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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The strategic principles and key priorities of the Greek government’s cultural policy were presented by Culture Minister, Lina Mendoni, speaking at the Center for Hellenic Studies at Harvard University. The fundamental principles of preserving, protecting, and promoting Greece’s heritage, as well as its contemporary artistic creation, along with recognising and highlighting culture as a national developmental asset and a cornerstone of the country’s intellectual, economic, and social revitalisation, progress, and prosperity, were thoroughly outlined by Mendoni in her address to a large audience attending her lecture. (Cover photo: Hellenic Heritage: the official Gateway to museums and cultural sites, offering guides, tickets, stories, curated experiences, and more)

Lina Mendoni noted that “our heritage must be protected, but not frozen in time. Museums, monuments, and archaeological sites are living parts of society, connected to communities, attracting visitors, and generating cultural, educational, and economic activity. When integrated into everyday life, heritage thrives, creating stronger incentives for its protection and greater social impact.” Regarding cultural heritage and contemporary creation, a key parameter, she added, is that they contribute to economic development, generate income and jobs, attract investment, and strengthen tourism, with which they are closely linked.“ Monuments and museums are not spaces of consumption. They are landmarks embedded in collective memory and identity. They unite generations, foster pride and social cohesion, and project the image of a place beyond national borders,” she emphasised.

(Source: Ministry of Culture, Athens-Macedonian News Agency)

The Minister of Culture, Lina Mendoni in her speech at the Center for Hellenic Studies at Harvard University (Source: Ministry of Culture). Greece’s cultural policy includes main initiatives such as the Cultural Charter for all regions, major restoration and digital transformation projects, expanded cultural tourism, new digital platforms, and strengthened efforts against illegal antiquities trafficking and for the return of the Parthenon Sculptures.

“Cultural Charter of Development and Prosperity” for the 13 Regions of Greece: Vision for Growth and Prosperity

Since 2019, the Greek government has pursued a major shift in cultural management so that Culture serves both its social and developmental role. “The past six years,” the Minister of Culture noted, “we have worked systematically toward implementing a new, flexible, and dynamic model, redefining both the goals and the methods. This approach is grounded in scientific knowledge, data analysis, coherent planning, and realistic programming. It aims for multiplier effects and economies of scale, strengthening innovation, improving effectiveness, and ensuring the efficient use of funding and resources”.

Hellenic Heritage is the new official platform of the Hellenic Ministry of Culture and ODAP (Hellenic Organization of Cultural Resources Development) – a contemporary hub that brings the essence of Greek culture. Available from September 5, 2025, hh.gr serves as the official guide to more than 350 archaeological sites, monuments and museums. Designed from the visitor’s perspective, it offers essential information, integrates all Hellenic Heritage services—Tickets, Experiences and Shop—and supports future digital innovations. With a strong focus on accessibility and inclusivity, hh.gr uses advanced storytelling tools to bring history to life. This launch marks a major milestone in ODAP’s digital strategy, blending tradition with modern technology.

A key initiative is the “Cultural Charter of Development and Prosperity”, designed for all 13 Regions of Greece with a planning horizon to 2030. The Charter serves as an active roadmap tailored to each region and includes major infrastructure projects, cultural funding schemes, and institutional reforms. It places equal emphasis on safeguarding Greece’s tangible and intangible cultural heritage—from ancient monuments and historic sites to modern art and living traditions—and on supporting the cultural expressions that shape Greece’s identity today.

The Charter seeks to transform culture into a strategic asset for recovery, sustainable development and social cohesion—not only in major cities but across every region of the country. It reflects a broader global and European shift toward viewing culture and creativity as engines of innovation, economic vitality and community resilience. By combining infrastructure, regulatory modernization, digital innovation, and active support for contemporary creation, the Charter builds a strong, future-oriented cultural ecosystem that delivers long-term value for Greece and its citizens.

 “The strengthening of cultural tourism is a key objective of the Ministry of Culture and Sports for the Region of Thessaly, as the area is an emerging tourist destination,” emphasized the Minister of Culture and Sports, Lina Mendoni, during the presentation of the Thessaly Development Program, led by Prime Minister Kyriakos Mitsotakis, in Larissa, in February, 2023 (Photo above: From the Prime Minister’s visit to the Ancient Theater of Larissa). The Ministry of Culture, in close collaboration with the Region of Thessaly, is implementing a coherent plan of projects worth 100 million euros, using EU funds and national resourcesand focusing on the protection and restoration of monuments and archaeological sites, as well as the creation of modern museum and cultural infrastructure. Key cultural initiatives include strategic plans to integrate major archaeological sites, such as ancient Demetrias and Byzantine Anchialos, into urban areas. The Ministry created visitable underwater sites in Alonnisos and Western Pagasetic Gulf, including the renowned Peristera shipwreck, recently listed among National Geographic’s top 50 diving destinations. Projects also include: the Diachronic Museum in Trikala; the Integrated Management Plan for Meteora, balancing tourism and monastic life; the restoration of theaters in Phthiotic Thebes, Larissa, and Demetrias; cultural routes through Pelion and Skiathos; and improved access to Theopetra Cave and the Neolithic settlement at Dimini, strengthening Thessaly’s cultural tourism (Source: Ministry of Culture)

A core element of the Charter is its recognition of culture as a lever for regional development, cultural tourism, and job creation. By embedding culture into local and regional economies, the plan aims to strengthen cultural and creative industries, boost visitor flows, generate employment across related sectors, and address long-standing regional inequalities. It also places strong focus on inclusion and equal access, ensuring that cultural infrastructure, services, and experiences are accessible to people with disabilities and responsive to the needs of both urban and rural communities.

Using EU funds (NSRF, RRF) and national resources, the Ministry is carrying out the largest cultural investment program in Greece’s history: over 850 projects with a total budget exceeding €1.3 billion. Completed and ongoing works include the restoration of monuments, conservation of heritage, museum upgrades - since 2019, 28 new or fully restored museums have already opened to the public, with another 28 planned for completion by 2028 - and construction of new cultural infrastructures. These projects support local economies, strengthen social cohesion, promote balanced regional development, and provide thousands of jobs.

In September, 2025, the Ministry of Culture delivered fully restored Christian monuments in the town of Veria: the historic Churches of Saint Anna (upper photos, Guided tour of Minister, LIna Mendoni) and Christ Pantocrator (lower photo). In Imathia (Region of Central Macedonia), from 2019 to today, the Ministry of Culture has completed and is implementing cultural projects amounting to more than 25 million euros, within the framework of its integrated planning. Among other initiatives, these include the Polycentric Museum of Aigai, the restored Palace of Philip II at Aigai, the Virtual Museum ‘Alexander the Great: From Aigai to the Oikoumene,’ the outdoor permanent exhibition at the Archaeological Museum of Veria, the exhibition of the Treasury Hall at the Holy Monastery of Dovra, the conservation and showcasing of the Byzantine Acropolis of Veria, and the conservation and restoration of Christian and Ottoman monuments, also in Veria (Source: Ministry of Culture)

The Virtual Museum “Alexander the Great: From Aigai to the Oikoumene”

Digital innovation in the service of Culture

Digital transformation is another cornerstone of the Charter, modernizing how cultural resources are managed, documented, and presented to the public. Lina Mendoni highlighted the Ministry of Culture’s investment in digital technologies and tools to enhance the management of Greece’s cultural heritage. The Ministry has implemented large-scale projects through the “National Archive of Monuments”, using virtual and augmented reality, collaborations with tech companies like Microsoft and Google, and a strategy to integrate Artificial Intelligence. Key goals include accelerating digitization, improving conservation, preventing illicit trafficking, providing personalized cultural experiences, supporting research with big data, and ensuring ethical standards for transparency and data protection.

The Portal of Digital Collections of Movable Monuments of the Ministry of Culture(National Archive of Monuments) includes objects – movable monuments that primarily originate from the collections of the Museums of the Ministry of Culture and the broader Public Sector. The portal is being gradually updated and provides access to approximately 680,000 registered entries through the Integrated Information System (IIS) of the Ministry of Culture.

