H E L L E N I C A R T S

Posted on February 16, 2024

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.

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

“Μεγάλην παιδείαν νόμιζε δι’ ής δυνήση φέρειν απαιδευσίαν” = Consider great education that which will give you the ability to suffer ignorance) – PYTHAGORAS

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 –

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

ON THE BRINK OF PURE DIVINE ARE 3 UNITS: SYMMETRY, TRUTH AND BEAUTY(= ΚΑΛΛΟΣ /KALLOS).
THE RHYTHMS (OR ORDERS) OF THE COLUMNS ARE AN EXPRESSION OF THESE 3 UNITS.
The DORIC RHYTHM EXPRESS POWER, WITH THE SUPPORT OF GREAT WEIGHTS AND THEREFORE SYMMETRY, BECAUSE ONLY SYMMETRY IS STRONG ….THE IONIC RHYTHM CORRESPONDS TO WISDOM AND BY EXTENSION TO TRUTH, AS THE SPIRAL ALLUDES TO MENTAL POWER…
THE CORINTHIAN ORDER (RHYTHM) REPRESENTS THE BEAUTY (OR KALLOS), SINCE
, AS THE MOST DECORATED, IT EXPRESS DELICACY AND GRACE…
VITRUVIUS,
ON ARCHITECTURE …
THE 3 RHYTHMS ARE AN EXPRESSION OF ALL 3 PARTS OF THE SOUL= ΨΥΧΗ/PSYCHE…
THE DORIC RHYTHM EXPRESS THE POWER OF THE THYMOID, OF EMOTION ….
THE IONIC RHYTHM REPRESENTS THE WISDOM OF THE ACCOUNTING, THE INTELLIGENCE-KNOWLEDGE=ΝΌΗΣΗΣ-ΓΝΩΣΙΣ
/NOESIS-GNOSIS…
THE CORINTHIAN RHYTHM CORRESPONDS TO THE BEAUTY OF DESIGN: EROS=ΕΡΩΣ
THE SEAL AND GREATNESS OF SPIRITUAL GREECE!.

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

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

ETIMOU LOGIKI

Hestia, Dione and Aphrodite, sculpture of PhidiasPhidias, also spelled Pheidias (flourished c. 490–430 bc), Athenian sculptor, the artistic director of the construction of the Parthenon, who created its most important religious images and supervised and probably designed its overall sculptural decoration. It is said of Phidias that he alone had seen the exact image of the gods and that he revealed it to man. He established forever general conceptions of Zeus and Athena. HERE: from the eastern front of the Parthenon, 435 BC, London, British Museum.

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?

The Stoa of Zeus (Eleutherios) at Athens, was a two-aisled stoa located in the northwest corner of the Ancient Agora of Athens. It was built c. 425 BC–410 BC for religious purposes in dedication to Zeus by the Eleutherios (“pertaining to freedom”): a cult founded after the Persian War. It is different from others in that it was a stoa rather than a temple (the common building used for religious purposes). Scholars believe the building also served other civic purposes due to its central location. Researchers think the structure may have been built by Mnesikles, the architect who built the Propylaia. In the late first century BC a two room annex was added, possibly for the cult of the Roman imperial family.
This cult of Zeus was established after the battle of Plataia in 479 BCE, when the Greeks drove the Persians out of Greece.
Though dedicated to a god, the building takes the form commonly used for a civic building: a stoa (colonnade or portico), with two projecting wings. Built of marble and limestone in the years around 425 B.C., the stoa had Doric columns on the exterior and Ionic columns within. According to Pausanias it was decorated with paintings done by Euphranor, a famous 4th-century artist, and the shields of those who died fighting for the freedom of Athens were displayed on the building. Rooms were added to the back of the stoa in the Early Roman period and may have housed a cult of the Roman emperors.

ACROPOLIS OF ATHENS, GREECE in 1670s, in 1860s and 2021.

The roof and several side columns of the PARTHENON would’ve been still on there. Unfortunately during the OTTOMAN EMPIRE rule over GREECE, the VENETIANS, MOROSINI’S blasted cannons from the sea and hit the PARTHENON while the OTTOMANS were using the structure as an ammunition depot.

The explosion destroyed the roof and the sides of the PARTHENON.

THEN WAS THE “ENGLISH” NOBLE COUNT ELGIN* ONE OF THE WORST AMONG OF THE BARBARIAN THUGS, AFTER THE “FRENCH” NOBLE PRIEST MICHEL FOURMONT**, WHO LOOTED THE WHOLE COUNTRY, BURNED, MASSACRED ETC…

Today there is a major reconstruction of the PARTHENON and other structures on the ACROPOLIS.

P. S: *ELGIN, AS FOURMONT** HAD THE SAME ROOTS… DURING THE MIDDLE AGES, “RENAISSANCE” AND UP TO OUR DAYS THE PSRTICULAR RACE, WERE BYING NOBLE TITLES ALL OVER EUROPE… THE MOST DANGEROUS ARE THE UNGRATEFUL BENEFICIARY ONES TOWARDS TO THE BENEFACTOR-VICTIM THROUGH THE CENTURIES.. AND IT STILL GOING ON BY ALL KIND OF MEANS

May be an image of the Parthenon and text

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FLOWER FESTIVAL

From the 11th of Anthestirion, to the 13th of Anthestirion, 3rd year of the 700th Olympiad, mid-moon. From sunset on 02/20/2024 to sunset on 02/23/2024.

A Dionysian celebration of double importance, on the one hand the celebration of the reborn nature and on the other the memory of the dear dead, in honor of the Lake Dionysus and the Chthonian Psychopomp Hermes. We have a clear reference from Thucydides, while according to Lekatsa (Dionysos par. 47), the name of the holiday comes from the flower… and is related to the custom of the second day of the “Hoos”, where three-year-old children were crowned and not only , with flowers.

At the beginning of Spring, nature is reborn from its long hibernation, the earth begins to be adorned with the first hasty flowers and the bright sun fills man with joy and optimism. The first agricultural works begin, the cultivation of the land “opens the resources” and the souls of our dead rise to the surface. This surely reminds of loved ones, who have left the worldly life, people who have never been forgotten and paying honor to their memory, apart from being a debt, also helps to soften the pain of separation.

The Limnaios hiero, (héron “in Limnais”), was the center of the events, although we do not know its exact location. It is estimated somewhere between the theater of Dionysos and Ilissos. As is well known, the great and important holidays were three days long and the Anthesterias are no exception.

On the first day we had the Pythoia, that is the opening of the pyths, the next day we had the Hoes, (vessels of wine) while the third day, the Hytroi, was dedicated to the dead.

In Pythoia we had libations, outside the closed sanctuary of Dionysos, as they opened the pitharias with the wine of the new harvest. The whole family, from the age of three and above, wore floral wreaths, while the servants were entitled to do and say what they wanted because of the day. The first wine was an offering from the head of the family outside the sanctuary “in Limnais”, then there was a libation in the house with wishes for a good outcome and of course everyone tasted for the good of the new era, danced and sang and of course did not forget to thank the god Dionysus.

The second day, the Hoes, owes its name to the hoes, the vessels where it was stored, much like today’s good wine. It was the day when the sanctuary was opened, the hierogamy was performed, during which the procession entered the sanctuary, where the symbolic marriage of the god was performed after the wife of each king, for the vegetation and fruitfulness of the earth. The king, accompanied by disguised followers, arrived at the sanctuary, on a wheeled chariot in the shape of a ship, whose bow ended in the shape of a pig’s head, while its stern resembled the neck of a swan. The same ship was also used in Panathenaia, to transport the sacred Veil of Athena. In the sanctuary he met his beloved wife, who had arrived there the day before, in a flower-decorated carriage, followed by nymphs and maenads, as well as bearded Seilins, to the sound of bells and bells, as well as the hymn of the Bacchus. She was accompanied by fourteen Athenian concubines, chosen by the king himself, the so-called Gerares. Reference is made to Hesychius as well as Polydeukis.

After the ceremony, the queen spent the night again in the sanctuary, while the escort with lit torches went to the theater where a banquet was held with wine-drinking contests. They filled clay vessels (hoes) with wine and competed to see who would drink it the fastest, while stepping on inflated ashes smeared with oil, because apparently part of the competition was the difficulty caused by their slipperiness. They brought food from home, mainly placentas with a kind of hot sauce. [“upon deipnon fast, marched the kistin and the hoa. That of Dionysus, because the priest is transferred” (Acharnes, (1085 -1087) Aristophanes)].

The contestants were speechless during the wine-drinking, while afterwards with the wine that was left over they made libations inside the sanctuary of Limnaios.

There was a special celebration for children, where three-year-old children were crowned with floral crowns, which in a sense symbolized the rebirth of mother nature. Gifts were also sent to the teachers that day.

After the dances, the participants in the banquet went out into the streets, on carriages, where obscenities, jeers and fights were customary. Today’s expression “you’ll hear it from the car” comes from this fact.

On the third day (Khytroi), the scene changed completely, the holiday was dedicated to the dead, as mentioned above. Porridge was prepared from grass and various seeds, inside clay pots, a kind of kolybum. It was believed that the souls, ascending from the underworld and hovering around the fire, breathed in the gourd and smoke and drank honey and milk from the pit. The panspermia myth goes back to the time of the Deucalion flood, during which the survivors cooked “panspermia soup”. He performed a sacrifice to Dionysus and the soul-bearer Hermes, an ancient custom. A red thread around the saints was a kind of protection from the evil, evil spirits, which were believed to ascend together with the souls.

We also had apothecaries in other cities of Greece, in Boeotia, in Corinth, in Apollonia of Halkidiki, in Thira, in Magnesia, etc.

Here in the above photos one can see how, from antiquity to the present day, from Alexandroupoli to Zurich and so on. with the same enthusiasm from young and old, the tradition of the beautiful Spring holiday continues.

Apollonius – Ariadne

FLOWER FESTIVAL

From the 11th of Anthestirion, to the 13th of Anthestirion, 3rd year of the 700th Olympiad, mid-moon. From sunset on 02/20/2024 to sunset on 02/23/2024.

ΑΝΘΕΣΤΗΡΙΑ

.

YOUNG MEN RIDE HORSES ON THE PARTHENON FRIEZE

ANOTHER PART OF THE PARTHENON FRIEZE SHOWED THE RICH YOUNG MEN OF ATHENS RIDING THEIR HORSES. THE HORSES ARE EXCITED TO BE IN A PARADE, AND THE YOUNG MEN ARE TRYING TO KEEP THEM UNDER CONTROL.

TEMPLE OF APOLLO/ DELPHI//BEOTIA

O N I A (“MINOR ASIA”) /: A L I C A R N A S S O S BUDRUM IN NOW DAYS TURKEY

(Some large Mycenaean tombs have been found at Musgebi (or Muskebi, modern Ortakent), not far from Halicarnassus. According to Turkish archaeologist Yusuf Boysal, the Muskebi material, dating from the end of the fifteenth century BC to ca. 1200 BC, provides evidence of the presence, in this region, of a Mycenaean settlemen), Amazon Frieze BM GR1847.4-24.5. Detail of the Amazon Frieze from the Mausoleum at Halicarnassus: combats between Greeks and Amazons. Date circa 350 BC

section of the Amazon frieze

Section of the Amazon frieze from the Mausoleum of Halicarnassus, attributed to Pytheas, c. 350 BCE; in the British Museum, London

English: Detail of the Amazon Frieze from the Mausoleum at Halicarnassus: combats between Greeks and Amazons
Date	14 August 2009, 12:30:55
Source	Own work
Author	Yair Haklai

Siphnian Treasury, c. 530 B.C.E., Sanctuary of Apollo, Delphi, Greece

The Bardo Museum in Tunis has one of the world’s great collections of mosaics, dating back more than 2000 years. Many of them depict POSEIDON ,THE GREEK GOD ÓF THE, and the four seasons of the year. This photo is just a detail shot of a portion of one mosaic. Sadly, the Bardo Museum has been in the news not for its art collection, but for a terrorist attack.

…

Three-sided marble relief. Left side. Greek. Classical Period, c. 450–440 B.C. | Museum of Fine Arts, Boston

ΟΔΥΣΣΈΑΣ. ODYSSEUS with his dog ARGOS.

A M A L T H E I A — Leap to the Divine

Amalthea is the terrible goat who, with the help of the Nymphs, Adrastea and Ides, fed Zeus with her milk. She is the daughter of Helios and looks so terrifying that even the Titans could not bear her, so they begged the Earth to hide her in a cave in Crete. There, in the bowels of Mount Ida, they brought the newborn Zeus to her, to nurse him. Much later, during his fight against the Titans, Themis advised Zeus to wear the skin of Amalthea for protection, as nothing could penetrate it.

The myth of the “horn of plenty” is also associated with Amalthea. According to the prevailing version, Zeus himself broke her horn and after strengthening it with miraculous properties, gave it to the daughters of the king of Crete, Melissos, who had helped deliver the infant to Amalthea. It only took one wish and the horn was filled with all the goods.

Amalthea and her horn, a symbol of fertility and abundance, were later destroyed by Zeus in the firmament.

This is, in short, the symbolic imprint of the nursing of Zeus, which as a “Myth” unfolds internal parameters of payment, course and protection from above that the soul enjoys during its incarnate journey.

The question naturally arises:

“Is it possible for a GOAT to nurse the father of the gods?”

But Amalthea originates from the Sun, so it is a bright/solar creature. Also as horned, it is sacred, as horns were considered sacred symbols and were an object of respect, as points of connection with the divine field. Her terrible visage declares that, as a sacred creature, she should not be visible to unworthy unholy eyes. That is why the Earth itself hides her in the cave/womb, where darkness reigns and there, Amalthea receives the newborn Zeus and becomes His foster!

The Goat Amalthea, Sacred Solar creature, hidden in the bosom of Mother Earth, talismanically nurtures Zeus in the innermost, that is, in the dark, subterranean chambers of the terrible labyrinth of earthly ramifications that the soul is called to traverse. While later again the Goat is his nurse, she will protect him with her fleece against the Titans.

Because,

the Galuchia is the highest form of initiatory connection, whose influence and protection never ceases, while the Solar Knowledge (as imprinted on the fleece of Amalthea) is impenetrable by Titan shots!

As for the Sacred Horn of Amalthea, Zeus, recognizing the help given to him by Melisseus, donates it to his daughters. In essence, Zeus donates to the sowing of Melisseus, the unique fertilizing wealth, which is none other than the possibility of connecting the mortal with the Divine (as symbolized by the horns/antennae).

Finally, Amalthea and her symbolic horn of wealth are raised to the Heavenly Dome,

the nurse of Zeus, as AEGA is SAINT

and as AMAL-THEIA they are the BAD GODDESSES, while KERAS (K + ERAS/ERATOS) expresses the Circular route, which through Eros the soul erased, so that it could locate its Center and from there launch itself into the Celestial firmament.

In conclusion,

Zeus/Mind, by his example, demonstrates the support of the Divine in the demanding path that each soul must follow in its journey, which begins with the descent from above, is strengthened by the intake of knowledge within the bowels of the Earth and through the Solar feeder of lactation, recovers the psycho-spiritual power, as a return ticket to its destination, which touches the starting point.

It is the Circle of the course, starting from Heaven, staying in darkness, fighting against Titans and ascending/returning to the Star of origin.

In this route, the Goat

A M A L T H E A

he is called, as a nurturer, by the Nymphs and is projected as a connection of Earth and Heaven, expressing the help from above, which supports the soul in its Heroic LEAP towards the DIVINE fields, as a beneficiary of the Sacred Horn!

PENTELIAN MARBLE ‘ DECORATED IN BAS-RELIEF OF ‘HERMES CONSIGNING THE YOUNG DIONYSUS TO THE NYMPHS OF NISSA to NURSE AND FEED HIM’, SIGNED BY THE ATHENIAN SCULPTOR SALPION

ARCHEOLOGICAL MUSEUM OF NAPLES

Boulton & Fothergill designed to hold essence or perfume. It was based on the antique Gaeta vase created by the Greek sculptor Salpion, now in the National Museum, Naples.

During the second half of the k eighteenth century ornamental vases were very popular, in some cases sets of up to seven vases were produced to be placed together on a chimneypiece. Boulton was one of the first manufacturers to seize on the commercial opportunities created by the craze for the ‘antique taste’, or neo-classicism as we now refer to it, and especially for ornamental vases, which flourished in the 1760s

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HELLENIC CIVILIZATION/LEPTIS MAGNALIBYA/750 BC CORINTHIAN & IONIAN RYTHM of the COLLUMS GREEK COLONY-NOT “PHOENICIAN”, OR CARTHAGENIAN, OR ...ALBANIAN. ETC.. ETC

HELLENIC CIVILIZATION/:

2-B-CONTINUED: SYRIA/IDENTICAL HELLENIC MOSAICS: MOTIVES FROM THE GREEK MYTHAGOGY-COSMOLOGY:. HERCULES, HIPPOLYTE, ACHILEUS…

₪₪₪.

P. S: CHECK UP PLEASE(!!), THE INCRPTIONS

,,,,,THEN: YOU KNOW…… ..WHO`s WHO in the ZOO…. MEANING WHO IS THE CREATOR & WHO’s THE.. CREATURE!!

HELLENIC CIVILIZATION/ASIA MINOR// ANCIENT HELLENIC CITY of ADANA/ DEDICATED TO THE TWO SONS OF URANUS: ADANOS & SARUS = ΑΔΑΝΟΣ & ΣΑΡΟΥΣ // MYTHAGOGY-COSMOLOGY/ /HERE:

CLASSICAL MOSAIC of POSEIDON(“NEPTUN” LATER in LATIN) 400 BC

MYTHOLOGY-COSMOLOGY/ GORGONA MEDUSA

HELLENIC CIVILIZATION/

BYZANTIUM-BUILT IN 8th Century BC, by BYZAS, KING OF MEGARA(BETWEEN ATHENS & CORINTH)..

..1100 YEARS…LATER “CONSTANTINOPEL”.. .

