H E L L E N I C ARTS / PART ONE(1)

How many Athens did Phidias sculpt for the Acropolis? The answer will surprise you: the sculptor created three statues of the goddess, to which he gave different interpretations and which would later become points of reference for classical Hellenism. One was the Athena Prómachos, armed with a shield and spear, so colossal that if you didn’t see her coming from Cape Sounion it meant you had the wrong city and you weren’t in Athens. The second was Athena Lemnia, shown as a messenger of peace, without a helmet and so harmonious that if you looked at her for too long you ended up falling asleep. The last and most famous was the Athena Parthenos, a large statue that presided over the Parthenon, in gold and ivory. He ended up in trouble for the latter: Pericles’ opponents accused him of having appropriated precious metals and he ended up in prison, where he died according to Plutarch. An unworthy end for an artist like him, but luckily Plutarch made a big mistake: documentary evidence attests that Phidias was in Olympia after the trial, working on the immense statue of Zeus. This time, he did his calculations well for gold and silver. You never knew.

IF WE START FROM THE CENTER OF THE PARTHENON AND JOIN THESE POINTS: THESEIUM, PNYX, THE BASE OF PHILOPAPPOUS, AND THE CENTER OF THE TEMPLE OF OLYMPUS ZEUS(DIOS), AN OCTAGON WILL FORM WHERE EACH ANGLE WILL BE EXACTLY EQUAL TO THE LENGHT OF PARTHENON TIMES 7(SEVEN)……. THE MATHEMATICAL KNOWLEDGE POSSESSED BY THE ANCIENT GREEKS EXCEEDED ANY IMAGINATION, SO THEY FORMED A PERFECT NETWORK, BASED ON MATHEMATICAL CALCULATIONS, WHICH WAS UNCONCEPTABLE TO THE CHALDEANS, BABYLONIANS,, HINDUS, PHOENICIANS AND EGYPTIANS… THE THEATERS BUILT BY THE GREEKS HAD PERFECT ACOUSTICS WHEREVER THEY ARE….. LATER THE ROMANS TRY TO IMITATE THEM, BUT WHEN SOMEONE WISHES TO BECOME FAMILIAR WITH A GREEK, IT IS LIKE WISHING TO MOUNT BAREFOOT (BAREFOOT) IN THE MIDDLE OF WINTER ON OLYMPUS…THE WIDTH OF THE PARTHENON IS ONE TWO MINUTES OF THE EQUATOR…CHALKIS IS THE SAME DISTANCE FROM ATHENS AND SOUNIO, AS ALSO DELPHI IS THE SAME FROM OLYMPIA AND ATHENS.. DISTANCE: CHALKIS THEBE IS 162 STAGES, THE SAME AND THE AMPHIAREUM.. DELOS TO ATHENS DISTANCE 800 STAGES..SPARTA WITH DELOS AND ATHENS 800 STAGES…

DETAILED RELIEF IN WHICH THE GOD ASKLEPIOS INSIDE THE TEMPLE TOGETHER WITH HIS WIFE IPIONI AND HIS DAUGHTER HYGEIA ACCEPT THE OFFERINGS OF WORSHIPERS.
A SMALL SLAVE AT THE BEGINNING OF THE PROCESSION LEADS A PIG FOR SACRIFICE.

THE SYMBOLIC SACRIFICE OF THE PIG CORRESPONDS TO THE KILLING OF THE ANIMAL – OUR DESIRE’S CENTER SO THAT THE SUFFERER CAN BE LED TO HEALING

BARBARIANS FROM THE EAST.LOOTING AND MASSACRING IN ATHENS,WHEN THE CITY`S ARMY WAS IN MISSION TO THE DEFEND IONIA ANDVTHE ISLANDS IN THE EAST

ETIMOU LOGIKI

The NIKE(=VICTORY) of SAMOTHRACE, a statue 2.75 meters high and in total, together with the bow of the ship on which it stands, 5.12 meters.
The statue of NIKE is made of PARIAN marble and the bow of marble of Lardos, in the region of RHODOS, in all probability.
It was discovered in 1863 in a temple in SAMOTHRACE along with two other statues representing NIKE!
For information, one of the remaining two is exhibited in the Museum of ART History in VIENNA and the other in the ARCHAEOLOGICAL Museum of SAMOTHRACE.
Regarding the sculpture of NIKE, which has been in FRANCE since the day it was STOLEN from SAMOTHRACE until TODAY, it was DISCOVERED on April 15, 1863, in archaeological excavations, led by the diplomat and vice-consul of FRANCE in ANDRIANOUPOLIS, Karolos Chambouzos. .
Upon SEEING the sculpture, the FRENCH DIPLOMAT contacted the FRENCH AMBASSADÖR in COLONNE and the ambassador “ARRANGED” to get the HIGH GATE’s “APPROVAL”, so that the sculpture could be transported to FRANCE by a FRENCH WARSHIP. The statue, after a stop in TOULON, finally arrived in the LOUVRE on May 11, 1864, having suffered considerable damage during its transport.
From the sculpture that the visitor sees TODAY, at LEAST the marble BASE-BOW was missing (23 pieces of marble, of which 17 RESTED on a rectangular base of SIX marble slabs, in such an inventive and skillful way, so that the STATUE and the SHIP were BALANCED and that it is IMPOSSIBLE to detach ONE part from the OTHER, as the CENTER of GRAVITY would SHIFT and the BALANCE would be LOST.
This HAPPENED, as the archaeologists THOUGHT, seeing the BROKEN pieces FOUND, that they belonged to some MOUND.
In 1875, AUSTRIAN archaeologists, headed by Alexander CONZE, found at the excavation site the marbles of the bow that the FRENCH archaeologists did not recognize as part of NIKE, and finding NEXT to them a TETRADRACHM of D. POLIORKITES, depicting the goddess NIKE on the BOW of a ship, they understood WHO it was. it is about.
When CHAMBOUSE learned in 1879 about the marbles he had left behind, without GRABBING them, he IMMEDIATELY arranged for them to be sent to the LOUVRE, as well. The restoration of the sculpture ended in 1884.
In 1891, CHAMPOISEAU returned to SAMOTHRACE, wanting to FIND and STEAL the HEAD of NIKE, but WITHOUT succeeding.
In 1950, American archaeologists from the University of New York, led by Karl LEHMANN, excavated AGAIN at the site where the NIKE of SAMOTHRACE was FOUND and FOUND a PALM of the RIGHT hand, which was ATTRIBUTED to NIKE of Samothrace. TWO fingers that were FOUND in the area by AUSTRIAN archaeologists in 1875 and which were KEPT in the VIENNA HISTORY Museum, were CONNECTED to the discovered PALM and were ALSO exhibited in the LOUVRE, in PARIS.
In 1952, two pieces of the GRAY marble of the BOW were also recovered in the Louvron, where in 1996 they were FINALLY RECOGNIZED as part of the BASE of the ship

By: Etimou LOGIKI

HELLENIC CIVILIZATION
ON APRIL 8, 1820, APHRODITE OF MILOS WAS BORN.
A STATUE, THAT WOULD PREFER TO REMAIN BURIED IN THE DEPTHS OF THE GREEK LAND, RATHER THAN END UP A
… “STATUA” IN A FOREIGN LAND.
IT ALL STARTED IN 1814, WHEN THE ANCIENT THEATER OF MILOS was accidentally discovered.
6 years later, on April 8, 1820, 300 meters away while working in his field, which was in the Klima area, the Milios villager Kentrotas found himself in front of an underground cave, divided into 3 galleries. In the middle he saw a statue standing, “where the left hand hid the breasts, while the right hand held an apple” (“Foreign travelers in Greece”, K. Simopoulos).
The French officer BOUTIE was among the many who offered to “help” with the statue, and he first recorded on paper the findings of Kentrotas.
BOUTIE KILLED AT LEAST 200 PROTESTING GREEK VILLAGERS, WITH THE HELP OF THE OTTOMANS, OFCOURSE…
‘OUR APHRODITE IS DEPICTED WITHOUT HANDS….EVEN IF WE ACCEPT the OFFICIAL information and BOUTIE’S PLAN AS.. TRUE(!!), THE FINDINGS FOUND IN THE FIELD WERE-AT LEAST-:
1). THE UPPER PART OF APHRODITE WITH BROKEN ARMS, BUT WITH THE BUN INTAKT AND ATTACHED TO THE HEAD (I AM WRITTING THIS BECAUSE ALONG THE WAY, IT IS MENTIONED, THAT THEY UNITED IT WITH THE.. REST OF THE HEAD, AS IT HAD DETACHED)
2). THE LOWER PART OF THE STATUE
3). A HAND HOLDING AN APPLE
4). ONE FOOT WITH A SANDAL
5). A STELE WITH BEARDED HERMES
6)… A COLUMN WITH HERCULES
THE STATUE ALSO BROUGHT.. JEWELS AND EVEN THE MARKS /HOLES ON TOP OF IT, ON WHICH THEY WERE ATTACHED, CAN STILL BE SEEN.
THE NAME OF THE SCULPTOR WAS MENTIONED ON THE BASE OF THE SCULPTURE:
(AN.. IS MISSING!!)..
HERE:
….ΔΡΟΣ ΜΙΝΙΔΟΥ ANTIOXOS ΑΠΟ ΜΑΙΑΝΔΡΟΥ ΕΠΟΙΗΣΕ” =
(AN IS MISSING!!)
ANDROS MINIDOU, ANTIOCHOS POIISE=
MADE BY THE MINIDIAN MAN ANTIOCHOS, WHO MADE IT…..