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

A huge nationwide digital transformation —more than 27.3 million euros investment — has modernised 107 museums and archaeological sites aiming to more inclusive access, better management, enriched visitor experience, and bridging heritage with digital modernity. This includes unified ticketing & access-control, a “Hellenic Heritage Web App”, digital signage, QR codes, interactive tours in multiple languages (including Greek Sign Language), and AR/VR experiences at flagship sites (e.g. Sounion, Delos, Ancient Agora of Athens, Ancient Olympia, Rotunda of Thessaloniki).

The past comes alive before your eyes!  We tried the innovative #AugmentedReality (AR) application on hh.gr — and the result? Absolutely enchanting! At the Temple of Poseidon in Sounio, AR technology transported us back in time, recreating the site in its original grandeur. An immersive experience that blends history, technology and emotion. (Source: ODAP,  Hellenic Heritage, the official Gateway to museums and cultural sites)

A special mention was also made of the Ministry of Culture’s program for the restoration and adaptive reuse of the former royal estate at Tatoi. Beyond the built environment, the extensive landscaping will transform the site into accessible green spaces for recreation and outdoor activities, promoting sustainable tourism and social engagement. The project preserves the estate’s historical significance while creating a modern destination that integrates culture, nature, and leisure.

The Tatoi Collections  of the former Royal Estate, was recently registered online. It is the largest collection of its kind in Greece, dedicated to fine and applied arts and to Greek history, comprised of more than 70.000 objects that were recorded and documented by the Ministry of Culture at the former royal estate of Tatoi.

Cultural routes

In 2025, Greece launched a major national initiative to create a network of thematic cultural-heritage routes across the country, supported by approximately €50 million in EU Recovery and Resilience funding. This ambitious plan aims to highlight the depth and diversity of Greek history by organizing cultural destinations into coherent, story-driven itineraries that connect different regions and historical periods. The overarching goal of the project is to create meaningful connections between archaeological sites, monuments and local communities, turning them into unified cultural experiences. These cultural-heritage routes aim to offer visitors deeper, more immersive journeys through Greece’s layered past, while generating long-term benefits for the regions they traverse.

 “Monumental Works of Cyclopes and Men”

Five thematic routes have already been defined, each representing a distinct era and cultural narrative—from the Mycenaean world to Byzantine and Ottoman heritage. These include themes such as “Monumental Works of Cyclopes and Men”, showcasing Mycenaean engineering and civilization; “In the Footsteps of Apostle Paul”, following sites linked to early Christianity; the “Cultural Egnatia Road”, tracing the ancient artery that shaped trade and connectivity across the Balkans; and the “Castle Network: From Byzantium to Ottoman Rule”, highlighting fortifications that tell the story of shifting empires and cultural influences. (Source: Ministry of Culture)

 “In the Footsteps of Apostle Paul”

The protection of Greek cultural heritage from illegal trafficking

Mendoni, speaking at Harvard University, also stressed the ministry’s strategic objective: the protection of Greek cultural heritage from illegal trafficking, which is not merely a form of criminal activity but a complex phenomenon linked to organised crime, resulting in the loss, fragmentation, and often irreversible destruction of the historical and cultural memory of nations. The ministry’s strategy focuses on prevention, international cooperation, and the systematic repatriation of antiquities from foreign museums and private collections.

Gallery of the Acropolis Museum in Athens © Acropolis Museum

“This commitment applies even more strongly to Greece’s long-standing request for the return and reunification of the Parthenon Sculptures, which have been kept at the British Museum for more than 200 years. The Greek request for the Sculptures began even before the modern Greek state was officially founded. Over the last six years, however, the landscape has changed significantly. Globally, governments, museums, and civil society increasingly recognise the need to correct historical injustices in the handling of cultural heritage. Our pressure on the UK government and the British Museum’s administration is steadily increasing,” she stressed.

(Source: Ministry of Culture, Athens-Macedonian News Agency)

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The ‘Mentis’ and ‘Antonopoulos’ manufactories are among the oldest companies in the field of thread processing and the production of silk-making items, and the only workshop still operating in Greece that continue to produce ribbons, braids, tassels, fringes, and other passementerie products using traditional methods. The legacy of these two manufactories was saved thanks to a groundbreaking initiative by the Benaki Museum, which created a centre for preserving, researching and promoting ‘silken arts’ at the Athenian neighborhood of Petralona: Mentis – Antonopoulos (‘NEMA’) Passementerie. The space also hosts educational and exhibition activities, serving as a living center of intangible cultural heritage. (Photo: © Benaki Museum / Leonidas Kourgiantakis)

The Mentis – Antonopoulos (‘NEMA’) Passementerie of the Benaki Museum collaborated with the House of Dior for the Cruise 2022 collection, presented at the Panathenaic Stadium.

The Dior Cruise 2022 collection at the Acropolis. © Filmed at the Archeological Site of the Acropolis of Athens and the Odeon of Herodes Atticus.

Dior’s artistic director Maria Grazia Chiuri envisioned a celebration of creativity and craftsmanship rooted in the cultural dialogue between Greece and France. Determined to showcase the richness of contemporary Greek artistry, Dior sought to engage local creators, visual artists, and traditional artisans whose work continues to shape Greece’s cultural landscape. This vision naturally led to a partnership with the Mentis–Antonopoulos textile workshop (NEMA). During her visit to the NEMA workshop on Polyfimou Street in Petralona, Chiuri was inspired by the living tradition of Greek textile craftsmanship. As a result, Dior commissioned decorative elements for the hats featured in the show, with production carried out by the Tsalavoutas family workshop, renowned for its handmade sailors’ caps. NEMA specifically produced the twisted handmade cord adorning the brim of the traditional nautical cap reimagined for the Cruise 2022 collection.

Under the guidance of NEMA textile supervisor, ethnologist Virginia Matseli, a series of accessories for the hats was created, overseen by the British designer Stephen Jones, who has been associated with the House of Dior as its artistic director of millinery for more than 25 years. “A Greek fisherman’s cap, special edition”, adorned with a braid, the Christian Dior signature, and jacquard laurel leaves, says Stephen Jones. “When they would come back from sea, the tradition is their wives would reknot the braid” he adds, describing the new essential as a “symbol of home, hope, happiness and family” (© Film directed by Marianna Economou) (Photos: elculture.gr)

‘NEMA’ Passementerie Museum at Petralona, Athens (Photo: © Benaki Museum / Leonidas Kourgiantakis)

 (Photo: © Benaki Museum / Leonidas Kourgiantakis)

The first step towards the creation of ‘NEMA’ was taken in 2012 with the rescue of ‘Mentis’ Passementerie from oblivion. The business was founded in 1867 in Nafplio but soon after moved to Athens in order to cater for the needs of its main clients, the Royal Court and the Palace Guard. The original workshop on Kerykeiou Street in Monastiraki included a silk workshop, a weaving facility and a dye house whereas a separate silk cocoon incubation house was located in the area of Mets. In 2011 the business closed and its equipment was donated to the Benaki Museum by Marina, Othon and Spyros Mentis. The workshop was refurbished and opened again in December 2012.

 In 2014 the Benaki Museum welcomed another donation, of the Georgios Antonopoulos family manufactory. The Benaki Museum refurbished a new space on 10 Polyfemou Street as well as the original space on no 6 so that the new donation was housed. It includes the complete archive of the business, many products and its entire equipment, among which two rare Jacquard looms. The collection was inventoried and researched by the Head of ‘NEMA,’ ethnologist Virginia Matseli. (Source: Benaki Museum)

Historical passementerie products of the Menti company (Photos: Athens Voice). The ‘Mentis’ and ‘Antonopoulos’ manufactories supplied over decades passementerie products to fashion, interior and costume designers, furniture upholsterers as well as military and ecclesiastical tailors. Their client lists included the Presidential (formerly Palace) Guard, the Greek National Opera, the Greek National Theatre, the Athens Concert Hall (Megaron), the Greek Organization of Small & Medium Sized Enterprises & Handicrafts (EOMMEX), the Greek Royal Welfare Fund, the Lyceum Club of Greek Women and many others in Greece and internationally (Source: Benaki Museum)

The Menti family: Spyros, his wife Anna, and their four children. From left: Giorgos, Dimitris, Anastasia, Othon (left), The Menti shop (right) (Photos: Athens Voice)

 (Photo: © Benaki Museum / Leonidas Kourgiantakis)

 (Photo: © Benaki Museum / Leonidas Kourgiantakis)

 ‘NEMA’ has developed into a centre for preserving traditional techniques of thread manufacture, weaving and embroidery. To this end, the Benaki Museum Education department works with specialist craftspeople and offers lifelong-learning courses focusing on these traditional techniques. The Benaki Museum Shop, in an effort to marry old expertise and contemporary creativity, works with artists using raw materials from ‘NEMA’ for their creations (photo above). Their works are offered for sale at the various Benaki Shop outlets (Photo: © Benaki Museum / Leonidas Kourgiantakis)

The Benaki Museum Shop currently presents the exhibition “From Ink to Silk” by Nikomachi Karakostanoglou and the Art Rug Projects initiative by Ilektra Soutzoglou. The exhibition is hosted in the historic space of the Mentis–Antonopoulos (NEMA) Passementerie of the Benaki Museum, until December 5, 2025. The collaboration between these two women goes beyond a shared artistic project—it is a meaningful encounter between two worlds connected through history, heritage, weaving, and art. All of this unfolds within a space that carries its own profound memory. NΕMA serves not only as the backdrop for the exhibition but as an integral part of it—a living vessel of Greek textile history that today hosts its continuation in a contemporary, creative form.