&….1300 YEARS LATER

“ISTANBUL”

Nestled beneath the winding streets of ISTANBUL, just 490 feet (149 meters) from the Hagia Sophia lies an ancient cistern that has two columns in particular, however, shaped like giant Gorgon Medusa heads, that have piqued the interest of those with a more imaginative brain. The Basilica Cistern, also known as the Yerebatan Cistern, is the largest of several hundred ancient cisterns that sit under the city of Istanbul, designed to catch and hold rainwater. It is one of the most famous and impressive cisterns, not only in Turkey, but in the entire world.

PS: ANCIENT GREEK

WONDERFUL MARBLE STATUES & TEMPLES, OF DEMETRA, APOLLO WERE BROKEN, UNDER TO BUILD…

TEMPLE OF BACCHUS /IONIAN ORDER IN TODAY`S BAALBEK

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!!!…LOVE IS GOD!!! NO HOLY. LOVE IS GREEK!!! NOT LATIN. EROS=ΕΡΩΣ IS THE SON OF GODDESS OF BEAUTY APHRODITE = ΑΦΡΟΔΙΤΗ,
..NOTHING TO DO WITH VALENTINE.
LET’S FINALLY REASON!..BELOW: A MASTER PIECE OF ANTONIO CANOVA

…

The “House of the Abduction of HELEN” (also known as House 1.5 of Block 5 of the city) is named after this enormous floor mosaic, 8.48 x 2.84 metres, the largest ancient mosaic yet discovered in Europe, which is still in its original position in the archaeological site, at the north side of the house. It was unearthed in 1961, around the same time as the Stag Hunt mosaic in the next room east of it. These works are thought to have been made later than those in the “House of DIONYSOS” using more advanced styles and techniques.

The dramatic subject of the mosaic is the mythical abduction (or rape) of HELEN (later to be known as Helen of Troy) by the ATHENIAN hero THESEUS. As he forces Helen to board his waiting chariot she calls to her fleeing female companion DEIANEERA for help. The name of the four characters in the scene are written close to each head. In the photo above, the driver of the four-horse chariot is named as Phorbas (ΦΟΡΒΑΣ).
photos and articles:
© David John

ALEXANDER the Great: The GREATEST Speech (at OPIS) in HISTORY?
ALEXANDER the Great is one of the most extraordinary individuals in history. He became king of the fringe GREEK kingdom of MACEDONIA in 336 BC at the age of just 20, and before his death twelve years later, had imposed Macedonian overlordship on Greece, destroyed the mighty Persian Empire and led an army deep into modern Afghanistan and to the Indian frontier.
At Opis he faced a mutiny by his Macedonian troops, angered that he wanted to send some of them home, while appearing to give preference to his new Asian subjects, and adopting many of their customs. Alexander dealt ruthlessly with the ringleaders, before (according to ‘The ANABASIS’ by ROMAN historian ARRIAN) making a speech to his army in which he berated his troops for their disloyalty.
Egyptian Officials Claim They’ve Found Alexander the Great’s Tomb
The speech, as it has reached us, was no doubt written by ARRIAN rather than ALEXANDER. His actual words are now impossible to ascertain.
But ARRIAN had access to eyewitness accounts which are now lost (principally PTOLEME and NEARHOS, and modern historians generally agree that the speech was a real historical event, and that ARRIAN gives a good representation of its likely content.
ALEXANDER The Great Statue Unveiled in Athens
Putting its (contested and debated) value as a historical source to one side, the scene – as it appears in ARRIAN – is a brilliantly written moment of high drama and emotion, in which ALEXANDER first highlights his debt to his father PHILIPP, before launching into a tirade in which he lists his own astounding achievements and qualities of leadership.
The speech has been abridged for this video.
The speech:
“The speech which I am about to deliver will not be for the purpose of checking your start homeward, for, so far as I am concerned, you may depart wherever you wish; but because I wish you to know what kind of men you were originally and how you have been transformed since you came into our service.
“In the first place, as is reasonable, I shall begin my speech from my father PHILIP. For he found you vagabonds and destitute of means, most of you clad in hides, feeding a few sheep up the mountain sides, for the protection of which you had to fight with small success against Illyrians, Triballians, and the border Thracians.
“Instead of the hides he gave you cloaks to wear, and from the mountains he led you down into the plains, and made you capable of fighting the neighbouring barbarians, so that you were no longer compelled to preserve yourselves by trusting rather to the inaccessible strongholds than to your own valour. He made you colonists of cities, which he adorned with useful laws and customs; and from being slaves and subjects, he made you rulers over those very barbarians by whom you yourselves, as well as your property, were previously liable to be plundered and ravaged.
“He also added the greater part of Thrace to Macedonia, and by seizing the most conveniently situated places on the sea-coast, he spread abundance over the land from commerce, and made the working of the mines a secure employment. He made you rulers over the Thessalians, of whom you had formerly been in mortal fear; and by humbling the nation of the Phocians, he rendered the avenue into Greece broad and easy for you, instead of being narrow and difficult.
“The Athenians and Thebans, who were always lying in wait to attack Macedonia, he humbled to such a degree,—I also then rendering him my personal aid in the campaign,—that instead of paying tribute to the former and being vassals to the latter, those States in their turn procure security to themselves by our assistance.
“He penetrated into the Peloponnese, and after regulating its affairs, was publicly declared commander-in-chief of all the rest of Greece in the expedition against the Persian, adding this glory not more to himself than to the commonwealth of the Macedonians. These were the advantages which accrued to you from my father Philip; great indeed if looked at by themselves, but small if compared with those you have obtained from me.
“For though I inherited from my father only a few gold and silver goblets, and there were not even sixty talents in the treasury, and though I found myself charged with a debt of 5OO talents owing by Philip, and I was obliged myself to borrow 800 talents in addition to these, I started from the country which could not decently support you, and forthwith laid open to you the passage of the Hellespont, though at that time the Persians held the sovereignty of the sea.
“Having overpowered the viceroys of Darius with my cavalry, I added to your empire the whole of Ionia, the whole of Aeolis, both Phrygias and Lydia, and I took Miletus by siege. All the other places I gained by voluntary surrender, and I granted you the privilege of appropriating the wealth found in them.
“The riches of Egypt and Cyrene, which I acquired without fighting a battle, have come to you. Coele-Syria, Palestine, and Mesopotamia are your property. Babylon, Bactra, and Susa are yours. The wealth of the Lydians, the treasures of the Persians, and the riches of the Indians are yours; and so is the External Sea.
“You are viceroys, you are generals, you are captains. What then have I reserved to myself after all these labours, except this purple robe and this diadem?
“I have appropriated nothing myself, nor can any one point out my treasures, except these possessions of yours or the things which I am guarding on your behalf.
“Individually, however, I have no motive to guard them, since I feed on the same fare as you do, and I take only the same amount of sleep. Nay, I do not think that my fare is as good as that of those among you who live luxuriously; and I know that I often sit up at night to watch for you, that you may be able to sleep.”
READ MORE: From Egypt To India: The Cities Founded By Alexander The Great.

VERGINA IS A PANHELLENIC SYMBOL.
The shield below is SPARTAN, AS ALL OVER GREECE

HELLENIC CIVILIZATION/MACEDONIA/
A person with a NORMAL I.Q can SEE that these Macedonian coins are in GREEK ..NOT WARDASKIAN Slavoalbanian, which is Cyrilic (Slavic letters.CYRILLOS & METHODIOS were Greek Monks and they introduced the Cyrilic Alphabeth to the Slavic at that time people in 800A.D.).the coins are dated since 400 B.C belonging to the Argead – Macedonian Dynasty ….ALEXANDROS= man`s protector, became more than thousands years later…
“Aleksandar”!!..further from the ENGLISH-ZATION to “ANDER”, as: ANDROS(= of MAN) ..like PERIANDROS, MAIANDROS, LEANDROS, ANAXIMANDROS, NIKANDROS(=MAN’s VICTORY),…
..But CRIMINAL GEOPOLITICS, ECONOMICAL, INFERIORITY COMPLEX and other reasons by CERTAIN BARBARIC POWERFUL nations ..
..the plan is OLDER THAN 80 years old & Tito and later Soros is finishing the plan of their goal!: The SERBIAN Kosovo becomes ..Albania, as Great Albania!!.. &.. Wardaska (PAIANIA in ancient times) “Northen Macedonia”!!!
…simple FACTS!!>>>^>>>>>>>>>
Yep, apparently ALL MACEDONIAN coin inscriptions that the Greeks still can understand perfectly 2500 years later, are really Sk0pey SLAVIC-CRYPTO language for use in HELLENIC currency ????
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, JEALOUSY & NO AUTHENTIC HIGH & UNIQUE CIVILIZATION…
TEMPLES, STATUES, MOSAICS, SCRIPTS, COINS, SCIENCE, as: MEDICINE, TECHNOLOGY( JUST ONE example: The ANTIKITHERA mechanism) MATHEMATICS, GEOMETRY, PHYSICS, ASTRONOMY, DRAMA, PHILOSOPHY, POETRY.. & ETYMOLOGY of NAMES
& WORDS by the ANCIENT MATHEMATIC- DIANETIC LANGUAGE, WHICH 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.
www.argead dynasty

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

SIREN ON A VIOTIAN SIREN ON A VIOTIAN BLACK-SHAPED = MELANMORPHIC = ΜΕΛΑΝΟΜΟΡΦΟ PLATE FROM TANAGRA, 570-560 BCE.

LOUVRE MUSEUM, MNB 626 PLATE FROM TANAGRA, AROUND 570-560 BCE.

LOUVRE MUSEUM, MNB 626

FLOWER FESTIVAL

From the 11th of Anthestirion, to the 13th of Anthestirion, 3rd year of the 700th Olympiad, mid-moon. From sunset on 02/20/2024 to sunset on 02/23/2024.

FLOWER FESTIVAL

From the 11th of Anthestirion, to the 13th of Anthestirion, 3rd year of the 700th Olympiad, mid-moon. From sunset on 02/20/2024 to sunset on 02/23/2024.

CONTAINER (=PYTO=RYTO) IN THE SHAPE OF A BEING’S HEAD AND A MAENADE…FROM ATHENA….

About 440 to 430 BC

LOUVRE MUSEUM…

THE RYTO (PLURALIS:.RYTA) FROM THE ANCIENT GREEK PYTO/RYTO.

it is a container for drinking liquids or blood during related rituals.

The word is said to be derived from the verb rein, .

The typology of the vessel includes features such as the open mouth and the hole near the bottom which probably served to diffuse the liquid.

“Tilt the old door

and let me lock out Boreas(=North-wind),

He is also a sailor

and has bitterness in his heart.”

The god BOREAS, according to one version was son of ΑΙΟΛΟΣ=AEOLUS and ANCESTOR of the MACEDONIANS, was the god of the frozen north winds that blew in winter. He is depicted as bearded, winged and with wings on his feet, wearing a short pleated tunic. As the song says “he had bitterness in his heart”. Because he lived alone in his WHITE PALACE IN THRACE and traveled by flying, giving people the icy wind with his breath.

As he was flying over ATHENS one day, he saw the beautiful OREITHYIA, the YOUNGEST daughter of the king of the city, ERECHTHEA and fell in LOVE with her. She was also SÄD because her father had SHUT her up in the PALACE, FEARING, that SHE MIGHT MARRY and NOT have HER to TAKE CARE of him in his OLD age. BOREAS, like a good boy, went and asked for her from her father. He asked Boreas to come again in a month to prepare his daughter for the wedding, but actually to buy time. During this time, BOREAS OFTEN visited the PRINCESS , who ALSO FELL in LOVE with him. So they “DIVIDED THEIR PAIN IN half”… BUT because ERECHTHEUS KEPT GIVING FURTHER POSTPONEMENTS FOR THE WEDDING, BOREAS got6 VERY ANGRY WITH his BEHAVIOR and DECIDES TO STEAL THE GIRL IN ORDER TO MARRY HER. FLYING QQUICKLY TO ATHENS OVER ILYSOS according to one version, WHERE SHE WAS PLAYING WITH HER FRIENDS, HE TOOK HER IN HIS ARMS AND FLEW AWAY with her, heading for HIS PALACE on the SARPEDONIAN CAPE OF THRACE. THERE, BOREAS AND OREITHYIA – who became IMMORTAL LIKE HER HUSBAND – MARRIED and LIVED HAPPILY in THEIR PALACE in THRACE and had TWO WINGED sons, ZETIS and CALAIS, who followed JASON with the ARGONAUTS

BOREAS, according to a legend, LATER, for the SAKE of HIS WIFE, HELPED THE ATHENIANS and destroyed the PERSIAN FLEET at ATHOS and ARTEMISIOUM. AFTER the DESTRUCTION of the PERSIAN fleet, the ATHENIANS HONORED, TOGETHER with the god POSEIDON, BOREAS, with AN ALTAR they set up on the banks of the Ilis, where OREITHIA had been CAPTURED.

These beautiful tender lyrics by Dimitris Christodoulou, set to music by Mimi Plessas and sung by the adored Antonis Kalogiannis, were among my very favorite songs of my youth! The last time I heard it and I liked it was also from the Corfu choir of OTE employees, who raised it to another parallel sphere, with the well-known timbre of the Ionian songs!

Photo from ancientrome.ru/art/artworken : Boreas abducts Orithia under the gaze of one of her friends. Red clay jug. Angiographer Hermonax.

Circa 470 BC

Height 35.1 cm, rim diameter 18 cm, base diameter 13 cm.

In St. Petersburg, State Hermitage Museum.

είναι κι αυτός θαλασσινός

EPITYMBIA”** LECYNTHOS, PIRAEUS ARCHAEOLOGICAL MUSEUM…
The tomb lekythos is decorated with embossed floral and linear motifs in bands. Beginning of the 4th century BC
The lekythos is a type of Greek vase that was used as an olive oil container. It has a narrow body and a thin and long neck. Its handle (if present) connects the neck to the body.
**EPITYMBIA= SCRIPTS ON THE TOMB LECYTHOS, DEDICATED TO HEROES AND GREAT PERSONALITIES ..

ALABASTER (vessel)

GREEK ALABASTER FROM LOWER ITALY ….LOUVRE

Alabaster in art and archeology means a vessel with a tall body and a small mouth. It usually does not have a handle, although sometimes it has small holes or ears for carrying it.

Alabaster was used by women, mainly for the storage of aromatic oils, as is at least witnessed in the angiographic scenes.

They often appear as offerings in burial assemblages. The exhibit dates back to the end of the 4th/beginning of the 3rd century BC. It was introduced at the end of the 6th century BC. century and disappeared from the scene at the end of the 5th BC. h.

The scene that decorates the vase covers the perimeter of the body, while sometimes it is adorned only with an anthemion. Its height varies from 15-20 cm.

KYATHOS

Cleomenes, the king of Sparta, drank only two goblets of wine at dinner, this was not considered a sign of great temperance,

The kyathos was quite a handy vessel and Athenaeus says that it was the necessary vessel both in the houses of the rich and in the huts of the poor. It also served as a measure of the ratio of mixing wine with water indicated by the winemaker. Polydeukis says that ten glasses of water correspond to five glasses of wine. During the banquet, the slave, who was near the krater with the goblet in his hand, filled up wine from the krater and poured the intoxicating liquid into the syndaitymonos’ glass, “cyathizoning” it, as Athenaeus says. During the wine-drinking, the host determined the number of cups, which the wine-bearer had to pour into the glass of each syndaitymon.

Cleomenes, the king of Sparta, drank only two goblets of wine at dinner, this was not considered a sign of great restraint, as Athenaeus emphasizes. Augustus did not exceed twelve cyathus during the whole banquet, as Suetonius mentions. The slave, who performed the duties of winemaker, was called “cyathotes” and was usually a handsome and graceful teenager, who carried a long and perfumed earl. In performances this young man always holds the kyathos as an emblem of his service. With the kyathos, the necessary libations were made at the beginning and end of the banquet, in which the name of the god and the name of the host were pronounced. The kyathos was a metal vessel, usually copper. But there were also bowls of more precious metal and bowls of ivory. The shape of this handy container is indeterminate. Plato the comedian compares the cup to the pan, which draw the water of the ships. Suidas and his commentator Aristophanes compare it in terms of the cochlea. Hesychius calls it an oval vessel.

CYLIX ..THE HOLY VESSEL OF ANTIQUITY…

(Dedicated to Someone)

It symbolized the soul, into which is poured the wine, the spiritual drink (the higher spiritual life), which was used in all the sacramental sacrifices. The ecstasy of the soul in a state of intoxication, caused by the divine drink (symbolized by a goblet full of wine, ambrosia, etc.) is found in the myth of Dionysus (Bacchus) who carried the drunken Hephaestus to Olympus (upper world).

The goblet was a circular glass, deep, but completely open, with a base and 2 handles. The classic type of goblet resembles today’s champagne glasses with the addition of two ears usually to hang the empty goblet. In vase paintings, contemporaries hold these glasses by the base or foot. The height of the foot, like the depth of the cup, varied by place and time and that is why there are many variations of the cup.

The oldest type of goblet is a kind of deep cup with a vertically shaped belly and a thick and tall foot. The handles show the shape of a short and full ear, many times they were not completely missing. This type is found in Italy, Greece and Asia Minor and belongs to the archaic period. A typical specimen is the archaic goblet in the British Museum, decorated with meanders and wavy lines.

With the passage of time, the shape of this acetabulum changes to a more elegant and simplified one, to end up, through gradual lightening and thinning of its parts, in the beautiful classical type. Cups of this type appear almost flattened as a consequence of the large width in relation to the small depth. The bottom of the glass forms an elongated arc. The leg, thin and slightly raised, traces a slight curve. The handles, in the shape of horns rather than rings, are also elongated, following the general trend of the vessel. But there are also goblets with a somehow pressed base or without the base, which look like the bottle. According to Athenius, the Cypriots called the acetabulum kilica. Polydeukis confuses the goblet with the carcase. Thus it turns out that the term cup is open to many definitions.

However, it is generally accepted that the goblet is the vessel we described above and is quite similar to today’s champagne glasses. Goblets were made from all kinds of materials. Of course, they were usually made of clay.
But they were also made of wood, as Martialius informs us, and of gold and silver, as Athenaeus testifies. Proof of this is the silver goblet, found during excavations in the Crimea and exhibited in the Hermitage museum. This silver goblet is decorated around the belly, just above the ears, with an engraved gold necklace. According to Martialius, there were also silver and gold goblets, decorated with precious stones, as well as goblets made of crystal or even plain glass.

