italy accused Greece of secretly aiding the British (for example, allowing Royal Navy ships to refuel or shelter in Greek waters), using this as a pretext for its anti-Greek propaganda. An invasion seemed imminent, especially since Italy orchestrated border provocations and even repeatedly attacking Greek naval vessels and warships.

In the most striking of those instances, the Greek light cruiser Elli was sunk by the Italian submarine Delfino while harboring in the island of Tinos. The attack in fact took place on August 15, 1940, during the Feast of the Dormition of Virgin Mary, an important religious holiday for Greeks, celebrated with special solemnity in Tinos. Despite evidence of Italian responsibility, the Greek government attributed the attack to a submarine of unknown nationality – without however managing to prevent widespread anti-Italian sentiment in Greece.

The original Ohi Day

In the early hours of 28 October 1940, at around 3:00 a.m., the Italian ambassador to Greece, Emanuele Grazzi, arrived unannounced at the home of Greek Prime Minister Ioannis Metaxas in the suburb of Kifisia in Athens. He handed Metaxas a written ultimatum from Mussolini, which demanded that Greece allow Italian forces to enter Greek territory in order to occupy strategic sites, such as ports, airfields, and communication centers, without any resistance, in order to give Italy control of Greece’s military and logistical infrastructure.

The ultimatum implied that failure to comply would mean war, and Metaxas was given only three hours to respond. The text of the ultimatum accused Greece of favoring the Allies and claimed Italy needed to ensure its own security in the Balkans.

After reading the ultimatum, Metaxas calmly replied to the Italian ambassador in French (the diplomatic language of the time): "Alors, c’est la guerre (So, this is war)" – which means that the famous "No" was never uttered as such. However, this one-word answer was immediately used in the headlines of Greek Press at the time, to encapsulate Greece’s refusal to agree to the terms of Mussolini. Greece hence became the first country to oppose fascist Italy in its expansionist campaign – and would soon also become the first to defeat it in the field of battle.

The Greco–Italian War

Just a few hours following the rejection of the ultimatum, at 5:30 a.m., Italian forces trespassed Greece's borders with Albania (a puppet state of Italy at the time), marking the start of the Greco–Italian War. Mussolini expected this to be an easy victory for his country. However, despite being outnumbered and under-equipped, the Greek army launched an impressive counter-attack.

With the onset of the Italian offensive, Papagos, until then the Chief of the Hellenic Army General Staff, was appointed commander-in-chief of the newly established General Headquarters. During the first few days, Italians prepared their assault, bombarding the Greek positions with aircraft and artillery.

In the first days of the war, Italians attacked through Epirus and the Pindus mountains, aiming for Ioannina; their progress was slow, partly owed to the harsh weather conditions. Greek counterattacks quickly stopped the Italian advance, and pushed the invading forces back, deep into Albanian territory. By December 1940, the Greek Army had captured Albanian towns that had served as Italian bases (Korçë, Gjirokastër, and Himara). The front stabilized in early 1941 due to winter and exhaustion, but Greece had clearly won the campaign militarily.

The Greek counteroffensive was the first Allied land victory of World War II, and it stunned both Mussolini and Hitler. The success of the Greek troops was owed not only to an intimate understanding of local geography - particularly the rugged terrain of Epirus and the Pindus Mountains; it was also the result of careful preparation and strategic planning.

Greece's dictator, Ioannis Metaxas, had a past as a career officer; his authoritarian regime was stifling to the free-thinking people - nevertheless, his military background proved helpful under those dire circumstances. Already at the time when he assumed power in 1936, one of his priorities was rearming and modernizing the Greek military, foreseeing possible external threats. From the moment of the Italian invasion, mobilization was swift and disciplined, as the General Staff had prepared detailed contingency plans.

As far as equipment goes, Greece was of course still direly lacking compared to Italy: Army weapons were a mix of older and newer models — some dating from World War I, others purchased from France, Britain, and Czechoslovakia in the 1930s. The country lacked heavy armor and air power, with only a few light vehicles against Italy's tanks, while there was also a shortage of military aircraft compared to Italy.