UNFORTUNATELY, HIS NAME, AS YOU SEE WAS NOT COMPLETELY “SAVED”,.. ONLY.. HIS FATHER’S NAME, AS WELL, AND HIS CITY(ANTIOCHIA-Adjctv: “ANTIOCHOS”) OF ORIGIN, BUT IN.. ANY CASE,.. THIS INSCRIPTION “DISAPPEARED” A FEW YEARS LATER BY.. “ACCIDENT”!!!!!
NO WONDER, JUST, AS IT WAS NO…WONDER, THAT BARBARIANS OTHER THUGS… CLAIMED IT EVERYWHERE, putting the money and material rewards above the joy that any civilized person feels when seeing one of our statues.
It is said that a battle took place in front of the ships between French officials, ambassadors, with priests, dragomans, etc., over where the SCULPTURE would END UP. EVERYONE HAD THEIR OWN …ARGUMENT (!!)….
(OTTOMANS, BECAUSE THEY WERE THE OCCUPANTS, FRENCH, GOTHS AND OTHER THUGS, AS WELL ).

WHY IT WAS BROKEN-LOST-DISAPPEARED IN THAT CONTROVERSY FROM OUR APHRODITE, IS CONTROVERSIAL. OTHERS SAY, THAT HER LEFT ARM FELL INTO THE… SEA AS THE BARBARIANS AND THE OTHERS LOOTERS
PULLED THE CAISSON THAT ENCLOSED HER FROM.. RIGHT TO LEFT, OTHERS, THA THEY WERE LÖST DURING THE FIGHT AND OTHER VALUABLE FINDS. WE MAY NEVER KNOW THE TRUTH!
HIS FATET WAS CERTAINTY PREDETERMINED, WITH GREECE ENSLAVED BY BARBARIANS AND THEIR SPONGERS, WHOSE ONLY CONCERT, SEEING OUR HERITAGE, WAS TO GET RICH.
AFTER ALL, IT IS SAID, THAT DURING THE OTTOMAN RULE, THERE WERE MANY “CULTURAL” DANCING VISITS OF A “RESEARCH” NATURE TO GREECE AND, THAT THE ANCIENT FINDS WERE TRANSPORTED TO KON/POLIS, FROM WHERE THEY WERE VISITED IN VARIOUS COUNTRIES BY THE SULTAN, WITH COMPENSATION OF COURSE.
THUS, IN MARCHE 1821, THE APHRODITE OF MILOS PASSED INTO THE HANDS OF LOUIS II. IT WAS THE…. GIFT(!!) OF
MARQUISE DE RIVIERE, AMBASSADOR OF FRANCE IN COLONNE, TO THE FRENCH KING . THE 2.02 METER PARIAN MARBLE SCULPTURE IS delivered a little LATER to the LOUVRE MUSEUM.
The “MAGNANIMOUS” FRENCH ARE SAID TO have “REIMBURSED” the MILOS FOR ANY LOSSES THEY., SUFFERED DUE TO THE SALE OF THE LOOTED STATUE TO THEM, IN EXCHANGE FOR 7,000 OR SO TURKISH piastres.
It is also said that an agreement was signed between the CLERGY and the FRENCH-,, JEWISH CATHOLIC PRIEST THUG: MICHAEL FOURMONT WITH THE FRENCH VICE-CONSUL OF BREST, IN WHICH IT WAS MENTIONED IN BRIEF THAT ALL OF THEM AND THEIR DESCENDANTS WAIVE ANY FURTHER COMPENSATION!!
WE WERE LEFT WITH A SIGN TO REMIND US WHERE OUR HERITAGE STOLEN/SOLD OFF BY THE USUAL SUSPECTS WAS FOUND AND A COPY OF OUR APHRODITE, WHICH IS ON DISPLAY IN THE ARCHAEOLOGICAL MUSEUM of6 MILOS, A GIFT FROM THE “GENEROUS” LOUVRE MUSEUM.
!
…
(AND ) APHRODITE HAS BEEN CRYING HERE FOR YEARS AND ASKING to RETURN TO HER MOTHER, GREECE, in the WATERS of which she was BORN, to HEAR HER NAME AGAIN, to see her SUN AGAIN …
WHEN WILL OUR HERITAGE be DISPERSED AMONG PEOPLES, UNABLE NOT ONLY TO CREATE CULTURE AND STATUES , BUT ALSO THEIR OWN WORD TO DESCRIBE THE HOUSE OF THE MUSES
, : THE MUSEUM?

THEOGAMIA (Sacred Marriage)=ΘΕΟΓΑΜΙΑ (Ἱερός γάμος)

On the 27th of Gamilion, 3rd year of the 700th Olympiad, waning moon, from sunset on 02/07/2024 to sunset on 02/08/2024.

An agreed co-arrangement of the gods and a consensual collaboration in their productions is called marriage by theologians.

The marriage of Zeus and Heri, popularized by mythology as a holy marriage (theogamia), is nothing but a marriage of mind and soul.
According to the evidence we have (Hysychius) the Theogamia was celebrated on the 27th of the month Gamelionos, (waning moon) which according to the modern calendar corresponds to February 7/8, 2024.
However, another element about the time of the Holy Marriage is given by Euripides, (Ifig. in Aulidis, 707 k.) where in a dialogue between Clytemnestra and Agamemnon, he says the following:

– KLYT.: “WHERE ARE YO U UP TO?
– AGAM.: “CHIRON IN’OIKEI SEMNA PELIOS BATHRA”
– KLYT.: “… TINA IS THE DAY OF THE MARRIAGE?”
– AGAM.: “WHEN THE HAPPY MOON CAME CYCLE”.

City:
– Where will he marry her? Maybe in the waves of the sea?
– Where Chiron lives, at the holy Pelion, the rhizomes.
– What day will the wedding take place?
– When the full moon comes with the good (Full Moon).

From the above it follows that the 15th of Gamilion, Full Moon, according to Euripides, is the day of Hierogamy.
In honor of the holy couple, the “sacred marriage of Zeus and Mars” was celebrated.

The following marriages were also considered sacred marriages:
Saturn – Ῥeaas
Heaven – Gaia
Zeus – Demetrius (Inside the Eleusinian Mysteries)
Kadmos – Harmonias
Medea – Jason
Pileos – Thetidos

Even the marriage of mortal people was considered a holy marriage and we would say it is considered even today.

During the ceremony, the appropriate sacrifices and libations were made to each deity. Most of these celebrations had a public character and took place on an external level.

However, according to Proclus, myths deceive many and the foolish out of ignorance of the secret meanings contained in them, while to the wise they indicate some wonderful meanings.

Holy marriage is a methexin (mediation) of two principles, essences, powers, energies. In essence, we honor this holy methexin.

According to the Platonic line they could be placed as follows:
PERAS – INFINITE – MIKTON (Ἕν Ὄν ἤ οὈσία)
The mix of the first two gives us the third, i.e. methexin – mediation, at the conceivable level.

The lower ones communicate with the higher ones, due to the methexion of both, (the methexion property of the higher ones allows the methexin).

The superiors transmit a part of themselves, their intoxicating aspect to the subordinates while each is separated from itself and re-mixes after itself, it is the so-called monasticity, progress, return.

From a philosophical point of view, it is called interweaving (methexis).
From a theological point of view, it is called holy marriage and childbirth, joint births or the resulting energy or power coming from both.

With such types of shapes, higher level knowledge was concealed in antiquity, from the masses of the ignorant and the vile. This is the reason why a more penetrating study should be done when reading ancient Greek texts.

In Orphic terminology, the correspondence is:
AETHER – CHAOS – OON on the conceivable level.
SATURN – REA – ZEUS on the mental level.
And with Chaldaic:
CHRONOS – EKATI – ZEUS

Apollonius – Ariadne

The BERLIN Museum encloses and proudly displays the altar of ZEUS of PERGAMOS…and because PERGAMOS…in todays Turkey..Does NOT means is ..Turkish either , or as they learn at schools, as many other “.Neighbours” with inferiority complex & Envy-jealousy etc..stealing History, as well with the blessings of PSEVDO”SCHOLARS” & GEOPOLITICAL CRIMINALS

The Statue of Liberty, whose official name is “Liberty enlightening the World” (English “Liberty enlightening the World” Gallic “la Liberte eclairant le monde”),
is a colossal statue on the islet of the same name and in the upper part of New York Bay.
This statue was erected to commemorate the friendship between the peoples of the USA and France.
Its total height is 93 meters (302 ft) including the plinth, and in the Encyclopaedia Britannica version it shows a woman preaching freedom.
This woman holds a torch in her raised right hand and an inscribed tablet in her left bearing the date July 4, 1776.
An elevator goes up to the height of the balcony and a spiral staircase leads to an observation deck on the crown worn by Liberty. The torch she holds is 93 meters above the surface of the sea. At the base of the statue is the American Museum of Immigration.
The proposal for the construction of the statue was formulated by a French historian, Édouard de Laboulais, after the American Civil War. A sufficient amount of money was collected by contributions from the French people, and the work began in France in 1875, under the direction of the sculptor FREDERIC-AUGUSTE BARTHOLDI.
APOLLO’s ΦΩΤΟΦΟΡΟΣ/PHOTOPHOROS=LIGHT BEARER is depicted in exactly this form.
And fortunately for us, the IMMORTAL GREEK LAND of CORINTH, saved us this image, so that today we can know the truth.
The figure of APOLLO ΦΩΤΟΦΟΡΟΣ/PHOTOPHOROS=LIGHT BEARER is today in the MUSEUM of CORINTH, but it goes unnoticed by the unsuspecting visitor.
It is on a three-fold plate together with two other representations.
The one in the left part depicts an angel, a figure similar to that of the Christian faith and according to archaeologists is the figure of the goddess HECATE.
In the right part, a rosette is depicted.
And in the midst of the miracle! The form of the Light-bearer APOLLO, the same as that of the Statue of LIBERTY! Intellectual property is not clear to whom it belongs.
It is said by people of CORINTH who know that the director of the American Archaeological Mission, a sober and honest man, has declared that AMERICANS should come and worship in the Museum area where the image of the light-bearer APOLLO is located, because it is the source of their national symbol .
(In the photo, we see the sculpture with the representation of ZOODOTIS ΑΠΟΛΛΩΝ ΗΛΙΟΣ=APOLLO HELIOS with his fiery chariot)