COOLER AND COVERED CRATER (Vessels for cooling wine)

A cooler in ancient Greek pottery is a mushroom-shaped vessel, hollow down to its flat base, used for cooling wine. It was placed inside a larger vessel, usually a lidded krater, containing cool water.

Various shapes of vessels for cooling wine were used in the past. However, coolers of this particular shape were first manufactured by the pioneers of the red-figure style around 520 BC, apparently in combination with the cupped krater, a shape first used by the late Hezekiah around 530 BC. and established a little later by Euphronios. The use of freezers did not last more than two generations: from 460 BC. approx. and then both the production of freezers by the potters and their depiction in angiography stops.

Attic black figure cooler depicting the departure of the warrior, c. 525-500 BCE. Louvre, no. of exhibit F 319.

KANTHAROS
SYMPOSIASTIS, ON KANTHAROS BY THE PAINTER OF THE GREAT ATHENIAN KANTHAROS……. Louvre Museum, end of the 5th century B.C.

Kantharos [is a type of ancient Greek vessel with a goblet-shaped body with a vertical handle on both sides, connected to the rim of the vessel and with a high curved handle at the top]. As a vessel it is connected with the worship of the god Dionysus, and is his symbol

CHRONOLOGY….

The shape of the vase was formed during the Middle Helladic period and was already considered ancient during the classical era. It was originally made especially in LACONIA and BOEOTIA and was used as a votive, and a religious vessel in the daily practice of worship in private spaces. In the GEOMETRIC period we find kantharus in BOETIA and ATTICA as funerary votives, usually in men’s tombs which are often accompanied by reliefs of a martial or athletic theme. In Boeotia it continued to be used as a burial votive until the late classical period. In 600 BC about evolved the peculiar shape with the high leg. At the same time, its use also spread to the GREEK BRANCH OF ETRUSCIANS IN MAGNA GRAECIA.

During the late classical and Hellenistic era, its use is also found in everyday life, while it remains connected to valor, the male foil and the worship of the dead. The largest beetles found are up to 50 cm tall and were placed on top of graves. Kantharai are also depicted in reliefs and Attic vase paintings, in the hand of the deceased, the god Dionysus, or one of his attendants.

THE ANCIENT GREEKS WERE PROUD OF THEIR LANGUAGE!
https://euphoriatric.com/the-mathematical-structure-of…/
https://euphoriatric.com/exposing-the-fary-tale-tree-of…/
https://euphoriatric.com/pythagoras-the-nine-muses/
https://euphoriatric.com/etymology-means*

XENOMANIA, I.E. BEING FASCINATED BY ANYTHING FOREIGN, IS A BIG AND SEVERE DISEASE OF THE NEW GREEKS. The most infuriating thing, however, is the use of foreign words instead of the more beautiful Greek ones, from a language that is the mother of all European languages and beyond.
For example, we like the word “fame story”, it attracts us more than the words “fame and history”, whose fathers are Herodotus and Thucydides. We prefer the studio to the laboratory or study. Supermarket instead of hypermarket. Sponsor instead of sponsor. Graffiti instead of a mural. A show instead of a show. Parking instead of parking, etc.
The Ancient Greeks were so proud of their language that they refused to speak barbarically.
In the tragedy “Seven on Thebes” our great tragic poet Aeschylus presents Eteocles begging Zeus and the earth for the salvation of Thebes.
What is admirable, however, is how he incorporates the language into this appeal: “Don’t stun my city with annihilation, declarer, Hellas phthongon heusan.” That is, “don’t destroy my city, which speaks Greek” (vv. 112-113).
Sophocles in “Aiad”, p. 1263, writes: “Tin barvaron gar gyslosan uk epaio” (=Because I do not know the barbaric language). Agamemnon replies to Teucros.
Also typical is the passage that Plutarch mentions to us in the life of Themistocles (6,4,2): “He is also praised for the bilingual work in the pemphtheisin under a king on land and water atisin. Interpretation, because beings of syllables by resolution extended that voice of a Greek woman, barbaric commandments, she dared to use.”
This passage, therefore, tells us that, when Xerxes sent a delegation to request “land and water” from the Athenians, Themistocles, despite the established rules, ordered the arrest of the interpreter and by resolution put him to death on the grounds that he dared to use the Greek language in barbaric edicts…
But the story of Philomela also reveals the greatness of the Greek language. Tireus, king of Thrace, dishonored his female cousin Philomela. And in order not to witness him, he cut out her tongue. However, despite the fact that Tireus cut off her tongue, in an Ancient Greek inscription she wrote the woes of her soul: “Glossan din emen etherisen Hellas fojon”.
Philomela, therefore, does not mourn that her tongue was cut out, but that she will not have a voice to speak Greek again…

So we see how our ancestors protected the Greek language.
Therefore, our ancient ancestors were proud of the Greek language and did not even allow it to be used in matters related to uncivilized people, barbarians, as they called them. Who could have imagined that in recent times this language would become the mother of all European languages and not only.
But, where did he imagine the unbelievable: Their descendants of the 21st century set out to destroy it!
For over thirty years now we have continued the “simplifications” and from the many “simplifications” and from the many alterations we have made it unrecognizable…

Apart from the protection of the language, the Ancient Greeks did not tolerate barbaric customs. The piercing of men’s ears, so that they could wear an earring = an earring, was considered a barbaric custom for our Ancient ancestors. Thus, if there was anyone with such a habit, he was ridiculed and driven out of the city.
There is, of course, a relevant text that says this: Xenophon saves it in “Kyros Anavasi” (book 3, Ch. 1, 30-34) and says the following: He is such a Greek. Then Agasias Stymphalius said: But this is neither of Boeotia, nor belongs to all of Greece, and I saw him as far as Lydon with both ears closed. And so they had. They deported this one.”
Attribution: “Because he and his particular homeland is putting all Greece to shame, since, while he is a Greek, he is like that (that is, cowardly and cowardly) afterwards, however, taking the floor, Agasias from Stymphalida said: But this man neither he has absolutely nothing to do with Boeotia, nor with Greece in general, because I saw him, like Lydus, with both of his ears pierced. And indeed that was the case. Well, of course he was kicked out.”
The New Greeks, however, envied the blacks of Africa who wear earrings and have the impression that this means progress and evolution. Of course, the Europeans follow the same tactic. And of course it is not the only barbaric custom adopted by civilized Europe…
The New Greeks, however, do something more terrible: Instead of teaching morals to the students, they introduce texts that cultivate the model of the stateless consumer, that devalue ideals and heroes and models of morals. A classic example is the first Governor of the country, Ioannis Kapodistrias, who was rightly called a saint of politics. He offered all his property to the Greek State.
When the National Assembly decided to give a grant (salary) to the Governor, Kapodistrias responded with a document that has no equal in political matters and concludes: “… that those of you who participate in the Government, want to know with us that in the in the present circumstances, it is not possible for the public ministries to receive salaries commensurate with the rank of their high ministry and with their servitudes, but that such salaries must be exactly commensurate with the financial means which the Government has at its disposal.
Kapodistrias’ refusal to accept the sponsorship caused surprise “due to the uniqueness of the act and the new admiration for the wonderful man…”.
The honesty of Kapodistrias can also be seen from his following words “I prefer death, than to deceive a people, entrusting their fate to my loyalty”.
After all this, one would expect them to project Kapodistrias as a model of virtue, an ideal example for young children to imitate, just as he really is the first worthy Governor of the Neo-Hellenic State, who was deservedly called the “saint of politics”.

And yet, instead of this, in the 3rd high school textbook they quote a poem with clear hints about financing. By whom; From the man who donated his property to the poorest state, the politician with virtuous morals, who is an excellent example for every politician? The late Io. Kapodistrias?
But this is what globalization seeks. The leveling of everything. There should be no values and moral principles. The goal is the destruction of societies and the transformation of people into an easily managed global plankton, with which the global rulers will feed…

By: Vera Gargalatzidou.

There are three types of inhabitants living in Greece.
The Greeks (the minority)
The adulterated (that is, they have barbaric genes in their genes,)
The Greek-speakers (those who claim to be Greek, but are not, nor are they fake)
I am not mentioning economic and illegal immigrants.
Well, the real ones never sleep..
On the contrary, these are the few who awaken the rest.
The corrupted are asleep and the Greek speakers are the majority throughout history..
They are not asleep, but dead and don’t know it.
If we consider how many species Plato has classified the inhabitants of the Earth into, we can have a clear picture of the current situation.
1) Barbarians
2) Dead
3) Mortals
4) People
5) Philosophers
6) Heroes..
To reach the level of the philosopher there are four stages.
Nowadays, knowledge is accessible to everyone.
No more barriers of prohibition..
Everyone’s understanding of the search for Truth is expressed through their way of thinking and behavior.
From now on, let’s not classify everyone in the category of Greeks in the true sense of the word..
In essence, Greek is a spirit..
One either has the spirit or not.
Not acquired..
As for the language, Greek is the first and only language on planet Earth.
Because it is not a product of human evolution..

ATTICA RED-FORMED=ΕΡΥΘΡΟΜΟΡΦΟΣ/ERYTHROMOPHOS “ARYVALLOS”-
A SMALL, OFTEN SPHERICAL VESSEL, WITH A NARROW MOUTH, FOR THE OIL WHICH ATHLETES USED TO OIL THEIR BODIES….
Young robed man, headband, running RIGHT, pursued by TWO winged GODDESSES. ..
EROS on the LEFT holds a scourge with his right hand, while EROS on the right extends his arms protectively towards the young.

Parallel to the wings of EROS with the scourge, the inscription: Asopodorῳ ἡ lekythos. Above the new one is the inscription: Doris εποησεν. By the painter and potter Dourida. From Athens, area of today’s Stadiou Street. 480-470 BC
Duris is one of the most important vase painters and potters of the first half of the 5th century BC. The performance of the aryvallus is a commentary on the power and dominance of Eros, which acts as a positive or negative force on its victims, especially the young.

The LYCURGUS CUP (British Museum, PE 1958,1202.1

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

THE SYMBOLIC MESSAGES-MEANINGS
BEHIND THE KNOT OF HERCULES (GOLD INLAGD WITH GARNET , EMERALDS AND ENAMEL. /PRIVATE COLLECTOR/) .
… SIMILAR TO IT: METROPOLITAN MUSEUM OF ART N. YORK..

THE ANCIENT GREEK WRITERS HAD THREE WAYS TO EXPRESS THEIR THOUGHT. THE FIRST WAS CLEAR AND SIMPLE, THE SECOND SYMBOLIC AND FIGURATIVE
, THE THIRD SACRED AND HIEROGLYPHIC. THE SAME WORD TOOK, ACCORDING TO THEIR DESIRE, THE MAIN MEANING, THE SYMBOLIC OR THE TRANSCENDENTAL. THIS WAS THE SPIRIT OF our LANGUAGE. HERACLITUS HAS PERFECTLY EXPRESSED THIS DIFFERENCE by IDENTIFYING IT WITH THE ADJECTIVES: SPEAKER(=ΟΜΙΛΩΝ), MEANINGFUL(=
ΣΗΜΑΊΝΩΝ), MYSTIC-HIDER(=
..ΚPYΠΤΩΝ)..

THE SYMBOLIC MESSAGES-MEANINGS
BEHIND THE KNOT OF HERCULES (GOLD INLAGD WITH GARNET , EMERALDS AND ENAMEL. /PRIVATE COLLECTOR/) .
… SIMILAR TO IT: METROPOLITAN MUSEUM OF ART N. YORK..THE ANCIENT GREEK WRITERS HAD THREE WAYS TO EXPRESS THEIR THOUGHT. THE FIRST WAS CLEAR AND SIMPLE, THE SECOND SYMBOLIC AND FIGURATIVE
, THE THIRD SACRED AND HIEROGLYPHIC. THE SAME WORD TOOK, ACCORDING TO THEIR DESIRE, THE MAIN MEANING, THE SYMBOLIC OR THE TRANSCENDENTAL. THIS WAS THE SPIRIT OF our LANGUAGE. HERACLITUS HAS PERFECTLY EXPRESSED THIS DIFFERENCE by IDENTIFYING IT WITH THE ADJECTIVES: SPEAKER(=ΟΜΙΛΩΝ), MEANINGFUL(=
ΣΗΜΑΊΝΩΝ), MYSTIC-HIDER(=
..ΚPYΠΤΩΝ)..

BELOW: THE ANCIENT GREEK KNOT OF HERCULES IN GOLD
Also known as the Knot of Hercules, Love Knot and Marriage Knot, the Hercules Knot is a wedding symbol that stands for undying love and commitment. It is one of the most strong known knots and is made with two entwined ropes representing the legendary fertility of Demi-God Hercules
Reef knot. In his Natural History, PLINY relates the belief that wounds heal more quickly when bound with a HERCULES KNOT. It has also been used since ancient
Greek traditions, krepresented the legendary fertility of the demi-god HERACLES, more popularly known as HERCULES. He was the epitome of virility and bravery.

TODAY, he is without a doubt one of the MOST ICONIC FIGURES in ALL OF GREEK MYTHAGOG-COSMOLOGY

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.

MARBLE COLUMN (IONIAN ORDER), FROM THE TEMPLE OF ARTEMIS AT SARDIS.
DATED: ca. 300 BC / PARIAN MARBLE; DIMENSIONS: H. 361 cm

THE SEKTION OF A FLUTED GREEK IONIC COLUMN IN THE CENTER of this room stood over fifty-eight feet high in its original location at the TEMPLE of ARTEMIS. The DELICATE FOLIATE carving on the capital is UNIQUE among EXTANT capitals from the temple, and the torus (foliated base), with its vegetal SCALE-LIKE pattern, is also EXCEPTIONALLY ELABORATE.

This capital is slightly smaller than others found at the site, indicating that it does not belong to the outer colonnade. The column, displayed here with most of the shaft omitted, was probably originally from one or more of those pairs. Alternatively, it may be from the cella (inner room) or from the inner back porch. Parts of the fluted shaft are restored, and the profiled base below the torus is a copy of the original.

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.

PERSONALLY, IT FEELS LIKE AS BITTER REGRET THAT WE GREEKS, HAVING THE
MOST ANCIENT AND GREAT CIVILIZATION, HAVE FALLEN SO LOW THAT WE WORSHIP AN ENTITY, THAT HAS NOTHING IN COMMON WITH US.

LEDA, the wife of the KING of SPARTA TYNDAREUS, meets the CYGNUS who is driven by the little EROS

When ZEUS fell in love with LEDA, he transformed into a CYGNUS and thus took refuge in her arms to protect himself from APHRODITE, who allegedly pursued him.

From their union were born POLYDEUKIS of the DIOSKOURI(=ZEUS SONS) and the beautifulO HELEN.

ARCHAEOLOGICAL MUSEUM of CHANIA.

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.

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.

Buthrotos (Albanian: Butrint, ancient Greek: Vuthroton)—

Wherever Archaeologists dig in Buthrotos (Butrint) they find #Greek Archaeological findings.

The #Albanian Archaeologist: Dhimiter Condi, who led for 30 years the team that excavated in Bouthroto found ancient #Greek statues, coins minted with Greek cities, such as #Corfu, Macedonia, and so on.

We don’t need to say anything more, as Albanian archaeologists such as:

▪︎ Dhimiter Condi also mentions in his book: “Butrint: history, monuments and museum” that #Hellenus founded “Bouthrotum”, which it means: bull crossing in #Greek language.

Furthermore, the albanian Archaeologist: Dhimiter Condi, published in his book that Buthroto was founded by Greeks.

In the photo from the book of the Albanian Archaeologist: Dhimiter Condi, among other findings it is showing:

▪︎ Statue of #Apollo, 2nd century AD, it was found in Nymphaeum in excavations at Butrint in 1929.

▪︎ Statue of #Dionysus from 2nd AD, was found in In Nymphaeum in excavations at Butrint in 1929.

▪︎ The many coins which they were found in Butrint, they include: coins minted as #Greek cities; such as Kerkyra (Corfu), Makedonia, and so on.

By Dhimiter Condi, Butrint: history, monuments and museum, Argjiro, Albania, 2008, pp. 78, 91

Dhimitër Çondi, Ph.D.

Co-Director of the Excavations Project at Butrint.

Professor of Archaeology.

Albanian Institute of Archaeology

HELLENIC CIVILIZATION/IONIA(=”ASIA MINOR”)/EPHESOS/THE ODEON THEATER, ASCLEPEIION AND GEOMETRICAL INSTRUMENT, AS ALL HELLENIC TEMPLES AND MOST OF THE THEATERS, AS WELL, NO MATTER WHERE!! (SPAIN, MARSEILLE, MAGNA GRAECIA, BLACK SEA, IONIA, PONTOS, GREECE, MIDDLE EAST, ASIA, NORTH AFRICA..)
By:. MEDUSA PEGASOS

WHAT EVER STATUES “THEY” STOLE…
NO MATTER WHAT TEXTS THEY STOLE, THE BARBARIANS REMAINED BARBARIANS…
THEY COULD NOT UNDERSTAND THE GREEK SPIRIT, ITS UNFATHOMABLE HEIGHTS
AND GREAT DEPTHS, ITS LENGTHS AND WIDTHS.. “THEY” JUST SCRATCHED THE SURFACE A LITTLE AND SAY “THEY”(=)…. CREATED… CIVILIZATION….
THEY TALK… ABOUT RENAISSANCE…
…WHICH…”RENAISSANCE”??!!!…
IN ORDER TO BE A RENAISSANCE, THERE MUST HAVE BEEN A BIRTH!!!
WHEN DID THE BARBARIANS HAVE A BIRTH AND WE… DON’T KNOW???!!!!
AND SOMEONE NÄVE WILL TELL YOU:.. -BUT Greek CULTURE BELONGS… TO THE WHOLE PLANET…..
NO… MY FRIEND, GREEK CULTURE BELONGS TO THE GREEKS AND BECAME UNIVERSAL BECAUSE OF ITS QUALITY!