However, these shortages were counterbalanced by the army’s military training and the advantages offered by the Epirus and Western Macedonia mountainous terrain, which favored defensive warfare. Greek troops, especially local men, knew the terrain intimately, while Italian armored units and heavy artillery struggled on narrow, muddy mountain roads. Civilian populations in the region provided priceless logistical support, shelter, and information — turning the invasion into a national, collective defense.

Greece’s resistance became a symbol of courage, national pride and defiance against the Axis powers, leading the foreign Press to laud the Greek Army’s heroic stance, and even helping to raise the profile of the small nation abroad.

Aftermath

Italy’s defeat in the Greco-Italian War became a major embarrassment for Mussolini, compelling its German allies to intervene and secure its southern flank, invading Greece through Bulgaria on 6 April 1941 (“Operation Marita”).

Initially, thanks to the strong fortifications organized on the Bulgarian front (known as "Metaxas Line") the Greek army was able to hold back the Nazi invasion. However, the Germans had simultaneously began the invasion of Yugoslavia. From there, they launched another attack, hence bypassing the Metaxas Line, and soon captured Thessaloniki.

Grossly outnumbered –despite a small reinforcement from British and Commonwealth forces– the Greek army, already was unable to fend off the advancement of the combined German and Italian powers, especially given the German air supremacy. Mainland Greece was conquered by the end of April, while Crete followed soon, despite the fierce allied resistance on the island.

Greece thus entered the harsh period of the Axis occupation, which -partly as a reprisal for the humiliation of the Fascist army, and for the subsequent actions of the Greek resistance movements- was particularly oppressive for the local population. Several mass executions took place during this period, while in the largest cities hundreds of thousands died due to mass starvation (known as the Great Famine) caused by large-scale plunder and requisitions, the destruction of the country's infrastructure, and the Allied naval blockade of Greece. The country would finally be liberated in the fall of 1944.

Celebration of Ohi Day

Ohi Day -sometimes transliterated as Oxi Day, and also known in Greece as "the Anniversary of ‘No’" or "Anniversary of October 28"- is one of the two national days of Greece (the first one being the declaration of the Greek War of Independence which led to the birth of the modern state of Greece). It’s a national public holiday, with schools and the entire public sector closed for the day, while the vast majority of businesses also do not function (usually with the exception of some cafés, restaurants and confectionery shops).

Just like the anniversary of the Greek Revolution (celebrated of March 25, which is also the day of the religious Feast of the Annunciation), Ohi Day is celebrated with great pomp; public buildings and central streets are decorated with Greek flags, and student parades held across Greece. A military parade also takes place – not in Athens, as is the tradition on March 25, but instead in Thessaloniki, to honor the anniversary of the city’s liberation from the Ottoman Empire on O.S. October 27-28 (November 9-10), 1912, as part of the First Balkan War.

Read also via Greek News Agenda: The Battle of Crete; Museum of the victims of Nazism in Distomo; The impact of Greek Ohi Day to American public opinion; Hilary Roberts on German and British Photography in Greece 1940-1945

N.M. (Intro image: Greek gun crew at work in the campaign in Albania, 1940-41. Office of War Information Photograph, 91200-ZC [LOC-USZ62-94574, Lot 11618-9, National Museum of the U.S. Navy])

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Ten new projects across eight Cycladic islands—Andros, Donousa, Koufonisi, Mykonos, Santorini, Serifos, Syros, and Tinos—including two inter-island initiatives, are part of the third funding phase of the Cycladic Identity Initiative. This phase expands support to local organizations and communities throughout the Cyclades. Launched in 2023 by the Museum of Cycladic Art, the Cycladic Identity Initiative aims to preserve, restore, and promote the unique cultural and natural heritage of the Cyclades. To date, it has supported 16 projects across 11 islands.