Gold seal ring from Thessaly. Representation of either LEDA and ZEUS transformed into a swan, or Venus and Mars, to the right of the satyr. In the background are depicted a helmet, a tree, a square column with a lion’s head and a temple or shrine. At the bottom of the representation are two spears, a shield and the inscription OMOLEIIAION – 2nd century BC. Benaki Museum of Hellenic Culture, Athens, Greece

HELLENIC CIVILIZATION/ASIA MINOR/ SALAGASSOS/IONIAN RHYTHM COLLUMES-
₪₪₪₪₪₪₪₪₪₪₪
IT’S JUST UTOPIA to REACH, or UNDERSTAND THE HIGH LEVEL OF THE ANCIENT HELLENIC SPIRIT of CREATIONS & SUNLIGHT-BEAMS CIVILIZATION, to BE UNDERSTOOD
by ALL KIND OF BARBARIANS…
>>>>>>>>>>>>>>>>>HERE: //ANCIENT ULTIMATE ARTS & BEAUTY… MOSTLY STOLEN, LOOTED, or DESTROYED, (or OFTEN.. COPIED & TWISTED.. & SHOWED.. as..THEIR OWN!!!!!! ) MOSTLY BY ALL BARBARIANS!!
ALL OVER the WORLD, WITHOUT KNOWLEDGE,
HAVING – OF COURSE – HEAVY INFERIORITY COMPLEX, ENVY, JEALOUSY & NOT AUTHENTIC HIGH CIVILIZATION, AS:
-TEMPLES, STATUES, MOSAICS, SCRIPTS, COINS, SCIENCE, as: MEDICINE, SCIENCE TECHNOLOGY. JUST ONE example): The ANTIKITHYRA mechanism MATHEMATICS, GEOMETRY, STETEOMETRY, PHYSICS, ASTRONOMY, DRAMA, PHILOSOPHY, POETRY & ETYMOLOGY of NAMES & WORDS by ANCIENT MATHEMATIC- DIANETIC THE LANGUAGE, ITSELF which IS MATHEMATIC (
https://euphoriatric.com/the-mathematical-structure-of…/
,… IS INTERCONNECTED WITH ALL THE ABOVE ACHIEVEMENTS..
.. ARE JUST the
WITNESSES… INSPIRING EVERYBODY WITH BASIC INTELLIGENCE.. JUST by VISITING ALL MUSEUMS & UNFORTUNATELY THOUSANDS OF “PRIVATE” COLLECTORS
AROUND THE WORLD.

The Dolopes were an ancient Greek tribe that settled around the Agrafa mountain range in central Greece.
Their settlement area was called Dolopi and included an important area centered on the south-eastern part of today’s Karditsa Prefecture and the northern part of Evrytania Prefecture. Their main city was Ktimeni, which was located on the site of the current village of Redina Karditsa.
The Dolopes were a sister tribe to the Aitolians, with whom they bordered to the south. Their branch was the Dryopes who settled a little further south in the area of Late Doria and dispersed after the descent of the Dorians. Other related tribes of the Dolopians with whom they had a common history were the Agraios, the Aperantes and the Athamanes who settled north of the present prefecture of Etoloakarnania. They are also often called Dolopes.
History
The Dolopes seem to have existed until the 6th century BC. they remained autonomous. They belonged to the Delphic Amphictyonia and were represented in the Amphictyonic Congress with two votes. From the 6th century they were for long periods under the rule of their stronger neighbors, first the Thessalians and later the Aetoli. In 374 BC they submitted to the tyrant Jason of Fera. In the years that followed, they submitted to the Macedonians and then joined the Aetolian Commonwealth until the Roman conquest in 168 BC. As Pausanias mentions, the Dolopes had disappeared as a people in the 2nd century AD.

HELLENIC CIVILIZATION/APAMEA/CORINTHIAN (ORDER OF COLUMNS)/

APAMEA is an ANCIENT GREEK city, overlooking the GHAB VALLEY in the Hama Governorate of Syria.

The city was FOUNDED AROUND 300 BC BY SELEUCOS I NICATOR, ONE of the ΔΙΑΔΟΧOI=

DIADOCHI = SUCCESSORS

FOUGHT FOR CONTROL OVER THE EMPIRE FOUNDED by ALEXANDER the GREAT AFTER HIS DEATH, ESTABLISHING THE SELEUCID EMPIRE OVER THE HELLENIZED TERRITORIES ALEXANDER HAD CONQUERED IN ASIA.

“SELEUCUS” named the city in DEDICATION to his WIFE, APAMA of SOGDIANA, one of the four cities of the Syrian TETRAPOLIS along with ANTIOCHOS (named after his father), LAODICEIA (named after his mother) and SELEUCEIA (named after himself).

In the FOLLOWING CENTURIES, the SELEUCID EMPIRE came INTO CONFLICT WITH THE ROMAN REPUBLIC OVER HELLENISTIC GREECE, RESULTING IN A GRADUAL DECLINE OF THE EMPIRE AND THE SUBMISSION OVER TERRITORIAL CLAIMS WEST of the TAURUS MOUNTAINS IN PRESENT-DAY TURKEY.

IN 64 BC, GNAEUS POMPEI US MAGNUS (also known as POMPEI the Great) MARCHED ON APAMEA, ANNEXING the CITY AS PART of the ROMAN PROVINCE OF SYRIA. IN RESPONSEN TO AN EARTHQUAKE in6 AD 115 ANTIOCH EARTHQUAKE ), THE ROMANS REBUILT APAMEA with a TYPICAL GREEK- ROMAN street grid system, and large public works such as aqueducts, bathhouses, and a THEATRE

FEMALE STATUE WITHOUT HANDS IN THE ARCHAEOLOGICAL MUSEUM of EPIDAURUS
. ARGOLIS PREFECTURE, PELOPONNESE, GREECE

This site, which includes the imressive theatre of EPIDAURUS, is a UNESCO WORLD HERITAGE Inhabited since NEOLITHIC times, the FIRST significant settlement was in the MYCENAEAN PERIOD.

STUDY SHOWS ANCIENT THEATRE OF EPIDAURUS IS WORLD’S MOST PERFECT IN TERMS OF AESTHETIC AND ACOUSTIC
MARVEL l
, and all the more wondrous considering that it was created almost 2,500 years ago.
The Ancient Theatre of Epidaurus is the crown of cultural activity in Greece during the summer months and remains to this day one of the most important and globally recognizable monuments of antiquity.
Carved into the side of Mount Kynortio and dominating the southeastern end of the sanctuary, which was dedicated to ASCLEPIUS – the God and CREATOR of MEDICINE in GREEK MYTHAGOGY–COSMOLOGY THE ANCIENT THEATRE OF EPIDAURUS has been characterized as the BIRTH place of the ART of THEATRE, and the GENRES OF COMEDY, TRAGEDY AND DRAMA.
A team of six professors from the University of Patras conducted extensive research on the ancient theatre and concluded that “the measurements confirm the theatre’s EXCELLENT ACOUSTICS and SPEECH INTELLIGIBILITY y, for ALL the TYPICAL LISTENER POSITIONS TESTED.”

The study showed that in whichever seat someone sits within the theatre, either at the very front or at the last seat at the top of the theatre hill, they will be able to clearly hear the actors speak – who of course, never use microphones or any kind of sound boost equipment during plays.

The awe that someone feels once they enter the theatre is remarkable.

The NATURAL EHO OF ONE’S VOICE CAN BE HEARD FROM ONE END OF THE THEATRE TO THE OTHER, A PHENOMENON, THAT HAS LONG ATTRACTED THE ADMIRATION OF SCIENTISTS AND EVEN MORE SO DUE TO THE FACT, THAT THE THEATRE OF EPIDAURUS WAS BUILT ALMOST 2,500 YEARS AGO – A TIME WHEN KNOWLEDGE AND TECHNOLOGY WERE MUCH MORE LIMITERAD.

Playing at the Ancient Theatre of Epidaurus today is considered an incredible honour and career highlight, an achievement that is high on the bucket list of not just Greek actors but of the the most talented actors actors all around the world.

The theatre hosts mostly ancient Greek-style plays as well as contemporary adaptions of old plays and some musical events.

The performances can be in modern Greek, Ancient Greek or a mix of both, while there are very limited plays in different languages.

Some of the most famous and prestigious Greek movie stars have played in Epidaurus over the years, such as Melina Mercouri, Katina Paxinou, Alekos Alexandrakis, Manos Katrakis, Anna Synodinou, Kostas Kazakos, and of course the “national Greek star” Aliki Vougiouklaki.

Foreign directors of international acclaim, like American ROBERT WILSON and Belgian comedy-tragedy movie maker IVO VAN HOVE have said that creating plays for the ANCIENT THEATRE of EPIDAURUS was a “LIFE GOAL.

The asclepieion at Epidaurus was the most celebrated healing center of the classical world, the place where ill people went in the hope of being cured. To find out the right cure for their ailments, they spent a night in the enkoimeteria, a big sleeping hall. In their dreams, the god himself would advise them what they had to do to regain their health. Found in the sanctuary, there was a guest house for 160 guestrooms. There are also mineral springs in the vicinity which may have been used in healing.

Epidauros • (Epídauros) f (genitive of ἠῐdauros); second declension.
The word epidauros means “Dra On the Wind”,
it is no coincidence that the Asclepians exist there, which has to do with sound, acoustics, earthly musical harmony which is synchronized with universal musical harmony and healing.

the acoustics in the ancient theater of Epidaurus have the curious thing, that as the Greek is clearly heard there, other languages cannot be heard, there is some kind of coordination of the sound, the Mathematical Greek language, the space and the acoustics, and this is because the Greek language is a musical language. (the relationship between musical harmony and mathematics and mathematics and the harmony of the universe is well known, just as it is also known that in ancient Greece music, arithmetic, geometry and astronomy were sister sciences)

Its orchestra is a perfect circle, while its cavity is part of a sphere. 34 rows of seats in the lower section and 21 in the upper give the number 55 (ЭЄ). The sum of the first 10 numbers (1+2+3+4+5+6+7+8+9+10) gives 55 (ЭЄ), the sum of the first 6 (1+2+3+4+5+6 ) gives 21 and the sum of the last 4 (7+8+9+10) gives 34.