A THIEF IS ALWAYS THIEF AND AN OWNER IS AN OWNER !!!
(By THE MEDUSA)

The ARHAEO-LOOTERS OF HELLENIC ANCIENT MASTERPIECES HAVE
SURPASSED EVEN “LORD” ELGIN, (SAME ROOTS, AS “FRENCH” ABBOT MICHEL FOURMONTΟ .. KAI O
ΝΟΩΝ ΝΟΕΙΤΩ! )
IN LOOTING….
THESE KIND OF “NOBLE” BARBARIANS, WERE BYING NOBLE TITLES, ALL OVER EUROPE(!!)
.. DURING THE MIDDLE AGES & RENAISSANCE, AS WELL… MOST OF THEM
HAVE CONTAMINATED &
DEFILED THE 17 GREEK WARRIORS AT THE SACRED PLACES ..BEFORE AND
DURING THE “BYZANTINE” & “OTTOMAN” OCCUPATIONS….THE SAME “ONES” ARE EXTREMILY ANTHELLENIC(=ANTIGREEK) … DUE TO THEIR HEAVY INFERIORITY COMPLEX, ENVY, JEALOUSY…..ETC TOWARDS TO HIGH & UNIQUE LEVEL
OF THE HELLENIC CIVILIZATION.
IT’S IDENTICAL, THAT COUNTERFEITING AND UNGRATEFUL BENEFICIARIES (Ο ΝΟΩΝ ΝΟΕΙΤΩ!!) ARE THE MOST FAKE,
UNPREDICTABLE AND
DANGEROUS ONES!!

APPOLONIAN LIGHT vs DARKNESS.

THE ANCIENT GREEK CITY OF AIZANOI was the main settlement center of the GREEK BRANCH AIZANITIS people WHO LIVED IN ANTIQUE MACEDONIAN PHRYGIA During the excavations carried out around the TEMPLE OF ZEUS traces of settlements dating back to 3000 BC were brought to light. In the HELLENIC period, this region was subordinated alternately to Pergamum and Bithynia, but in 133 BC it came under Roman rule. It was one of the important cities in Roman times with the Temple of Zeus, the Stadium-Theatre complex and the Macellum. The Temple of Zeus, built on a hill and considered the city’s important religious structure, is one of the best-preserved temples of Zeus in the world. While the construction of a stadium with a capacity of 13,500 people and a theater with a capacity of 20,000 people in the north of the city as a complex was not seen anywhere else in Aizanoi in ancient times, the Aizanoi Macellum, dated to the second mid-2nd century AD, is one of the first bags in the world.
Statue head of the goddess of love and beauty Aphrodite, the ancient city of Aizanoi, Kütahya, western Turkey, Oct. 29, 2021. (AA Photo)
Statue head of the god of wine Dionysos, Aizanoi, Kütahya, western Turkey, Oct. 29, 2021. (AA Photo)
Noting that they have been sustaining their work in a creek bed in the ancient city of Aizanoi recently, Coşkun told that the statuary heads of Aphrodite and Dionysus were unearthed in this creek bed.
“These are important findings for us, as they show that the polytheistic belief culture of ancient Greece existed for a long time without losing its importance in the Roman era,” he said. “The findings suggest that there may have been a sculpture workshop in the region.”
Home to one of the MOST well-preserved temples in Turkey, dedicated to the Greek god ZEUS, the city of Aizanoi is easily comparable to EPHESUS in its grandeur and importance. Initially inhabited by the Greek branch of Phrygians, the area was converted into a city in the first century B.C. by the Romans and includes unique spots such as a temple; four Roman bridges, two of which are still in use today; the world’s first known indoor marketplace, with inscriptions of the prices of sold goods still visible on the walls; theatres; roman baths and an ancient sacred cave.

The TEMPLES of the GREEK ANCESTORS WERE on ENERGY HUBS, THEY WERE NOT BUILT by CHANCE , MEANWHILE the WHOLE ISLAND of RHODES IS AN ENERGY HUB LIKE LIKE SAMOTHRAKI. “MODERN” PEOPLE DO NOT UNDERSTAND the VIBRATIONS of the ENERGY FIELDS, DUE TO THAT, THE JUDEO-CHRISTIANITY – DOESN’T… (OF COURSE!) AT ALL!
ATHENA WAS CALLED ATHENA PALLAS FROM THE PULSATING VIBRATIONS= “PALLOMENES” DONISEIS= ΠΑΛΛΌΜΕΝΕΣ ΔΟΝΉΣΕΙΣ.
BASIC HISTORICAL FACTS
..ANSWER TO… .. “MEDIA”..

THE BRIGHTNESS OF THE GREEK CIVILIZATION GATHERS ALL THE
BARBARIANS, BY DESTRUCTION to DESTROY IT.
THIS IS HAPPENING FOR 2 MILLENNIA by NOW, BOTH GLOBALY & INSIDE THE HELLENIC REGIONS, WHERE THESE ANTHELLENIC RODENTS, WHO DURING THE AGES, STILL RULLE… THROUGH RELIGION, POLITICS, ECONOMY, “EDUCATION” & MEDIA..

THE RIGHT OF THE STRONGER:
BARBARIC LIES PERSIST ABOUT the ORIGINS of ANCIENT GREEK CITIES SUCH AS PERSEPOLIS, PETRA and BAALBEK, AMONG OTHERS, FALSELY ATTRIBUTED TO…. HAVING BEEN BUILT by the.. PERSIANS , PHOENICIANS, CARTHAGENIANS, NABATEANS and ROMANS RESPECTIVELY. The PERSIANS found the ABANDONED CITY OF PERSEPOLIS (BUILT by DESCENDANTS OF PERSEUS), AND THE NABATEANS, WHO WERE NOMADIC HERDERS FOUND AND MADE THE ABANDONED PETRA THEIR HOME. THE ROMANS WOULD INVADE and FALSELY PUT THEIR TAG ON EVERYTHING THEY CONQUERED.

ONE SUCH WORK WAS the KYBALION AND OTHER, WERE TRANSLATED FROM EXISTING ARCHAIC WORKS. HISTORY, ORIGIN, ART AND HIGH TECHNOLOGY..

HAVE ALL BEEN STOLEN, LOOTED AND CLAIMED BY… OTHERS. NEWTON ALSO STOLE CLAIM TO THE LAWS OF MOTION AND PHYSICS, GAINING THIS KNOWLEDGE FROM ANCIENT TEXTS which he SECRET LY HELD.
THE GREEKS SHOULD NEVER LEARN THAT: DEMOCRITUS , PYTHAGORAS, HERACLEITOS COMPLETELY FORMULATED THE THEORY OF NUCLEAR PHYSICS AND SPECIAL RELATIVITY, UNIFYING INTO SINGLE MATHEMATICAL FORMULAS, AS ELECTRICITY, GRAVITY, MAGNETISM, ASTRONOMY
https://euphoriatric.com/pythagoras-the-nine-muses/…
(https://euphoriatric.com/the-mathematical-structure-of…/),..and the Weak Currents of NUCLEAR ATOMS.

EVERY CIVILIZATION IS JUDGED by WHAT it LEFT BEHIND …
BUT….
THE GREEKS MUST NEVER LEARN THAT: THE ASTRONOMERS – MATHEMATICIANS: EUDOXUS, CALLIPOS
, ARISTARCHOS, 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 UNKNOWNS (TWELVE EQUATIONS TWELVE UNKNOWNS), 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: EUPALINOS, SOSTRATOS, HERON, ZOSIMOS, KALLINIKOS, MANUFACTURED TOPOGRAPHIC INSTRUMENTS FÖR TRIGONOMETRIC SURVEYING, AUTOMATIC MECHANISMS AND INSTRUMENTS FOR ELECTRICAL APPLICATIONS, BECAUSE THE 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 e 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 SYSTEMS, GALAXIES AND COSMIC DOMAINS CLUSTERS OF GALAXIES.
2500 YEARS AGO HIPPOCRATES PERFORMED BRAIN AND HEART SURGERY…
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 DOCTRINE 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, AS DIOSCORIDIS AND GALENOS,” SAID ALLEN TWO WAY of the SMITHSONIAN INSTITUTION’s NATIONAL MUSEUM of NATURAL HISTORY in WASHINGTON , ACCORDING to NEW SCIENTIST
“APOSTLE ORPHEUS” Besides…

THE “Phoenician “DECEPTION
The PHOENICIANS and GREEK ALPHABET
“…the GREEK ALPHABET EXISTED at the TIME of ATLANTIS, 9,500 BC, SINCE PLATO speaks of inscriptions with oaths as well as names of kings carved into vows, and therefore carried history at least from 15,000 BC. But according to the “PHILHELLENIC” pile researchers, it comes from…. the Phoenician alphabet of the 14th century BC. That is, the wretches have deliberately
They “FORGOTTEN” to multiply the history of Greece and its language x 10!!!

IDENTICAL HELLENIC THEATERS TEMPLES, STATUES, FRESCOES, MOSAICS MOTIVES FROM THE MYTHAGOGY-COSMOLOGY:

.. NOT ONLY.. CYPRUS…: IONIA, PHRYGIA, CAPADOKIA, PONTOS, ASPENDOS,
ANTIOCHIA, EPHESOS, PERGAMOS, SMYRNA, ALICARNASOS… etc etc..
FACTS vs FAKES:
JUST ONE EXAMPLE:

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 CIVILIZATION

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…EARTH, WEST, SOUTH & NORTH!!
>>>>>>>>>>>>>>>>>>
HERE: //ANCIENT ULTIMATE ARTS & BEAUTY… MOSTLY STOLEN, LOOTED, or DESTROYED,
COUNTERFEITING, STEALING, COPIED & DISTORTED..
.. AND – VERY OFTEN – SHOWED…BY SOME OF THE BARBARIANS, AS….. THEIR OWN!!!!!!!

THAT HAPPENS ALL OVER the WORLD, –
SUPPORTED, as ALLWAYS, BY the CLASSICAL, GLOBAL ANTHELLENIC(=ANTIGREEK) – BARBARIAN
GEOPOLITICAL MAFIA..
THUS BARBARIANS HELP BARBARIANS.. WITH HEAVY INFERIORITY COMPLEX, ENVY, JEALOUSY & OFCOURSE VERY FAR b FROM THE AUPHTENTIC ETHERIAL & UNIQUE CIVILIZATION AS:
TEMPLES(CORINTHIAN, DORIC & IONIC ORDER ONES), STATUES, MOSAICS, SCRIPTS, FRESCOES, COINS, SCIENCE:
MEDICINE, MATHEMATICS, TECHNOLLGY, GEOMETRY, PHYSICS, ASTRONOMY, DRAMA, POETRY… PLUS:…
THE ETYMOLOGY of NAMES & WORDS by the ANCIENT MATHEMATIC- DIANETIC LANGUAGE, WHICH IS INTERCONNCTED MATHEMATICAL WITH THE ABOVE ACHIEVEMENTS
.. ARE JUST the WITNESSES…
https://euphoriatric.com/the-mathematical-construction-of…

The stolen ancient Greek masterpiece from the sculptor Lysippos!
The horse sculptures come from the island of Chios (the fifth largest of the Greek islands).

Since four horses and a quadriga (a type of chariot that was also used in the Ancient Olympic Games) were mentioned in the Parastaseis syntomoi chronikai, more commonly called “brief Historical Notes” text dated from the 8th or ninth century. The horses stayed there until 1204 when they were looted by Venetian forces as part of the sack of the capital of the Byzantine Empire in the Fourth Crusade. Interestingly, the collars on the horses’ necks that you can see in the photos below were added around this time to cover the areas where their necks and heads had been removed to allow them to be transported from Constantinople to Venice.

The horse sculptures come from the island of Chios (the fifth largest of the Greek islands). Since four horses and a quadriga (a type of chariot that was also used in the Ancient Olympic Games) were mentioned in the Parastaseis syntomoi chronikai, more commonly called “brief Historical Notes” text dated from the 8th or ninth century. The horses stayed there until 1204 when they were looted by Venetian forces as part of the sack of the capital of the Byzantine Empire in the Fourth Crusade. Interestingly, the collars on the horses’ necks that you can see in the photos below were added around this time to cover the areas where their necks and heads had been removed to allow them to be transported from Constantinople to Venice.

Soon after the Fourth Crusade, Doge Enrico Dandolo (Doge meaning a civil officer or lay judge in Venice or Genoa) sent the horses to Venice, where they were installed on the terrace of the facade of St. Mark’s Basilica in 1254.

In 1797, Napoleon forcibly removed the horses from the basilica and carried them off to Paris, where they were used in the design of the Arc de Triomphe du Carrousel together with a quadriga.

In 1815, the horses were returned to Venice by Captain Dumaresq, who had fought at the Battle of Waterloo and along with the allied forces in Paris. He was selected by the Emperor of Austria to take the horses down from the Arc de Triomphe and return them to their original place at St. Mark’s in Venice. For doing an excellent job bringing the horses back to Venice, the Emperor gave him a gold snuff box with his initials in diamonds on the lid.

Until the early 1980s, the horses remained untouched above St. Mark’s. But with growing air pollution that would make the statues deteriorate quicker, they were removed and brought inside St. Mark’s and can still be seen inside the basilica. They were replaced with exact copies that can be seen outside.

https://greekcitytimes.com/…/the-stolen-ancient…/….

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.

ΤHE THRONE OF EURIDICE, GRANDMOTHER OF ALEXANDER THE GREAT AIGAI, MACEDONIA, #GREECE.
“THRONE OF A LATE 4th CENTURY BC QUEEN FROM A TOMB AT AEGAE, #GREECE.
AEGAE OR AIGAI WAS ORIGINAL CAPITAL OF MACEDONIANS, THE ANCIENT KINGDOM in EMATHIA IN NORTHERN #GREECE, ALSO THE BURIAL-PLACE OF THE MACEDONIAN KINGS, NOW VERGINA .

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 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-IDENTIXAL HELLENIC MOSAICS…
450 YEARS BC

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…/
.

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

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.
#AlexanderTheGreat #macedonia #dion

Ancient Dion was a centre of the worship of Zeus and the most important spiritual sanctuary of the Ancient Macedonians.

The ancient Macedonians worshipped the Olympic Pantheon, especially Zeus,Artemis, Heracles, andDionysus.As all the Ancient Greeks regarded it as an essential element of Hellenic identity to share common religious beliefs and to come together at regular intervals at Panhellenic sanctuaries (Olympia,Delphi,Nemea/Argos, etc.) in order to celebrate Panhellenic festivals. Most of the gods who were worshipped in southern Greece can also be found in the Macedonian pantheon and the names of the most important Macedonian religious festivals are also typically Greek. Evidence of this worship exists from the beginning of the 4th century BC onwards, but little evidence of Macedonian religious practices from earlier times exists. From an early period, Zeus was the single most important deity in the Macedonian pantheon. Makedon, the mythical ancestor of the Macedonians, was held to be a son of Zeus, and Zeus features prominently in Macedonian coinage.The most important centre of worship of Zeus was at Dion inPieria, the spiritual centre of the Macedonians, where beginning in 400 BC King Archelaos established an annual festival, which in honour of Zeus featured lavish sacrifices and athletic contests. Worship of Zeus’s son Heracles was also prominent; coins featuring Heracles appear from the 5th century BC onwards. This was in large part because the Argead kings of Macedon traced their lineage to Heracles, making sacrifices to him in the Macedonian capitals of Vergina and Pella. Numerous votive reliefs and dedications also attest to the importance of the worship of Artemis. Artemis was often depicted as a huntress and served as a tutelary goddess for young girls entering the coming-of-age process, much as Heracles Kynagidas (Hunter) did for young men who had completed it. An important aspect of Macedonian social life were court symposia, which were characterized by heavy drinking (of apparently unmixed wine), feasting, and general debauchery. Symposia had several functions, amongst which was providing relief from the hardship of battle and marching.
Athenian playwrights such as Euripides and Agathonand the famous painter Zeuxis, all were influential in the early kingdom. Euripides wrote his last two tragedies at Archelaos’s(= people`s leader) court.The ancient Macedonians worshipped the Olympic Pantheon, especially Zeus,Artemis, Heracles, andDionysus.As all the Ancient Greeks regarded it as an essential element of Hellenic identity to share common religious beliefs and to come together at regular intervals at Panhellenic sanctuaries (Olympia,Delphi,Nemea/Argos, etc.) in order to celebrate Panhellenic festivals. Most of the gods who were worshipped in southern Greece can also be found in the Macedonian pantheon and the names of the most important Macedonian religious festivals are also typically Greek. Evidence of this worship exists from the beginning of the 4th century BC onwards, but little evidence of Macedonian religious practices from earlier times exists. From an early period, Zeus was the single most important deity in the Macedonian pantheon. Makedon, the mythical ancestor of the Macedonians, was held to be a son of Zeus, and Zeus features prominently in Macedonian coinage.The most important centre of worship of Zeus was at Dion inPieria, the spiritual centre of the Macedonians, where beginning in 400 BC King Archelaos established an annual festival, which in honour of Zeus featured lavish sacrifices and athletic contests. Worship of Zeus’s son Heracles was also prominent; coins featuring Heracles appear from the 5th century BC onwards. This was in large part because the Argead kings of Macedon traced their lineage to Heracles, making sacrifices to him in the Macedonian capitals of Vergina and Pella. Numerous votive reliefs and dedications also attest to the importance of the worship of Artemis. Artemis was often depicted as a huntress and served as a tutelary goddess for young girls entering the coming-of-age process, much asHeracles Kynagidas (Hunter) did for young men who had completed it.

Ancient Dion was a centre of the worship of Zeus and the most important spiritual sanctuary of the Ancient Macedonians.

Entrance to the tomb of King Philip II (r. 359–336 BC)

EVERYTHING BORN HERE!

At the time, before the Deluge of Deucalion, the Priests were the wise scientists, knowledgeable in all the Sciences of the time and not only. At that time, a great civilization had developed in Greece, but it was lost, with no evidence of its existence left, due to the encroachment of the Greeks.