General view of the exhibition “From Ink to Silk” at the NEMA Museum (Photo: nikomachi.k_studio). The creative encounter between visual artist Nikomachi Karakostanoglou and the Art Rug Projects initiative by Electra Soutzoglou brings together an artist and a historic carpet weaving company in a dialogue between matter and spirit, past and present, the gesture of art and the art of hand-weaving in an act of translation and transformation

Works by Nikomachi Karakostanoglou for the exhibition “From Ink to Silk”: Aegean Atoll (upper), Intimately Close (lower left), Imprint (lower right). In this bold project, visual artist Nikomachi Karakostanoglou steps in as a creative voice, bringing her own cultural heritage into the conversation. In her practice, she approaches material not simply as a vessel for form, but as a carrier of memory, energy, and sensation. Light and water are fundamental elements in her work—not merely as images, but as ways of perceiving the world: endless, fluid, intangible, and ever-present. This flow continues when her work is translated into a silk carpet. Her visual language becomes more tactile through weaving, yet retains its poetic nature (Source: Benaki Museum)

The story of the Soutzoglou family begins in Sparta of Asia Minor in 1900, where Nikolaos Soutzoglou founded one of the first Greek carpet workshops. Following the Asia Minor Catastrophe in 1922, he restarts the business all over again in Greece. The third generation, represented by Electra Soutzoglou, now breathes new life into the art of weaving by linking the traditional art of carpet-making with contemporary art. Looking towards the future, Electra launched Art Rug Projects, a platform where contemporary Greek and international artists are invited to transfer their visual works onto carpets—turning painting into weaving and artistic design into handcrafted objects of art.

Since 2017, visual artist Nikomachi Karakostanoglou has been exclusively working on her drawings and sculptures, challenging herself through the scale of the works and the materials she has collected during her travels across Asia. In 2023, under commission by the Onassis Foundation’s Stegi, she created two outdoor sculptures: “Drop of Knowledge” and “Flow.” She has held solo and group exhibitions in Greece and abroad. Her works are part of private collections as well as the collections of MOMus, the Benaki Museum, and the Onassis Foundation.

General view of the exhibition “From Ink to Silk” at the NEMA Museum. Art Rug Projects by Soutzoglou focuses on interactive collaborations with Greek and international contemporary artists, whose selected works are transformed into handmade rugs and tapestries—either as one-of-a-kind artworks or limited editions (Photo: Benaki Museum)

Read also:

Soufli, the village of silk | A traditional industry comes back to life

New ‘Chic’ Revives Greek Silk

Weaving Dreams” in the village of Geraki

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The National Glyptotheque in Athens presents modern Greek sculpture from the 19^th and 20^th centuries, organised in thematic sections. The following Part II examines the evolution of Greek sculpture into Modernism, Abstraction, and contemporary trends. (Cover photo: General view of the National Glyptotheque outdoor area featuring Twelve Ray-Spoked Wheel on Cables Counterbalanced by a Sphere (1993), a large-scale sculpture by Theodoros, from the series "Equilibriums - Suspensions", Stainless steel and wire, 16 x 30 m)

Modernism and tradition. The French apprenticeship

General view of the 20^th century Sculpture Section at the National Glyptotheque

By the end of the first two decades of the 20^th century, Paris had won over Greek artists. At the same time, the sculptural ideas of Rodin—who drew deeply from the spirit of ancient Greek sculpture, blending its idealized forms with modern intensity and emotional realism—coexisted with those of Aristide Maillol (1861–1944), Antoine Bourdelle (1861–1929), and Charles Despiau (1874–1946). Each exercised his own distinctive influence on Greek sculptors, while maintaining their shared focus on art centered on the human figure. The Hellenophile Antoine Bourdelle, in particular, brought once more to the fore the virtues of Greek Archaic sculpture and its austere style. Through his work and teaching, he guided his students back to the roots of their art. Maillol’s fleshy female figures, with their simple curves, simplified volumes, and clear outlines, played an especially decisive role for all who adopted his style, either wholly or selectively. (Source: National Glyptotheque)

Apartis Thanassis (1899 - 1972), Torso of a Portuguese Man or Male Torso, 1921, Bronze, 67 x 39 x 22 cm (left). Apartis was the first of several Greek sculptors to study under Antoine Bourdelle. The teachings of the latter and other descendents of Rodin and the simplicity of Archaic sculpture shaped Apartis’ style (left). Pappas Yannis (1913 - 2005), The Painter Yannis Moralis, 1937, Bronze, 174 x 55 x 45 cm (right). Pappas remained faithful to the figurative depiction focused on the human being throughout his entire artistic career. His style echoes both archaic Greek and Egyptian sculpture, as well as the contemporary trends.

Tombros Michael (1889 - 1974), Two Friends, 1929, Marble, 66 x 33 x 21 cm (left) Stout Seated Woman, 1948, Bronze, 103 x 45 x 68 cm (right). Tombros was a leader in disseminating avant-garde European currents in Greek art. While always remaining anthropocentric, he created free works, particularly of female figures, mainly reflecting Aristide Maillol’s plastic style (right)

Raftopoulou Bella (1902 - 1992), Maiden, 1931, Stone, 64 x 36,5 x 27,5 cm (left). Working mainly in stone, which she carved directly, Raftopoulou focused on the female figure as well as animals and birds. In her earliest works, the realistic approach reflected what she had learned from her professor, Thomas Thomopoulos, and, in certain cases, even Rodin. Makris Memos (Agamemnon) (1913-1993), Spring Dance, 1977, Hammered copper, 230 x 100 x 76 cm (right). Makris centered his attention on the human figure, faithful to representation but with a strong tendency toward the schematic and the abstract. His full figure sculptures, reflect the precepts of archaic art as well as his apprenticeship in Paris.

Anthropocentrism. Towards simplification and abstraction

General view of the 20th century Sculpture Section at the National Glyptotheque. On the left side: Efthymiadi-Menegaki Frosso (1911 - 1995), Nike, (1960), Hammered brass, 103,5 x 84 x 35,5 cm. After 1955, Efthymiadi turned to metal and created abstract compositions, either static or in motion, in which the void plays a prominent role.

By the mid-1940s, the human figure and figurative representation had practically monopolized the interest of Greek artists. However, the stimuli they received in Paris were numerous and diverse. Thus, while several remained faithful to academic styles, others, from the early 1950s onward, gradually turned to more simplified and abstract forms. This shift led to a schematic, suggestive, fragmentary, or expressionistic rendering of the human figure, which in some cases was also used as a means of expressing political or social protest, anxious psychological states, or personal experiences. (Source: National Glyptotheque)

Avramidis Joannis (1922 - 2016), Polis, 1965 – 1968, Bronze, 203 x 270 x 135 cm. Containing clear-cut elements from archaic sculpture, Avramidis’ figures are rendered schematically, in the form of a column or pillar, isolated or in a multiplicity of combinations.

