The National Strategy for the Protection of Cultural Heritage from the Impacts of Climate Change was recently presented by the Minister of Culture Lina Mendoni at the auditorium of the Acropolis Museum. “This is the first systematic effort to integrate the climate dimension into the management, protection, and promotion of cultural heritage in Greece, and one of the few internationally that incorporates and synthesizes updated and reliable guidelines,” emphasized Lina Mendoni, referring to the project, which integrates international standards from the UN and the EU (Cover photo: The archaeological site of Delos, Source: Ministry of Culture).

The National Strategy was developed within the framework of the project “Protection of Iconic Sites and Monuments of Cultural Heritage from Climate Change,” funded with €22,000,000 from the Recovery and Resilience Facility. This project forms part of the national effort to address the impacts of climate change in the cultural sector and marks a significant step toward strengthening the resilience of the country’s cultural heritage.

The National Strategy was designed by the Ministry of Culture, through the Directorate of Prehistoric and Classical Antiquities, in collaboration with the National and Kapodistrian University of Athens and the National Hellenic Research Foundation, having carried out detailed climate-risk assessments examining threats such as wildfires, flooding, extreme heat, landslides, and coastal erosion. Its development and implementation were carried out in close cooperation with the Ministry of Climate Crisis and Civil Protection and the Ministry of Environment and Energy, ensuring a holistic and coordinated approach to safeguarding cultural heritage against the impacts of climate change.

(Source: https://www.amna.gr, https://www.culture.gov.gr)

Key elements of the strategy include:

• Climate risk assessment across the country, considering exposure, vulnerability, and hazard levels
• Preventive infrastructure projects, including fire protection, flood control, and landslide mitigation at vulnerable archaeological sites
• Digital tools and platforms for evaluating risks and selecting tailored adaptation plans.
• Monitoring and evaluation systems aligned with international indicators set at COP30 (2025) in Belém, Brazil
• Training programs for Ministry of Culture staff on climate adaptation measures
• International collaboration with the UN, UNESCO, and EU initiatives to integrate cultural heritage into global climate action

 (Source: https://www.tovima.com/culture/greece-unveils-plan-to-protect-monuments-from-climate-change/ )

More specifically, the National Strategy seeks to promote international collaboration, which includes, among other initiatives:

• Establishing a framework for collaboration with 54 additional United Nations Member States (Group of Friends for Culture-Based Climate Action) to integrate cultural heritage into the priorities of the UNFCCC (adaptation and mitigation)
• Maintaining systematic cooperation with UNESCO and other international organizations
• Participating in the European Union Working Group on enhancing the resilience of cultural heritage to the impacts of climate change
• Creating a dedicated program within the Forum of Ancient Civilizations and drafting a memorandum of cooperation with all member states, as well as establishing a network of contact points within the Forum to ensure coordination and coherence of activities in the field of cultural heritage protection from climate change
• Participating in national and international research initiatives

(Source: https://www.culture.gov.gr)

Firefighting systems at the archaeological site of Mystras. Within the framework of the project, infrastructure and risk management interventions were also implemented, such as the installation of fire protection systems in Philippi and Mystras, flood protection works in Dion and Malia, as well as measures to mitigate landslides and rockfalls in Delphi. These interventions clearly reflect the transition from scientific knowledge and strategic planning to the implementation of concrete protection policies

Minister Lina Mendoni stressed, among others, that “the Ministry of Culture, since 2019, has been implementing a comprehensive program for the identification and assessment of climate risks, as well as for prevention and resilience-building, in alignment with international standards and in harmony with the broader National Strategy for Adaptation to Climate Change. Our aim is for it to serve as a reference framework for all relevant state institutions in safeguarding monuments and archaeological sites, while promoting the integration of cultural heritage management with climate resiliency. The National Strategy follows a long-term plan with a horizon extending to 2050, including intermediate targets every five years. It provides for adaptation plans for 40 archaeological sites by 2030 and makes use of modern technologies and planning tools.

“The National Strategy is structured around 4 pillars of action: Diagnosis, Monitoring, Prevention, and Response. These pillars do not operate in isolation, but in an interconnected and functionally sequential manner. They constitute a unified risk management cycle: they begin with the scientific understanding of threats, move on to systematic monitoring, organize prevention, and culminate in targeted field interventions. This is a structure that allows the Strategy to be translated into practical public policy,” added L. Mendoni. “It is part of a broader, dynamically evolving international, European, and national institutional framework, which in recent years has been gradually shaping a new approach to environmental governance and climate policy”.

Readiness drill at Mystras

The Minister of Climate Crisis and Civil Protection, Giannis Kefalogiannis, stated that “the protection of monuments can no longer be limited to restoration after damage, but must be based on prevention, preparedness, and systematic planning.” He also referred, among others, to the cooperation developed in recent years between the Ministry of Culture and the Ministry of Climate Crisis and Civil Protection, which was established with the signing of a Memorandum of Cooperation in 2021 and further strengthened in subsequent years through more targeted actions, particularly in addressing the risk of wildfires. He also referred to the establishment of a special Fire Protection Regulation for archaeological sites and monuments, being developed jointly by the two ministries. This regulation provides for specific preventive measures, such as the systematic management of vegetation, improved access for firefighting forces, the provision of safe evacuation routes for visitors and staff, and the strengthening of preparedness procedures in emergency situations.

At the Minoan Palace of Malia in northern Crete, an integrated drainage network and upgraded protective canopies help safeguard the archaeological site from rainfall and erosion

The National Strategy for the Protection of Cultural Heritage from the Impacts of Climate Change represents the first comprehensive national effort to assess climate risk and design adaptation measures for the protection of cultural heritage. The methodology developed is based on a multidimensional approach to climate risk assessment, with a pilot application in 19 archaeological sites across the country. It serves as a reference framework for all relevant institutional and administrative levels—the Ministry of Culture, particularly the Ephorates of Antiquities, the competent ministries, regional and local authorities, as well as academic and research institutions and local communities—strengthening the connection between cultural heritage management and climate resilience. At the same time, it constitutes a dynamic strategic planning tool that can be adapted to new scientific data, updated climate projections, and evolving needs for the protection and management of cultural heritage.

(Source: https://www.amna.gr, https://www.culture.gov.gr)

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

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

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

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

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

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

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

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

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The Portal of Digital Collections of Mobile Monuments of the Ministry of Culture (National Archive of Monuments) includes objects – movable monuments that primarily originate from the collections of the Ephorates of Antiquities and the Museums of the Ministry of Culture and the broader Public Sector. The portal is being gradually updated and provides access to approximately 710,000 registered entries through the Integrated Information System (IIS) of the Ministry of Culture. (Cover photo: Attic red-figure Kerch lekanis with scene of a wedding preparation, Marsyas painter, 350 B.C, Archaeological Museum of Thessaloniki)

The objects included are both ancient and more recent monuments. The vast majority of the entries concern finds from excavations and archaeological research conducted and continuously carried out by the Archaeological Service from the 19^th century to the present day. A second group of objects consists of portable icons, liturgical vessels, and manuscripts. A third, smaller group includes testimonies mainly of modern Greek culture and comes from various collections. Overall, the monuments registered in the National Monument Archive reflect the richness, diversity, and typological and chronological range of the cultural heritage of the Greek territory.

Online visitors can learn about the place where the objects were made, the materials used, as well as the uses or functions these objects served. They can read about the stories the objects have to tell and others that have already been created to inspire. Visitors can also create their own narratives by combining new knowledge with their personal experiences.

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.

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. Focusing on European art and design of the 19^th and 20^th centuries, the Tatoi Collections span both time and geography—from the European continent to the Far East, and from ancient Greece to everyday objects of the 1960s. All of the above are complemented and interpreted through the preserved evidence—documents and photographs—in the Tatoi Archive, thus unlocking the study of previously unknown aspects of more than a century of Greek and European history.

The Portal of Digital Collections of Mobile Monuments also offers interesting featured online exhibitions. Three of them are presented here as follows: Recycling, a Good Old Habit; Our Oldest Friend (The Dog); and Braids, Hats, and Wigs.

Recycling, a good old habit

The concept of sustainability is not a product of our modern era, where environmental management is emerging as an urgent priority through recycling or the use of recycled materials. Reusing materials and architectural members is a timeless phenomenon that is observed both in antiquity and in modern times. The main reason was saving resources. Durable materials with a distinctively high cost, difficult to mine and transport, were reused most frequently. More specific cases, however, such as the reuse of columns, sculptures, and architectural members, beyond the purely practical purposes they served, also implied the preservation of an aesthetic continuity, while for religious buildings and sanctuaries this meant the “sanctification” of materials and, by extension, of places.