But the Priesthood of Egypt, as their country was not affected by the flood, managed to save and spread all the knowledge of the Greeks, which, unfortunately, the Egyptians appropriated. And as the Greeks no longer had testimonies, due to the destruction of their country, the Greek knowledge passed through time and was “appropriated” as… the knowledge OF THE ….. EGYPTIANS

In addition to the revelation and admission of the Egyptian Sages to Solon, about the divine origin and superiority of the Greeks, as mentioned by Plato in “Timaeus”, the following passage by Ath. Stageritis is equally revealing:

[…] Actis(*) went to Egypt, where he built Heliopolis after his father’s name, he also taught the Egyptians Astrology; and because later a deluge happened in Greece and most of the people perished and their writings and History, and Astrology was found only in Egypt later, the Egyptians discovered this relevant circumstance, they appropriated it, boasting and claiming to have discovered it, because the Greeks had no proof… These may seem improbable, but we should not notice them as strange, because we have and find sufficient proofs that there were found in Egypt very ancient Hellenistic cities called […] OGYGIA, Volume I Within the Universe, everything moves in a circle, where the end will meet the beginning, as the completion of the 360° circular path “touches” the first degree of the beginning. Above the meeting of the two Fates, the first and the last, there appears Lawfulness and…

WHAT STARTED HERE WILL END HERE!

THE GREEKS AND US!!!!!!!!!!

”’GREEKS” ARE NOT THOSE WHO LIVE IN GREECE, BUT THOSE WHO (WHEREEVER THEY ARE, IN WHATEVER POINT OF THE EARTH AND IF THEY LIVE) SPEAK THE GREEK LANGUAGE, I.E. LIVE ACCORDING TO THE LAWS OF THE SUN, THE LAWS OF LIGHT, THE LAWS OF GOD THE CREATOR!!

IN BRIEF, THE WORD “GREEK”, MEANS “HE WHO (CAN AND) SEES GOD”.

I.E., ONE WHOSE HIGH VIBRATIONAL FREQUENCY IS THE SAME AS THAT OF LIGHT, THEREFORE IT ALLOWS HIM TO “SEE” THE CORRESPONDING FREQUENCY IN WHICH THE GODS BECOME VISIBLE!!

A “GREEK” IS THE SPIRITUALLY EVOLVED BEING AND ABSOLUTELY THE CITIZEN OF A COUNTRY, WHICH IS COMPLETELY ARBITRARY AND ABUSEFULLY CALLED “GREECE”!!

“GREECE” WAS ONCE, MANY THOUSANDS OF YEARS AGO, WHEN THEY HAD MADE THIS PLACE THEIR PLACE, THEIR THRONE, THEIR HEADQUARTERS.

WE HAVE NOTHING TO DO WITH THEM!!!!

EVEN OUR ANCIENT ANCESTORS WERE NOT RELATED TO THE GREEKS, YES, THOSE OF THE CLASSICAL PERIOD!!!!

EVEN THEN THERE WERE A FEW GREEKS AMONG THEM!!!

THE GREEKS HAVE ALWAYS BEEN FEW AMONG THE MANY, BECAUSE THEIR JOB ON EARTH WAS NO OTHER THAN TEACHING AND SPREADING KNOWLEDGE.

THE TEACHERS WERE GREEKS.

THE TEACHERS!!!!!!!!!

COMING TODAY AND GOING OUT ON THE STREETS DOES ANY CITIZENS WHO HAVE AWARENESS OF THEIR “GREEK” IDENTITY CAPABLE OF TAKE THE helm OF OUR PRESENT COUNTRY AND RESTORE THE DIGNITY AND HER STATE HISTORY????

I HIGHLY DOUBT!!!!

TODAY’S GREEKS LIVE A FOREIGN WAY OF LIFE AND WHAT THEY PERCEIVE HAS TO DO WITH THEIR MICRO-WORLD AND THEIR-MICRO INTERESTS!!!

THIS SHOWS A LACK OF ESSENTIAL EDUCATION WHICH TODAY HAS BEEN COMPLETELY DESTRUCTED WHEN WE HAVE ENDED UP WALKING AS A PEOPLE TORTURED IN A CONTINUOUS LYMPHATIC PROCESS!!! GIORGOS HAVALES

TEMPLE OF HEPHAESTUS.
It is one of the best preserved ancient temples.
On top of Kolonos hill, which is delimiting the Ancient Agora of Athens to the west, stands the temple of Hephaestus.

Doric peripteral temple, with pronaos –fore-temple–
cella –inner shrine– and opisthonaos –rear temple–, the best preserved of its type in the Greek world.

The facade of the pronaos and opisthonaos, to the east and west, are distyle, and the inner shrine had an interior colonnade.

It occupies the crest of the Kolonos Agoraios Hill and was designed by an unknown architect probably in honour of Hephaistos

It is one of the best preserved ancient temples, partly because it was transformed into a Christian church.

According to the traveller and geographer Pausanias (1, 14, 5-6), two deities were jointly worshipped in the temple: god Hephaestus, protector of all metallurgists, and goddess Athena Ergani, protecting all potters and the cottage industries.

The identification of this templeas Hephaesteion (location of worship of the god Hephaestus) was ascertained by the excavations and investigations that brought to light metallurgy workshops on the wider area of the hill, thus outshining earlier opinions presuming that Theseus, Hercules or Aris (Mars) were the deities worshipped there.

The temple was probably erected between 460 and 420 BC by a yet unknown architect, to whom, however, are attributed other temples of similar structure in the Attica region.

The temple disposed of a pronaos (anteroom) and an opisthodomos (back section), both distyle (two-columned) in antis.

On the exterior it was surrounded by a Doric colonnade having six columns on the narrow sides and thirteen columns on the longer sides.

The entire building, from the crepis (stone base) to the roof, was made of marble produced in the quarries of Pendeli mountain (in Attica), while the architectural sculptures that adorned the temple were of marble produced in the quarries on the island of Paros.

On the interior of the cella was a two-part colonnade forming the letter Π and at the far end was a pedestal, that supported the bronze ceremonial statues of Hephaestus and Athena, created by the sculptor Alkamenis; according to the traveller and geographer Pausanias, they were probably executed between 421 and 415 BC.

The lavish sculptural decoration of the temple featured highly interesting metopes that adorned the east and the west side of the external colonnade. The east side numbered ten metopes that were visible from the Agora: they depicted nine of the feats of Hercules.

Furthermore, on the north and the south side are depicted four of the feats of Theseus, which probably were the reason why the people named this temple ?Thision?.

The frieze does not run across all four sides of the cella, but only the across the pronaos and the opisthodomos.

The pronaos features the victorious struggle of Theseus against the claimers of the throne, who were the fifty sons of Pallas; six gods also participate into the fight.

The opisthodomos depicts the fight of the Centaurs narrated on the wall which is against the cella.

Notable sculptural representations also adorned the pediments of the temple.

The west pediment depicted the fight of the Centaurs and the east pediment the reception of Hercules on mount Olympus or the birth of goddess Athena.

Several among these sculptures inspired statues that were found in the surroundings of the temple, such as the fragmented and partially preserved complex of two feminine figures, one of which transports the other on her shoulders, as if trying to save her life, (?Ephedrismos? = carrying on one’s back),

Museum of the Ancient Agora, no of finding S 429), or the trunk of a dressed feminine figure where the movement is intensely underlined; the latter could be one of the acroteria (ornamental corner pieces) of the temple (Nereis = water deity, Museum of the Ancient Agora, no of finding S 182).

During the Hellenistic period, bushes or small trees in parallel order were planted into flowerpots around the temple; these pots came to light during excavation.

In the seventh century AD, the temple was conversed into a church dedicated to St. George Akamas, and thus stayed in use until the liberation of Greece from the Turkish occupation.

During the eighteenth century, many eminent Protestants, who died in Athens, were interred in the edifice, while in 1834 it hosted the ceremony of the first reception of king Otto.
Hence the temple was used as an archaeological museum, until 1930, when the American School for Classical Studies in Athens started excavations in the Ancient Agora.

Photograph: Francis Naef

For devotees of “Indo-European” reeds. Indian relief “Heracles the protector of the Buddha”.
The Indo-Europeans allegedly and without evidence, in 2300, the Greeks and Herakles before 7,000.
BUDDAH with DIONYSOS as patron next to him, in 7000. The Greeks lived in Asia (Greek name) since prehistoric times and had excellent relations with the Asians.
Some LOW LEVEL individuals are promoting this tree as… linguistic history(!!), how FUNNY it is when one of the two central trunks starts with the word European which ALL Greeks know that the word EUROPE is from GREEK MYTHOLOGY-COSMOLOGY and the word Hellenic should have been placed there instead, it comes later in a branch with Greek, that is, they again separate the ancient from the modern Greek… how complex now when they know that if they remove our language from their vocabularies, the whole trunk will collapse!
And the pacifier Indo India another Greek word is the basis….POOR “scientists” tells you!

https://euphoriatric.com/the-mathematical-structure-of…/
The University professors who, INSTEAD OF SERVING the TRUTH keep a FISHY SILENCE in the FACE of the DESTRUCTION of HISTORY AND LANGUAGE, and EVEN MORE so those who appoint them to their positions, are considered guilty.
Just as unfortunately today everything on our planet IS SICK, so in our country there is a morbid lack of meritocracy, so that positions and positions are held by unfit people with only the virtue of acquaintances and their submission to what the globalization agenda naturally imposes.

However, be aware of this: just as the PHYSICAL TAXIS cannot be changed either by laws or by force, so it is NEVER allowed to be practiced for a long time to the detriment of the humanizing Greek Speech and our humanizing Language.

It is only a matter of time for the repentant human race, after being soiled in the spiritual mud, to take REFUSE ONCE AGAIN in the THREADS of the LIGHT-GIVING GREEK CULTURE ORDER to BE REBORN.

After all, this is his destination!

https://euphoriatric.com/the-mathematical-structure-of…/
https://euphoriatric.com/etymology-means/
https://euphoriatric.com/euphoriatric-symbols-historical…/
https://euphoriatric.com/pythagoras-the-nine-muses/

THE “Phoenician “DECEPTION
The Phoenicians and Greek Alphabet
“…the Greek alphabet existed at the time of ATLANTIS, 9,500 BC, since PLATO speaks of inscriptions with oaths as well as names of kings carved into vows, and therefore carried history at least from 15,000 BC. But according to the “PHILHELLENIC” pile researchers, it comes from…. the Phoenician alphabet of the 14th century BC. That is, the wretches have deliberately
They “FORGOTTEN” to multiply the history of Greece and its language x 10!!!

The RIGHT of the STRONGER:
BARBARIC lies persist about the origins of ancient Greek cities such as Persepolis, Petra and Baalbek, among others, falsely attributed to having been built by the Persians, Phoenicians, Carthagenians, Nabateans and Romans respectively. The Persians found the abandoned city of Persepolis (built by descendants of Perseus), and the Nabateans who were nomadic herders found and made the abandoned Petra their home. The Romans would invade and falsely put their tag on everything they conquered.

One such work was the KYBALION which he and others translated from existing archaic works. History, origin, art and high technology have all been stolen, looted and claimed by others. Newton also stole claim to the laws of motion and physics, gaining this knowledge from ancient texts which he secretly held.

THE GREEKS SHOULD NEVER LEARN that: DEMOCRITUS , PYTHAGORAS, HERACLEITOS completely formulated the theory of NUCLEAR PHYSICS and SPECIAL RELATIVITY, unifying into formulas, as ELECTRICITY, GRAVITY, MAGNETISM, ASTRONOMY, and the Weak Currents of NUCLEAR ATOMS.
EVERY CIVILIZATION is judged by WHAT it left behind…BUT….
THE GREEKS MUST NEVER LEARN, that: the ASTRONOMERS MATHEMATICIANS: EUDOXUS, CALLIPOS
, ARISTARCHOS, 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 unknowns (twelve equations twelve unknowns) 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: EUPALINOS, SOSTRATOS, HERON, ZOSIMOS, KALLINIKOS, manufactured TOPOGRAPHIC instruments for TRIGONOMETRIC SURVEYING, AUTOMATIC mechanisms and instruments for ELECTRICAL applications, because the 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 shouldNOT KNOW THAT THE GREEK DOCTORS, GALENOS, CELSIUS, HERACLIDES, HEROPHILUS, PRAXAGORAS, AGNODIKIS, KTIRIAS, HIPPOCRATES, ERIVIOTIS, CARRIED OUT “balancing electromagnetic 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 systems, galaxies and cosmic domains clusters of galaxies.
2500 years ago HIPPOCRATES performed brain and heart surgery…
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 TWO WAY of the SMITHSONIAN INSTITUTION’s NATIONAL Museum of NATURAL HISTORY in WASHINGTON , according to New Scientist..
“Apostle ORPHEUS”

“ΦΌΒΟΣ ΜΝΉΜΗΝ ΕΚΠΛΉΣΣΕΙ, ΤΈΧΝΗ ΔΕ ΆΝΕΥ ΆΛΚΗΣ ΟΥΔΈΝ ΩΦΕΛΕΊ.”(ANCIENT ATTICA GREEK)

(ΦΌΒΟΣ/”PHOBOS”) = FEAR NULLIFIES MEMORY AND KNOWLEDGE(=ΓΝΩΣΗ=GNOSI) WITHOUT COURAGE AVAILS NOTHING.

THUCYDIDES

THE STOLEN STATUE OF THESEUS

An amazing work of art of our ancestors, dating back to 500 BC, stolen by Germans. It was located in the temple of Athena Aphaia in Aegina. Today we see the temples turned into ruins and we are unaware that a few years ago they hid all these masterpieces which were stripped, mutilated to adorn museums abroad.

HIPPOCRATES AND HYGEIA/ IVORY CARVED 5th CENTURY BC

The Greeks began to use a year divided into twelve months, it is believed that this happened no later than the 8th century. BC, since mention of its existence is found in Hesiod.
It should also be mentioned that the relationship between the calendar year and the various holidays was close for the Greeks, as evidenced by the fact that the names of most of their months came from the names of holidays celebrated during those months.
These celebrations are rarely related to episodes from the life of the gods themselves and usually have to do with the agricultural occupations that took place during the corresponding period of time and with which man ensured his harvest and therefore his existence and perpetuation.
So the ancient Greeks were the first (in Europe) to divide the year into 12 synodic (lunar) months and, because they knew that each synodic month did not have a whole number of days (approximately 29 ½ days), they gave the months a duration of 30 days (perfect or , full months) and 29 days (hollow months) alternately. They thus tried to make the first day of each month coincide as much as possible with the New Moon.
Months of the ancient Greek year (of ancient Athens) and their approximate Time interval (from-to) are:
1. Hekatombion July 15-August 15
2. Metageitnia August 15-September 15
3. Voidoromion September 15-October 15
4. Pyanepsion October 15-November 15
5. Maimaktrion November 15-December 15
6a. Poseidon I December 15-January 15
6b. Poseidon B’ (or second or later) vaccine month
7. Weddings January 15-February 15
8. Antithestira February 15-March 15
9. Deer hunting March 15-April 15
10. Munichion April 15-May 15
11. Thargilion 15 May-15 June
12. Skiforion June 15-July 15
In ancient Greece, as we saw above, the year consisted of twelve lunar months, which usually had 29 and 30 days alternately (these are the “hollow” and “full” months, respectively). The limits of each month were marked by the appearance of two new moons, so its duration was about 29 ½ days. (In total, we know more than 130 local month names and in addition their dialectal variants, which were usually derivatives of the names of feasts or divine epithets and corresponded to separate cities. The inoculated months usually took one of the remaining names with the additional indication- “second”, “late” or, as in Thessaly, marked “inoculated”.)
The first month of each year coincided with the summer (e.g. Athens) or winter solstice (e.g. Delos), and the spring (e.g. Delphi) or autumnal equinox (e.g. Argos) .
However, the establishment of a year of 354 days created a problem and, if no measures were taken, it would constantly expand, since a solar year has 365 days. In order to eliminate this difference, they added at intervals, usually every two years, a vaccinal month lasting about 22-23 days.
Along with the lunar month, characterized by epigraphic texts as “min kata theon (SUN)” or “min kata Selininen”, the organization of the annual time was also based on the tenure of the political rulers (e.g. Attic organization and division of the annual time into rectories) and in this case the month was called “men kat’ archontan”.
These different systems of naming and organizing the annual time functioned simultaneously in the daily reality of each city, just as the religious and political expressions functioned simultaneously.
The fact that in several parts of the ancient Greek world the names of the months are not related to the festivals of their most important gods but usually to those of Apollo means that a sanctuary of this god with pan-Hellenic acceptance must have made a decisive contribution to their establishment, as has been proven this in Delphi and around the seventh century BC.
Of course, it should be emphasized that the ancient Greeks do not seem to have celebrated the New Year with special holidays. For them, the beginning of each month was more important, which was connected to any of their occupations.
In Athens, however, an epigraphic testimony informs us of a religious ceremony that took place on the last day of the past year, but which involved a limited number of people. It was a sacrifice of the outgoing officials to Zeus Sotira and Athena Soteira wherever it was aimed at securing the favor of these gods for the new year.
In the Roman years and under the influence of Rome itself, the celebration of the New Year began, which expanded throughout the territory of the Roman Empire, therefore also in the Greek area.
Julius Caesar, applying the knowledge of the famous Greek astronomer from Alexandria Sosigenis, in 46 BC. established January 1 as the beginning of the year, which has since become widespread in the West. Also with the help of Sosigenes, requested by Julius Caesar, we also owe the adjustment of the year to the duration of the rotation of the Earth around the Sun.

HELLENIC CIVILIZATION/ASIA MINOR/ IONIA/ A N T I O C H E I A/

MOTIVES FROM THE CLASSICAL GREEK MYTHAGOGY-COSMOLOGY: – HERE:
THE N I N E M U S E S

https://euphoriatric.com/pythagoras-the-nine-muses/
₪₪₪₪₪₪₪₪₪₪₪
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, COUNTERFEITED, DISTORTED & TWISTED.. & SHOWED.. as..THEIR OWN!!!!!! ) MOSTLY BY ALL KIND OF 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

,… 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.