Kalakallas Giorgos (1938 - 2021), Harlequin, 1983, Bronze, 108 x 65 x 30 cm (left). Kalakallas fashioned his personal style combining elements taken from differing stylistic trends and the tradition with the avant garde. Koulentianos Kostas (1918 - 1995), Sea Victory, 1954, Iron, 76 x 63 x 33 cm (right). The influence of Henri Laurens can be easily spotted in the works from the 50s, in which Koulentianos was still working in a figurative framework, but with a strong abstractive tendency, his subjects still revolving around the human figure.

Abstraction and other trends

The trend toward simplification and abstraction, initially expressed through sculpture rooted in the human figure, gradually led to the rejection of figurative representation and ultimately to complete abstraction. At the same time, sculptors abandoned traditional materials and turned to iron, steel, and other metals. Cubism and Constructivism—with their dynamic projection into space and the incorporation of empty space as a defining sculptural element—became key sources of inspiration, as did organic forms. Compositions were enriched with new materials. Science and technology also provided important stimuli. (Source: National Glyptotheque)

Aperghis Achilleas (1909 - 1986), Solitude, 1966, Bronze, 205 x 58 x 38 cm (left). Even in the earliest of Apergis’ abstract works the endeavor to limit the volume while developing the figure in space is apparent, sometimes stressing the vertical and other times the horizontal. Sklavos Yerassimos (1927 - 1967), La Passante, 1965, Marble, 266 x 100 x 63 cm (right). Sklavos created works in the round, in the context mainly of geometric and in certain cases organic abstraction. In 1960, he invented “Telesculpture”, a patented technique that enabled him to carve his materials more easily, using an oxyacetylene flame. 

Lameras Lazaros (1913 - 1998), Penteli in Ecstasy, 1948, Marble, 48,5 x 47 x 12 cm (left). The inspiration for the piece was the mountain in Attica that had provided the marble for many important works of sculpture dating back to antiquity. Lameras was a sculptor who comfortably moved between traditional art and contemporary currents. Vari Sofia (1940 - 2023), Centaur, 1985, Bronze, 77 x 70 x 60 cm (right). Vari’s early stylisation evolved into abstraction, echoing the styles of Henry Moore and Jean Arp, with subjects inspired by Greek mythology.

Zongolopoulos Giorgos (1903 - 2004), Composition of Circles, 1998, Stainless metal, 300 cm. A significant portion of Zongolopoulos’ oeuvre is made up of his constructivist compositions that incorporate the void.

After Abstraction

General view of the 20th century Sculpture Section at the National Glyptotheque. On the left side: Zouni Opy (1941 - 2008), White Column, 1991, Acrylic in wooden manufacture with base stainless steel, 240 x 20 x 20 cm. Through geometric shapes, bold colours, and a lyrical mood, Zouni captures light, shadow, motion, and perspective, and the immense space seems even more immense, due to the human absence.

Abstraction, which dominated the 1960s and 1970s, later declined, giving way to—or at times coexisting with—a variety of other artistic currents. From the 1980s onward, a renewed turn toward figurative and expressive forms emerged, embraced not only by younger artists but also by those who had previously committed to abstraction. This shift often resulted in works of striking realism, with traditional materials frequently replaced by everyday or natural substances. The human figure appears as part of an environment or installation that reshapes its meaning, occasionally conveying irony, layered critique, or protest. Conversely, although depictions of nature are relatively uncommon in sculpture, they do surface in different forms within the work of certain artists—either as a primary focus or as a fragment within their broader creative practice. (Source: National Glyptotheque)

Liti Aphroditi (1953), Leaf, 1984, Iron, mirror, 73 x 333 x 508 cm. Drawing her inspiration from nature, Liti transforms reality into outsized images, elements from the natural world that reside on the ground or are suspended. Various metals, mirrors, mosaics, marble, stone and plaster are the mediums she uses to remodel images of the natural world.

Papayannis Theodoros (1942), Figure from the series “My Phantoms”, 1994 – 1995, Wood, metal and mixed media, height 250 cm (left). The human figure isolated or in pairs, has been the focus of Papayannis’ work in all the stages of his creative career. He quickly distanced himself from strict naturalistic depiction, turning to more abstract renditions. Papadimitriou Angelos (1952), Apollo (Ap’ olon), 2007, Porcelain, papier mache, polyester, iron, 110 x 140 x 180 cm (right). The work is inspired by C.P. Cavafy’s poem “Artificial Bloom”.

Current exhibition: “The Farm”

Exhibition view featuring Frosso Efthymiadi-Menegaki’s Ibex (1955), Brass, 74 × 41 × 24 cm

Currently, the exhibition "THE FARM" is presented in the outdoor space of the National Glyptotheque. Works by Thanassis Apartis, Bella Raftopoulou, Antonis Karachalios, Yannis Antoniadis, Nikolas Dogoulis, but especially Frosso Efthymiadi Menegaki, create a fantastic, artistic environment, integrated into the natural landscape of the park, with familiar and less well-known figures, in characteristic poses. At the same time, however, they reveal the relationship, the emotions and the unique perspective of each artist towards the animals or birds they wanted to depict: the tenderness for their own pet or for the pet of a neighbor, but also for the unknown animals, which they used as models. (Source: National Glyptotheque)

The Christos Kapralos Museum, an annex of the National Gallery on the island of Aegina

In 1995, the six halls of Christos Kapralos’ workshop on the island of Aegina began operating as a museum (photo above), two years after the sculptor’s death. In 2006, the Christos and Souli Kapralos Foundation became part of the National Gallery – Alexandros Soutsos Museum. In its halls and outdoor areas, visitors can view wooden, stone, and marble sculptures, as well as paintings, all created by the sculptor on Aegina. Among the most important exhibits are the plaster cast of Kapralos’ forty-meter porous-stone frieze The Monument to the Battle of Pindos (1952–1956), as well as the wooden complex Parody from the Pediment of Olympia (1971–1972). Christos Kapralos (1909-1993) focused on the human figure, modeled realistically in clay, plaster, stone, and marble and inspired by archaic Greek sculpture. In the 1960s he adopted semi-abstract forms in copper, marked by distortion and fragmentation. He also created wood compositions drawing on mythology, history, Christian themes, and everyday objects.

Read also:

The National Glyptotheque (Part I)

Visual Arts in Greece: 1950s–1990s – Part 1/6: “From self-referentiality to the gesture”

Visual Arts in Greece: 1950s–1990s – Part 2/6: “From Painting to the Object”

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

Visual Arts in Greece: 1950s–1990s – Part 4/6: “From the work to the process”

Visual Arts in Greece: 1950s–1990s – Part 5/6: “From rhetoric to cultural representation”

Visual Arts in Greece: 1950s–1990s – Part 6/6: “Towards a new spatial art”

Greek Sculpture Meets Diplomacy: Frosso Efthymiadi’s “Iketides” at the UN

I.A.

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The National Glyptotheque is housed in the twin buildings of the former Royal Stables at the Army Park in Goudi, Athens. Moreover, it covers an outdoor area of 6.500㎡, which hosts a sculpture park, where large-scale works are on display. It was inaugurated in 2004, with a retrospective exhibition of Henry Moore and monumental wood sculptures by Christos Kapralos. In 2006, the Modern Greek Sculpture Permanent Display was inaugurated, providing, for the first time, a complete overview of the sculpture collection in a dedicated space. Also for the first time, a comprehensive catalogue was published, available in English (Cover photo: General view of the National Glyptotheque).

Six iconic sculptures by major international artists are on display at the exhibition entrance: Magritte Rene (1898 - 1967), The Healer (Le Therapeute), 1967, Bronze, 145 x 128 x 90 cm, donated by Alexandros Iolas (right), Unknown, Island Fanlights, Marble (left)

The exhibition consists of eleven sections, which trace Modern Greek sculpture from its earliest beginnings to the present day.

Folk sculpture

After Christianity spread, ancient Greek sculpture declined, becoming mainly decorative. In post-Byzantine times, it survived as folk art through wood, metal, and stone carving. By the early 19^th  century, sculpture revived on the Ionian Islands and across Greece, where anonymous craftsmen created remarkable works on fountains, houses, churches, and tombs, blending Western, Eastern, and traditional elements. In the Cyclades—especially on Tinos island, known for its marble-working tradition—stone carving thrived. (Source: National Glyptotheque)

Unknown, Island Fanlight, Marble, 52 x 73,5 cm. The fanlights are a separate category of lintels all their own, widespread throughout Tinos island. In the shape of a perforated relief arch, they were placed over the doors or the windows and served a multiple function: structural, because they cover the relieving triangle over the lintel, practical, because they allowed light to reach the inside, aesthetic, because they were decorated with various depictions and magical because the decorative representations frequently had the aforementioned attribute of protecting the house from, or driving away, evil spirits.