The golden number Φ makes its appearance since the ratio of the rows of the two diazoms 21/34=0.618=Φ, but also the ratio of the lower diazom to the total of the rows 34/55=0.618=Φ6
(PYTHAGORAS IS PRESENT..AGAIN!).

5th century BC Dodona Epirus Theater (APE ROTAN)

Dodona or Dodoni is one of the most important oracles of ancient Greece. It is located in the regional unit of Ioannina of Epirus and was dedicated to Zeus and Dione. (Dodonaios God)
⠀⠀⠀⠀⠀⠀⠀⠀⠀
The theater of Dodona is among the largest and best preserved ancient Greek theaters in the world, capable of accommodating approximately 18,000 spectators.

ORPHEUS

He was one of the first singers and musicians of the ancient legends. Others were certainly remembered in antiquity, but the mythical singer ORPHEUS, son according to legend of Apollo and the muse Clio, and, according to others, of Oeagros and Clio or of Apollo and Calliope, transcended the concept of time and history, thus still belonging today as yesterday to the collective imagination for certain modern narrative works that evoke it, such as ORFEO IN PARADISO by Luigi Santucci or ORFEU NEGRO by Vinicius de Moraes.
He was and is the one who, with his poetry and his singing, was able to soften the cruelest souls, who made wild beasts docile and docile, stopped rivers, moved plants and even stones. A song therefore that seemed suspended between the earth and the sky and which captured the attention of all creatures, making them cry, the expression of a touching tenderness, of a sweet melancholy.
Orpheus is remembered, in ancient legendary stories, as a companion of Jason, the hero who first dared to attempt a long and dangerous sea voyage to the distant lands of the Black Sea, in Colchis, to conquer the Golden Fleece. the divine singer in the expedition had the task of overriding the dangerous melody of the Sirens and in this way saved his fellow Argonauts who would otherwise have been their prey.
But what made him even more famous was his descent into the world of the dead while alive. Others later tried this harsh experience (Hercules, Odysseus, Aeneas), but Orpheus only did it driven by love for his wife, the nymph Eurydice, who had died from a snake bite. No longer able to live without her, he overcame the resistance of the guardians of the world of shadows, Charon, Cerberus, Ixion, Tantalus, Sisyphus; he moved the entire underworld to pity and managed to change the inexorable verdict of Hades and Persephone.
In exchange for permission to bring Eurydice back to life, the lords of the Underworld made a bizarre condition: he would never have to turn to look at Eurydice’s beloved face during the journey back from the kingdom of the dead. If he had done so he would have lost her forever.
At first Orpheus resisted despite the fact that she called her name several times and in many tones, but, when he had the feeling that Eurydice was not following her steps, he was unable to resist and could not help but turn away. losing her forever.
Orpheus came out of the world of the dead, but his life no longer had meaning; so he wandered on Mount Rodope, now inconsolable and swore that he would never love a woman again: when he met the Bacchae, who offered him consolation and love, he did not allow himself to be convinced by their flattery, so much so that they, in a feast in honor of Dionysus, divinity whose cult Orpheus had opposed, taken by enthusiasm and Dionysian obsession, killed him by cutting him to pieces and throwing him into the Ebro river. The head and the lyre that always accompanied his singing continually repeated the pain of the loss of his wife: the remains arrived near Antissa, on the island of Lesbos, land of great lyric poets such as Alcaeus and Sappho, where an oracle arose and a tomb was erected and his remains were kept there forever with great respect and veneration.

TEMPLE OF APOLLO/ DELPHI//BEOTIA.

SWASTIKA JUST IN SANSKRIT THAT IS WELL AND IS”.
THIS SYMBOL IS GREEK ORIGIN.
IN ANCIENT TIMES REFERRED AS “DOUBLE MEANDER” OR “GAMMADION”… NOT, AS SWASTIKA. Now theories k.Chitler for suns etc. I can not say because I need at least 1,000 pages to analyze. Used by Hittler when he visited a tribe of the Himalayas that had as its symbol the double meander and adopted as of them took in his words the same “DREADFUL AND STRONG KNOWLEDGE .” NOTE THAT THIS TRIBE, ALTHOUGH BUDDHISTS CONSIDER TODAY AS SPIRITUAL FATHERS GREEKS IN PARTICULAR APOLLO.
Ancient OLYNTHOS , MEANDER, CROSS AND SUN SYMBOLS, EARLY (4th B.C) GREEK MOSAIC/ MACEDONIA/ GREECE.
MOSAIC OF THE OIKOS AT AIGAI PALACE IN VERGINA, GREECE .
BUILT BY PHILIP II (c. 359-336 BCE), FATHER OF ALEXANDER THE GREAT,
IT’S ONE AMONG THE MANY LARGEST AND WELL KNOWN CLASSICAL-IDENTICAL HELLENIC MOSAICS…
450 YEARS BC.

DOUBLE MEANDER

READERS FLOOR AT THE LIBRERY OF MESSINI THE METROPOLE OF THE LATER CICILIAN MESSINI, BY SPARTANS (SPARTA IS THE CAPITAL OF LACONIA – NEIGHIBOUR TO MESSINI CITY OF MESSINIA COUNTY

THE “MEANDER”=ΜΑΙΑΝΔΡΟΣ/MEANDROS AS A SYMBOL OF ANCIENT GREECE…
https://euphoriatric.com/euphoriatric-historical-symbols/
https://euphoriatric.com/euphoriatric-symbols-historical…/
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The most ancient Greek symbol, the Meander, is a symbol of Victory and Unity, a symbol of Infinity and Eternal Life, but also of our eternal journey through the world. Greek Key, as it declares the Greek origin of all things that carry it on them!

As a symbol, it may have been used mainly in decoration, but it is essentially a Greek seal, as most ancient Greek objects bear the design of the Meander. As a shape, the Acropolis will not be missing either. It may be born of prehistoric times, but it will be reborn and take its main, but not only, form during Geometric Times.

A symbol of all Greeks, the Meander, as it will be used in vases, temples, monuments, sculptures, objects, war weapons and armour, clothing in all the lengths and breadths of the Greek World. The same shape is present in the famous shield of Philip II. Through the Roman Empire, it also appears in Byzantine Culture. So the Maander is one of the leading Greek symbols, which was used in the most important periods of Greek history!

The sense of the infinite, of the endless on the one hand, but also of precision and integration on the other, characterize Greek culture. Already from classical antiquity, the meander represented the visual expression of the quintessence of ancient Greek thought – harmonious identification of opposites to the highest possible degree.

In ancient times this symbol depicted the endless flow of time and the completion of repeated time cycles. .

The enigmatic and unknown adventures of fate and the movement in a certain direction, from the point of birth and starting to the wide horizons of the unknown – a parallel with the course of Hellenism throughout the world.

In the mythical choice of Heracles, the difficult path of Virtue had a meandering shape (in contrast to that of Evil, which was straight), with the meanders symbolizing the structured difficulties of life, which man is called to overcome by sharpening his spirit in order to approach the ideal.

It is noteworthy that the meander is a more widespread symbol, both geographically and chronologically, that is traced wherever European-type Civilization has appeared.

It is presented in the majority of ancient works of art, in vases, buildings, inscriptions. The meander (or Greek key) was and is the symbol of eternal life and our eternal passage through this world. The most important presence of the meander is that in the genetic material (meander-spiral).

By the term meander or Greek key is meant in architecture and archeology the banded decoration – a composition of straight lines – that join each other at right angles or intersect diagonally. The meander motif, in its various variations, was often used in antiquity to decorate the frieze of temples. Variants of it are the meander which uses spiral repeating patterns (5) and the Vitruvian helix (tongue), a repeating curvilinear wave pattern.

Beautiful Coin of HIERON II

This is a gold HEMISTATER or DRACHM from Sicily, struck by HIERON circa 220-217 BC when he was King.
The coin shows PERSEPHONE WREATHED in BARLEY with a CORNUCOPIA behind her. The reverse shows a CHARIOTEER driving a biga with prancing horses and an inscription IEPΩNOΣ below.

HIERON II ( 308 BC – 215 BC) WAS A GREEK TYRANT OF SYRACUSE ( 270 BC – 215 BC), ILLEGITIMATE SON OF THE NOBLE HIEROCLES AND DESCENDANT OF THE TYRANT GELON . HE SERVED AS A GENERAL TO THE KING OF EPIRUS, PYRRHUS , AND WAS AN IMPORTANT MILITARY FIGURE WHEN THE FIRST CARTHAGENIAN WAR BROKEN OUT .
AFTER THE DEPARTMENT OF PYRRHUS FROM SICILY (275 BC) THE ARM OF SYRACUSE APPOINTED HIERON, AS HIS COMMANDER, HE SIGNIFICANTLY STRENGTHENED HIS POSITION BY MARRYING THE DAUGHTER OF LEPTINUS, A PROMINENT CITIES .

In a WELL-KNOWN story described by Vitruvius, HIERON II ordered a votive crown to be made for him from pure gold and because he did not trust the goldsmith he asked ARCHIMEDES to EXAMINE WHETHER the gold had been ADULTERATED with SILVER.
ARCHIMEDES had to SOLVE the problem WITHOUT DESTROY ING the CROWN DID NOT WANT TO MELT IT TO CALCULATE ITS DENSITY AND ORIGIN. WHILE BATHING, ARCHIMEDES NOTICED THAT THE WATER LEVEL IN THE TUB ROSE when HE STEPPED IN AND REALIZED THAT THIS EFFECT COULD BE USED TO DETERMINE THE VOLUME OF THE CROWN…

Assuming that water is practically incompressible the effect of sinking would be for the crown to displace an amount of water equal to its own volume.
Dividing the mass of the crown by the volume of water displaced gives the density of the crown, the density will be less than that of gold if some cheaper and less dense metals had been added. Archimedes was so excited by his discovery that he went out into the street naked shouting ” Eureka! Eureka! ». King Hiero’s gold was actually adulterated with silver according to ARCHIMEDES’S FAMOUS DISCOVERY

In the museum of the gallery of ATTALOS located below the ACROPOLIS, there is a “MANGER” of 330 BC. depicting the cave of PAN, where HERMES delivers little DIONYSOS to the NYMPHS!
And whoever understood, understood…..