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)

THYMELE WORSHIP COMMUNITY

ὦναὶ, ὧι damalis Eros
And blue-eyed nymphs
purple of Aphrodite
they sympathize, it returns
d’ high mountain peaks;
I am touching you, you are not happy
Come to us, blessed
they obey willingly;
Kleoboulis is a good man
advisor, myself for man-
᾽, ὦ Deonise, accept.
……….THAT IS: TRANSLATED ABOVE TEXT/ (FROM THE ANCIENT ATTICA DIALECT):
Anakta, where Eros the tamer
and the blue-eyed Brides
and the rosy-cheeked Aphrodite play with you
and you turn to the high mountains,
I run into you;
and come to me good friend
and my request
listening to the cutie.
Be Good advisor
Be Cleobolus,
Dionysus me
to accept my love
EPIGRAM of ANACREON to DIONYSOS
In the image: Black Attic Hydra of 520 BC. approximately with Dionysus, Bacchus and Silenus. It has an inscription at the top of the scene: ΠΑΜΦΑΙΟΣΜΕΠΟΙΗΣΕΝ=PAMPHEIOSMEPOIISEN =AMPPHEUS MADE ME

TO CELEBRATE THIS OCCASION, LET’S LOOK TOGETHER AT THIS SPLENDID ATTIC ΕΡΥΘΡΟΜΟΡΦΟΣ=RED-FIGURED NECK-AMPHORA ARV(2) 648.27, attributed to THE OIONOKLES PAINTER, DATED TO 470 BC. approximately and PRESERVED AT THE KUNSTHISTORISCHES MUSEUM IN VIENNA (inv. 846).

It is a courtship scene IN WHICH A YOUNG MAN, STANDING AND LEANING ON A KNOBLED STICK, HANDS A FLOWER TO A GIRL SITTING BEFORE HIM.

In her left hand is perched a #dove, an iconographic attribute OF THE GODDESS #APHRODITE and a clear reference to the feeling between the protagonists.

Between the two there is a KALATHOS (wicker basket used to store wool and utensils for domestic work entrusted to women).

PER FESTEGGIARE QUESTA RICORRENZA, OSSERVIAMO INSIEME QUESTA SPLENDIDA NECK-AMPHORA ATTICA A FIGURE ROSSE ARV(2) 648.27, attribuita AL PITTORE DI OIONOKLES, DATATA AL 470 a.C. circa e CONSERVATA AL KUNSTHISTORISCHES MUSEUM DI VIENNA (inv. 846).

È una scena di corteggiamento NELLA QUALE UN GIOVANE UOMO, STANTE E APPOGGIATO A UN BASTONE NODOSO, PORGE UN FIORE A UNA FANCIULLA SEDUTA INNANZI A LUI.

Nella mano sinistra di lei è appollaiata una #colomba, attributo iconografico DELLA DEA #AFRODITE e chiaro riferimento al sentimento tra i protagonisti.

Tra i due è un presente un KALATHOS (cesto in vimini usato per riporre lana e utensili dei lavori domestici affidati alle donne).

La ceramica antica – Identita, cocci e dintorni.

nd you, on #”Valentine’s Day”#February 14, do you prefer #flowers or chocolates?

It is a courtship scene IN WHICH A YOUNG MAN, STANDING AND LEANING ON A KNOBLED STICK, HANDS A FLOWER TO A GIRL SITTING BEFORE HIM.

In her left hand is perched a #dove, an iconographic attribute OF THE GODDESS #APHRODITE and a clear reference to the feeling between the protagonists.

Between the two there is a KALATHOS (wicker basket used to store wool and utensils for domestic work entrusted to women)

È una scena di corteggiamento NELLA QUALE UN GIOVANE UOMO, STANTE E APPOGGIATO A UN BASTONE NODOSO, PORGE UN FIORE A UNA FANCIULLA SEDUTA INNANZI A LUI.

*** AUTOLYCUS, THE GRANDFATHER AND GODFATHER OF ODYSSEUS
*** AUTOLYCUS AND THE HELMET OF ODYSSEUS
Autolykos = self-luminous from lyki = the light
In Rhapsody IV of the Odyssey, the maid Eurycleia washing the feet of Odysseus, who has been transformed into a beggar by Athena, recognizes him directly from a wound on his leg.
This wound was caused by a wild boar’s tooth when he went as a young man to Parnassos, where his grandfather Autolykos lived, to hunt wild boar.
The name Odysseus was given by Autolykos to his grandson because of the suffering he had given to those he had wronged (v, 405).
“.. there are many because I am tired and I can’t do it ..”
“because I arrived here angry with many”
His daughter was Anticleia, the mother of Odysseus.
Autolykos took part in the Argonautic expedition, being one of Jason’s 50 Argonauts.
On Parnassos where he lived he honored the god Hermes according to Homer (v, 395).
According to Hesiod, Autolycus had inherited from Hermes the ability to steal and transform the stolen. From Amydoras he stole a bronze helmet, the “kynee”.
This helmet was worn by Odysseus during his night invasion with Diomedes in the city of Troy.
Odysseus must have taken the cunning of his character from his grandfather…
AUTOLYCUS AND THE HELMET OF ODYSSEUS
When the Greeks decided to send two warriors to spy on the Trojan camp, Diomedes chose Odysseus as his companion to go with them.
Homer tells us:
“…And Mirionis gave Odysseus’ quiver
bow and sword. And then the head with a helmet
his leather jacket, tightly fastened
in many thongs, and had wool in the background,
and boar’s teeth, densely white, encircled it.
Autolykos had stolen this from Eleonas, it seemed
of Ormenides Amyntoros pierced the roof.
In the Scandian of Amphidamados, inhabitant of Kythera
he also sent it as a souvenir to Molon of Xenia
Amphidamas saw it. And to his son Molos
he left Mirionin. And this helmet it was
where the forehead of uncle Odysseus lived…”
(ILIAS, Rhapsody K, f. 260)
Here we see that this HELMET belonged to Amydoros Ormenides who lived in Eleonas, who was the father of Phoenix, Achilles’ teacher.
Autolycus steals [antitorisas domon] a leather helmet [kynei] from the house of Amyndoras Ormenides [father of Phoenicus] which was in Eleonas.
He gives it as a gift to Amphidamandas, a resident of Skandia of Kythira.
He gave it as a gift to Molo, father of Mirionis, for his hospitality.
Molos gave it to his son, Miriones, to wear in the Trojan War.
Mirionis gives it to Odysseus while preparing for the evening spying.
This helmet had white wild boar teeth all around, material with excellent impact properties and inside with compressed wool to absorb the impacts and not let them be transferred to the skull.
Mirionis knows the history of this helmet. That’s why he gives it to Odysseus. It was owned by his grandfather, Autolykos.
Odysseus is depicted with this helmet in most vase paintings. We understand that it was something very important for Odysseus…..
In the photo we see a helmet from the Mycenaean era made of boar’s teeth similar to the one mentioned by Odysseus.
It was found in a vaulted tomb of Pylos.
Antonopoulio Museum of Pylos

Orestes kills his father’s cousin, Aegisthus, and then kills his own mother, Clytemnestra, who had made a bond with him while Agamemnon was away in Troy.
Everyone’s motivation for their actions was revenge.
In the past, Aegisthus has killed Orestes’ grandfather and his uncle, Atreus, for reasons of power.
Agamemnon succeeds in expelling Aegisthus from Mycenae, but also Thyestes (brother of Atreus) and takes over the kingdom.
When she left for Troy, Clytemnestra following the curse of Nafplius, who after the murder of his son, Palamidus of the Achaeans (Odysseus and Agamemnon) entered into a relationship with Aegisthus.
(Nauplius had sworn that he would corrupt the women of the Achaeans after the death of his son and thus destroy their houses).
Thus Clytemnestra and Aegisthus organize the murder of Agamemnon, which happens with the return of the king. Aegisthus seems to have gotten his revenge, but Orestes restores his father’s name and kills the two lovers.
Then he arrives in Athens to be tried in Areion Pagon. The votes of conviction/acquittal are equal. Then Athena takes over and acquits Agamemnonides. Since then, the votes are an odd number, so as to avoid a tie.

Caraff with painted moments of children playing and talking.

Aphrodite and Eros. Ancient Greece. Tanagra-Greece, the last quarter 4th cent. BC. – the 1st quarter 3rd cent. BC.

A statuette depicting Aphrodite with her son Erota, whom she entertains with a toy-top, is a unique work, known to date only in a single copy. In this sculptural group, a characteristic feature of Hellenistic art was manifested – a penchant for genre. The coloring applied on the white coating has been preserved so well that you can mentally recreate the original major color scale.

The Hermitage Museum

THE KRYPTEIA IN SPARTA: INITIATION OR STATE TERRORISM? [SECOND PART].

[Image: Anonymous, “Relief with Heroes and Worshipers”, Sparta 6th century BC, Altes Museum, Berlin].
In summary, we can therefore state that while the tradition attributable to Plato identifies the krypteiai with “war training”, in which young people on the verge of finishing their training were subjected to a final test, lasting a season or even a entire year, to verify their actual military capacity – measured on the ability to resist deprivation and to procure everything one needs on one’s own and without any help – that represented by Aristotle and Plutarch makes them real missions military, blitzes carried out lightning fast by a carefully selected elite to inflict the greatest damage on enemies in a reasonably short time.
So how can these discrepancies between the sources be explained? Numerous scholars have long questioned the various reconstructions since the 19th century. A common feature of the results obtained by them is the importance that almost everyone recognizes in the role of the helots in the evolution of the Spartan order and in particular of the agoge. Perceived as a foreign body by the ruling class, they always represented a threat to the stability of the existing social order and to its very survival. At the slightest sign of weakness of the Spartiates, they would certainly have risen up to subvert the order, the kosmos, which saw them in a base and degrading position. This had to be avoided at all costs.
But there’s more. Since its origins, the Spartan state, due to the great distance that separated it from the sea, had directed its expansionist aims towards the interior and the mainland. Those who paid the price, before the others, were the Messenians, who inhabited a region located in the south-western Peloponnese, coveted by the Spartans for the fertile plains it hosted. After the so-called “Messenian wars”, they had been subjugated by their powerful neighbors and reduced to the rank of helots, with all the imaginable consequences. As is easy to understand, the Messenians had never resigned themselves to this condition and had periodically attempted to recover through numerous insurrections, all of which were bloodily repressed. Until, after the disastrous outcome of the battle of Leuctra (371 BC), Sparta had lost its military hegemony in favor of the Thebans and they had invaded the Peloponnese and liberated Messenia, actually founding there, with the general Epaminondas, the new polis of Messene (369 BC).
Therefore the helots were perceived by the Spartiates as a danger to be perpetually guarded against; and the Messenians, subjugated in ancient times, were assimilated to them in the perception of the ruling class. However, when, after Leuctra, the Spartans lost their military dominance in the Peloponnese and were forced to accept the Theban imposition of a free Messenia with a new capital, it can well be assumed that they certainly did not do so willingly. Isocrates, in the oration “to Archidamus”, confirms this thesis [7].
But what does this situation have to do with the interpretation of krypteia? Well, some scholars have advanced the thesis that the alleged incompatibility between the versions of Plato and Aristotle is nothing more than the indication of an evolution undergone by the institute over time. If, in fact, throughout Spartan history it was nothing more than a military training practice, a final test which young warriors had to undergo at the end of the period of preparation for entry into active citizenship, after the defeat of Leuctra, the loss of Messenia and the liberation of its inhabitants, became something substantially different.
The Spartans never completely resigned themselves to the loss of Messenia. «The Spartans did not make peace with the Messenians, because the Messenians were helots. The Spartans were at war with the Messenians: in the Spartan view this was a war against the helots” [8]. A war, however, which due to the current conditions of the 4th century. B.C. it could not be fought, at least in enemy territory. But which, on the other hand, could be replaced by the one fought within one’s own territory against the helots still available. On an almost ritual level, the victims of the krypteiai served to symbolically renew the submission of all the helots (including the Messenians) to Sparta, and to remind the younger generations (called to physically carry out the actions) of their duty to continue the war until the lost territories are regained.

War was part of Sparta’s nature. The glory of the ancestors came from the war, the stories, the examples, the warnings addressed to the young were full of the war. The role of citizen and that of warrior were in fact indistinguishable in the Spartan perspective. And we had to return to the war if we didn’t want to die.

[7]. See M. Nafissi, “Krypteiai spartane”, pag. 220. The text of Isocrates’ Archidamus, in its English translation, can be consulted here: https://bit.ly/2RRUO3r. See in particular paragraphs 28, 86-87 and 96.
[8]. See M. Nafissi, “Krypteiai spartane”, pag. 222.

After eliminating all the brigands, thieves and monstrous murderers who had infested the road from Troezen to Attica, Theseus was able to enter Athens, where Aegeus still reigned, who after so many years seemed to have forgotten the story of Pittaeus, of Aethra, of the sword and of the sandals.
He had welcomed Medea into his palace, who he then married, always driven by the desire to secure an heir. Medea had given him a son who could one day become the successor to the throne of Athens. Medea, unlike Aegeus, had not forgotten Aethra and her son and was on her guard, fearing that one day he would show up boasting of his origins and legitimate role as king.
As soon as he arrived in Athens, in fact, Theseus immediately made headlines. While he was admiring a temple under construction, dedicated to Apollo, he was addressed with offensive words by the construction workers. In response, the hero lifted and threw a cart pulled by an ox which had been used to transport construction material over the temple. Those men were struck by the gesture and it was immediately known throughout the city. Even Medea, realizing that Theseus had arrived in Athens, attempted an extreme gesture: she turned to Egeus telling him that a stranger with a rather singular appearance and threatening attitude had shown up; so he warned the king, making him suspicious of the newcomer’s intentions. If the foreigner had been a spy, Egeo would have had to eliminate him without attracting too much attention. Medea convinced him to invite him to a banquet: she would provide the rest. With a poisonous herb she prepared a mixture to put in the guest’s wine to eliminate him.
Once at the table Theseus took out the sword, which his father had hidden many years before, to cut the portions of the ox that had been placed on the table in honor of him. When Egeus saw that sword he recognized it and remembered everything, so he overturned the cup of poisoned wine and hugged his son. He had therefore found a son who came from the past, but he also knew that Theseus would not have forgiven Medea for the danger of the poison. So he convinced her to sneak away before the hero could take revenge on her. Medea, with her son Medus, wrapped in a fairy cloud, moved away from Athens forever.
The dangers were not over yet: it was in fact the turn of Pallas and his fifty sons. He considered Aegeus a usurper, but, knowing that his descent was unlikely, he had put up with it while waiting to become king of Athens in his turn. Suspicious about the arrival of that newcomer welcomed so affectionately by the king, he thought that there was a link between Aegeus and Theseus; if this were true, all his hopes could vanish at any moment, and so he prepared a plan to eliminate the young man.
He divided the group of his sons into two groups: he himself, in command of twenty-five of them, headed towards the city threateningly with the intention of taking Theseus by surprise and killing him. The other group, however, would have stopped in a place called Gargetto to set up an ambush for Theseus in case he managed to escape the first attack. But this plan, apparently flawless, did not achieve the desired results because the archer Leo warned Theseus that in this way he managed to overcome his opponents. Pallas and the survivors had to surrender to Theseus and invoke his mercy. But, having learned that it was Leo who had warned the hero, they promised in their hearts that they would take revenge and swore eternal hatred for his lineage too. By now Theseus enjoyed the full approval of the king, who had recognized him as his son.

Vase – 450 – 430 BC
Theseus, wearing the petasus and chlamys, takes leave of Egeus. The Athenian king is on the far left, wearing tapeworm and cloak and holding a staff. To the right of Theseus, Medea and a warrior, Forbas, with a large shield. Behind her the warrior Aethra, mother of Theseus, with chiton and cloak that also wraps her head.
All the characters represented are indicated by inscriptions in purple red, which have almost completely disappeared. It was precisely from this kylix that the personality of a painter, active in Athens around the middle of the 5th century BC, was identified. His production is exclusively limited to a series of kylikes, mostly decorated with mythological and heroic subjects of Attic theme. Civic Archaeological Museum of Bologna

Metopa raffigurante Teseo dal “Tesoro degli Ateniesi” (inizio del VI sec.a.C.) Museo di Delfi.

Il tempio di Teseo ad Atene (469-465 a.C.)

GREEK MARRIAGE BOILER

height 51.1 cm, 430-420 BC, Metropolitan Museum of Art, New York

The bath of the bride and groom was an integral part of the wedding ritual, because it marked the end of one phase of their lives and the beginning of a new one. Besides, purification with water before any contact with the goddesses was a tradition for the Greeks. The water for the wedding bath was drawn from a specific source and in Athens – more specifically – it came from the Enneakrouno. The vessel for his transport was the bath-boat. The subject of the bride’s bath is depicted more often than the groom’s, but the scene is summed up in the procession to or from the fountain.

In the belly of the vessel the bride sits on a difro, resting her feet on a footstool and with both hands plays a harp, suggesting the songs that were heard during the bride’s preparation. One of the following approaches from behind, holding a luthophoro, a vessel used mainly at weddings to carry water for the wedding bath.

Three women approach the bride holding wedding gifts in boxes. On the other side of the vase two women offer boxes of gifts. Beneath the handles are depicted winged women who may be Nikes denoting the triumphant power of beauty or may represent deities of the Underworld associated with fertility.

The ribbons or branches they carry represent the divine blessing they bring to the bride. Since the bride does not wear a veil and crown and is not clothed, it leads us to the conclusion that the “mansions” are depicted, one day after the wedding feast and the bridal procession. During this time, the bride would welcome friends and family to her new home and receive their gifts, textiles, baskets, trunks, compasses, mirrors, etc…….

JEWELERY…

THE ANCIENT JEWELLERY WAS CALLED PYXIS/ΠΥΞΙΣ(=COMPASS) AND WOMEN KEPT JEWELRY AND COSMETICS THERE..IT HAD INSTRUCTIONS AND GAVE ITS NAME TO THE NAVAL COMPASS…

A pyxis is a wooden or ceramic ancient Greek vessel, cylindrical in shape, with a lid.
Women usually put their cosmetics or jewelry there. In other words, it was a vessel that played the same role as a present-day cosmetic box or a jewelry box. The nautical compass got its name from the similarity in shape to the ancient vessel.