Lytras Chatziantonis (c. 1800 - 2nd half 19th century), Windmill, 1837, Marble, 49 x 62 cm. An eponymous example of folk sculpture made by the marble sculptor Chatziantonis Lytras, father of the painter Nikephoros Lytras, just before the appearance of official sculpture in the newly liberated Greek state. It bears the marks of the characteristic perception of the folk artisan: decorative schematization, a flat rendering without any perspective and a lack of proportions.

Ionian Island Sculpture and Neoclassical Sculpture

The reappearance of sculpture as an autonomous art and its liberation from its secondary, decorative role was realized at the beginning of the 19^th century in the Ionian Islands through the work of the Corfiot sculptor Pavlos Prossalentis the Elder. Prossalentis was the first academic modern Greek sculptor and in 1813 he founded the first Art School in Greece, on the island of Corfu, since the rest of Greece was still under the Turkish yoke.

After Athens became the capital of Greece in 1834, many skilled Tinian craftsmen arrived to help decorate the city’s new buildings. The need for organized art education led to the founding of the School of Arts in 1837, where sculpture began being taught in 1847 under German sculptor Christian Siegel. He introduced neoclassicism, inspired by ancient Greek and Roman art. Early students, including Ioannis Kossos, Lazaros and Georgios Fytalis, and Leonidas Drossis, who made the sculptural decoration for the Athens Academy, became leading neoclassical sculptors. Their works—statues of heroes, public figures, and funerary monuments—reflected both classical ideals and the emerging identity of the modern Greek state. (Source: National Glyptotheque)

General view of the Neoclassical Sculpture Section at the National Glyptotheque

Prossalentis Pavlos the Elder (1784 - 1837), Plato, 1815, Marble, 46 x 34 x 24 cm; it is the first dated work in modern Greece (left), Fytalis Georgios (1830 - 1880), Shepherd with Baby Goat, 1856, Marble, 110 x 48 x 42 cm (right)

Drossis Leonidas (1834 - 1882), Penelope, 1873, Marble, 143 x 75 x 133 cm (left), Vroutos Georgios (1843 - 1909), The Spirit of Copernicus, 1877, Marble, 188 x 77 x 67 cm (right)

Yannoulis Chalepas (1851-1938) stands as a unique figure in modern Greek sculpture, his career marked by both brilliance and tragedy. A gifted artist, he studied at the Athens School of Arts and the Munich Academy, where he excelled before financial hardship forced his return to Athens in 1876. Despite early success, mental illness struck in 1878, ending his first creative period, which had drawn heavily on ancient Greek themes. After years in the Corfu Asylum (1888–1902) and the destruction of his later works by himself and his mother, Chalepas resumed sculpting only after her death in 1916. His mature style abandoned academic precision for a freer, instinctive approach that emphasized essential form over detail. His later works—robust, introspective, and symbolically charged—reflect a deeply personal dialogue with antiquity and his own inner struggles.

Chalepas Yannoulis (1851 - 1938), Sleeping Female Figure (Plaster cast from the tomb of Sofia Afentaki in the First Cemetery of Athens), 1878, Plaster, 77 x 178 x 76 cm (upper), Medea III, 1933, Plaster, 72 x 43 x 24 cm (lower left), The Secret, before 1927, Painted plaster, 48 x 30 x 20 cm (lower right)

General view of the 20^th century Sculpture Section at the National Glyptotheque

From Neoclassicism to Realism and to 20^th century

Neoclassicism dominated Greek sculpture through the 19^th century and into the early 20^th, but studies in Europe exposed Greek sculptors to new artistic trends. This led to more realistic themes inspired by everyday life, often created to decorate gardens and entertain the public. Dimitrios Filippotis pioneered such works in 1869 with The Harvester, depicting children in daily activities. Georgios Vroutos and Georgios Bonanos also embraced realism while preserving neoclassical traits—idealized forms and smooth surfaces. In contrast, traditional subjects like busts soon adopted a more naturalistic style, portraying real individuals rather than idealized, imaginary figures. (Source: National Glyptotheque)

Filippotis Dimitrios (1834 - 1919), Boy with Piggy-Bank, (1888), Marble, 136 x 47 x 40 cm (right), Irene Abanopoulou, 1879, Marble, 68 x 48 x 29 cm (left)

Bonanos Georgios (1863 - 1940), Nana, 1896 – 1897, Marble, 165 x 91 x 132 cm (left), Vroutos Georgios (1843 - 1909), The Boy with the Crab, 1891, Marble, 125 x 50 x 50 cm (right)

The turn to Paris

Although 19^th-century Greek sculpture was dominated by neoclassicism, a shift toward renewal began around 1870, blending classical tradition with emerging realistic trends. Artists gradually turned to Paris, as seen with Lazaros Sochos, who studied there - he was the first Greek sculptor who preferred to do his post-graduate studies in the French capital in 1885 - and created the equestrian statue of Theodoros Kolokotronis, in front of the Old Parliament House in Athens, now housing the National Historical Museum. At the same time, Auguste Rodin’s influence transformed European sculpture and inspired many Greeks. His expressive modeling, use of allegory, and focus on the fragmentary figure appealed to sculptors trained in the neoclassical style. Thomas Thomopoulos, although having studied in Munich, was to be characterized as “the introducer of the Rodin School into Greece”, while Kostas Dimitriadis fully developed it, establishing modern Greek sculpture’s new direction. (Source: National Glyptotheque)

Sochos Lazaros (1857/1862 - 1911), Bust of a Clergyman (probably the Greek priest, philosopher and revolutionary, Theophilos Kairis), 1889, Clay, 50 x 31 x 20 cm (left), Vitsaris Ioannis (1843 - 1892), Christos, the Black Guy, 1874, Painted plaster, 7,8 x 36,3 x 39 cm (right)

Dimitriadis Constantinos (1879 - 1943), Nude Female Figure or Dancer, 1920, Marble, 75 x 23 x 52 cm (left), Thomopoulos Thomas (1873 - 1937), Centaur, 1901, Painted marble, 60,5 x 34 x 17 cm

The following Part II will examine the evolution of Greek sculpture into Modernism, Abstraction, and contemporary trends.

Read also:

Arts in Greece | A Tribute to Greek sculptor Yannoulis Chalepas on the occasion of World Mental Health Day

The Munich School, the first artistic current in the modern Greek state

I.A.

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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)

I.A.

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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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The island of Hydra has been one of the most important cultural centers since the 1950s, attracting renowned figures from the worlds of art and literature, both from Greece and abroad. This legacy has established Hydra as a vibrant hub of artistic creation. Currently, three notable exhibitions offer visitors the opportunity to engage with a wide range of artistic expressions: “Tamata, Sincere Hope”, an exhibition of religious votive offerings from the collection of Lola Daifa; “Nike of Samothrace”, a photography exhibition by Amalia Sotiropoulou; and “Apocalypse Now and Then”, the DESTE Foundation for Contemporary Art’s 2025 exhibition by Romanian artist Andra Ursuţa. A perfect reason to visit the car-free Saronic island of Hydra.

The Historical Archive and Museum of Hydra (cover photo, visitgreece.gr), in collaboration with the Holy Cathedral of the Assumption of the Virgin Mary, is hosting the valuable collection of votive offerings (tamata) by Lola Daifa until August 31. The exhibition, titled "Tamata, Sincere Hope", curated by art historian Louiza Karapidaki, presents over 500 religious votive offerings, gathered with care and reverence from churches and pilgrimage sites across Greece. Displayed in a manner that highlights both their artistic value and profound spiritual meaning, the tamata serve as silent narratives of faith, hope, and devotion.