As Sandra Marinopoulou, President and CEO of the Museum of Cycladic Art, stated: "Cycladic Identity marks three years of meaningful contribution to the local communities of the Cyclades. The Museum of Cycladic Art would not exist without our islands, and we have a duty to give back in a sustainable and impactful way. At a time when modern challenges such as increased tourism, the abandonment of traditional practices, and climate change dominate everyday life, our goal is to remain consistently close to the islanders and responsive to their needs. Cycladic Identity seeks to provide both the means and the motivation for local communities to actively engage in preserving their heritage—a heritage that has carried them from the past into the present and holds the power to guide them toward a sustainable future."

ANDROS: “The Lemon Grove of Livadia in Andros: Soundscape of Biodiversity & Stories of People” - Organization: Andros Research Center

Andros has a deep-rooted agricultural history reflected in its terraced landscapes, dry-stone walls, bridges, cisterns, olive mills, and threshing floors. Its mountainous terrain, previous water abundance, and microclimates have fostered a rich ecosystem, with nearly half the island included in the Natura 2000 network. Citrus cultivation—especially lemons, was once central to the island’s economy and maritime trade, with the fertile Livadia plain as a key growing area. While the economy has shifted toward tourism and services, lemon farming in Livadia continues under increasing environmental and social pressure.

Revitalizing the primary sector is now a sustainability priority, requiring approaches that connect agriculture with heritage, identity, and visitor experiences. This project focuses on Livadia’s lemon groves, using innovative tools such as acoustic ecology, oral history, and heritage interpretation. Key activities, among others, include:  creating a 15-stop heritage audio tour of the lemon grove route, and developing a GPS-enabled audio guide app for Android and iOS, introducing users to the history and current role of Andros lemon cultivation.

(Source: Cycladic Identity Initiative)

Read also: Andros, the “Little England” of the Cyclades

DONOUSSA: “Installation of informational signs, and maintenance and improvement of access to the Geometric-period archaeological settlement at Vathy Limenari, Donoussa”, Restoration of a historic trail -  Organization: POSEIDON Cultural and Environmental Association of Donoussa

The archaeological site of the Geometric period (9^th–8^th century BC) at “Vathy Limenari II” on Donoussa Island was excavated between 1968 and 1972 by archaeologist Foteini Zafeiropoulou. The excavation revealed a settlement and numerous pots, now kept at the Naxos Archaeological Museum. Though significant to the island’s history, the site remains largely unknown. Today, the site is abandoned and overgrown, with a deteriorated trail making access difficult. In collaboration with archaeological authorities, the organization “Poseidon” aims to restore access. The site lies on path 4 of Donoussa’s Cultural Interest Trails Network, connecting the beaches of Kendra and Livadi. Along this route, visitors pass dry-stone structures, a windmill, local flora and fauna, and reach the traditional village of Mesaria. Although the archaeological site is near the trail, it remains hidden.

The goal is to improve the trail section from Mesaria to the site, linking the modern and ancient settlements and offering a deeper experience for hikers. Skilled stone workers from nearby islands will help restore old dry-stone walls, recognized as UNESCO intangible cultural heritage. Two durable, bilingual signs will be installed—one at the port and one near the site—to inform visitors about the excavation. Content will be developed with the archaeological service. Under archaeologist supervision, the team will clear the site to reveal the remains. Using the original topographic map, they will create a walking route for visitors.

(Source: Cycladic Identity Initiative)

KOYFONISI: “Keros – The island that speaks through images”, Photography and cinema workshop for Koufonisi students on Keros – Organization: Cinemathesis Non-Profit Civil Company (Photo: View of Keros Island from Pano Koufonisi, aegeanislands.gr)

The program offers a multi-themed workshop for students in Pano Koufonisi, inspired by the island’s proximity to Keros. Though uninhabited today, Keros—just 1.5 nautical miles away—is rich in history and cultural significance, known globally for its Early Cycladic figurines that influenced modern art. Its landscape, traditions, and environment closely resemble those of Koufonisi, making it a natural focus for local engagement.

The workshop connects students with the values of Cycladic culture, exploring its ancient roots and modern relevance. Through cinema and photography, they will creatively reflect on their surroundings, guided by professionals in storytelling and visual arts. The program includes five phases: learning about Keros’ history and archaeology, receiving training in audiovisual techniques, and producing a documentary, a cutout animation, and a photography exhibition. By combining heritage with contemporary expression, the workshop empowers Koufonisi’s youth to rediscover their cultural identity and share it through modern media.