One of the most interesting ancient Greek compasses is today in the National Museum in Warsaw. It is an Attic vase of the 4th century BC. which has a hand depicted on its lid.

The ancient pyxis.
The fingers are thin

and the hand is probably female. It is a rare case in Attic vase painting where the subject is not decorative, but used as a practical guide: it shows the owner of the compass how to open the lid! Corresponding symbols exist today on many packages for how to open them!

Photo
Compass of the Archaic period 470 BC- 460 BC. Performance from the weddings of Peleus and Thetis. Louvre Museum.

THE NIOBIDE CRATER …
CALYCOTOS** CRATER OF THE “NIOBIDE PAINTER”:
APOLLO AND ARTEME KILLING THE CHILDREN OF NIOBES 460-450 BC.
PARIS, LOUVRE

The best-known example of a red-figure vase decorated with representations showing the influence of the great painting is a cupped krater from Orvieto in central Italy (Etruria), now in the Louvre Museum (fig. 190), dating to the decade 460-450 BC. X.

On one side of this crater, the killing of the sons and daughters of Niobe by Apollo and Artemis is depicted, and for this reason the vase painter who created the representation is called the “painter of the Niobides”. According to the myth, Niobe, daughter of Tantalus, married Amphion from Thebes and had seven sons and seven daughters.

Proud as she was, Niobe once boasted of her many children to Leto, who had only two. Enraged by the insult, Leto asked her own children, Apollo and Artemis, to punish Niobe and they killed her children with their arrows. Only one of Niobe’s sons and one of her daughters survived.

In the center of the scene of the killing of the Niobids in the crater of the Louvre, Apollo and Artemis are shown shooting the children of Niobe; two of them try in vain to escape, while two others, a boy and a girl, are already lying dead on the ground. The scene takes place in a rocky mountain landscape, where a tree can be seen. The irregularities of the ground are clearly visible from the position of the dead Niovids lying on the ground and from the movement of those running to escape. On the other side of the crater is depicted a multi-faced scene, in which various heroes of mythology appear who are difficult to identify; one at the bottom of the representation is lying down and rising, another beside him is seated and the rest are standing.

Only two figures are identified with certainty, Athena and Heracles, who is depicted in the center of the composition. The overall interpretation of the scene remains enigmatic. The different positions and the bold perspective foreshortening of the figures as well as their placement at different levels within the space are elements that refer to the important innovations of the great painting of the first half of the 5th century BC, mentioned by ancient authors, connecting them, as we have seen, with Polygnotos and Mykonos.
It is therefore very possible, as they have already assumed, that the “painter of the Niovides”, when he painted this crater, had as his models frescoes or paintings by these two painters and especially by Polygnotos. How much the Athenian vase painters of the mid-5th BC admired Polygnotos. century can also be seen from the fact that three of them took his name and signed their works that way.

KALYKOTOS** (from the word KALYX) = cover, cover, wrist, in use only on flowers and fruits, case of the seeds of …

CRATER
LEFKANIC RED MORPHOSIS HELICATE CRATER 410-400 BC.
IT IS ATTRIBUTED TO THE PAINTER OF THE CARNIES..DIONYSUS WITH HIS FOLLOWERS IS DEPICTED…
Museo Archeologico Nazionale, Taranto.

.

CLAY PUMP(KYMBI**)…..
LONG OPEN VASE WITH WRITTEN MULTICOLORED DECORATION OF GOATS IN A LANDSCAPE WITH RICH VEGETATION ON ONE SIDE AND DOLPHINS IN A SEA LANDSCAPE ON THE OTHER…
AKROTIRI THIRAS(SANTORINE) LATE CYCLADE PERIOD …NATIONAL ARCHAEOLOGICAL MUSEUM….

**KYMBI=ΚΥΜΒΗ, IS A CHARACTERISTIC TYPE OF THERAIC(From SANTORINI) POTTERY, ALTHOUGH THE EXACT USE OF THE VESSEL IS NOT KNOWN….
-.. THE TERM “CATACOMB” IS DERIVED FROM THE GREEK PREPOSITION KATA=DOWN, AGAINST AND THE LATIN WORD CUMBA, WHICH IN ITS TURN COMES FROM THE GREEK
KYΜΒΗ/KYMBI, MEANING:
1) AMPHORA CAVITY, CUP, VESSEL.
2) A KIND OF BOAT MADE FROM A HOLLOWED-OUT TREE TRUNK….

GEOMETRIC DIPYLOUS AMPHORE……
The Amphora of Dipylus is the most important vase of the geometric era and one of the most famous works of ancient Greek ceramic and vase art. Its maker is known by the conventional name Angiograph of Dipylos.
HISTORY OF ITS DISCOVERY…
It was found in 1891 during the archaeological excavations directed by Valerios Stais at the Dipylos of Keramikos.
DESCRIPTION
The vase is entirely decorated with successive parallel horizontal friezes of geometric decoration of meanders and rhombuses. The main frieze contains two images flanked by two small handles.
Contains a total of 19 human silhouettes. The image on the front is longer than the image on the back. It is flanked by two small vertical meanders. It depicts a performance of intention and mourning of a dead woman, as we infer from the skirt she wears. She is placed on a horizontal bed with a funeral sheet.
In front of the bed two kneeling women to the right mourn, while to the right a man and a woman sit on a chair to the left who also mourn. Even further to the right are five women, and two men also mourning, while a child touches the bed of the deceased with his hand. To the left of the bed are six other women and a child who are mourning, while the child also touches the bed with his hand. The men are distinguished by the sword and knife they wear at the waist. The representation on the reverse is flanked by two large stars. The neck of the vase contains two representations of grazing deer and resting goats.
ARTISTIC INTERPRETATION ….
The chest of the people is shaped like a triangle, from which the arms of the mourners form an extension. Palms and fingers are depicted only when they have some special significance to the scene depicted. The hands and fingers of the dead manifest the lifeless body. Between the human silhouettes are placed decorative elements that visually connect the scene with the entire decoration of the vase, thus forming a bridge between the geometric shapes and the human scene. The decorative elements on the belly and neck of the vase are of excellent quality. They serve to further emphasize the shape of the vessel.
In the center of the neck of the vase, as well as on its shoulders and in the center of the belly we notice a double meander, an invention of the Angiographer of Dipylos. Another important innovation is the deer friezes, perhaps of Eastern influence with a gold foil pattern.
INTERPRETATION ….
The amphora marked a female grave, while a monumental krater was placed in male graves.
HISTORICAL LOCATION……
It is dated to the Late Geometric era, 760-750 BC. The workshop of the Angiographer of Dipylos had specialized in the manufacture of this monumental vase. The Pottographer of Dipylos may have been the potter of this vase at the same time. The Dipylos is of later construction. The vessel may have been moved there from somewhere else after the destruction of the city in 490 BC. and placed in the place where it was found.

ARCHESTRATOS – THE ANCIENT GREEK POET AND PHILOSOPHER FROM SYRACUSE FATHER OF GASTRONOMY
nine years of light

In addition to the high arts of Rhetoric, Poetry, Philosophy and Architecture, Ancient Greece also gave birth to the high art of Gastronomy. The most circumstantial proof of this is the word “gastronomy” which comes from the Greek “gastir” and “nomos”, i.e. “the laws of the stomach”.
As the cradle of gastronomy, Greece laid the foundations of the culture of taste and influenced the culinary culture of many countries since 400 BC. Thus, on the international menu we often find dishes with a Greek influence and this is because many nations embraced the Greek culinary philosophy and art, because, among other things, it is healthy and delicious.
The Ancient Roots of Greek Cuisine
The Ancient Greek poet, philosopher and gastronomist Archestratos is considered the father of Gastronomy. Born in Syracuse in the 4th century BC, he was the man who laid the foundations of the philosophy of cooking.

He is said to have been a gourmand of the time, who traveled the Mediterranean, tasting food and recording recipes.
In his famous poem “Idypathia” he reveals to us the secrets of ancient Greek cuisine, devoting chapters to the Greek diet. Only 300 verses have survived from his specific poetic work, in which he nevertheless records the rules of the Greek diet and presents the “Savoir Manger”.

According to Archestratos, the 5 golden rules of eating are as follows:

Using simple, pure products produced by nature.

Harmony of materials between them, so that one does not overlap the aromas and flavors of the other.

No heavy sauces and hot ingredients.

Use of light sauces for greater pleasure on the palate.

Seasoning with the well-known Greek measure and discipline, so as not to disturb the harmony of flavors and aromas.

The Ancient Greeks didn’t just eat for survival, but also to enjoy, feel pleasure, communicate and philosophize about cooking. Another indication regarding the consideration of cooking as a high art, equal to the rest of the arts, in Ancient Greece, was that it was practiced only by men, who at that time held the reins in the practice of the high arts and saw gastronomy as a spiritual good.

Red-Figure Lekythos (Oil Vessel): Athena Slaying Giant (body); Satyr between Maenads (shoulder), c. 490 BC. Shoulder attributed to Berlin Painter (Greek, Attic, active c. 505–460 BC), body attributed to Painter of Goluchow 37 (Greek, Attic, active c. 490–460 BC). Ceramic; diameter: 14.1 cm (5 9/16 in.); diameter of mouth: 8.7 cm (3 7/16 in.); overall: 38 cm (14 15/16 in.); diameter of foot: 10 cm (3 15/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1978.59

The two separate areas of figural decoration on this vase have been attributed to different painters: the small satyr and maenads on the shoulder to the Berlin Painter; and the larger figures of Athena and the slain Giant Enkelados on the body to the Painter of Goluchow 37. Scholars have named these two painters, whose actual names remain unknown, after other vases they have painted, now in Berlin and Warsaw. The victory of Athena and the Olympian gods over the Giants has been interpreted as a metaphor for the Greek victory over the Persians around the time this vase was made. Thus, although Enkelados appears as a fully armed warrior, he falls in utter and complete defeat—bleeding from multiple wounds, eyes rolling back, sword dropping from his hand.

Douris was a most versatile painter, creating scenes of great delicacy, as on the Atalanta lekythos (1966.114), and scenes of great power, as here. In the mythological War of the Gods and Giants (Gigantomachy), Athena slays the giant Enkelados with her spear. He reels backward, his eyes rolling skyward. The giant’s broken spear is a beautiful compositional bridge between the two figures. This scene may depict the victory of the Greeks (represented by Athena) over the Persians (represented by the Giant) at Marathon in 490 BC

The Sun of Vergina is a symbol that was widely used by Ancient Greeks. It became famous due to the Macedonians who were using it as Symbol of the Argead Dynasty.
–The Royal house of Macedon:
vergina sun philip
The typical Sun of Vergina is a 16-pointed Sun. It can also be found in other styles: 12-pointed or 8-pointed. What was the meaning of this symbol?? –In the typical 16-pointed Sun , the 4 rays represent the 4 elements: Earth-Ocean-Fire-Air. The other 12 rays represent the 12 Gods of Olympus.You can see the explanation in the following animation :

–In every form, the Sun of Vergina symbolized Virginity:
Goddess Athena was a Virgin, so this Sun was associated with her. We can also find this symbol associated with Apollo. –All the versions (16,12 and 8-pointed Sun) are associated with another famous Greek symbol, the “Delphian Epsilon”, symbol of Apollo:

The Sun of Vergina became common art design in coins, craters, wall-drawings etc LONG BEFORE the Macedonian royal house (the Argead Dynasty) used it. After the unification of the Greek (Hellenic) nation under the leadership of Alexander the Great, the Sun of Vergina became the symbol of the Hellenic Ethnogenesis.
In the following replies, you will be able to see some pieces of Ancient Greek art containing the Sun of Vergina, BEFORE THE RISE OF THE GREEK KINGDOM OF MACEDONIA. These sun symbols are found in various Greek places, apart from Macedonia. Moreover, there will be a small historical flashback, in order to see the evolution of this symbol throught the ages :
2000 BC:
This is the time where ancient Greeks first started using the Sun symbol. It was not standardized yet, it was a early form of the Sun of Vergina:

780BC:
The Sun of Vergina has been standardized. The following art work shows the destruction of Troy. We can clearly see the Sun symbol in the warrior’s hump. It was found in Mykonos island :

The following images are just a small sample, showing the wide usage of the Sun of Vergina in Greek Art:
Spartan Hoplite – 780 BC:

Spartan Amphoreus –
It dates from the 6th century BC, that is, well before Macedonia’s later dominance in the Greek world. In this fine example of ancient pottery, the Sunburst here is not just an incidental decorative motif but rather constitutes the central theme. Its appearance on this household item from distant Sparta, at such an early date, is one of the most compelling pieces of evidence for the panhellenic nature of this ancient symbol. In addition, this item perhaps alludes to a more specific connection between Sparta and her Dorian cousin of the north.
This vase can now be found in the Louvre Museum, Paris. 6th Century BC:

An amphora from the Pontus region (the southern shore of the Black Sea) dating from the second half of the sixth century BC. Priam and the god Hermes lead Hera, Athena and Aphrodite to Paris whose task will be to decide which of these goddesses is the most beautiful. According to the legend each of these goddesses made offers to Paris so that they might win the contest. Hera promised to make him ruler of the world, Athena vowed that he would never be vanquished in battle. Paris eventually chose Aphrodite as she promised him the love of Helen, the most beautiful mortal woman in the world. The Trojan War was a direct result of this fateful contest:
Exekias was a famous vase-painter and potter of ancient Athens. The scene on this page, from an amphora of the third quarter of the 6th century BC (now at the National Museum of Athens), is one of his most famous works. It is considered one of the finest surviving examples of ‘Black Figure’ vase painting.

Achilles and Ajax, two major Greek heroes of Homer’s Iliad are depicted here relaxing over a game of dice during a lull in the fighting. Achilles has just won; he has just thrown a ‘four’ while Ajax has to accept a ‘three’:
Third Quarter of the 6th century BC:
Achilles and Ajax
The cloaks of both these Homeric figures are studded with numerous 8-ray Sunbursts.
The return of Hephestus– 560 BC:

Below is a pyxis (box-like vase) from the second half of the 6th century BC signed by the prolific Athenian potter Nikosthenes. It depicts the hero Herakles with the Gods of Olympus. The seal on the lid of this vessel features the familiar 16-ray Sunburst. Like the garments of Achilles and Ajax on the Exekias vase, the clothes of one of the figures on the front of the pyxis is also adorned with sunbursts:
Athena and Hermes– 540 BC
heracles olympians pyxis Athena and hermes

Heracles and Lernaia Hydra- 525 BC:

Odyseus blinds the Cyclop, Magna Grecia- 520 BC:

Greek Amphoreus, Magna Grecia– 500 BC

Heracles- Olympia- 500 BC:

Goddess Athena– 5th century BC:

Hades-the Greek underworld– 5th century BC:

An Athenian citizen-soldier of about 450 BC. He is wearing a linen cuirass (body armour), a style which had largely replaced cuirasses made of bronze by about the middle of the 6th century BC:

The shoulder pieces of his cuirass are decorated with 8-ray Sunbursts. The grotesque face of the Gorgon Medusa, a very common Greek symbol and one of the attributes of the goddess Athena, hangs on his chest.
Heracles and Athena, 480 BC:

Another Attic vase (dated c. 480 BC), shows a warrior wearing an ΅Attic’ helmet and carrying a large, decorated shield. A sixteen-ray sunburst adorns the shoulder piece that is visible:
– c. 480 BC:

The shoulder pieces of yet another hoplite from an Athenian vase of 450 BC above), are likewise decorated with 8-ray Sunbursts. This scene captures the solemn mood of the hoplite warrior’s departure for battle. He is shown clasping his father’s hand while his wife (or mother) carries a phiale (cup) which will be used for the ritual libation of farewell:
450 BC:

Inside the temple of Nemesis in Thamnous– 436 BC:

Ancient Greek hoplites, Museum of Napoli, 400 BC:

The Legent of godess Dimitra-400BC:

Canos Vase –400 BC:

Detail of Canos Vase- The Persian king Darius, seated on his throne, holds a Council of War and decides to invade Greece. Below him are Persians bearing tribute. Above Darius are the Gods of Olympus. Among them, flanked by Zeus and Athena, is a female figure, a personification of Greece [Hellas] herself. Athena has placed her arm on Greece and together with Zeus appears to be consoling her in view of her impending struggle and tribulations (see Canosa vase detail below):
Two 16-ray Sunbursts complete the line-up of Greece and the Hellenic pantheon while a further two Sunbursts appear

Greek Hoplite vs Persian Soldier, 4th century BC:

The Greek hero Perseus:

Fourth century BC
Athena Promahos
Three youths in battles one of whom carries a shield emblazoned with the Sunburst:

An epaulette depicting a sunburst.
epaullete
On Greek Shields and Helmets
The shields of ancient Greek hoplites (heavy infantry) invariably bore a symbolic design known as the episema, which had a ritual or heraldic significance. Surviving representations of these devices attest to a vast diversity of design and inspiration. Although often unique to the individual, (a phenomenon resulting in a plethora of emblems: roosters, lions, tripods, gorgons, birds, bulls, serpents, boars etc), whole armies often presented a uniform design. Such was the case of SpartaΆs soldiers who were easily recognizable by the legendary Lambda (‘Λ’: the Greek ‘L’, the first letter of ‘Lacedaimonia’, the land of the Spartans) on their shields, in addition to their scarlet cloaks.
At least two of the hoplites competing in the armed foot-race from a Greek amphora of the 4th century BC (below), carry shields featuring a solar episema. Athletic contests were held in honour of the gods at Greek festivals. The armed foot-race was a very popular event, so much so, that 25 shields were on hand at Olympia for the use of the contestants. A Panathenaic amphora by Nikomachos from the same period (not shown) likewise depicts three nude warriors racing, two of whom carry shields emblazoned with Sunbursts.