Double questioning: Lead oracle tablet from Dodona with the question of the faithful and the response of the oracle on each side respectively. On the first side there are other older questions / inscriptions that have been erased, Dodona, 4^th century BC, Ephorate of Antiquities of Ioannina

Supporting the house of God: The stele bears an inscription of Nero’s proclamation of the freedom of the Greeks of Achaia and was a votive offering to the sanctuary of Apollo on Mount Ptoon by a prominent citizen of Acraephia. In modern times it was used as construction material in the church of St George in Akraifnio, Boeotia, 1^st century BC, Ephorate of Antiquities of Boeotia (Left) – Amazons and Saints: Base of a statue, probably of a Roman emperor, with an embossed representation of Amazonomachy. It was later used as a pulpit base in the Basilica of Alkison in Nikopolis. For this purpose, part of the representation was scraped off and a mosaic representation was attached over it, from which the figures of two saints are preserved, 1^st century BC, Ephorate of Antiquities of Preveza (Right)

One grave, more tenants: Inscribed marble sarcophagus. This inscription is apotropaic in nature and bears witness to its reuse in the mid-4^th century AD, 2^nd-3^rd century BC, Archaeological Museum of Thessaloniki

Collecting water: Marble inscribed sarcophagus, whose two small circular holes bear witness to it having been reused as a water tank. It is unknown when this conversion took place. It was found in Sintrivani Square in Thessaloniki, 2^nd century AD, Archaeological Museum of Thessaloniki

A votive altar that was reused - upside down - as a funereal tomb marking, on which an inscription was engraved with the name and the father's name of the deceased, which it bids farewell. It was found at the archaeological site of Atrax, in the regional unit of Larissa, 1^st century BC Antiquities Ephorate of Larissa

Our oldest friend

It’s certain that our relationship with dogs is the oldest companionship and cohabitation relationship between us and the representatives of the rest of the animal kingdom, constituting an important milestone both in the history of humanity and in zoology. The human history of dogs is reflected in our intangible and tangible heritage, highlighting a relationship of companionship and faithfulness, care and love, as well as power, and, sometimes, exploitation.

Fragment of a mural fresco at from the Mycenaean Palace of Orchomenos, Boeotia, depicting a dog behind a chariot in a hunting scene, 1350-1250 BC, Ephorate of Antiquities of Boeotia (upper left), Section of a floor mosaic depicting an amphora with a hunting scene on either side, from a roman mansion, 324 A.D - 700 A.D, Ephorate of Antiquities of Phthiotis and Evrytania (upper right), Dog figurines, Ephorate of Antiquities of Boeotia (lower left), Part of a bronze furniture-attachment in the form of a dog, 500 B.C - 301 B.C, Ephorate of Antiquities of Phocis (lower right)

Marble funereal stele with relief depiction of a funeral feast. On the bed , the deceased is depicted holding what is probably a bottle. In front of him there is a three-legged table with food and fruits, and beside him a dog looks at (most probably) its master, 170 A.D - 230 A.D, Archaeological Museum of Thessaloniki (left), Votive stele depicting Artemis-Bendis in a hunting scene in which a dog attacks a deer, 100 A.D - 299 A.D, Ephorate of Antiquities of Kavala (right)

Braids, hats and wigs

The garments, footwear, hairdos, and other elements that complement our external appearance reveal the fashion of the time, but they also reveal something deeper. They declare and express the gender, age, social status, and even the mental or emotional state of the person wearing them. Going further in depth, often they function symbolically for temporary or permanent situations and transmit a clear and concise message. Hair and anything adorning one’s head had to be part of this interpretation. Long hair that came down to the chest or shorter hair that came down to the neck, let down or tied in simple or elaborate buns, wavy or straight, with plenty of long or shorter curls, looser or tighter like small shells, adorn the heads of women and men. They often look like or are wigs, while on top all kinds of hats complete the ornamentation of one’s head and send the appropriate message regarding the identity, temporary or permanent, of the wearer.

A plank-shaped figurine with a distinctive bird-shaped head. It wears a tall hat (polos crown), while two long tendrils fall to the right and left in front of the chest, rendering the archaic hairstyle in horizontal lines, 550 B.C - 501 B.C, Ephorate of Antiquities of Boeotia (left), Part of a female figurine with rich long curly middle-parted hair that cascades behind its shoulders, 500 B.C - 401 B.C, Ephorate of Antiquities of Boeotia (middle), Terracotta female figurine, probably Aphrodite, resting her right foot on a rock, while holding a mirror in her right hand. Her hair is held in a high bun while it is combed into thick bundles, 300 B.C - 251 B.C, Ephorate of Antiquities of Boeotia (right)

Terracotta figurine head wearing a low polos crown above the forehead, while the hair is rendered as three horizontal wavy curls that reach the base of the neck, 700 B.C - 480 B.C, Ephorate of Antiquities of Lasithi, Crete (left), Terracotta female figurine, doll. Its hair, rich and wavy, is gathered high and tied in an impressive leaf-shaped piece of jewellery that looks like a large bow fastened with two large pins at the top of the head, 100 B.C - 1 B.C, Archaeological Museum of Thessaloniki (left)

Read also:

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

I.A.

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Skarkos, on the Aegean island of Ios, is the largest, most important and best preserved Early Bronze Cycladic settlement known to date. A temporary exhibition titled “Cycladic Nexus – A Journey of Connections Across Time: Skarkos”, hosted at the Archaeological Museum of Ios (28.6-31.10.2025), aims to create a dialogue between contemporary art and the dynamic of the ancient Cycladic community of Skarkos, and by extension, the Cycladic civilization.

The hill of Skarkos, featuring the Early Cycladic II settlement, overlooks the Lower Plain and the port of Ios from the east. Discoveries at Skarkos of raw materials and finished products imported to Ios from other Cycladic islands, mainland Greece, and other parts of the Aegean indicate that the settlement played an active role in the maritime trade of the period. (cyclades.culture.gov.gr )

 Skarkos hill occupies a privileged geographic position in the middle of the western side of Ios, where one of the most spacious and safe natural harbors of the Cyclades coexists with one of the island’s largest arable lands, the Lower Plain (cover photo: www.presidency.gr). Human presence at Skarkos was continuous from at least the Early Cycladic I period (3200 to 2800 BCE) through to late antiquity. However, the architectural remains dominating the hill belong to a large, flourishing settlement dating from the period of significant development and outward expansion of the Early Cycladic world, known as the Early Cycladic II period or the cultural unity of Keros-Syros (2700 to 2400/2300 BCE). This major settlement has been preserved in an exceptional state of conservation, providing a comprehensive picture of Cycladic societies of the mid-3^rd millennium BCE, which were previously known mainly from cemetery finds, often looted. (Dr. Mariza Marthari, director of the Skarkos excavation, cyclades.culture.gov.gr, odysseus.culture.gr)

The site of Skarkos has been systematically excavated between 2002 and 2007. The project was honored with the 2008 EU Prize for Cultural Heritage / Europa Nostra Top Prize for Conservation, recognized for the outstanding quality of conservation work and, above all, for the minimal and extremely sensitive nature of the interventions, which caused no detrimental impact on this unique landscape.

The settlement of Skarkos is organized around the hilltop and features a drainage system for the removal of rainwater. The dense urban fabric develops along two main central roads, each up to 2 meters wide, which encircle the summit of the hill and periodically widen to form small or larger open spaces. Short roads, perpendicular to these main arteries, connect the foothills to the hilltop and vice versa. The road network incorporates building blocks, each comprising between two and eight structures. (Source: cyclades.culture.gov.gr , photo www.presidency.gr)

Skarkos, Early Cycladic II settlement: the entrance of Building B (left) and the external staircase of Building D (right). To date, 55 buildings have been uncovered, most of which are impressive two-story structures featuring spacious entrances, stone-built staircases, paved upper floors, built-in wall cupboards, and chests made from schist slabs. These buildings are primarily private residences and exhibit remarkable similarities in their internal layout and use of space. However, one building, known as the Building of the Figurines, has been excavated with a different primary function: it served as a workshop. This building housed a marble carving workshop where figurines and vessels were crafted from local white and blue marble (cyclades.culture.gov.gr )

Skarkos, Early Cycladic II settlement: Figurine made of blue marble, Archaeological Museum of Ios (cyclades.culture.gov.gr)

The movable finds, like the buildings, reflect a relatively advanced lifestyle for the southern Aegean in the 3^rd millennium BCE. There is an abundance of clay tableware, storage containers, and cooking vessels. Stone vessels and tools also appear in great variety. Additionally, mainly schematic marble figurines have been identified, along with objects made of metal, bone, and clay. Movable finds from Skarkos are on display at the Archaeological Museum of Ios.