THIS IS PHOENICIA FROM THE EAST….
SO THAT THEY DON’T FOOL YOU OF THAT IT WASN’T A GREEK
COLONY IT WAS CONQUERED
BY THE SEMITIC TRIBES LATER….

By:
Πολύγνωτος Παπαοικονόμοu

ANCIENT PHOENICIA A COLONY OF GREEK RACES
THE MOST IMPORTANT CITIES OF THE PHOENICIAN COAST WERE BYBLOS, SIDON, TYRE, ARADOS, JOPPA, GAZA (ORIGINALLY MINOA OR MINYA) AND TRIPOLI, WHICH WERE FOUNDED BY CRETANS
IN 3000-1600 BC THAT IS, WHEN OUR GREEK ANCESTORS WERE UNDISPUTED SEA EMPERORS OF THE ENTIRE MEDITERRANEAN.

For Tire it is written that it was founded in 2300 BC. by GREEK PELASGIANS SETTLED FROM MAGNESIA AND PHTHIA, THERE WAS ALSO A TEMPLE OF HERAKLES, APPARENTLY OLDER THAN that of the SON of ALCMENE (HERODOTUS, B 44).

Tire owes its name to the princess TYRO, daughter of the king of THESSALY Salmoneus and wife of Kritheos, king of Phthia!!!
(Greek Mythology, Richepin A 386, Pergamenai Editions 1953).

But the most important PHOENICIAN CITY, SIDON, IS ALSO mentioned by HOMER
(Odyssey, Raps. d, verse 618) as a Greek establishment WHEN, AFTER THE CIVIL WAR WITH TROJA. MENELAOS sailed there with his fleet, in SIDON the GREEK PHAEDIMOS was the king.

ALSO GREEK-PELASGIAN COLONIZED CITIES IN PHOENICIA WERE POSIDION AND Al MINA, WHICH WERE FOUNDED BY SETTLERS FROM OLD ERETRIA (on MOUNT ORTHYS) IN 2000 BC.

Another case is the city of EVAGORITIS, a name ORIGINATING from the CYPRIOT KINGDOM OF EVAGORAS, WHICH FLOURISHED IN 1800 BC. and it is described as a multi-people commercial center with famous professorships and large libraries!!

THE NATIVE SIMITIC TRIBES OF PHOENICIA APPEAR IN THE FOREGROUND ONLY IN 1300-1200 BC, AS SAILORS, PIRATES AND TRADERS.

HOWEVER , EVEN THEIR MOST FAMOUS COLONY, THE WELL-KNOWN CARTHAGE, FOUNDED IN 750 BC. SERVED, AS A GREEK COLONY, FOUNDED BY THE GREEK PRINCESS DIDO, WITH THE NAME CARTHAGENI!!!
DIDO WAS A DIASPORA GREEK, SISTER OF PYGMALION, KING OF CYPRUS AND TYRE, WHO LED A COLONIZATION CAMPAIGN WITH A LARGE GROUP OF OTHER GREEKS, AS WELL

By: Gorgo Degr:,

THE SEMITES WERE NOT SKILLED SAILORS. THEY LEARNED THE ART FROM THE GREEK PHOENICIANS, WHO STAYED BEHIND, IN THE CONTEXT of the general destruction caused by the fire from heaven in 1200, which destroyed ALMOST all of PHOENICIA THE MINYANS WERE NOT THE FIRST GREEKS, THEY WERE THE MOST GREEK NOT OF US ALL

HERE:
A GREEK PARCEL GILT SILVER MIRROR
HELLENISTIC PERIOD, CIRCA 2ND-1ST CENTURY B.C.
Disk-shaped, the obverse highly polished, the reverse set with a repoussé sheet in high relief depicting Aphrodite about to punish Eros for breaking an alabastron, the goddess threatening with the sandal removed from her right foot, held in her right hand, leaning forward on her stool, supporting herself with her left hand on the corner of the cushion, her right foot forward, the left leg bent back with her sandaled foot on a footstool, a himation around her waist and legs, bracelets on each wrist, a hand -mirror on the cushion behind her, winged Eros cowering before her with his hands raised to his lips, the broken vessel on the ground between them, a second Eros crouching beneath her stool, enclosed by a wreath of oak leaves, preserving gilding for the wreath, hair, wings, drapery, sandal, alabastron and footstool
6 3/8 in. (16.1 cm.) diameter
12,055 oz (374.8 g)

MORGANTINA. MEGARIAN CUP FROM THE AGORA AREA . THE SO-CALLED “MEGARESE CUPS” WERE TABLE VASES INTENDED TO CONTAIN HEMISPHERICAL LIQUIDS, PRODUCED IN GREECE AND ITALY. CHARACTERISTICS WERE THE LACK OF THE FOOT AND THE RELIEF DECORATION OF THE EXTERNAL WALLS, USUALLY WITH PHYTOMORPHIC MOTIFS.
THIS IS AN EXAMPLE FROM
MORGANTINA, DATING BACK TO BETWEEN THE 2nd AND 1st CENTURIES BC. IT IS A MAGNA GRAECIA/SICILIAN PRODUCTION, FROM A LOCAL FACTORY (FROM SYRACUSE OR TYNDARIS). ARCHAEOLOGICAL MUSEUM OF AIDONE (EN).
THE FOUNDER OF BYZANTION, BYZAS, WAS SON OF KING NISOS OF MEGARA. DURING THE 7th CENTURY BC, THE GREEK NATION WAS CITY-STATES WERE EXPANDING AND ESTABLISHING NEW COLONIES.
The DORIAN CITY-STATE of THE MEGARA, NEAR ATHENS, WAS ALSO SEARCHING FOR SITES TO SET UP YET ANOTHER COLONY.

By:
ΒΑΣΙΛΕΙΟΣ ΔΡΟΣΟΣ

THOSE WHO COULDN’T STAND THE BEAUTY)(=ΚΑΛΛΟΣ/KALLOS), THE HARMONY AND THE MEASURE, TRIED TO DESTROY THEM, TO CARVE ON THEM THEIR OWN UGLYNESS!!!
AND THESE WERE NONE OTHER THAN THE VILE AND VILE DRESSED SUBHUMANS, THE BARBARIC AND FOOLISH INSTRUMENTS OF THE DARK PRIESTHOOD OF THE JUDAISM DOCTRINE!!!…

ΒΑΣΙΛΕΙΟΣ ΔΡΟΣΟΣ
(ΜΕΓΙΣΤΙΑΣ)

ΕΚΕΙΝΟΙ ΠΟΥ ΔΕΝ ΑΝΤΕΞΑΝ ΤΟ ΚΑΛΛΟΣ, ΤΗΝ ΑΡΜΟΝΙΑ ΚΑΙ ΤΟ ΜΕΤΡΟ, ΠΡΟΣΠΑΘΗΣΑΝ ΚΑΤΑΣΤΡΕΦΟΝΤΑΣ ΤΑ, ΝΑ ΧΑΡΑΞΟΥΝ ΠΑΝΩ ΤΟΥΣ ΤΗΝ ΔΙΚΗ ΤΟΥΣ ΑΣΧΗΜΙΑ!!!
ΚΑΙ ΑΥΤΟΙ ΔΕΝ ΗΤΑΝ ΑΛΛΟΙ ΑΠΟ ΤΑ ΜΙΑΡΑ ΚΑΙ ΒΔΕΛΥΡΑ ΦΑΙΟΦΟΡΕΜΕΝΑ ΥΠΑΝΘΡΩΠΙΔΙΑ, ΤΑ ΒΑΡΒΑΡΑ ΚΑΙ ΑΝΟΗΤΑ ΟΡΓΑΝΑ ΤΟΥ ΣΚΟΤΕΙΝΟΥ ΙΕΡΑΤΕΙΟΥ ΤΟΥ ΙΟΥΔΑΙΟΓΕΝΟΥΣ ΔΟΓΜΑΤΟΣ!!!…

ΒΑΣΙΛΕΙΟΣ ΔΡΟΣΟΣ
(ΜΕΓΙΣΤΙΑΣ)

PARTHENON WAS BUILT ON P=π & Ε=Φ PYTHAGOREAN PRINCIPLES:
pi and Phi.
π=3.14159265359
Φ=1.61803398875.