The President of the Historical Archive and Museum of Hydra, Dina Adamopoulou noted that “...this is not merely a cataloging of objects, but an act of deep cultural sensitivity and inner reflection. The votive offerings are displayed in a way that highlights not only their artistic value but also their moving spiritual power, creating a space of silent communication between the visitor and the sacred”. Votive offerings (tamata) shaped as a female figure in an attitude of supplication from Lola Daifa's collection

Votive offerings (tamata) shaped as a male figure from Lola Daifa's collection

A tama is a type of votive offering, or ex-voto, used in the Eastern Orthodox Church, particularly within the Greek Orthodox tradition. Tamata are usually small metal plaques - made from base or precious metals (commonly silver, but also gold or bronze) - and feature embossed images symbolizing the subject of prayer for which they are offered. These offerings are made to icons or shrines of saints, either as a plea for divine intervention or in gratitude for prayers answered. Tamata can be purchased at shops selling Greek Orthodox religious items and are often hung with a ribbon on poles or hooks near an icon or shrine. This ritual is usually accompanied by a prayer and sometimes the lighting of a votive candle. Pilgrimage destinations across Greece frequently display shrines adorned with numerous tamata, bearing silent witness to the faith and hopes of countless petitioners. (Source: en.wikipedia.org)

A wide variety of images can be found on tamata, each capable of multiple interpretations depending on the context of the prayer. A heart, for example (left) may symbolize a plea for love or healing from a heart condition. Hands (right) or legs often represent ailments of the limbs, while a pair of wedding crowns may indicate a prayer for a happy marriage. A torso might refer to general bodily afflictions, and so on. (Photos: collection of votive offerings by Lola Daifa)

Votive offerings (tamata) shaped as a female figure carrying a baby (left), and an eye, probably indicating an eye affliction (right) from Lola Daifa's collection

A votive offering in the shape of a ship from Lola Daifa's collection

A votive offering figuring a horse from Lola Daifa's collection (right). Album “Votive Offerings – The Lola Daifa Collection”, a scientific study and research into the universe of votive offerings by Dr. Panagiotis Kampanis, Archaeologist – Historian, Militos Publications, 2022 (left). “…when the accumulated ancestral knowledge and the science of the time failed to bring healing, people turned first to magic and then to divine intervention, following the reasoning: “For where God wills it, the order of nature is overcome.” This phrase precisely defines the miracle. The biblical “your faith has healed you” encapsulates this hope, which quickly transforms into conviction. The temples of the ancient god Asclepius, as well as the churches and monasteries dedicated to the many healing saints of Christianity, served as “clinics free of charge”. Each saint has specific healing attributes…”

The Cathedral of the Assumption of the Virgin Mary, else called the "Monastery", at the center of the main port and is the Metropolis of Hydra. The inauguration of the Temple dates before the 17^th century. The Cathedral is a three domed basilica with a dome and the aisles are divided by rows of columns.  It is made all of solid white marble with rich and intense decoration. In the temple there are also icons with ornate coverings that were gifts to the church by wealthy Hydraian and naval Warriors. Inside the building of the Cathedral is located a small Ecclesiastic and Byzantine Museum (Source: hydra.gr,  Photo: press.ert.gr)

The Historical Archive and Museum of Hydra houses many items donated by the descendants of the families who dominated the social structure of the island in the 1800's and were instrumental in the launch of the Greek War of Independence. The museum has a distinctive nautical theme which reflects the strategic importance that Hydra held during that time as a safe harbour from which to launch the Greek fleet.

At the Historical Archive and Museum of Hydra, exhibits from the Balcan and first and second World Wars are displayed, as well as traditional costumes from Hydra and figureheads from battleships. A historical picture gallery presents works from many great Greek and foreign artists. There are also exhibits of works of art from 18th and 19th Century, nautical maps and the Map of Riga Feraios. In this place is also been kept safe the silver urn with the stuff heart of the Admiral Andreas Miaoulis (Source: hydra.gr)

At the Historical Archive and Museum of Hydra, a photography exhibition by the artist photographer Amalia Sotiropoulou titled "Nike of Samothrace" is also hosted until August 31. The artist redefines Greek identity through her lens, creating images that balance between the past and the present, the classical and the contemporary. Her work is characterized by a neo-pop aesthetic, where mythology, history, and contemporary culture engage in a dialogue in a bold yet deeply studied manner.

One of the most striking elements in Sotiropoulou’s work is her ability to transform iconic figures such as the Caryatids, the Sirens, or the Nike of Samothrace—giving them a new interpretation through the dynamism of light, color, and composition. Her perspective does not merely replicate classical beauty but reconstructs it, adding elements of modernism and abstraction that challenge the viewer to reflect on their cultural heritage.

Showroom "DESTE Foundation" was inaugurated in June 2009 in the old slaughterhouses of Hydra, which was granted by the municipality. The recently restored and renovated building retains the features and traits of the past, preserving the original elements of its old identity while serving as a unique exhibition space. Every summer the Foundation hosts a series of contemporary art exhibitions on the island, including the assignment of the space to a single artist or team invited to stage a unique, site-specific exhibition.

Above the Slaughterhouse is Apollo Wind Spinner (2020–2022) by Jeff Koons, a 9.1 meter (30-foot) wide reflective wind spinner that greets people entering the port of Hydra on one side and, on the other, welcomes people walking to the building. The face of the wind spinner is that of Apollo. It was first installed at the Slaughterhouse in 2022 for the exhibition Apollo, and remained permanently installed on Hydra, finding its home on the island and becoming one of its new landmarks.

This year, the DESTE Foundation for Contemporary Art presents Apocalypse Now and Then, a solo exhibition by Romanian artist Andra Ursuţa. The show will be on view at the Foundation’s Project Space until October 31st. This marks Ursuţa’s first major exhibition in Greece.

Andra Ursuţa, Apocalypse Now and Then, Installation view, © Andra Ursuţa; Courtesy the artist, David Zwirner, Ramiken, Photo: Dario Lasagni. Ursuţa draws from the visual language and display strategies of archeological museums to invent faux-historicist artefacts belonging to a defunct civilization whose relics seem to speak to the anxieties of our present. Both familiar and absurd, the artist displays fragments of sculptures and studio detritus that have been successively built up and destroyed with analog and digital tools. These works explore the history of object-making and sculpture and the ways in which this manually-derived system of knowledge and speculation has come to shape our visual world. Apocalypse Now and Then plunges viewers into a truncated historiography where passingly familiar ancient tropes, grotesque votives, and scarred bronze figures hover between archaeology and fiction.(Source: deste.gr)

Andra Ursuţa, Apocalypse Now and Then, Installation view, © Andra Ursuţa; Courtesy the artist, David Zwirner, Ramiken, Photo: Dario Lasagni.

Read also:

Hydra: a haven for international artists

I.A.

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The Executive Board of UNESCO, on April 14^th, unanimously decided to approve the designation of February 9^th as “World Greek Language Day”. The official proclamation will take place during the 43^rd session of the UNESCO General Conference, in November 2025. The decision of the Executive Board recognizes the universality and the global contribution of the Greek language to the cultural heritage of humanity. It underlines, among other things, the unbroken continuity of 40 centuries of oral tradition and 35 centuries of written tradition of the Greek language, its influence on all other European languages, as well as the fact that it remains to this day an inexhaustible source of international scientific terminology. On this occasion, GNA presents two elements connected to the written Greek language that were inscribed on the UNESCO “Memory of the World” International Register in 2023 and 2015, respectively, "The Lead Tablets of the Dodona Oracle" (Part 1) and "The Derveni Papyrus: The oldest book of Europe” (Part 2).

The Derveni Papyrus, the oldest surviving book in Europe, is one of the most treasured exhibits of the Archaeological Museum of Thessaloniki. It is also among the rarest finds in Greece, as the country's climate is not conducive to the preservation of papyri. The papyrus, which survived only because it was charred, was found in 1962 inside cist grave A of the Derveni cemetery, amid the remains of the funeral pyre. Archaeologists Petros Themelis and Maria Siganidou recovered the upper parts of the charred papyrus scroll and fragments from ashes atop the tomb’s slabs; the lower parts had burned away in the funeral pyre. (cover photo © Orestis Kourakis)

The papyrus script dates between 340 and 320 BC, although the original work it copies is in fact quite older - dating approximately around 420-410 BC. The text is written in columns, 26 of which have been restored, and is divided into two parts. It features a mix of ancient Greek dialects, primarily a blend of Attic and Ionic, with occasional Doric forms. In some cases, the same word appears in different dialectal variations.