Skarkos, Early Cycladic II settlement: Local amphora (upper), Bowls of the Urfirnis ceramic category, imported to Ios (lower), Archaeological Museum of Ios (cyclades.culture.gov.gr)

Skarkos, Early Cycladic II settlement: Local tableware (lower), Archaeological Museum of Ios (cyclades.culture.gov.gr)

Skarkos, Early Cycladic II settlement: Local pithos (left), Presentation of the findings at the Archaeological Museum of Ios

Skarkos , Early Cycladic II settlement: Stamped, clay, cube-shaped objects. The seals, the stamped vessels, and the many clay, cube-shaped, stamped objects—which were tied like tags to bags and containers and found inside the buildings—leave no doubt that sealing was a common practice at Skarkos. It seems that in certain cases, declaring ownership or personal identity was useful or necessary. (cyclades.culture.gov.gr)

The Cyclades Ephorate of Antiquities, in collaboration with the Non-Profit Civil Company FIGMENT, presents contemporary artworks at the Archaeological Museum of Ios, fostering a creative dialogue with the museum’s exhibits. The temporary exhibition titled “Cycladic Nexus – A Journey of Connections Across Time: Skarkos” (June 28–October 31, 2025) bridges past and present through contemporary artistic expressions.

The exhibition draws inspiration from the prehistoric settlement of Skarkos and, by extension, the Cycladic civilization. Artists from diverse disciplines explore themes such as movement, communication, and connection through painting, sculpture, installations, embroidery, and digital prints. The human trace—whether presence or absence, journey or trauma—runs through the works, prompting reflections on collectivity and historical consciousness.

Stavros Kassis, Ephemera, objet trouvé papers, postcards, photos, cardboard, clips, glass, 31 x 42 cm (upper left), Thanos Makris, Ephemeral Exercises of Melancholia – After Skarkos VII, 2025, Digital print on acryluxe, 29.7 x 42 cm (upper right), Antigoni Kavvatha, Journey IV, 2018, arylics on mylar, 61 x 440 cm (lower)

Constantin Massos, The Passage, 2016, mixed media on canvas, 100 x 140 cm (upper left), Ifigeneia Sdoukou, Sailing, 2023, hand-dyed and embroidered fabric, 100 x 65 cm (upper riglht), Miltos Skouras, Untitled, 2022, oil on canvas, 70 x 160 cm (lower)

The exhibition’s curators, Evgenia Iskou and Natalia Mitsioni, explain: “The exhibition is not merely a reference to cultural continuity. It is an artistic proposition that views history not as a static archive, but as a dynamic topography — a field of meaning that directly concerns us. In the encounter between the ancient and the contemporary, viewers are invited to reflect on movement, transition, exchange, and collectivity — not as abstract concepts, but as fundamental lived experiences shared by both the Early Cycladic inhabitants and the modern individual”.

Giorgos Alexandridis, Accommodations, 2020, installation, stoneware clay, 21 x 12 x 11 cm (each)

Nikos Tranos, Nausea (from the series terrain), 2017, 50 ceramic heads glazed in lifebuoy orange and double-fired at 1020°C, 2 Viennese chairs — domestic furniture salvaged from the streets of Athens, 150 corks from champagne and wine bottles, iron rods, 113 x 55 x 115 cm (Courtesy of Zoumboulakis Galleries)

Participating artists: Giorgos Alexandridis, Odysseas Glykas, Antigoni Kavvatha, Stavros Kassis, Thanos Makris, Konstantinos Massos, Varvara Mavrakaki, Antonios Panagopoulos, Periklis Pravitas, Ifigeneia Sdoukou, Miltos Skouras, Nikos Tranos.

The island of Ios is a charming Cycladic destination, famous among young visitors for its vibrant nightlife. According to ancient tradition, Ios was the burial place of Homer and also the homeland of his mother. The island’s name, Ios, derives from the ancient word “ion,” meaning flower, a reference to the abundant blossoms that once covered the island in antiquity. Ios is home to several sites of significant archaeological and historical value.

Chora lies very close to the harbor in Ormos and warmly welcomes travelers arriving on the island. Built on a hillside, its summit is crowned by the ruins of a medieval castle. Chora is one of the finest examples of a traditional village designed according to Cycladic architecture. Its snow-white houses, picturesque arcade-covered alleys (stiyadia), twelve windmills, and churches with arched belfries and light blue domes create a uniquely charming residential area. (visitgreece.gr)

The landscape of Ios is determined by the numerous churches and chapels that are scattered everywhere and are, as one would say, an integral part of the beauty of the island. The local tradition wants the churches of the island to be 365, one for each day of the year.(visitiosgreece.com/en/churches-and-monasteries/)

The Hiking Network of the Municipality of Ios is a network of short paths, which is addressed to visitors to the island who wish to get to know the natural and cultural environment of Ios.

Ios offers a plethora of lovely bays and beaches with golden sand and blue-green waters.

Gialos is the large beach with fine sand, next to the port. A part of it is organized but it also has many tamarisk trees that can offer their shade.

Mylopotas is the most organized and busy beach of the island. A beach with golden sand and clear blue waters south of Chora (3 km). Along the beach there are umbrellas, sunbeds and beach bars for all ages. (Source: aegeanislands.gr)

Tris Klissies, three wonderful windless beaches in the southern part of the island. Due to their protection from the winds, the port of the island was old. At the bottom of the sea, the visitor can see the remains of the old port.

Manganari is a series of sandy coves that form at least three large beaches and numerous smaller, with easy access to the southern part of Ios. Its natural beauty is renowned not only on Ios but throughout the Cyclades. Manganari caters both to visitors seeking organized beaches with umbrellas, sunbeds, restaurants, and beach bars, and to those who prefer a quieter, more secluded beach experience.

(Source : https://visitiosgreece.com/en/)

Read also:

The Gaitis-Simossi Museum on Ios Island

I.A.

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Αt the northeastern edge of Attica, about 60km from Athens, next to the Euboean Gulf, lie the ruins of the ancient deme of Ramnous (Ramnountas). Ramnous is the best-preserved ancient Attic deme site and belonged to the Aiandidae tribe (Demes were suburbs or subdivisions of the ancient city-state of Athens - after Cleisthenes' reforms, Athens was divided into 139 demes). The name "Ramnous" derives from the local Mediterranean shrub 'rhamnos' (Rhamnus Alaternus). Within the walls, public buildings, sanctuaries, and homes were constructed. An Athenian garrison was permanently stationed at the town's acropolis, overseeing the sea route between Attica and Euboea (Cover photo: Ephorate of Antiquities of Eastern Attica).

General view of Ramnous (Ephorate of Antiquities of Eastern Attica)

The famous Temple of Nemesis at Ramnous is the most important sanctuary of the deity in the Greek world. Nemesis was the goddess of indignation against, and retribution for, evil deeds and undeserved good fortune. She personified the resentment felt by people towards those who committed crimes with apparent impunity or enjoyed excessive good fortune. According to the myth, to win her over, Zeus transformed himself into a swan while she took the form of a goose. After their union, Nemesis laid an egg, which was given to Leda. From this egg hatched the beautiful Helen (the central figure of the Trojan War) and the Dioscuri. The sanctuary honoring Nemesis is believed to have been founded in the early 6^th century BCE, reaching its peak during the 4^th and 5^th centuries BCE.

The Temple of Nemesis (Photo: wikipedia.org). The area was shaped by the construction of strong isodomic retaining walls on the north and east sides to support the soil. The first archaic limestone temple was destroyed by the Persians in 479-480 BCE, along with many other buildings in Attica. A new, larger temple was built after the mid-5th century BCE, north of and very close to the previous one. It is a Doric peripteral temple with 6 columns on the short sides and 12 columns on the long sides. The temple consists of a pronaos and an opisthodomos with two columns between pilasters and measures 21.40 by 10.05 meters. Today, only ruins of this temple remain (Source:  searchculture.gr)

The restored entablature of the Temple of Nemesis (above) and restored columns of the Temple (lower left). Although the beginnings and ends of the characteristic flutings of the Doric order were properly carved, the work was never completed, leaving the large temple with the appearance of an unfinished project. Reconstruction of the statue of Nemesis at Ramnous (lower right). Inside the temple was kept the famous statue of the goddess Nemesis, a work by Agorakritos of Paros, a student of Phidias. The sculpture has survived only in a very fragmentary condition and is dated to the decade 430–420 BCE. The statue, standing 3.50–3.60m tall (4.40m including its base), was made of Parian marble and depicted the goddess standing, dressed in a chiton and himation, holding a phiale in her extended right hand and a branch in her left. The base of the statue was made of marble from Dionysus and has been restored from numerous fragments found scattered around. The relief decoration depicts the presentation of Helen to her mother Nemesis by Leda. The destruction of the statue of the goddess by Christians is dated to the late 4th century CE (Photos: huffingtonpost.gr/).