A 2,300-year-old ancient Greek gold wreath worth £100,000, kept for decades in a tatty box of old newspapers under bed by owner who had no idea what it was. The wreath was put on sale at Duke’s of Dorchester auction house in 2016

Greek Bronze chariot inlaid with ivory with scenes from the life of the Greek hero Achilles, 2nd quarter of the 6th century B.C.
Dimensions: Total H. 51 9/16 in. (130.9 cm); Length of pole 82 1/4 in. (209cm).
Description of figures on the Chariot: The iconography represents a carefully thought-out program. The three major panels of the car depict episodes from the life of Achilles, the Greek hero of the Trojan War. In the magnificent central scene, Achilles, on the right, receives from his mother, Thetis, on the left, a shield and helmet to replace the armor that Achilles had given his friend Patroklos, for combat against the Trojan Hektor. Patroklos was killed, allowing Hektor to take Achilles’ armor. The subject was widely known thanks to the account in Homer’s Iliad and many representations in Greek art. The panel on the left shows a combat between two warriors, usually identified as the Greek Achilles and the Trojan Memnon. In the panel on the right, the apotheosis of Achilles shows him ascending in a chariot drawn by winged horses. The subsidiary reliefs partially covered by the wheels are interpreted as showing Achilles as a youth in the care of the centaur Chiron and Achilles as a lion felling his enemies, in this case a stag and a bull. The central axis of the chariot is reinforced by the head and forelegs of the boar at the junction of the pole to the car. The deer below Achilles’ shield appears slung over the boar’s back. The eagle’s head at the front of the pole repeats the two attacking eagles at the top of the central panel, and the lion heads on the yoke relate to the numerous savage felines on the car. While the meaning of the human and animal figures allows for various interpretations, there is a thematic unity and a Homeric quality emphasizing the glory of the hero.
Provenance: Metropolitan Museum of Arts, New York.
P.S.: In 1902, a landowner working on his property accidentally discovered a subterranean built tomb covered by a tumulus (mound). His investigations revealed the remains of a parade chariot as well as bronze, ceramic, and iron utensils together with other grave goods. Following the discovery, the finds passed through the hands of several Italian owners and dealers who were responsible for the appearance of the chariot and related material on the Paris art market. There they were purchased in 1903 by General Luigi Palma di Cesnola, the first director of The Metropolitan Museum of Art.
There is presented, UNFORTUNAELY..as “Etruscian” No matter the HISTORICAL EVIDENCE..
The Monteleone chariot is the best preserved example of its kind from MAGNA GRAECIA OR q”ANCIENT ITALY before the Roman period. The relatively good condition of its major parts–the panels of the car, the pole, and the wheels–has made it is possible to undertake a new reconstruction based on the most recent scholarship. Moreover, some of the surviving ivory fragments can now be placed with reasonable certainty. The other tomb furnishings acquired with the chariot are exhibited in two cases on the south wall of this gallery

By: IXΩP.

THE GREEKS CALLED IT : **ΆΓΑΛΜΑ=STATUE**, WHICH MEANS, THAT EMBRACES YOUR SOUL WHEN YOU SEE IT.. AS YOU REFLECT IT

BEAUTIFUL AND YOU ARE ABLE TO UNDERSTAND ALL THE SYMBOLISM, WHICH EACH STATUE(AGALMA ONE!)CARRIES ON IT…

.... THE ROMANS CONTINUED TO NAME THE STATUES… STATUA FROM THE GREEK WORD ΣΤΑΤΙΚΟ=STATIC ((VERB: ISTHMI= I AM STANDING ΑΣΤΗΡ=STAR)),

—WHICH IN ENGLISH BECAME STATUE AND MEANS THIS, THAT IS STANDING STILL….

**”I ΆΓΑΛΜΑ** (VERB: ΑΓΑΛΙΑΖΩ//AGALIAZO ) = BEING IN HOLISTIC EUPHORIA………

…… THIS HUGE GAP EXISTS BETWEEN EVERY GREEK AND BARBARIAN WORD AND EVERY GREEK AND BARBARIAN IDEOLOGY. THE GREEK LANGUAGE IS CONCEPTUAL AND EXPLAINS THE ESSENCE OF EVERY THING. “THE PRINCIPLE OF WISDOM IS THE VISITATION OF NAMES” ALL THE OTHER LANGUAGES ARE PURELY SUPERFICIAL BECAUSE THEIR CREATORS HAD A SUPERFICIAL REFLECTION….

AS PLATO SAID: -VISION MAY BELONG TO ALL, BUT PERCEPTION TO A FEW…MAN, WHO`S BLIND IN PHYCHE= (=SOUL), CANNOT SEE OR EVEN UNDERSTAND ESSENTIAL THINGS.

The sculpture of ancient Greece is the main surviving type of fine ancient Greek art as, with the exception of painted ancient Greek pottery, almost no ancient Greek painting survives. Modern scholarship identifies three major stages in monumental sculpture in bronze and stone: the Archaic (from about 650 to 480 BC), Classical (480–323) and Hellenistic. At all periods there were great numbers of Greek terracotta figurines and small sculptures in metal and other materials.

The Greeks decided very early on that the human form was the most important subject for artistic endeavour. Seeing their gods as having human form, there was little distinction between the sacred and the secular in art—the human body was both secular and sacred. A male nude of Apollo or Heracles had only slight differences in treatment to one of that year’s Olympic boxing champion. The statue, originally single but by the Hellenistic period often in groups was the dominant form, though reliefs, often so “high” that they were almost free-standing, were also important.

The reason that ancient Greek sculptures have small penises isnt because the artist didnt want the viewer to focus on them. Its because the cultural perception of penis was different.

Rewind to the ancient Greek world of around 400 BC, and you’ll find that large, erect penises were not considered desirable, nor were they a sign of power or strength.

In his play The Clouds (c. 419–423 BC), ancient Greek playwright Aristophanes summed up the ideal traits of his male peers as “a gleaming chest, bright skin, broad shoulders, tiny tongue, strong buttocks, and a little prick

LETO……(LATUNA LATER IN LATIN)

IN GREEK MYTHOLOGY LETO (OR LATO IN THE DORIC DIALECT), IS THE DAUGHTER OF THE TITAN COIUS AND PHOEBE [.FROM ZEUS SHE GAVE BIRTH TO APOLLO AND ARTEMIS . IN ROMAN MYTHOLOGY LATER, THE CORRESPONDING GODDESS OF LETO IS LATONA.

LETO WAS THE MAIN deÄGODDESS IN EASTERN LYCIA, WHILE THE INHABITANTS OF KOS ALSO CLAIMED HER ORIGIN.

HER SANCTUARY, LETOON, CONNECTED THE CITY-STATES OF LYCIA TO EACH OTHER. SHE WAS WORSHIPED WITH THE EPITHETS OF KOIOGENEIA [, FISTI AND ECDYSIA.

BIRTH OF ARTEMIS AND APOLLO

When HERA learned that LETO was pregnant by ZEUS, she FORBADE her to give BIRTH on LAND and in ANY PLACE under the sun. According to a myth, NOT so widespread, LETO came from the land of HYPERBORIA in the form of a SHE-WOLF, seeking the land of wolves, LYCIA. The MOST widespread myth says that when LETO was about to give birth, a small island appeared in the sea , DELOS, where she managed to give birth first to ARTEMIS and then to APOLLO .

According to OVID, after the birth of the twins, Leto wandered and reached Lycia, where she was not received with the best welcome. When she went to drink water from a lake, the inhabitants forbade her, stirring up the mud at the bottom of the lake. Then LETO transformed them into frogs for the lack of hospitality they showed, so that they would always live condemned to the muddy waters of rivers and lakes.

THE PUNISHMENT OF NIOBE……

Once the queen NIOBE , who had seven sons and seven daughters, was proud of the fecundity and beauty of her children, saying that “LETO, the chosen one of ZEUS , has only one pair of TWINS to show against her so many” (meaning her ARTEMIS and APOLLO).

When LETO found out, she was indignant and asked her children to punish NIOBE’S rashness. Thus, according to the traditions, the two gods marked with their arrows, ARTEMIS the DAUGHTERS, APOLLO the SONS.

The dead bodies of NIOBE’S children remained UNBURIED for NINE days, since ZEUS turned into stone anyone who attempted to pay funeral honors. On the ninth day the gods yielded to NIOBE’S entreaties and buried them themselves in two common graves.

WORSHIP

SANCTUARIES OF LETOS are mentioned by ancient sources in many regions of Greece. Very often she was worshiped alongside her two children. PAUSANIAS AND STRABO mention the existence of sanctuaries and statues DEDICATED to LETO, APOLLO AND ARTEMIS in the village OF ZOSTIR IN ATTICA, MEGARA, ARGOS, SPARTA, TANAGRA [, DELPHI (AND PINDAROS mentions in an ODE OF), in ARTEMISION OF RHODES, IN MANTINEIA, IN PHAISTOS OF CRETE (ECDYSIA WERE CELEBRATED IN HER HONOR), in ORTYGIA and LATOREA in LYDIA , where a festival dedicated to her was also held.

Her worship was great in DELOS, where there was a large temple dedicated to her, LETOOS. According to the legend, LETO WON DELOS from POSEIDON, with whom she exchanged KALABRIA .

SIMILAR was the temple in LYCIA, LETOON, NEAR THE RIVER XANTHOS, “60 stadia from the city.” Inscriptions indicate that the LYCIAN Community had its headquarters there. Modern excavations, from 1962 onwards, have been carried out in the area, bringing to light, among other things, a trilingual inscription in ARAMAIC , and LYCIAN GREEK.

LYRICAL HYMNS have been written in HONOR of LETO by the THRACIAN MUSICIAN AND POET PHILAMMON.

THIS IS THE REASON WE SAY THAT THE GREEKS BROUGHT SCIENCE TO HUMAN HISTORY
https://enneaetifotos.blogspot.com/…/blog-post_83.html…

“There are two reasons why Socrates ascended and was marbled on his distinguished pedestal, tells us his great grandson in letters, who was born fifteen years after the death of Socrates, Aristotle. One that he taught “it is not determined at all”, and the other that he invented “practical reasons”.
The first explains that Socrates first succeeded in defining concepts. And do you know what feat that is? It is a fact as important as the establishment of the Olympic games by Heracles and Lycurgus. Defining a concept is a very difficult task. If it were not so, the absurdity we see around us today would not have happened. You ask people in Greece what democracy is, and you get nine million definitions. Have you ever attended the coronation of the casida and palavera? The abrakatabra that German physicists say about German theologians?

And the same thing happens, if you ask what is freedom, virtue, justice, honorable and everything else.

But the definition of each concept is one, Socrates taught. To define a concept, he told us, you would describe it in so many words that you couldn’t add a single word, couldn’t take a single word away, and couldn’t change a single word. So. And if you manage to define the concept in the end.

But this, dear reader, is discovery and invention like those of Newton, Columbus, Darwin, Einstein, Freud. And Socrates is the first photometric for all these bigoted men. The second that succeeded, Aristotle always says, is “practical reasons”. In other words, the inductive method was introduced in the research.

This second is even more important than the first. Because in essence it means that Socrates introduced science into the spiritual history of man, in the sense that he introduced the method of science.
This is the reason why, among other things, we say that the Greeks brought science to the history of man. And this is why the Greek stands out from all other cultures.