In 1962, Anton Fackelmann, curator of the papyrus collection of the Österreichische Nationalbibliothek in Vienna and the world’s leading expert in the handling of carbonized papyri, was invited to the Archaeological Museum of Thessaloniki to try to make the almost charred scroll of Derveni papyrus suitable for reading. By spraying the papyrus with plant sap and placing the fragments under a heat lamp, he managed to save 266 fragments (left) (Source: Kathimerini newspaper), Exhibition of the Derveni Papyrus fragments at the Archaeological Museum of Thessaloniki (right)

The book contains the eschatological teaching of a mantis (a religious prophet). The content is divided between religious instructions on sacrifices to gods and souls, and allegorical commentary on a theogonical  poem ascribed to Orpheus (probably an Orphic hymn that accompanied the ceremonies of the mystics, as the book was initially intended for them). The author’s outlook is philosophical, displaying, in particular, a physical system close to those of Anaxagoras, the Atomists, and Diogenes of Apollonia. His allegorical method of interpretation is especially interesting, frequently reminiscent of Socrates’ playful mental and etymological acrobatics as seen in Plato’s Cratylus.

The identification of the author is a matter of dispute among scholars, most probably being Euthyphro(n) of Prospalta, a community in Attica. The debate between Euthyphron and Socrates influenced generations of theologians and gave rise to the question of the relationship between God and morality known as the Euthyphro dilemma: "Is the pious loved by the gods because it is pious, or is it pious because it is loved by the gods?". Diagoras  of Melos, and Stesimbrotus of Thasos have also been proposed, though with varying degrees of likelihood. (Source: The Center for Hellenic Studies, Harvard University, Archaeological Museum of Thessaloniki, wikipedia.org)

Fragments of the Derveni Papyrus, Archaeological Museum of Thessaloniki

The Derveni papyrus is registered in the UNESCO Memory of the World Register and noted as the oldest known European book. According to UNESCO, the Derveni Papyrus is of immense importance not only for the study of Greek religion and philosophy, which is the basis for the western philosophical thought, but also because it serves as a proof of the early dating of the Orphic poems offering a distinctive version of Pre-Socratic philosophers. The text of the Papyrus, which is the first book of western tradition, has a global significance, since it reflects universal human values: the need to explain the world, the desire to belong to a human society with known rules and the agony to confront the end of life (Source: UNESCO)

Over the last 45 years the text of the Derveni Papyrus has undergone extensive reconstruction and study. Theokritos Kouremenos, George M. Parássoglou, and Kyriakos Tsantsanoglou have been among the leaders of this effort, publishing an authoritative text of the papyrus along with extensive commentary in 2006. (Source: The Center for Hellenic Studies, Harvard University)

Derveni, January 15, 1962: during the widening of the Thessaloniki-Kavala highway, a mechanical excavator struck the walls of a cist tomb, "suffocatingly full" with valuable grave goods, as the late Petros Themelis, excavator of the site, describes in his publication. A total of six tombs -including pit graves, cist tombs, and one built of Macedonian type - were discovered in 1962 in the region around Derveni, 10 km NW of Thessaloniki. Some of them were found unlooted. They contained male and female cremations and burials with rich offerings, dated to the last quarter of the 4^th century BC. The most precious findings can be seen in the permanent exhibition "The Gold of Macedon" at the Archaeological Museum of Thessaloniki.

The Derveni Tomb A - a cist tomb - contained a bronze crater with the ashes of the dead, a gold wreath, several bronze vases, iron spearheads. The Derveni Papyrus was found burnt in the thick layer of ashes which was brought here from the cremation pyre and covered the slabs of the tomb. (Source: odysseus.gr)

Derveni Tomb A (upper left), Fragments of the Derveni Papyrus (upper right), Bronze vessel, perforated for the dispersal of light from the lamp placed within (lower left), Bronze vessels from Tomb A (© Orestis Kourakis) (lower right), Archaeological Museum of Thessaloniki

The Derveni Tomb B is the most significant in size and rich in offerings cist tomb, which was constructed in order to accept the ashes of a man and a young woman. For this, the Derveni Crater with dionysian scenes, unique in the history of art, was used. In the tomb twenty silver vases have also been found together with many bronze and alabaster vases, pottery, iron weapons and fragments of a leather corselet. Other finds include a pair of bronze greaves and a gold triobol of Philip II. (Source: odysseus.gr)

Derveni Tomb B (upper left), a silver vessel (askos), upper right), Gilded bronze scales , reconstructed erroneously as a gorget, the Derveni Krater (lower right), findings from Derveni Tomb B, Archaeological Museum of Thessaloniki

The Derveni Krater (details). The renowned volute krater of Derveni, a unique masterpiece of metalworking of the 4^th c. BC, was most probably manufactured in a Macedonian workshop, by an artist acquainted with Attic art styles. An inscription with silver letters along the rim offers us the owner's name: it belonged to Astion, son of Anaxagoras, who originated from the city of Larissa. Its golden colour is due to the large content of tin in the copper alloy. It contained the remains of a cremation, with a gold coin of Philip II, a gold ring, two gold pins and a bronze, gilded wreath. The mouth of the krater was covered by a bronze strainer-like lid, which was used to strain wine. A gold myrtle wreath was placed on top of the vessel. The main figures on the relief decoration that adorns the body are Dionysos and Ariadne, in a sacred wedding scene. A group of maenads surrounds the couple, dancing ecstatically (lower right). Four statuettes rest on the shoulders: Young Dionysos and a maenad on one side, a sleepy Silen with a flask in his hand and an ecstatic maenad on the other (upper and lower left). (Source: Archaeological Museum of Thessaloniki, Photos: commons.wikimedia.org).

The gold myrtle wreath, Derveni, Tomb Δ, 350-325 BC, permanent exhibition "The Gold of Macedon" at the Archaeological Museum of Thessaloniki (left), a solid gold finger ring bearing on its bezel the dedicatory inscription “ΚΛΕΙΤΑΙΔΩΡΟΝ” (a gift for Kleita), 2.1 x 1.8 cm, Archaeological Museum of Thessaloniki. It was discovered in Derveni Tomb Z, the smallest in size (1.10 x 0.86 m) and the simplest in shape (the only pit grave) of the seven rich tombs at Derveni. Kleita, most probably the deceased of “Tomb Z”, may have been of Thessalian origin, since this female name was common in Pelasgiotis (Larissa) in Thessaly (right).

The Tomb of Makridi Bey at Derveni, also known as the Tomb of Langadas, is an ancient Macedonian tomb of the Classical or early Hellenistic period (late 4^th or early 3^rd century BC). It is located at the site of ancient Lete - one of the major cities of the ancient Kingdom of Macedonia – in modern Derveni, between Thessaloniki and the city of Langadas. The tomb, which had already been looted in antiquity, was excavated by the Greek Ottoman-era archaeologist Theodore Makridi in 1910, two years before the liberation of Thessaloniki. It is a double-chambered, barrel-vaulted tomb with a monumental facade in the Ionic rhythm and a marble sarcophagus in the burial chamber. The original marble door that once sealed its entrance is on display at the Istanbul Archaeology Museums. An extensive restoration project was undertaken between 2012 and 2015, making it accessible to visitors. Watch the video (Source, Wikipedia, Kathimerini Newspaper)

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

The Golden Age of Hellenistic Jewellery: Art, Craft, and Symbolism at the Benaki Museum

The Archaeological Site and Polycentric Museum of Aigai

Philippi: a “small Rome” in Macedonia

I.A.

The post The Derveni Papyrus: Europe’s Oldest Book and its Reflection on Universal Human Values appeared first on Greek News Agenda.

The ruins of the city of Aigai, the first capital of the Macedonian kingdom, were discovered in northern Greece in the 19th century. The most important finds at the site are the royal palace and the extensive necropolis, where the tomb of King Philip II is believed to be. The archaeological Site of Aigai was inscribed on the UNESCO World Heritage List in 1996. In recent years, a central museum building functions as the core of this vast archaeological site.