The area of Ramnous has been continuously inhabited since the Neolithic period. Ramnous is mentioned by the geographer Scylax as an important fortress. The sanctuary of Nemesis at Ramnous inspired the Athenian army to fight at nearby Marathon. The fortress of Ramnous, like that of Sounion on the southern coast of Attica, is believed to have been constructed during the Peloponnesian War to control the ships carrying grain to Athens. In 322 BCE, the admiral of the Macedonian army, Cleitus, landed troops at Ramnous but was expelled by Phocion, who captured the fortress. In 296 BCE, the fortress was taken by Demetrius the Besieger. The decline begins during the Hellenistic period. Pliny mentions visiting Ramnous in the mid-1^st century CE. The temple of Ramnous also interested Herodes Atticus, who perhaps funded its repair. The area was gradually abandoned, but the temples of Nemesis continued to be maintained until the 4th century CE (Source:  odysseus.culture.gr).

Ruins of houses with simple walls. The stronger wall was made of large, well-built stones (Ephorate of Antiquities of Eastern Attica)

The first excavations at Ramnous were carried out by the Dilettanti in 1813 and by Dimitrios Filios in 1880. Between 1890 and 1892, excavations conducted by V. Stais uncovered the sanctuary, the fortress, and many burial enclosures. From 1975 to the present, the archaeological site of Ramnous has been systematically excavated and studied, funded by the Archaeological Society and directed by the archaeologist, V. Petrakos.

The fortress, along with the wall surrounding the settlement, small sanctuaries, the theater, and the city’s gymnasium, have been preserved. Remarkable statues were found inside the early 6^th century BCE small temple, which no longer survives today, but its existence was confirmed by preserved Laconian roof tiles. The small temple was rebuilt in the early 5^th century BCE with polygonal masonry, and its ruins are visible today. (Source:  odysseus.culture.gr).

Statue of Themis (left). Sculpted by Chairestratos, made of Pentelic marble, height 2.22m, dated to around 300 BCE. Discovered in 1890 at the small temple of Nemesis and dedicated to Themis by Megacles, as inscribed on the base. Now housed in the National Archaeological Museum of Athens. Themis was the goddess of divine law and order. She was the first to instruct humankind in the primal laws of justice and morality, including the principles of piety, hospitality, good governance, proper conduct in assemblies, and devout offerings to the gods (Photo: el.wikipedia.org). Statue of Aristonoe, priestess of the goddess Nemesis (right). Pentelic marble,1.62m in height, dated to the 3^rd c BCE. Discovered in 1890 at the small temple of Nemesis. According to the inscription on the base, the statue was commissioned by Hierocles. Aristonoe was the daughter of Nicocrates from Ramnous. During the excavation, a tomb was found on the temple floor in front of the pedestal. This tomb may have belonged to Aristonoe herself, who, due to her status as a priestess, was likely buried within the temple and honored with a statue.  (Photo: el.wikipedia.org)

Inside the fortified enclosure, both private and public buildings have been uncovered. Notably, the theater and the gymnasium stand out, while the agora of the deme was also located this area. At the top of the hill—within the inner fortified zone—stood the military installations, including the fortress. Below the fortress, on the coastline, two small harbors—the eastern and the western—served ships tasked with controlling passage through the Euboean Gulf.

The fortress surrounding the settlement of Ramnous consists of an outer enclosure wall, approximately 800m in length, and a smaller inner enclosure that surrounds the hilltop. The main entrance of the outer enclosure is on the southern side and is flanked by rectangular towers for protection. Similar rectangular towers were also built at various other points along the wall to reinforce the fortifications (Ephorate of Antiquities of Eastern Attica)

The Southern Gate (Ephorate of Antiquities of Eastern Attica)

Excavations also uncovered a section of the ancient road that once led to the deme of Ramnous. This road passed in front of the Sanctuary of Nemesis and continued up the fortress. Along this route, archaeologists discovered numerous luxurious burial enclosures dating from the Classical period, featuring remarkable funerary reliefs, small shrines, and columns. Several of these enclosures have been carefully restored (Ephorate of Antiquities of Eastern Attica)

Funerary Monuments from Ramnous. A funerary small temple (naiskos) belonging to the Pytharchos family features a typical depiction of a farewell "reception" between father and son, with the young grandson resting on his grandfather’s knees. Behind them stands, likely, his wife, Pythocriti (upper left). The large funerary naiskos of the Diogeiton family, in the Ionic order, restored and preserved, was part of the family’s burial enclosure (upper right). The funerary stele of the Menestides family portrays a touching family grouping (lower). A missing fragment, lost due to looting in 1879, is now housed in the National Archaeological Museum. The scene depicts two men on the left — Menestheus and Menesthenes, sons of Menestides — and three women on the right: their two sisters standing, and their mother, Nausiptolema, seated. (Photos: huffingtonpost.gr/).

(Source: welovemarathon.gr)

A visit to Ramnous today can be ideally combined with a nature hike or a refreshing swim at the nearby beaches (visitgreece.gr). Access to the beach is a bit challenging due to the dirt road leading to it, but the final destination is well worth the effort. The beach lies directly below the Sanctuary of Nemesis, tucked away in a secluded and scenic cove. Its exotic beauty and the natural surroundings, including a pebbled shoreline and peaceful atmosphere, make it an ideal spot for those seeking a close connection with nature. Since the beach is not organized, visitors are advised to bring all necessary supplies for their stay. Due to its isolation and crystal-clear waters, the beach has also become a popular choice for naturists.

Ramnous beach (Photo: tripadvisor.com.gr)

Ramnous beach (Photo: athensvoice.gr)

(Source: athensvoice.gr)

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Ancient Poliochne, on the east coast of the North Aegean island of Lemnos is considered one of the major early urban centers of the Early Bronze Age (c. 3200 – 2100 BC) and the first city in Europe with a basic social and civic structure. Positioned on an elongated rise near the cove of Vroskopos and between two rivers, it thrived due to its strategic location and trade connections with the Northeast Aegean, Asia Minor, the Greek mainland, and the Cyclades. Lemnos was part of the cultural sphere of the Northeast Aegean, along with Troy (Minor Asia), Thermi (on the island of Lesbos), Emporio (Chios), and the Heraeon (Samos). Poliochne offered safe mooring, fresh water, and fertile land, and was inhabited from the mid-5^th to the late 2^nd millennium BC. Several other settlements on Lemnos developed concurrently with Poliochne (Cover photo: Aerial view of Poliochne southern sector, Source: poliochne.gr)

A rectangular building with a double row of stepped seats along its long sides, located on the southwest side of the hill of Poliochne, is considered the earliest evidence of democracy in Europe. Dating back to the Yellow Period (2200–2100 BC), this structure measures over 50 square metres and could have accommodated more than 50 individuals. According to Italian archaeologists, who were in charge of the excavations in the area, the building was likely used as a type of "Bouleuterion" (assembly house), serving as a meeting place for the "notables" or elders - representatives of the settlement's families. These individuals would gather to discuss and address the community’s concerns, highlighting an early form of civic organization. (Source: ime.gr, Photo:  Ephorate of Antiquities of Lesbos)

The city of Poliochne featured fortifications, public buildings, squares, paved roads with water drains, wells, mansions, and smaller stone-built houses. Distinctive pottery styles emerged, such as the stemmed fruit-bowl, tripod pot, and depas cup. Residents engaged in farming, fishing, textile-making, the manufacture of stone tools and weapons, and metalworking— employing techniques such as lost-wax casting by the Green Period. (Source: odysseus.culture.gr)

Aerial view of the archaeological site of Poliochne (Source: poliochne.gr). Excavations began in the 1930s, conducted by the Italian School of Archaeology at Athens A. Della Seta, the School's director, along with his students, excavated nearly two-thirds of the settlement between 1931-1936. Further research continued in phases through the 1980s, with the aim of restoring the buildings.