As we are half-educated, and prognosticators, and spiritually young, we often claim that other ancient peoples also did science. The Egyptians, for example, the Aztecs, the Assyrians, the Chinese, the Chaldeans, the Jews, the Persians, you name it.

Error. Only the Greeks did science. Science, in the sense that you discover and build a system of applied information whose organic structure has the order, precision and necessity of the organic order that exists within nature. Cause which makes nature and the laws of its constitution unchangeable, and eternal, and indestructible.

Compared to the Greeks, the science that the others did is a pre-empirical achievement. Astrology for example instead of astronomy. “Comboyanism”(=Hill Billy THUGS mentality) instead of medicine. Priesthood and priest instead of philosophy. Guard instead of geometry. Magic and catechism instead of morality. Hide and seek instead of sports. Morlo-kings made of dry wood instead of politics. And compare accordingly.
Today, research in all areas of science is served by one hundred as many sciences, which are taught in the universities of the world.

Origin and source and motherland (as we say homeland) of all this boisterous spiritual orgasm that brought man “repentantly to strike the stars”, according to Horace’s verse, is Greece. And the progenitor or master of this discipline is Socrates.

Of course, here one cannot overlook the heavy pre-shock of the advance of the Presocratics. Nor the concluding hymn of the great philosophies of Plato, Aristotle, and Epicurus.

This is why Socrates, the son of Sophroniscus and Phainaretes the Athenian, is great. Because she is the mummy who brought science to the light of history.”
Dimitris Liantinis – Gemma

Centaur in polychrome marbles
Marble: antique red and black, antique green base

—-The definition of the courtyard in front of the south façade of the villa [Villa Doria Pamphili], divided into three spaces by the orthogonal arms of the terraced portico, according to the model of the Hellenistic-Roman maritime villas, belongs to this first arrangement.

This extraordinary sculpture was rediscovered in the mid-19th century in Albano, in one of
the luxurious residences of the Pamphilj family in Lazio. It is a remarkable replica, perhaps from the Antonine Era (138-192 AD), of one of the so called “Furietti Centaurs”, the celebrated pair in the Capitoline Museums from Hadrian’s Villa. The original model was sculpted in grey Lucullan marble and signed by ARISTEAS an artist from APHRODISIAS, a city known for exporting sculptures. The composition of these statues shows clear references to the Hellenic culture. Our version is outstanding for the excellent quality of the materials used in its carving and its refined colours

Dion.
The sacred city of the Macedonians and the sanctuary of Zeus in the area of Olympus.
It reached its peak during the Hellenistic and Roman periods, as it was one of the earliest Roman colonies in the Macedonian region.
During the time of Alexander the Great, Dion had significant importance for Macedonia Greece in general.

It was there that Philip II celebrated the capture and destruction of Olynthus, the capital of the Chalkidiki League. In the same place, Alexander the Great invoked the help of the gods, while he was making the ceremonial preparations for his military campaign in Asia.

HELLENIC CIVILIZATION MYTHAGOGY-COSMOLOGY-MYSTAGOCY

THE FACT THAT FILLS YOU LEAST WITH ANGER! FOR A LIFE TIME THEY MAKE MONEY FROM GREEK ANTIQUITIES, EVEN TODAY WHEN TOURISTS VISIT THE TEMPLE OF EPHESUS AND THE TURKS CALL THEM… “ROMAN” RUINS!!! NOT TO MENTION THE MUSEUMS EVERYWHERE IN NORTHERN AND CENTRAL EUROPE, THAT HAVE STEAL ANTIQUITIES ALONG WITH THE ROCKS ON WHICH THEY REST!
IT’S A DISGRACE THESE COUNTRIES LIKE GERMANY and ENGLAND, ARE STILL ALLOWED(!!) TO KEEP THESE STOLEN TREASURES, THAT HAVE NOTHING TO DO WITH THEIR “HISTORIES”

“EPHESUS”=ΕΦΕΣΟΣ
EPHESOS THE CITY OF ARTEMIS & HERACLEITOS.
https://euphoriatric.com/ancient-hellenic-ancient-greek…/
EPHESOS THE CITY OF ARTEMIS & HERACLEITOS.

“EPHESUS” WAS ONE OF THE MOST IMPORTANT ANCIENT GREEK COASTAL CITIES OF IONIA (“ASIA MINOR”), ALMOST ON THE AEGEAN SEA.
BUILT AT THE 10th CENTURY BC BY IONIAN GREEKS
ANCIENT EPHESUS (TODAY’S ARCHAEOLOGICAL SITE ) IN ANTIQUITY WAS VERY CLOSE TO THE SEA, EVEN KNOWN, AS “THALASSOTHÉA “(=SEEWIEW), BUT THE CONSTANT SILTING OF THE RIVER KAǗSTROU FORCED RESIDENS TO MOVE THE SETTLEMENTS OF WEST. NEVERTHELESS, THE ANCIENT CITY WAS BUILT ON THE LOW SLOPES OF KORESOS AND WIELDS HILLS, WHERE THEN THE FERTILE PLAIN OF EPHESUS EXTENDED TO THE SO-CALLED EPHESUS FIELD. THE TEMPLE OF ARTEMIS WAS LOCATED RIGHT IN THIS PLAIN 1 MILE (TEN STAGES) FROM THE CITY. The FERTILITY OF THE PLAIN OF EPHESUS as well as the location of the city of THALASSOTHÉAS, AT A FOCAL POINT OF THE NATURAL WAY OF COMMUNICATION OF THE AEGEAN SEA WITH THE HELLENIC MAINLAND CONTRIBUTED TO THE EDGE OF THE CITY .

ACCORDING TO THE ANCIENT TRADITIONS of the ANCIENT GREEK writers HISTORIANS, GEOGRAPHERS etc. EPHESUS was reported to have been occupied during prehistoric times by the amazons allegedly moved from the caucasus region by raiding ASIA MINOR capturing various areas – cities named after the MOST ikanotérōn of them, which were among others EPHESOS, SMYRNA, KYME, MYRINA AND SINOPE.

STRABON ALSO MENTIONS the ABOVE that in LATER TIMES THESE CITIES WORSHIP THEIR FAMOUS HEROINES AMAZONS AND even CUT COINS with AMAZON shows. The EPHESIANS in PARTICULAR in the 5th century bc, WANTING TO HONOR the FAMOUS AMAZON EPHESOS, a competition among the most famous sculptures of their time for the construction of a statue in order to place it in the temple of ARTEMIS.

“EPHESUS” WAS ONE OF THE MOST IMPORTANT ANCIENT GREEK COASTAL CITIES OF IONIA (“ASIA MINOR”), ALMOST ON THE AEGEAN SEA.

BUILT AT THE 10th CENTURY BC BY IONIAN GREEKS

ANCIENT EPHESUS (TODAY’S ARCHAEOLOGICAL SITE ) IN ANTIQUITY WAS VERY CLOSE TO THE SEA, EVEN KNOWN, AS “THALASSOTHÉA “(=SEEWIEW), BUT THE CONSTANT SILTING OF THE RIVER KAǗSTROU FORCED RESIDENS TO MOVE THE SETTLEMENTS OF WEST. NEVERTHELESS, THE ANCIENT CITY WAS BUILT ON THE LOW SLOPES OF KORESOS AND WIELDS HILLS, WHERE THEN THE FERTILE PLAIN OF EPHESUS EXTENDED TO THE SO-CALLED EPHESUS FIELD. THE TEMPLE OF ARTEMIS WAS LOCATED RIGHT IN THIS PLAIN 1 MILE (TEN STAGES) FROM THE CITY. The FERTILITY OF THE PLAIN OF EPHESUS as well as the location of the city of THALASSOTHÉAS, AT A FOCAL POINT OF THE NATURAL WAY OF COMMUNICATION OF THE AEGEAN SEA WITH THE HELLENIC MAINLAND CONTRIBUTED TO THE EDGE OF THE CITY .

AROUND THE 8th CENTURY BC, EPHESUS BECAME THE ECONOMIC CENTER OF IONIA(“ASIA MINOR”). IN THE 6th CENTURY IT PASSED UNDER the RULE of CROESUS, BUT PRESERVING ITS INDEPENDENCE. HE THEN PASSED THE RULE OF CYRUS AND THE NEXT PERSIAN KINGS AND THUS BECAME PART OF THE PERSIAN STATE… EPHESUS WAS RELEASED IN 334 BC BY THE TROUPS OF ALEXANDER THE GREAT, SO EPHESOS BECAME GREEK AGAIN AND CHANGED ITS NAME AND WAS NAMED ARSINÓEIA(=ARSINOI ARSINOE: (ARSIS = TO LIFT FROM THE VERB: AIRO + NOUS = MIND ), THE HIGH-MINDED….THAT LIFTS UP (“TAKES THE MIND”), THE MINDS.
THE EVALUATION OF THE OFFER OF GREEK CULTURE ALL OVER THE WORLD, IS DIFFICULT TO EVALUATE, BECAUSE OF THE WIDTH OF THE OFFER IT IS THE PLACE THAT HOSTED THE HIGHEST ALL HUMANITY RECEIVED, THE LIGHT OF KNOWLEDGE AT ALL LEVELS !!! EVERY SPIRIT OF YOUR HOLY EARTH IS A RICH OF INFORMATION OF WORLD ANCIENT HISTORY

JUST UTOPIA to REACH, or UNDERSTAND THE HIGH LEVEL OF THE ANCIENT HELLENIC SPIRIT of CREATIONS & SUNLIGHT-BEAMS CIVILIZATION, to BE UNDERSTOOD
….by ALL KIND OF BARBARIANS…
>>>>>>>>>>>>>>>>>>
HERE: //ANCIENT ULTIMATE ARTS & BEAUTY… MOSTLY STOLEN, LOOTED, or DESTROYED, (or OFTEN.. COPIED & TWISTED.. & SHOWED by COUNTERFEITING BARBARIANS,..AS….THEIR OWN!!!) MOSTLY BY ALL BARBARIANS!!