History

Aigai (often also transliterated as Aegae) was the original capital of the ancient Kingdom of Macedonia, from its establishment in the early 7th century BC until the seat of government was transferred to Pella around the start of the 4th century BC. The area had been inhabited since the 3rd millennium BC, and densely populated since the 11th century, mainly by livestock farmers in loose settlements, as is evidenced by the numerous finds from this period. This is believed to be the origin of its name, which means the “land of many goats”.

According to myth, Perdiccas I, a Dorian Greek originating from Argos in the Peloponnese, who ascended to the throne of Macedonia, effectively founding the kingdom, was also the founder of Aigai as the capital. Perdiccas was the progenitor of the Argead dynasty (the royal house of Macedonia), also known as the Temenid dynasty, taking its name from the (possibly mythical) Temenos, King of Argos, ancestor of Perdiccas I, and himself purportedly a direct descendant of the hero Heracles (Hercules).

The city reached its heyday during the 6th and 5th centuries BC, becoming Macedonia’s most important city, with its inhabitants enjoying a luxurious and sophisticated lifestyle, as attested by the ornate utensils, jewels and arms dating to this period. Masonry, goldsmithing and trade flourished, while Aigai also attracted many important artists and thinkers of the time, among which Euripides, who presented his last tragedies there.

Even following the capital’s relocation to Pella, the city of Aigai retained its great religious and ceremonial status and remained the burial site for most of the Macedonian kings, especially during the reign of Philip II and his son Alexander the Great. Philip would in fact be murdered there, during an extravagant celebration for his daughter’s wedding, held at the city’s theater.

It wasn’t until the time of the Diadochi (Alexander’s rivaling successors) that Aigai’s glory came to an end; with Macedonia’s Roman conquer, the city was sacked and its walls and important landmarks destroyed. Although it remained inhabited, it was gradually deserted during the first centuries AD.

Archaeological site

In 1922, at the location of Aigai, the small town of Vergina was founded by Greek refugees coming from Asia Minor at the end of the Greco-Turkish War of 1919-1922. It is said to have been named after a mythical queen, following a suggestion by the Metropolitan bishop of the nearby city of Veria. The site largely coincides with that of the ancient Macedonian capital.

The first excavations at the site had already begun in 1861 (with the area still forming part of the Ottoman Empire) under the French archaeologist Léon Heuzey (who would also lead excavations at the site of Philippi), under the assumption that these were the ruins of the ancient city of Balla (still undiscovered); part of a palatial building was uncovered, but the excavations had to be paused. In 1937 (by which time the region of Macedonia had become part of the Greek state) excavations were resumed by the Aristotle University of Thessaloniki; over the course of the following years, a large part of the palace and the rest of the city were uncovered.

The palace, built at the time of Philip II of Macedon, father of Alexander the Great, was a monumental two- or three-level building, one of the largest and most important structures of Classical Greece. It was lavishly decorated, with its walls covered by impressive frescoes and floors with intricate mosaics, and had at it center a large square peristyle (i.e. a courtyard enclosed by a colonnade) decorated with elaborate friezes.

The first one to suggest that the ancient site discovered in the vicinity of Vergina was in fact that of Aigai was British historian and classicist N. G. L. Hammond, a leading expert on the history of ancient Macedonia. But it wasn’t until the late 1970s that the site was definitively identified as the original Macedonian capital, thanks to the discovery of the royal burial site.

Although King Philip’s burial cluster is the most illustrious monument from the necropolis of Aigai, it is far from the only one. The “Cemetery of the Tumuli”, the core of the archaeological site, contains over 500 tumuli, with the earliest of them dating to the 11th century BC; the Archaic necropolis contains pit graves dating from the early 6th until the early 5th century BC, while there is another extension of the necropolis dating to the Classical period (5th-4th centuries BC). Graves from the Hellenistic era are also found dispersed in various parts of the necropolis.

In 1987, the “Cluster of the Queens” was discovered, consisting of four large pits and three monumental stone-built cist graves; of these, only one pit grave was intact, dubbed the tomb of the “Lady of Aigai”, an important queen of the early 5th century BC, and contained a number of precious mobile grave goods; another one, believed to belong to Queen Eurydice, mother of Philip II, was found looted but contained an ornate throne bearing intricate decorations.

Excavations at the site continue to this day, bringing new finds to light; in recent years, the “Cluster of the Temenids” was discovered, containing as many as 20 tombs, including pit graves, monumental cists and Macedonian tombs, dating from 570 to 300 BC, all of which had been looted. It has been suggested that the tombs, which bear wall paintings and contain mainly terracotta grave goods, belonged to one of Macedonia’s important royal houses.

Central Museum Building

The archaeological site comprises the remains of the royal palace and nearby theater, the necropolis as well as the royal tombs and their in situ museum, and a byzantine church. In 2022, a Central Museum building was inaugurated, designed to function as a core for the entire site, introducing the visitor to the historical background of the archaeological finds and their significance. It houses the ruins from the royal palace, used in a recreation of its central hall within the museum building, and also various other important finds from the city and necropolis, from everyday utensils, tools, coins, jewels, weapons etc, to grave goods including impressive finds from elite burials.

Royal tombs

In 1977, Professor Manolis Andronikos, (who had already taken part in the previous excavations uncovering the palace and other parts of the city) lead the excavation of a hill in the area, known as the “Great Tumba” –a word which can mean both a hillock and a tump/tumulus– and the following year he uncovered the most impressive finds of Aigai: a burial cluster encompassing four tombs, of which two were undisturbed and contained grave goods of immense historical importance and artistic value.

The study of this material indicated that the largest of the tombs was the burial place of Philip II, who was murdered in the city in 336 BC; although this interpretation has occasionally been challenged by some archaeologists, a series of later studies, including morphological and osteological ones, have consistently confirmed the identity of the cremains discovered in the tomb as that of Philip II.

Inside the “Great Tumba“, in what is known as “Tomb II”, King Philip’s ashes were found in an ornate larnax (chest) made of solid gold and bearing a motif –hence known as the “Vergina sun“– which also contained a golden wreath of 313 oak leaves and 68 acorns. The golden chest was placed in a larger one made of marble. Other findings include a silver and gold diadem with a Heracles knot (reef knot), a gold-plated armor and greaves, weapons, ivory reliefs, jewellery, silver and bronze vessels.

Tomb II was unlooted and consisted of two rooms; in its antechamber, the remains of a woman were discovered; they are believed to belong to one of Philip’s wives –probably Meda, who was of Thracian origin– who sacrificed herself to accompany him to the grave, in accordance with the local custom.

An earlier cist grave, which is referred to as Tomb I, stands next to that of Philipp II, and is believed to have been the burial place of his wife Nicesipolis (mother of queen Thessalonike, after whom the eponymous city was named), who died several years before her husband. This grave had already been plundered when it was discovered, leaving only a few finds, but it features an impressive fresco depicting the abduction of Persephone by Hades.

“Tomb III” was discovered in 1978; It lies close to that of Philip II, was also undisturbed. It also consiss of two chambers, although slightly smaller than those of “Tomb II”, and is believed to be the grave of Philip’s grandson, Alexander IV of Macedon, son of Alexander the Great with his wife Roxanna: born after his father’s death, the young heir ruled as king under the regency of some of his father’s generals, and was eventually assassinated by his last regent, Cassander, before coming of age. His cremains were found in a silver hydria, on which rested a golden oak wreath; a frieze depicting a chariot race decorated the walls.

Finally, “Tomb IV” was discovered in 1980, but had unfortunately also been looted, leaving behind few finds. It is suggested that this was the final resting place of Antigonus II Gonatas, who ruled as King of Macedon for many years in the mid-3rd century BC. It is believed that the “Great Tumba” was probably created during the lifetime of Antigonus himself, to protect these important tombs from further looting, after some of them had been sacked by adversary troops.

The museum housing all the finds from the royal graves is today built inside the tumulus, conserving the tombs in situ, equipped with all the technology to maintain the levels of temperature and humidity necessary to preserve the frescoes. Among the tombs there are also the showcases with the most important finds of the site, including the impressive golden wreaths, armors and other grave goods.

Read also via Greek News Agenda: Philippi: a “small Rome” in Macedonia; N.M. (Intro image: Gold myrtle wreath of the queen found in the antechamber of Philip II’s tomb [by Holger Uwe Schmitt via Wikimedia Commons])

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