Poliochni’s development during the Early Bronze Age is marked by color-coded phases. The Blue Period (3200–2700 BC), probably before Troy I, saw a population of around 800–1,000, growing to nearly 1,500 in the Green Period (2700-2400 BC). The city declined in the Red Period (2400–2200 BC) and was abandoned during the Yellow Period (2200–2100 BC) after a major earthquake. (Source: poliochne.gr)

The best-preserved and most thoroughly investigated section of the enclosure wall - measuring 130 m in length, 4.50 m in preserved height, and between 0.70 and 2.80 meters in thickness - is the one that defines the west and south sides of the hill of Poliochne. This structure, of a public and multifaceted nature, is closely linked to the architecture and organization of the Early Bronze Age settlement. (Source: poliochne.gr)

Excavation research in the eastern sector (left, Source: poliochne.gr). Depas cup (Amphikypellon) from Poliochne, found in 1953, Early Bronze Age (2200-2100 BC), height 0,224 m, Archaeological Museum of Lemnos. The depas is a distinctive Bronze Age drinking cup mentioned by Homer,  characterized by a tall, narrow beaker with a round base and two opposing handles forming a circle (right, Source:  odysseus.culture.gr)

Room 643 at Poliochne yielded a golden hoard, contemporary with the one discovered by Schliemann at Troy, which demonstrates the owner's financial and political importance and the extent to which wealth was accumulated with the creation of social classes. Hair rings (top left), a pin (bottom left), necklaces (middle) and a choker (bottom right). The hoard is exhibited at the Athens National Archaeological Museum. (Source: Austrian Archaeological Institute)

Basket earrings with dangling pendants, Poliochne, Lemnos, Early Bronze Age (ca. 2450-2200 BC), Athens, National Archaeological Museum. Especially close ties with artifacts in the Trojan Gold are visible in items such as gold basket earrings worked in filigree and granulation with dangling pendants of cutout gold sheet found at Poliochne. (ca. 2450-2200 BC) (Source: academia.edu)

Lemnos is a beautiful island in the northern Aegean Sea, shaped by volcanic eruptions in the distant past. It boasts a centuries-old history and is a popular holiday destination that captivates visitors with its striking rock formations, unusual volcanic landscapes, rolling green hills, fertile plains, vast sand dunes, golden beaches, and wetlands teeming with life — an ideal place to relax. The island is home to impressive archaeological sites, fortresses, traditional villages, and warm, hospitable locals. Its distinctive and delicious cuisine is considered among the best in the Aegean, featuring products renowned since antiquity — including wine, honey, cheese, fresh fish, and seafood dishes.

Myrina is the capital and main port of Lemnos, built on the site of the island’s ancient town on the west coast. It is named after the wife of Thoas, the first king of Lemnos. The town’s slab-paved alleys, seaside promenade lined with traditional residences, and the castle overlooking the harbor offer some of the most picturesque views on the island. The Byzantine castle stands on a steep, rocky peninsula. It was originally constructed by Byzantine Emperor Andronicus I Comnenus and later took its final form in the early 13th century under Filocalo Navigajoso, the Venetian Grand Duke of Lemnos. (Source: visitgreece.gr, Photo: limnos.gov.gr)

Houses of the so-called "Macedonian type," where the second floor projects outward and is supported by wooden beams (known as sachnisi), can be seen in the narrow alleys of Myrina. This architectural style is also found on other islands in the northeastern Aegean. The 19^th century was a period of economic prosperity for Lemnos. The growth of trade and the influx of wealth from Lemnian emigrants created new economic conditions, which are reflected in the island’s architectural character. (Source:  limnosguide.com.gr)

Hephaestia is an ancient town located on the northern coast of Lemnos. The town was named in honor of Hephaestus, the Olympian god of fire and metallurgy, whose worship was prominent on the island. Myth has it that Hephaestus, had his workshop on Limnos Island. He landed on the legendary Mt. Mosychlo, when Zeus, the father of gods, in his anger seized him and threw him away from Mt. Olumpus. From the 8^th to the 6^th century BCE, Hephaestia served as the island’s capital. The ancient Greek theater at the site dates from the late 5^th to early 4^th century BC. (Photo: limnos.gov.gr)

The winding shoreline stretches and curves for 260km, shaping the island’s sheltered coves, picturesque little harbors, and golden sandy beaches washed by crystal-clear waters.

Plati Beach, just a short distance from Myrina, is known for its well-developed facilities. (Source: limnosguide.com.gr)

Agios Ioannis, with its shallow, crystal-clear waters and organized beach awarded the Blue Flag, is an ideal place to watch the sunset. (Source: limnosguide.com.gr)

The silky white sand, and the crystal-clear, green-azure and calm waters, render Zematas one of the most popular beaches on the island. Its shallow waters are excellent for families with young children. (Source: limnosguide.com.gr)

On the north part of the island, on the hillsides of Katalakkos village lies an area of uncommon beauty. Pachies Ammoudies, are dunes of fine sand, which alongside the scattered brush woods recall the charm of the desert at the north of the Aegean Sea. Expanding over an area of 17.5 acres, they create a magnificent landscape that is unique in Greece. (Source: limnosguide.com.gr)

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The Fournoi Islands, located in the eastern Aegean near Ikaria, are reknown for the high number of ancient shipwrecks discovered in their surrounding waters - more than in any other area of the Aegean Sea. These small islands have become a major archaeological hotspot and one of the most significant sites for underwater archaeological research. Since 2015, when the Ephorate of Underwater Antiquities launched an ambitious project to document Fournoi’s underwater cultural heritage, more than 60 shipwrecks have been discovered. (Cover photo: Amphorae from “Shipwreck 15” at Fournoi, Stefanos Kondos, The Fournoi Project)

The archipelago of Fournoi (or Fourni, ancient Korseai), consists of 20 islands, islets and rocky outcrops, with a coastline stretching over 120 km. It is located in the Eastern Aegean, south of Samos and Ikaria (Photo: visitgreece.gr)

The shipwrecks discovered around Fournoi span a broad historical timeline, from the Archaic to the Roman era. They carried cargo from various regions of the Mediterranean, providing valuable insights into ancient seafaring and trade networks. These ships transported a range of goods, including wine, olive oil, fish sauce, and other commodities.

Underwater Archaeological Research at Fournoi. Archaeological research at Fournoi is ongoing, aiming to further study and document the shipwrecks. The project is led by the Fournoi (Korseai) Institute for Historical and Archaeological Research, in collaboration with the Ephorate of Underwater Antiquities of the Ministry of Culture, the University of Thessaly, and the RPM Nautical Foundation. Plans are also underway to establish underwater archaeological parks in Fournoi, making the site accessible to the general public. (Photos: The Fournoi Project)

 “The unprecedented concentration of shipwrecks in a single region – combined with their dispersion across all depth zones and the diversity of their cargoes - make the Fournoi Archipelago an ideal field for training students in the techniques and methodology of underwater archaeology” (Photos: Ministry of Culture, Ephorate of Underwater Antiquities)

Presenting the results of the decade-long underwater research in Fournoi, as well as plans for the creation of a museum and underwater archaeological parks, Giorgos Koutsouflakis, Assistant Professor of Underwater Archaeology at the University of Thessaly and one of the general directors of the Fournoi Research Project (alongside Ephorate of Underwater Antiquities archaeologist Dionysios Evangelistis), noted: "Wherever we dived, there were ancient shipwrecks, ceramic deposits, or anchors linked to ancient seafaring. I’ve worked in many places in the Aegean, but the wealth of findings we first encountered in Fournoi in 2015 — we’ve never seen anything like it anywhere else". He added: “The project had a difficult start, but with the help of the local community and sponge divers from Kalymnos, the number of discovered shipwrecks began to grow. Today, the oldest dates to 570–550 BC, and the most recent to the early 20^th century, with the greatest concentration of shipwrecks found from the Roman and Late Roman periods (4^th–7^th  century AD), from which 32 shipwrecks have been documented”.