(Source: Cycladic Identity Initiative)

Read also: Keros Project: Uncovering the mysteries of Cycladic civilization

MYKONOS: “The revival of ancient Greek weaving art in 21st-century Mykonos”, The importance of the ancient art of weaving - Organization: Folklore Collection of Mykonos

Weaving, once central to daily life and culture in ancient Greece, remains a living tradition—especially in Mykonos. Historically led by women, weaving produced essentials like clothing and dowries, with patterns reflecting nature, mythology, and local identity. Even today, sayings like “you, your spindle!” capture its lasting cultural role. Today, woven items are not just utilitarian but also artistic, bridging the gap between historical craftsmanship and present-day creativity. Moreover, weaving offers a sustainable approach to production, focusing on the longevity and quality of materials like wool, linen, and cotton. This shift highlights a respect for nature and a more conscious way of life.

The proposed program aims to preserve and promote this ancient craft. It will document the full process—from animal care to finished textiles—and highlight weaving’s evolution, including its role in Mykonos’ rise as a fashion destination during early tourism. A key feature will be building and using an authentic wooden loom, along with collecting local stories and testimonies. Educational workshops for students and the community, in partnership with groups like the Women’s Association of Mykonos, will support knowledge sharing. Through film, hands-on learning, and exhibitions, the program celebrates weaving as both heritage and sustainable contemporary art.

(Source: Cycladic Identity Initiative)

SANTORINI: “The Industrial Heritage of Santorini” - Organization: Theran Society of Arts and Sciences

Santorini’s industrial past, once shaped by mining, tomato canning, hosiery, wine, and fava processing, played a key role in the island’s 19^th and 20^th century economy. Windmills, lime kilns, and shipyards also reflect earlier pre-industrial activity. Sites like the Markezenis hosiery factory in Messaria, the DAR sock mills in Oia, and the tomato factories along the eastern coast that once produced Santorini’s renowned tomato paste—many of which still house some intact machinery - stand as reminders of a once-thriving industrial era. By the mid-20^th century, this sector declined due to earthquakes, economic shifts, and the rise of tourism. The 1956 earthquake caused widespread damage, and mining ceased in 1989. Many factories were abandoned, demolished, or repurposed, and much of the island’s industrial memory faded.

This program seeks to preserve that legacy by collecting and digitizing photos, archives, and oral histories from former workers and owners. Surviving industrial sites and equipment will be mapped and documented, culminating in a documentary to raise awareness and promote heritage preservation, supported by institutions like the Santorini Historical Archive and the Industrial Tomato Museum.

(Source: Cycladic Identity Initiative)

Read also: Cherry Tomato: A Lavish Product Made in Santorini

SERIFOS: “The Living History of the Serifos Mines”, Documenting the history of Serifos’ mines - Organization: Society of Friends of Cultural Heritage & Environment “Serifos”

The project focuses on documenting, preserving, and disseminating the living history of the Serifos Mines, a key element of the island’s identity. The “living history” refers to the experiences shared by miners and their descendants, as well as historical records and private archives. The goal is to safeguard this intangible cultural heritage, which has shaped Serifos’ history from prehistoric times to the modern era. The mining operations, which flourished in the 6^th century BCE, continued through the Roman, Venetian, and modern Greek periods until the closure of the mines in 1965. The 1916 general strike, which led to the establishment of the 8-hour workday in Greece, and the harsh working conditions faced by miners are significant aspects of this history.

The project has four main parts: Videotaped interviews with miners and relatives, with highlights shared online. Collection of photos from mining life and post-closure transitions, published online and in print. Documentation and donation of historical objects to the Megalo Livadi museum. Organization and digitization of residents’ archives, focusing on personal stories, the strike, and community memory, to collaborate with local institutions.