ALL OVER the WORLD, WITHOUT KNOWLEDGE,

BEING – OF COURSE – SUPPORTED, AS ALWAYS, BY THE CLASSICAL, GLOBAL BARBARIAN
GEOPOLITICAL MAFIA..THUS BARBARIANS HELP BARBARIANS.. WITH HEAVY INFERIORITY COMPLEX, ENVY, JEALOUSY & OFCOURSE VERY FAR FROM THE AUPHTENTIC ETHERIAL & UNIQUE CIVILIZATION AS:

TEMPLES(CORINTHIAN, DORIC & IONIC ORDER), STATUES, MOSAICS, SCRIPTS, FRESCOS, COINS, SCIENCE:

MEDICINE, MATHEMATICS, TECHNOLLGY, GEOMETRY, PHYSICS, ASTRONOMY, DRAMA, POETRY… PLUS:…

THE ETYMOLOGY of NAMES & WORDS by the UNIQUE MATHEMATIC- DIANETIC ANCIENT GREEK LANGUAGE WICH IS INTERCONNCTED MATHEMATICALY WITH ALL THE ABOVE ACHIEVEMENTS….ARE JUST ONE OF the WITNESSES… INSPIRING EVERYBODY WITH BASIC INTELLIGENCE.. JUST by VISITING ALL MUSEUMS, AROUND THE WORLD….BUT NO ONE KNOWS THE REAL NUMBER OF THE THOUSANDS OF THOSE “PRIVATE” ONES…..

THE GREEKS SHOULD NEVER LEARN THAT: DEMOCRITUS , PYTHAGORAS, HERACLEITOS COMPLETELY FORMULATED THE THEORY OF NUCLEAR PHYSICS and SPECIAL RELATIVITY, UNIFYING INTO SINGEL MATHEMATICAL
FORMULAS, AS ELECTRICITY, GRAVITY, MAGNETISM, ASTRONOMY, AND THE WEAK CURRENTS OF NUCLEAR ATOMS…THE GREEKS MUST NEVER LEARN THAT: THE ASTRONOMERS – MATHEMATICIANS: EUDOXUS, CALLIPOS,
ARISTARCHOS,(https://www.britannica.com/biography/Aristarchus-of-Samos)
ANAXIMANDROS, EUKLIDES, ARCHIMEDES,
CONON, HIPPARCHUS, CLEOMEDES, APOLLONIOS, PTOLEMY, THEON, HYPATIA, PAPPUS, HAD EXHAUSTED THE LIMITS OF HUMAN INTELLIGENCE by SOLVING MENTALY WITHOUT GRAPHICAL REPRESENTATION EQUATIONS OF 12 UNKNOWN (TWELVE EQUATIONS-TWELVE UNKNOWN), WHILE THE LIMIT OF TODAY’S COMPUTERS IS “7 EQUATIONS 7 UNKNOWNS”….

…..BECAUSE THE THIEVES OF ANCIENT KNOWLEDGE, AS: – KEPLER, GALILEO, COPERNICUS etc. MUST.. BE SHOWN!! …

THE GREEKS SHOULD NOT KNOW THAT: THE ENGINEERS & TECHNICIANS, AS:
-EUPALINOS, SOSTRATOS, HERON, ZOSIMOS, KALLINIKOS, MANUFACTURED TOPOGRAPHIC INSTRUMENTS FOR TRIGONOMETRIC SURVEYING, AUTOMATIC MECHANISMS AND INSTRUMENTS for ELECTRICAL APPLICATIONS, BECAUSE the GREAT SWINDLER EDISON “MUST” BE SHOWN as THE “INVENTOR” OF … ELECTRICITY, ALTHOUGH THE ABOVE GREEK ENGINEERS USED THE ELECTRON (AMBER), AS A NATURAL ACCUMULATOR OF STATIC ELECTRICITY IN TECHNICAL APPLICATIONS …

THE GREEKS MUST NOT KNOW THAT: THE GEOGRAPHERS – EXPLORERS SKYLAX, PYTHEAS, EUDOXUS, STRABON, PAUSANIAS, COSMAS THE INDIKOPLEISTIS, HECATAEUS, had mapped the ENTIRE surface of the planet, because there is a danger that the Greeks will learn that ATLANTIS and the AMERICAN CONTINENT belonged administratively in DELPHI, while Asia belonged administratively to SARDIS, with the central coordinator being the APOLLONIAN Center of DELOS, to which the Transborean Greeks (Northern Siberia) sent as a token of recognition “every year, choice grain”, through the Greek ARIMASPAS and ISSIDONES and MASSAGESTAE of Central and Southern SIBERIA.

The Greeks should not know that the Greek DOCTORS, GALENOS, CELSIUS, HERACLIDES, HEROPHILUS, PRAXAGORAS, AGNODIKIS, KTIRIAS, HIPPOCRATES, ERIVIOTIS, carried out “BALANCING ELEKTROMAGNETIC FLUIDS of the BODY” treatments by REGULATING the ALKALINITY and ACIDITY of the ORGANS. That they were making cures using “left-handed amino acids” (antibiotics) obtained from plants, fully knowing that only recently did molecular biology discover the action-reaction of left-handed amino acids (antibiotics) with right-handed amino acids (organism proteins).

The Greeks must NOT LEARN that the SYMBOLS “LEFT-CROWNED SWASTIKA” and “RIGHT-CROWNED SWASTIKA” were SYMBOLS of PHYSICS and MATHEMATICS, by which the Greeks PYTHAGORAS and DEMOCRITUS and ARISTARCHOS expressed RIGHT -handed and LEFT -handed NUCLEI of ATOMS, PLANETS, SOLAR SYSTEM, GALAXIES and COSMIC DOMAINS CLUSTERS of GALAXIES

2500 years AGO HIPPOCRATES performed BRAIN and HEART SURGERY...
https://euphoriatric.com/hippokratis-asklipios-skola/
https://euphoriatric.com/medical-in-ancient-greece…/

Despite the almost non-existent means of his time, HIPPOCRATES performed difficult surgeries. He and his students successfully treated orthopedic, cardiac and basic surgery cases. HIPPOCRATES even performed operations on the human skull, as we read in several of his works… In addition to the operation itself, HIPPOCRATES attached great importance to the preparation of the patient and the operating room.

In the work Kat’iatreion, he describes in detail how the patient should be prepared before the operation, how the tools are sterilized, how the space is shaped, but also how artificial and natural light is used during the operation…

American archaeobotanists were able for the first time to study and analyze the contents of pills made by doctors in ancient Greece and which were discovered 20 years ago, in a Greek shipwreck off the coast of Tuscany…

DNA analyzes showed that each pill was a mixture of at least ten different plant extracts, including hibiscus and celery. “For the first time, we now have physical evidence of what is contained in the writings of the ancient Greek physicians DIOSCORIDIS and GALENOS,” said ALLEN TWOWAY of the SMITHSONIAN INSTITUTION’s NATIONAL Museum of NATURAL HISTORY in WASHINGTON , according to New Scientist.
Apostle ORPHEUS”

EPHESOS the CITY OF ARTEMIS & HERACLEITOS.

“Ephesus” was one of the most important coastal cities of ASIA MINOR, almost on the AEGEAN SEA.

BUILT at the 10th century BC by IONIAN GREEKS

ANCIENT EPHESUS (today’s archaeological site) in ANTIQUITY was very close to the sea, even known as “THALASSOTHÉA “(=SEEWIEW), but the constant silting of the river KAǗSTROU forced residents to move the settlements of west. Nevertheless, the ancient city was built on the low slopes of KORESOS and wields hills, where then the fertile plain of *EPHESUS” extended to the so-called EPHESUS field

https://euphoriatric.com/trojan-alias-ilion-historical…/

THE GOLDEN MASK OF AGAMEMNON, THE KING OF MYCENAE: THE MASK OF AGAMEMNON IS AN ARTIFACT DISCOVERED IN MYCENAE IN 1876 BY THE GERMAN ARCHAEOLOGISTS HEINRICH SCHLIEMANN.
THIS MASK IS MADE OF GOLD AND IS A FUNERAL MASK FOUND OVER THE FACE OF A DEAD BODY IN A BURIAL PLACE AT MYCENAE. SCHLIEMANN THOUGHT, THAT THE BODY AND THE MASK ARE OF THE LEGENDARY KING AGAMEMNON.
THIS MASK IS CRAFTED OUT OF PURE GOLD AND SUCH MASKS WERE PUT ON THE FACE OF DECEASED KINGS AND ROYAL PEOPLE.

AGAMEMNON WAS THE SON OF KING ATREUS OF MYCENAE AND QUEEN AEROPE. HE WAS THE LEADER OF THE ACHAEANS-DANAOI OF WEST GREEKS DURING THE CIVIL WAR WITH TRIADES (TROJANS), AS MYCENAE WAS THE MOST POWERFUL WEST GREEK TOWN AT THAT TIME. HE WAS ALSO THE BROTHER OF MEN ELAUS AND THE HUSBAND OF CLYTEMNESTRA. AGAMEMNON HAD THREE DAUGHTERS AND ONE SON . – (ONE OF HIS DAUGHTERS, IPHIGENIA, WAS THE PROTAGONIST IN EURIPIDES PLAY-DRAMA). WHEN AGAMEMNON RETURNED TO HIS KINGDOM, AFTER THE END OF THE TROJAN WAR, HE WAS MURDERED BY HIS WIFE CLYTEMNESTRA AND HER LOVER AEGISTHUS.

THE AUTENTICITY OVER THIS MASK REMAIN TILL TODAY. THIS GOLDEN EXHIBIT IS CURRENTLY ON DISPLAY AT THE NATIONAL ARCHAEOLOGICAL MUSEUM IN ATHENS. IN SPITE OF ALL THE DOUBTS, THIS DISTINGUISHED MASK OF GOLD, WHICH IS ABOUT 12 INCHES IN HEIGHT IS STILL KNOWN, AS THE MASK OF AGAMEMNON AND IS ONE OF THE MOST PRIZED DISCOVERIES FROM THE ANCIENT MYCENAEAN AGES

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