Of particular interest is the oldest shipwreck, “Shipwreck 13” (6^th century BC), which contained many Samian amphorae. Also noteworthy is “Shipwreck 7” (4^th century BC), believed to have originated from Chios, as well as the slightly later “Shipwreck 27” (3^rd century BC), whose amphorae suggest a more international trade network, with links to regions such as Rhodes, Kos, Knidos, and Campania. Equally important are the hundreds of individual artifacts discovered, including 2^nd century AD oil lamps bearing the inscriptions of the lamp-makers Lucius and Octavius. (Source: kathimerini.gr, culture.gov.gr)

Diver at "Shipwreck 15," from which 31% of the artifacts from the seabed of Fournoi originate (Photo: Stefanos Kondos, The Fournoi Project)

In 2021, Koutsouflakis and his colleagues focused their efforts on a shipwreck from the early Byzantine Period, dated between 480 and 520 AD – a site they have continued to study ever since.  The wreck most likely dates to the reign of Emperor Anastasius I (491–518 AD), of the Leonid dynasty, known from historical sources for his tax and monetary reforms, which strengthened the state treasury and enabled expansionist policies. The ship likely measured no more than 15 meters in length and carried up to 20 tons of cargo and reached the seabed as a single unit. This shipwreck, designated “Shipwreck 15,” was chosen for its remarkable diverse cargo. It includes eight different types of amphorae originating from Crimea, Sinope, Heraclea Pontica in the Black Sea, and the Aegean, while of the ceramic loads—tableware—was produced in Phocaea, in northwestern Asia Minor. Located in the windy Aspros Kavos area, the site presents several challenges. The wreck lies at a depth of 40–50 meters, on a steep sandy seabed near cliffs, making it accessible only by boat. This year, a team of 25 divers participated in the research, representing a range of specialties — archaeologists, architects, conservators, professional divers, photographers, filmmakers, and both undergraduate and postgraduate students. (Source: kathimerini.gr, culture.gov.gr)

The National Museum of Underwater Antiquities in Piraeus is set to open its doors to visitors in 2026. More than 2,500 artifacts will be on display, accompanied by a wide array of technological applications, fully equipped conservation laboratories, and state-of-the-art storage facilities. The Museum will showcase the treasures of the Greek seas and serve as a landmark cultural institution for the country’s largest port. It is currently the largest cultural development project underway in Greece. (Photorealistic depiction, Source: Ministry of Culture)

Fournoi is not a single island, but a group of small islands, of which only two - Fournoi and Thymaina - are inhabited. This archipelago, far from the crowds, offers visitors a journey back in time—a chance to experience the charm of old Greece up close. The islands are steeped in history, with ancient remains scattered throughout the landscape. (Source: visitgreece.gr)

Known as islands of fishermen and beekeepers, Fournoi provides visitors with all the basic comforts. However, the primary livelihood of the locals is not tied to the land, but to the sea. The island boasts a large fishing fleet—remarkably large for its size—and has become one of the most important fishing centers in the Aegean. As a result, it is a paradise for seafood lovers, offering unique opportunities to enjoy top-quality, freshly caught fish. (Source: visitgreece.gr)

General view of the Fournoi Archipelago. In antiquity, the Fournoi were known as the Korasian Islands. The group’s varied coastline, with its secluded beaches and numerous bays, is unique in the Aegean. This topography made it an ideal base for both Greek and foreign pirates from the early Byzantine period through the Middle Ages. As a result, the islands were often deserted and came to be known as the “Islands of the Koursaros” (corsairs). (Source: visitikaria.gr)

Because many species of aromatic plants - such as thyme, savory, sage, heather, schinos, wild cumin, olives, fennel and mandrake - grow on the Fournoi islets, they are included in the European Union’s "Natura 2000" programme. The Mediterranean Monk Seal (monachus monachus), along with various species of dolphins. Also inhabit the area. The archipelago is additionally classified as one of Greece’s Important Bird Areas (IBA), serving as a breeding site for many rare bird species and a critical stopover for migratory birds.  (Source: visitikaria.gr)

Among the most treasured secrets of Fournoi are the secluded beaches—pristine sanctuaries that offer tranquility and the untouched beauty of nature. Far from the noise of popular tourist destinations, these hidden gems invite visitors to savor the serenity of the landscape, making each visit truly special.

Unique among the beaches of Fournoi, Petrokopio offers the chance to swim through history. Ancient marble ruins scattered along the shore serve as a reminder of the island’s historic past, making every visit a journey through time. Once an ancient quarry, its marble was highly sought after by many civilizations, adding historical significance to this one-of-a-kind beach. (Source: explorefourni.gr)

Vlychada Beach enchants visitors with its small pebbles and natural shade, thanks to the scattered trees lining the shore. It is ideal for those seeking a quiet retreat, where the only sounds are the gentle lapping of the waves and the rustling of leaves. (Source: explorefourni.gr)

Agia Triada Beach is famous for its fine sand and exceptionally peaceful atmosphere, making it an ideal choice for those seeking relaxation away from the noise. A few trees along the shoreline provide welcome shade, enhancing the overall experience of tranquility and natural beauty. (Source: explorefourni.gr)

Read also:

Byzantine shipwreck in Fournoi archipelago reveals its secrets

Peristera: Greece’s first underwater museum

Four shipwrecks to become underwater museums

Ancient shipwrecks discovered off Kasos

Pavlopetri: The Oldest Submerged City in the World

“Fiscardo wreck” in Kefalonia: The largest Roman shipwreck in the eastern Mediterranean

Secret treasures of Greece – Sapientza

Underwater excavation at the historic Mentor wreck site (Kythera, 1802)

National Marine Park of Alonissos, a gem of biodiversity

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Previously inaccessible areas on the slopes of the Acropolis have been cleared and given to the public, following restoration works by the Ephorate Of Antiquities of The City of Athens. Visitors now have the opportunity of an enhanced archaeological experience, gaining access to previously closed-off sites.

The re-opened pathways, along a the newly-inaugurated visitor center, were recently presented at a ceremony, in the presence of Minister of Culture Lina Mendoni, who stated that “The Ministry of Culture attaches the appropriate importance to the most visited archaeological site in our country, a global cultural and historical landmark, with projects that facilitate accessibility and optimize the experience of millions of visitors from Greece and abroad”. Those attending were entertained by the Greek band Encardia, which presented songs and dances from the Greek-speaking regions of the Italian South.

Pathways re-opened

The Acropolis, the most recognizable landmark of the city of Athens, and one of the most iconic monuments worldwide, has more to offer to the visitor besides the famed Parthenon. Being an ancient citadel of great strategic, cultural and religious importance not only for Classical Athens but for centuries to follow, it contains the remains of several ancient buildings, including sites of archaeological importance that remain obscure to the wider public.

The northern slope route of the rocky hill, covered in pine and olive trees, has undergone extensive restoration works, which helped make it accessible to the public for the first time in decades. Most notably, visitors now can discover parts of the Sacred Rock that had been closed off for decades, including the Klepsydra natural spring and the Cave Sanctuaries of the Acropolis.

The Klepsydra spring, located on the north-west slope of the hill, stood within the ancient fortifications around Acropolis. In the fifth century BC, a paved court, a well and a well-house had been constructed there, possibly as part of a sanctuary. A new well and well-house would be constructed in the Roman times, while a Byzantine chapel is also believed to have been located there. In the Ottoman times, it fell into disuse. Greek archaeologist Kyriakos Pittakis rediscovered the source of the spring in the early 19^th century, leaving the first written account of the site in 1835.

The Cave Sanctuaries of the Acropolis are natural fissures in the rock of the hill; these fissures and the terraces before them were used as sites of worship in the antiquity. Among them we find the Sanctuary of Aphrodite and Eros: an open-air sanctuary excavated in 1932 by American archaeologist Oscar Broneer, who identified the site with Aphrodite and Eros. The cave is divided into two sanctuaries; its excavation brought to light finds including fragments of marble statuary and dedicatory carvings, which had been set into niches hollowed out from the rock, and also clay vases and figurines. Two inscriptions carved into the rock, dating from 450–430 BC, include a dedication to Aphrodite and a reference to a festival for Eros.

Another important cave sanctuary on the northwestern slope is a complex of three caves dedicated to Pan, Zeus and Apollo respectively. The identification of the sanctuary was based on the testimonies of Euripides, Aristophanes and Pausanias, and also to the excavation of two votive reliefs on the site.

On the eastern slope of the hill we find the largest cave in the city, known as the Sanctuary of Aglaurus or Aglaureion. Its identification (not unanimously accepted by the scientific community) with the eponymous deity (the daughter of Athens’ mythical founder, Cecrops, who fell to her death from the top of the Acropolis to fulfill a prophecy which demanded a human sacrifice for the city to be saved) is owed to the discovery, east of the cave, of a stele inscribed in 247/6 or 246/5 BC with a decree in which the Athenian Demos honors a priestess of the Aglaurus.

New visitor center and welcome area

The new visitor center was established thanks to the cooperation of the Hellenic Ministry of Culture and the Organization for the Management and Development of Cultural Resources. It houses a gift shop offering a wide range of high-quality souvenirs. The center has been designed to seamlessly integrate into the surrounding natural and archaeological landscape.