(Source: Cycladic Identity Initiative)

Read also: Serifos: The Intangible Cultural Heritage of Its Mining Activity

TINOS: “CODE 21: The Dovecotes of the Cyclades in the 21st century”, Recording of the traditional dovecotes (peristeriones) of Tinos - Kinono – Organization: The Tinos Gathering

The dovecotes (peristeriones) of the Cyclades, particularly those on Tinos island, have been an integral part of the landscape for centuries, reflecting a rich architectural tradition. These structures were historically used for breeding pigeons, a practice that has declined over time but still remains part of the island’s cultural heritage. Dovecotes served both practical purposes (providing pigeon meat and manure) and symbolic roles, reflecting the island’s architectural identity. Dovecotes remain important symbols of the island’s rural and architectural heritage.

CODE21 is a cultural heritage project focused on preserving and promoting these iconic dovecotes, which face threats like decay, improper renovations, and loss of skilled artisans. The project will digitally map and document 30 dovecotes in Tarampados using drone photography and 3D modeling, creating a web-GIS platform and mobile app. It also features four Living Labs involving local artisans and youth in workshops on photography, drawing, jewelry-making, and traditional maintenance. CODE21 fosters community engagement, intergenerational knowledge exchange, and creative reuse, supporting sustainable tourism and heritage innovation. Through exhibitions, films, and events, the project aims to make dovecotes living monuments of memory, creativity, and development across the Cyclades.

(Source: Cycladic Identity Initiative)

Read also: The dovecotes of Tinos Island

INTER – CYCLADIC / DELOS: “Adilos: Ethnographic research and experiential engagement in Delos”, Highlighting the agricultural heritage of Delos - Organization: Boulouki - Itinerant Workshop on Traditional Building Techniques

The main goal of the program is to restore “Markos Farm” (or “Markos Village”), a ruined agricultural complex located south of Delos’s main archaeological site, a World Cultural Site since 1990, and convert it into a residence for researchers working at Delos. In the long term, it seeks to repurpose the 19^th century agricultural buildings, preserving a key part of Delos’s rural heritage. Final restoration plans are expected by early 2025. The agricultural history of Delos remains underexplored and is often overshadowed by its classical heritage.

This project highlights and preserves that legacy, that had started with Markos Farm—an ensemble of eight buildings from the late 19^th and early 20^th centuries, notable for their creative reuse of materials such as railway tracks, boat sails, and ancient fragments. The 12-month program has three parts: Ethnographic research with local agricultural workers, a 1-2 day vocational apprenticeship linked to the restoration, and dissemination through a photographic album and narrative anthology, both print and digital. The program will conclude with a public event in Mykonos celebrating its completion.

(Source: Cycladic Identity Initiative)

Read also: Delos, the Sacred Island

SYROS: “Small is Beautiful – Biodiversity Havens”, Discovering biodiversity through a treasure hunt - Organization: Social Cooperative Enterprise for Collective and Social Benefit “Kavilia”

This program invites students, residents, and visitors of the Cycladic islands to discover and protect the unique biodiversity hidden in the region’s landscapes—paths, dry stone walls, and sand dunes. Developed by locals on Syros, it aims to raise awareness of lesser known plant and animal species and their importance to island identity, while addressing threats from development and climate change. The initiative transforms students into biodiversity ambassadors, promotes sustainable tourism, and builds a strong connection between communities and nature.

(Source: Cycladic Identity Initiative)

INTER – CYCLADIC: “Pollinating Cyclades”, The role of pollinators in preserving biodiversity - Organization: The Bee Camp Non-Profit Civil Company

The program addresses biodiversity loss by focusing on the protection of wild pollinators, such as bees, in the Cycladic Islands. These pollinators are vital to ecosystems, food production, and forest health, but face threats from pesticides, intensive agriculture, urbanization, and especially intensive beekeeping, which creates competition for floral resources. Despite their close connection to nature, many local communities are unaware of the importance of wild bees and the consequences of their decline.

(Source: Cycladic Identity Initiative)

Read also: Cycladic Identity: keeping alive the heart of the Cyclades

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

Exploring Sikinos Island: Cultural Trails and Natural Treasures Through Innovation

I.A.

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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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