The Ephorate Of Antiquities of The City of Athens shaped the plateau south of Areopagus Hill, in front of the sales point, offering visitors an impressive view while also improving visitor flow management. Another key feature is the construction of pavements that facilitate access to people with disabilities as well as two new dedicated parking spaces.

The landscaping of the plateau south of Areopagus was funded by national funds of 140,000 euros allocated to the Ministry of Culture, while the restoration of the route in northern slope of the Acropolis hill was made possible thanks to a donation from the Onassis Foundation, which has been supporting the Ministry of Culture's work on the Acropolis since 2020.

N.M. (Image source: Hellenic Ministry of Culture Press release, except where noted)

Sources: Hellenic Ministry of Culture Press release; Odysseus portal

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Hippocrates (c. 460 – c. 370 BC) was a physician in Classical Greece, born on the island of Kos. For his foundational contributions to the nascent field of medical science he has been dubbed “the Father of Medicine”.

Life and work

Not much biographical information is known about Hippocrates, as the main sources are not entirely reliable and some contain different accounts on his life. It is however generally accepted that he was born in 460 BC on the Greek island of Kos (now part of the Dodecanese island chain in the southeastern Aegean Sea).

Hippocrates is mentioned in famous works of his contemporaries, namely in Plato's dialogues Protagoras and Phaedrus, and in Aristotle’s works Parts of Animals and Rhetoric; the latter refers to him as "the Great Hippocrates", showing great respect and highlighting his value as an early systematic thinker in the study of nature and medicine, even though he disagreed with some of his theories.

According to his first and most comprehensive biography (written by the Greek physician Soranus of Ephesus, who lived at least 3 centuries later) he came from a line of physicians, who taught him medicine, while he may also have been a student of Democritus, and was probably trained at the asklepieion (healing temple) of Kos.  He practiced medicine throughout his life and travelled to various parts of the Greek world. He is also said to have died at an advanced age.

Medicine as a rational science

Hippocrates’ most influential contribution to the field of medicine and science in general was that he proposed that diseases had natural causes, rooted in environmental factors, lifestyle, and diet—laying the groundwork for rational, scientific approaches to medicine.

He is believed to be the first person to attribute physical ailments to somatic rather than supernatural causes. Until that time, disease was widely regarded as a curse placed by gods; therefore, demonstrating the role that environmental factors and living habits had on health was revolutionary in and of itself, regardless of whether many of his specific theories would later be disproven.

One very telling example is the condition of epilepsy, which was regarded as either a malediction or even a sign of favor from the gods – hence it was characterized as “sacred”. In the treatise On the Sacred Disease, part of the Hippocratic Corpus, we find the first recorded observations of epilepsy, with the author attributing the phenomenon to an imbalance of bodily fluids, rejecting any metaphysical explanation.

Hippocrates also introduced the concept of prognosis and clinical observation, by emphasizing detailed, systematic observation of patients. He advocated for careful recording of symptoms, disease progression, and treatment outcomes – forming the basis of clinical case studies and patient history-taking in modern medicine. Additionally, he shifted some focus from just curing illness to predicting and managing it, helping physicians plan treatments and prepare for outcomes.

Hippocratic Corpus

The Hippocratic Corpus is a collection of around 60 medical texts attributed to Hippocrates and his followers. These works cover a wide range of medical topics, including anatomy, surgery, and ethics, and they served as essential references for centuries. The majority of these texts date from the Classical period, while there are also some works from the Hellenistic and Early Roman periods. This collection of inestimable value represents the central nucleus of ancient Greek medical literature, containing textbooks, lectures, research, notes and even philosophical essays on medical issues.

The medical framework underlying the Hippocratic Corpus was the theory of the four humors, a physiological theory suggesting that health is maintained by a balance of four bodily fluids: blood, phlegm, black bile, and yellow bile. This, now debunked, theory dominated Western medicine for over a millennium and influenced diagnosis and treatment practices.

Arguably the most famous text of the Corpus is the Hippocratic Oath, an oath of ethics historically taken by physicians. Although not written by Hippocrates himself in its final form, the oath is attributed to his school and forms the basis for modern medical ethics—emphasizing the principles of medical confidentiality, non-maleficence, and professionalism. The use of an oath to be sworn by medical professionals, a practice still prevalent today, has its roots in this original text.

Legacy

The deep influence of Hippocratic ideals on his contemporaries is undeniable. His methods and those of the school named after him were studied and applied by subsequent physicians, as they were revolutionary for their time. This influence transcended the field of medicine: Aristotle’s approach to biology and empirical observation was clearly influenced by the medical tradition Hippocrates helped shape.

The empirical, observational methods described in the texts of the Hippocratic Corpus continued to be adopted by physicians for many centuries after the Classical Period. Galen of Pergamon [129–c. 216 AD], the most important Greek physician after Hippocrates, revered Hippocrates and integrated much of the Corpus into his own vast medical system, preserving and popularizing Hippocratic texts.

The Corpus was translated into Latin, Syriac, and Arabic; in the Middle Ages, the Hippocratic texts, together with the works of the aforementioned Galen, formed the basis of the curriculum for medical training in both Europe and the Arab world (Islamic Golden Age). The influence of the Hippocratic Corpus continued well into the Renaissance, until it was eclipsed by the advances in anatomy, microbiology and pharmacology in the 18th and 19th centuries.

Last but not least: Hippocrates and the Hippocratic Corpus have also left behind a rich vocabulary that has formed part of the medical lexicon for thousands of years. A number of words still used to this day, such as urethra, pneumonia or arthritis, first appeared in the writings of Hippocrates (while several more can be found in the works of Galen).

These contributions are in fact not limited to the scope of medicine, and include some words used in everyday conversations. For example, paranoia is also a Hippocratic term. A few more words have their roots in the four temperament theory, part of the aforementioned humoral theory: "Melancholy”, which literally means "black bile"; "phlegm" in the sense of a calm and cool response to stress or danger; "choleric", meaning irritable; and "sanguine" (the only word with Latin roots) meaning optimistic. Other words deriving from humorism include, of course, "humor", as well as "idiosyncrasy"; the latter is a compound word coming from idios "one's own" + syn "with" + krasis, literally "mixture", here used with the sense of "blend of the four humors".

Finally, there are some clinical symptoms named after Hippocrates, due to having been first recorded in the Hippocratic Corpus, such as the Hippocratic facies (the change in one’s face interpreted as a sign of impending death), the Hippocratic fingers (nail clubbing) and the Hippocratic succession (gastric splash). "Hippocratic wreath" is also used to describe androgenetic alopecia.

N.M. (Intro image: Hippocrates refusing the gifts of Artaxerxes, 1792, Anne-Louis Girodet de Roussy-Trioson)

Read also via Greek News Agenda: Greek words about health and medicine in English; Medical advancements in Ancient Greece and the Byzantine Empire; The Plague of Athens as told by Thucydides: a timeless analysis of an epidemic

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The island of Paros was renowned in antiquity for its white marble quarries. The so-called “Parian marble” was highly prized for its exceptional quality - white, clean, fine-grained, and with a crystalline texture - making it ideal for sculpture and architecture. It is considered the most translucent marble in the world. Many masterpieces of Greek sculpture were carved from this pure white, luminous material. Today, the ancient quarries are regarded as monuments of industrial archeology. Recently, an ancient sculpture workshop was uncovered during excavations on the island. (Cover photo: Marble elements embedded in the Venetian Castle of Parikia, Paros, Source: aegeanislands.gr )

Parian marble (“Paria Lithos”) was already in use during the early Bronze Age, likely collected in the form of pebbles for the creation of figurines and utensils. Quarrying began in earnest in the 7^th century BC, as evidenced by a tombstone depicting a seated female figure in low relief from the cemetery of Parikia. From the 6^th century BC onwards, extraction intensified, and Parian marble began to be systematically quarried in large blocks for sculptural and architectural purposes. Semi-finished objects discovered in marble deposits from ancient activity in the pits and caves, including a stele bearing the inscription “city border”, provide evidence for the existence of workshops at the quarries sites and indicate that the exploitation of the marble may have been at least partially controlled by the state. Semi-finished objects discovered in marble deposits from ancient quarrying activity—such as a stele bearing the inscription “city border”—provide evidence for the existence of workshops at the quarry site. These findings also suggest that the exploitation of the marble may have been at least partially controlled by the state. (Source: https://parianmarble.com)

A stele (column) bearing the inscription “horos poleos” (marker of the city border), 4^th century BC, found in the quarry of Lakkoi (left) (Source: https://parianmarble.com ). The valley of Skarpathiotis in Marathi, with the ancient galleries and the newer installations (right) (Source: Cycladic Identity Initiative)

The most important marble quarries of Paros are located on the northern side of Mount Marpissa, along the banks of the Skarpathiotis stream, east of the village of Marathi, approximately 5 km from Parikia, the island’s capital.  These include the famous underground quarries of the Nymphs and of Pan. Other significant deposits lie slightly further west, such as the vast underground quarries at Spilies and the remains of surface quarries on the hill of Lakkoi and in Thapsana.

The most renowned variety of Parian marble, the high-quality "lychnite stone" or "lychnitis," comes from the Skarpathiotis valley quarries near Marathi." The name may derive either from the Greek word for lamp (λύχνος), referring to the oil lamps used to illuminate the underground galleries, or from the stone’s remarkable clarity. This variety was especially sought after for statuary due to its exceptional whiteness, fine grain, and high translucency. In terms of light transmission, lychnite marble allows up to 3.5 cm for light to pass through—compared to 2.5 cm for Carrara marble and 1.5 cm for Pentelic marble. In its highest quality form, Parian lychnite can transmit light up to 12 cm deep, giving sculptures a uniquely lifelike and plastic quality.  (Source: https://parianmarble.com)

Ancient galleries at the Marathi marble quarries (Source: https://parianmarble.com, imagine.paros.gr)  

The exceptional-quality marble extracted from the quarries of Mount Marpissa played a decisive role in the economic and cultural development of ancient Paros. The island became one of the most important artistic centers of the ancient world and was the birthplace of several renowned sculptors, including Aristion, Agoracritus, Aristander, Scopas, Thrasymedes, and others. Parian marble was used in many iconic structures and artworks, such as the Acropolis of Athens, the Temple of Apollo on Delos, the Temple of Poseidon at Sounion, the Thiseion, and the Ancient Agora of Athens. It also featured in the construction of the Mausoleum at Halicarnassus, the Temple of Solomon, the Monastery of Vlacherna in Istanbul, and numerous theaters, stadiums, and even palaces in Venice. (Source: https://parianmarble.com)

The following are ancient sculpture masterpieces carved from Parian marble, which decisively shaped the art of ancient Greece and contributed to its spread throughout the Western world, shaping the History of Art:

Head of a Cycladic statue, the Cycladic Αulos player and Harp player at the Archaeological Museum of Athens, Kleobis and Biton, Siphnian Treasury pediment, Antinous at the Archaeological Museum of Delphi, Kroisos Kouros from Anavyssos, Phrasikleia Kore, Aristodikos Kouros, Poseidon of Melos at the National Archaeological Museum of Athens, Peplos Kore, Kritios Boy at the Acropolis Museum, Hermes of Praxiteles, Nike of Paionios, Pediments of the Temple of Zeus at the Archaeological Museum of Olympia, Aphrodite of Milos, Nike of Samothrace at the Louvre Museum, Frieze of the Mausoleum of Halikarnassos at the British Museum, Laocoön and His Sons, Augustus of Prima Porta at the Vatican Museum, Hand of the colossal statue of Constantine the Great at the Capitol Museum (Source: Wikimedia)

Marie Gabriel Florent Auguste de Choiseul-Gouffier, Entrance of a quarry in Paros, Voyage pittoresque de la Grèce, 1782 (Source: Aikaterini Laskaridis Foundation Library)

Entrance of the Quarry of Pan (left), Inscriptions with the names of visitors who descended into its deeper chambers visible on the quarry walls, such as Choiseul-Guffier 1776, Fauvel 1789, Power 1813, Brooke 1818, Dauriac 1819, Pradier 1833, Cordier 1858, Siegel 1861, and others (right) (Source: https://parianmarble.com)

The Cave of the Nymphs is the oldest quarry, named after a votive inscribed relief carved into the natural stone on the left side of the south gallery, a tribute by Adamantas from Thrace to the Nymphs, a work of the 4^th  century BC (upper left). Part of the relief detached at the end of the 19^th century, now inlaid in the monastery of St. Minas (upper right). Engraving of the relief by Stuart, James, and Nicholas Revett, 1816 (lower) (Source: https://parianmarble.com)

The well-preserved underground quarries of the Nymphs and Pan were until recently accessible to visitors, in an otherwise unorganized archaeological site, but the emergence of stability problems in the rock mass, led the Ephorate of Antiquities of Cyclades to temporarily prohibit entry, for safety reasons. The Cycladic Identity funding supports the implementation of the first stage of a series of studies and interventions in the Ancient Quarries of Paros, which aim at protecting and revealing their value, and reestablishing accessibility of visitors

An ancient sculpture workshop was recently discovered during excavations at the site of Parikia in Paros. The presence of marble chippings in various parts of the site, along with a significant number of unfinished marble sculptures that were discovered, provided the first strong indications of the operation of a sculpture workshop during the Hellenistic period. The earlier structures of the buildings are linked to earlier phases dated to the late 5th and 4th centuries BCE. Waste materials found in the site, including clay molds and seals, pigments, purple dye, and metal slag, confirm workshop activities in the wider area during a later period. The movable finds are of particular interest, including unfinished marble sculptures—primarily of Aphrodite—clay heads of female figures, as well as clay molds and seals. A very large quantity of pottery was also collected. (Source: Ministry of Culture)

Findings in excavations at the sculpture workshop in Parikia (from left to right): Fragment of a relief with a depiction of part of a couch, Unfinished statuette, possibly of Aphrodite, Female figurine head with complex hairstyle and earrings, Fragment of a terra sigillata vessel with a relief depiction of a theatrical mask, Fragment of a lamp disc with a depiction of a gladiator (Source: Ministry of Culture)

Paros has been an administrative and commercial hub in the Aegean Sea since antiquity. It experienced periods of great prosperity, as evidenced by the numerous archaeological artifacts and sites scattered across the island. High on the list of top Greek holiday destinations, Paros welcomes its visitors to the heart of the Cyclades with excellent tourist facilities. The island invites travelers to explore its natural beauty, including lovely beaches with crystal-clear waters, Byzantine footpaths that connect traditional villages, and breathtaking landscapes – all with enjoying its vibrant nightlife.

Parikia, located on the site of an ancient town, is both the port town and the capital of the island. Among the village’s white, cube-shaped houses, visitors can find neoclassical and medieval ruins. The Archaeological Museum of Paros showcases a wide variety of exhibits from the island’s archaeological sites—including the sanctuaries of the gods Asklepios (Asclepius), Pythios Apollo, and Delios—as well as remarkable prehistoric finds from the nearby islets of Antiparos, Despotiko, and Saliago (Source: imagine.paros.gr,  visitgreece.gr)

The Holy Shrine of Ekatontapiliani in Parikia, just a few steps from the port, was founded by Constantine the Great. The original church was built in the 4^th century, and the oldest murals date from the 7^th to8^th century. The complex is structured like a monastery, featuring a courtyard, monastic cells, impressive chapels and a baptistery. Construction was overseen by Ignatius, a disciple of Anthemios, the master builder of the Hagia Sophia in Constantinople, and the architectural plan was nearly identical. It is estimated that over 2,500 marble ancient architectural elements were used in the construction of the church, the baptistery, and the chapel of Agios Nikolaos (Source: imagine.paros.gr)

Naoussa, the second largest village of the island with the largest fishing fleet in the Cyclades, is on the north shore of the island and boasts beautiful Venetian architecture (Source: imagine.paros.gr)

Kolibithres overlooks the bay of Naoussa, where granite rocks, eroded by salt, water, and air gradually descend to the sea, forming a series of unique, lunar-shaped beaches. Most beaches on the wind-swept island of Paros – covered mainly with fine sand – are situated next to modern, well-equipped facilities for all kinds of water sports, providing visitors with carefree and stimulating fun (Source: Visitgreece.gr, imagine.paros.gr)

Chryssi Akti, named after the golden sand that covers it, is the most popular beach for windsurfing. The waters around Paros are widely considered a surfer’s paradise, making it a top choice for Greek and international athletes. The PWA (Professional Windsurfers Association) World Championship was once held on the island (Source: imagine.paros.gr, visitgreece.gr)

Read also:

Cycladic architecture, stunningly blending with the endless blue of the Aegean sea

Cycladic Identity: keeping alive the heart of the Cyclades

Yannos Kourayos, bringing the archaeological site of Despotiko to life

I.A.

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