Nudity in battle, as depicted on this late classical Athenian wine-jug (below), was an artistic convention designed to distinguish Greek from barbarian. Greek warriors never actually fought without body armour; nor did they hunt in this way as the famous painting by Gnosis of Alexander hunting would have us believe. A Greek hoplite is here engaged in battle against three Persians (not all of whom are visible). This scene reflects the growing confidence felt by Greeks in the wake of their defeat of Persia in the early 5th century and XenophonΆs successful Persian venture in the early 4th century BC. The Greek hoplite proudly carries a shield adorned with the evidently quite common Sunburst episema:

An Attic red figure krater now in the Antikenmuseum (in Basle, Switzerland; not shown) depicts a scene from the Amazonomachy, the mythical battle between Theseus and his Athenians against the invading Amazons. Significantly, one of the Athenian warriors engaged in the melee, who is also fighting in ?heroic nudity?, holds a shield with a 16-ray Sunburst. The ‘Polygnotos’ stamnos (445-430 BC; below) dealing with the same theme, shows Theseus himself carrying a shield decorated with a Sunburst. [A combat scene from an amphora painted by the so-called Suessula Painter (c. 400 BC; not shown) likewise depicts a Greek soldier carrying a shield decorated with a somewhat faded yet still discernible Sunburst].

An early krater from Magna Graecia from the last quarter of the fifth century BC painted by the so-called Sisyphus Painter incorporates a number of different scenes. Horse riders are apparently engaged in a race in the top-most scene. Women are shown playing musical instruments in the middle, while the bottom scene has the legendary battle between the Centaurs and the Lapiths as its theme. One of the Lapith warriors is carrying a large shield with a distinct 16-ray Sunburst episema…

EARLY CORITHIAN ALABASTRON DEPICTING TWO CONFLICTING ROOSTER…

AROUND 625-600 BC

MUSEUM OF CYCLADE ART Athens N.P. Goulandris Collection 1062.

ATTICA
black-figured AMPHORA. Minute style, with large number of white embroidered rosettes. Designs black on red panels with borders of lotus and honeysuckle along the top; accessories of white and purple.
In the centre is ZEUS seated to RIGHT, bearded, with long hair, fillet, long purple CHITON and embroidered HIMATION, in left hand a sceptre; underneath his chair, the back of which is recurved in the form of a swan’s head, is a lion walking and looking back to right. He is represented on a larger scale than the other figures. Confronting him is HERMES, bearded, with hair in a club; he wears a petasos, short embroidered chiton, purple chlamys, and endromides; in his left hand is a caduceus, his right is raised as if speaking. Behind him stand two male figures to left holding spears; the first one is bearded, with long hair, long purple chiton and embroidered himation; the other, beardless, with long hair and a short purple chiton. Behind ZEUS are two male figures to right, both beardless, with long hair, holding spears; the first one wears a short embroidered chiton, the second a striped embroidered himation.
(b) CONTEST of HERACLES and GERYON: HERACLES stands to RIGHT, in the lion’s skin, which is stippled to show the hair, and short embroidered chiton, with quiver at back and sheath at left side; in his right hand is a sword with which he attacks GERYON. The latter is represented as three warriors united at the hips, all bearded and fully armed; the shield of the middle one has a star of sixteen points as device, that of the right-hand one is painted purple. The left-hand one falls back wounded; he has a chiton with scale-pattern and shield painted purple inside. Behind him is a hawk flying to left. Between the combatants lies EURYTEON prostrate to right; he is bearded, and wears a short purple chiton and greaves, his left hand is extended; his legs are drawn up in agony, and the eye is rendered without the pupil. On the left is ATHENA to right, without helmet, in long CHITON, with DIPLOIDION, embroidered with diaper-pattern, in her left hand a spear.
View lessabout description. https://euphoriatric.com/euphoriatric-symbols-historical.

H E R E:

A krater with the Macedonian 16-ray sun (Vergina Sun) from the 6th century BC, that is, well before Macedonia’s later dominance in the Greek world.

In this fine example of ancient pottery, the sunburst here is not just an incidental decorative motif but rather constitutes the central theme. Its appearance on this household item from distant Sparta, at such an early date, is one of the most compelling pieces of evidence for the panhellenic nature of this ancient symbol. In addition, this item perhaps alludes to a more specific connection between Sparta and its Dorian cousin of the north.

Now in the Louvre Museum, Paris.

Read more http://history-of-macedonia.com/sun-of-vergina/-ray sun (Vergina Sun) from the 6th century BC, that is, well before Macedonia’s later dominance in the Greek world.

Now in the Louvre Museum, Paris.

TWO OF THE CLASSICAL PANHELLENIC SYMBOLS:
AKROCERAMOS AND THE SUN OF VERGINA ON THE SHIELD
OF THE ARMED SPARTAN.
https://euphoriatric.com/euphoriatric-symbols-historical…/

I AM FASCINATED BY THE BARBARIAN IGNORANT AND ARROGANT ONES..FROM PSEVDO”HISTORIANS”, GEOPOLITICAL SCAMBUGS, CRIMINAL “POLITICIANS”, IDIOTS WITH LOW “EDUCATION”, LOW IQ…,, JEALOUSY – ENVY
ONLY ONES WITH LOW IQ, OR HEAVY INFERIORITY COMPLEX TOWARDS THE ORIGINAL HIGH LEVEL UNIQUE CULTURE DO
ACT THIS WAY!.. DO THEY MEAN SERIOUSLY??!! ……. THAT FIRST WERE NAMES AS:… “ALEKSANDAR”, PERIANDAR, MENANDAR, MEANDAR, LEANDAR, ANAXIMANDAR…??? ETC.

…. DO THEY. REALLY MEAN. THAT??, ….
IT SOUNDS LIKE THE ORIGINAL ANCIENT GREEK MATHEMATICAL LANGUAGE (NAMES AND WORDS., SCIENCE, ASTRONOMY, THRATERS, MATHEMATICS,…ETC.. ETC..) WERE SLAVIC??
SOME OF THE HUNDRED OF THOUSANDS OF WORDS AND NAMES….
AS:

ΑΛΕΞΑΝΔΡΟΣ/
ALEXANDROS=MAN’S PROTECTOR….
INFINITIVE: ΑΛΕΞEIN=TO PROTECT… TO.. “ALEXANDAR”.

ΚΑΣΣΑΝΔΡΟΣ
( CASSANDER
FROM THE BERB: ΚΈΚΑΣΜΑΙ (ANCIENT GREEK). KÉKASMAI =“TO SHINE”; EXCEL OVER”) AND ἈΝΉΡ (ANḖR, “MAN ”). IN TURN, THE NAME MEANS “ONE, WHO EXCELS OVER MAN.”

ΚΑΣΣΑΝΔΡA/
CASSANDRA IS AN ANCIENT GREEK FEMININE NAME MEANING “SHINING UPON MAN.” THIS IS A LATINIZED VERSION OF THE GREEK
ΚΑΣΣΑΝΔΡA
KASSANDRA.
A NAME SHARED WITH THE TROJAN PRINCESS, WHO WAS GIVEN THE GIFT OF PROPHECIES BY APOLLO BUT CURSED SO THAT NO ONE WOULD BELIEVE HER.

ΦΙΛΙΠΠΟΣ /FILIPPOS
ΦΙΛΟΣ+ΙΠΠΟΣ
FRIEND+HORSETO… FILIP”..

ΜΑIΑΝΔΡΟΣ/
MAIANDROS
(“MAN’S QUEST) TO…”MEANDAR”.https://euphoriatric.com/euphoriatric-symbols-historical…/
ΛΕΑΝΔΡΟΣ/LEANDROS “LEANDAR” ΛΈΩΝ=LION./LION TO MAN.

ΠΕΡΙΑΝΔΡΟΣ
PERI+ANDROS=”ABOUT THE MAN”) TO…. “PERIANDAR” ( CORINTH/ 600 BC).

ΜΕΝΑΝΔΡΟΣ/MENANDROS
“MENANDER”=MENANDROS/ FROM: MΕΝΟΣ /MENOS=“FORCE”+‎ANDROS, (GENETIVUS FORM OF ANHP/ANER= MAN).

ΑΡΙΣΤΑΝΔΡΟΣ
“ARISTANDER”=
/ARISTANDROS (FROM: APISTO+ANDROS=NOBLIEST OF MAN.

ΑΡΙΣΤΑΡΧΟΣ/ARISTARHOS… (ARISTARHUS, LATER IN LATIN)
ΑΡΙΣΤΟΣ+APXOΣ= NOBLIEST+DOMINANT, RULER.
ΑΡΙΣΤΟΦΆΝΗΣ/ARISTOFANIS= ARISTOPHANES
ΑΡΙΣΤΟ+ΦΆΝΗΣ=THE SEEN NOBLIEST.

ΑΝΑΞΙΜΑΝΔΡOΣ
ANAXIMANDER”=ANAXIMA+ANDROS=MAN’S SOVEREIGNTY…TO “ANAXIMANDAR”(ONE OF THE IMPORTANT TEACHERS OF PYTHAGORAS).

ΝΙΚΑΝΔΡΟΣ
“NIKANDER”= /NIKANDROS(NIKH+ΑΝΔΡΟΣ= MAN’s VICTORY TO “NIKANDAR”.
ΛΥΣΑΝΔΡΟΣ/ LYSANDROS “LYSANDER””LYSANDAR”
(FROM VERB:ΛΥΩ)
ΛΥΣΗΣ(SUBSTANTIVE) = MANS SOLUTION, THE MAN, WHO SOLVES THE PROBLEMS…
(EXAMPLE: ANA+ΛΥΣΗΣ=
ANALYSIS,
DIA+LYSIS, KATA+LYSIS, PARA+LYSIS… etc. THE MEANINGS CHANGE, DEPENDING ON WHICH
PREPOSITION, INTENT, OR WORDS ARE CONNECTED…

ΜΑΚΕΔΟΝΙΑ/MACEDONIA COMES FROM ΜΑΚΕΔΝΟΣ= MEANING TALL….
https://euphoriatric.com/etymology/
https://euphoriatric.com/the-mathematical-structure-of
BY: SAVVAS SAVVIDIS

Macedonia- Greece THESSALONIKI
Born in 352 BC, Thessalonike was the daughter of King Philippos II of Macedon and his wife or concubine, Nicesipolis. Her mother hailed from the Thessalian nobility, and the name “Thessalonike” was bestowed upon her in honor of Philip’s military victory over the Thessalians
History links her to three of the most powerful men in Macedon—daughter of King Philip II, half-sister of Alexander the Great and wife of CASSANDER**
A popular Greek legend has it that Thessalonike became a mermaid who lived in the Aegean after the death of Alexander. The legend states that Alexander, in his quest for the Fountain of Immortality, retrieved with great exertion a flask of immortal water. In some versions of the story, he used the water to wash his sister’s hair, making her immortal; in others, he forgot to tell her the contents of the flask and so used it to water a wild onion plant. When Alexander died his grief-stricken sister attempted to end her life by jumping into the sea. Instead of drowning, however, she became a mermaid who passes judgment on mariners throughout the centuries and across the seven seas.
To the sailors who encounter Thessaloniki, she always poses the same question:
“Is king Alexander alive?” (Greek: Is King Alexander alive?), –
to which the correct answer would be “He lives and reigns and conquers the world” (Greek: He lives and reigns and conquers the world!). Given this answer, she would allow the ship and her crew to sail safely away in calm seas. Any other answer would transform her into the raging Gorgon bent on sending the ship and every sailor on board to the bottom of the sea.

**ΚΑΣΣΑΝΔΡΟΣ
( CASSANDER
FROM THE BERB: ΚΈΚΑΣΜΑΙ (ANCIENT GREEK). KÉKASMAI =“TO SHINE”; EXCEL OVER”) AND ἈΝΉΡ (ANḖR, “MAN ”). IN TURN, THE NAME MEANS “ONE, WHO EXCELS OVER MAN.”

ΚΑΣΣΑΝΔΡA/
CASSANDRA IS AN ANCIENT GREEK FEMININE NAME MEANING “SHINING UPON MAN.” THIS IS A LATINIZED VERSION OF THE GREEK
ΚΑΣΣΑΝΔΡA
KASSANDRA.
A NAME SHARED WITH THE TROJAN PRINCESS,
CASANDRA, DAUGHTER OF PRIAMOS AND ECABE AND SHE WAS GIVEN THE GIFT OF PROPHECIES BY APOLLO BUT CURSED SO THAT NO ONE WOULD BELIEVE HER.

Macedonia- Greece

“SOLUN” & “SALONIKA”!! ???.. WELL THIIS IS ALBANO-WARDASKIAN NEW NAME OF THESSALONIKE!!
!!
….. FACTS:
THESSALONIKE=ΘΕΣΣΑΛΟ+ΝΙΚΗ=VICTORY OVER THESSALIANS.. ….THESSALONIKE WAS NAMED LATER THE HALF SISTER OF ALEXANDER THE GREAT…

MAGNA GRAECIA /Lekythos attica a figure nere di provenienza siciliana: Aiace trasporta sulle spalle Achille esanime. Ultimi decenni VI secolo a.C. Staatliche Antikensammlung di Monaco di Baviera

The sling was an ancient weapon, used in hunting, in war, in sport. And it has also been preserved as a children’s toy to this day. Everyone knows the myth recorded in the Bible with the killing of Goliath by David’s sling.
Because slings were made of leather, rope, linen or wool, they were very hard to find over time. The most ancient are a pair of woven slings found together with other weapons in the tomb of Tutankhamun (died 1325 BC) to accompany him on the hunt. Another one was found in 1914 in the area of Fayoum, 800 BC. But the projectiles used in the slings have been found.
The first appearance of the sling due to the projectiles found, is the first time around 10,000 BC. The projectiles were very effective in war, because they hit the opponents, seriously injuring them, reaching even to the bones. They even reached the speed of 60 km per hour. In the Greek area, mainly in the Aegean, spherical, oval and amphiconical stone and clay sling projectiles have been found in settlements of the Neolithic and Chalcolithic eras. (Sesklos, Dimini, Naxos, Rhodes etc.). Also found in the Bronze Age were two lead pointed projectiles in a pit under the SE side of the palace of Knossos (Evans).
The first depiction of slingers is found on the well-known silver “siege cry” (1st comment) from pit tomb IV of burial enclosure A of Mycenae (1550-1500 BC), where slingers together with archers, club-bearers and satellites attempt a siege of a city (in the National Archaeological Museum, Athens).
In the black figure amphora of the photograph from the collection of the British Museum in London, (14233163659), Hercules is depicted killing the Stymphalian hens with a slingshot.
In classical Greece there were battalions of slingers under the “small” (lightly armed), which were made up of slaves.
The use of the sling continued by the Macedonians and in Hellenistic times and the Romans. They were mostly leaden with pointed ends or like a branch with leaves on both sides.
In the lead projectiles that have been found, we notice that there are inscriptions usually embossed and not engraved (Glandes inscriptae, inscribed projectiles). Inscriptions were used for the first time in the 5th century BC. in GREECE. Their use continued into the early Roman Imperial period. They carved the clay matrix where the pencil was poured, so the inscriptions came out in relief. Some also had embossed figures related to something that causes pain: Wasp, snake, arrow, trident, lightning… As for the inscriptions, apart from the more usual ones with the name of the owner or the city, they also had playful and threatening messages, such as : “trogalion” (eat as a sweet snack), or “dexai” lave” (party!), “fire” (to hell!), papai (oh!) etc. Among the projectiles of Roman times it has been found in the countryside of Montiglia , of the autonomous community of Andalusia, 49 km from Córdoba, a pointed lead lead projectile (of the 2nd commentary) 4.5 cm long, 2 cm wide and 1.7 cm high. Weighs 71.1 grams . It bears two inscriptions, reliefs that read: IPSCA and CAES. IPSCA (modern Baena) was an Iberian and then Roman city in the province of Baetica in central Andalusia. Contributensis Ipscensis, in the province of Córdoba. It is the first toponym of any city in Roman Spain ever found written on a slingshot.CAES stands for Gaius Julius Caesar. The city of Ipsca supported Caesar and provided him with “munitions”, such as lead missiles. So he wrote on it that she was Caesar’s sponsor. Probably in 48-45 BC. she also sent her own men to reinforce Caesar’s army in view of his clash with Pompey’s sons, in the last battle of the civil war with Caesar victorious, the so-called “Battle of Munda” (as the entire Iberian peninsula was then called) in 48-45 BC, in the area where the projectile was found. Thus, this find also determined the place of the battle, which had not been determined, but was generally called the “Battle of Munda, (of Spain).

…

ATTIC RED-FORMED HUS……AND THE ACTIVITIES OF THE HAMMOCK OF THE FESTIVAL OF THE FLOWER FESTIVAL..

Attributed to the Painter of Eretria National Archaeological Museum Collection of Vases, no. wide BS 319
the vase depicts a scene that has been linked to the action of Aiora, which probably took place in Attica during the festival of the FLOWER FESTIVAL (ANTHESTIRIA)…..

In the center of the performance hangs a hammock (cradle), on which a crowned, bearded man places a small boy, also crowned. On the ground, below the hammock, are branches and next to it the top of a jar, which is half buried in the ground. On the left stand two older boys, while on the right is a klims (seat with a back) with a footstool, which has been dressed in a tunic and robe and decorated with a necklace, wreaths and branches, as if it were a human. In front of the incantation is a low table, with a bottle and three popanas (sweets).

According to the prevailing opinion, the custom of Aiora is connected with the myth of Irigoni, daughter of Ikarius, who gave his name to the Municipality of the same name in Attica. Ikarius had been initiated by the god Dionysus himself into the art of making wine, but he was killed by his compatriots, who, not having experienced the consequences of wine-drinking again,

they thought he poisoned them. Irigoni could not bear the pain of her father’s death and hanged herself from a tree….. The inhabitants of Attica, in order to save themselves from the wrath of Dionysus who caused an epidemic of suicides by hanging among young girls, asked for an oracle from the oracle of Delphi, according to which they would be propitiated only if they honored Dionysus, Ikarius and Herigone. They thus instituted the Hammock festival, during which girls swung in a cradle…..singing an ode called ἀλῆτις ,,,.

A small number of Attic vase paintings depicting young girls swinging in hammocks attest to the practice of the custom in Attica…. In the Eretrian Painter’s hu, the girl’s place is taken by a boy, which may echo another version of the myth, in which did not distinguish the gender of the children who participated in
action.

THE DANCE OF THE COLOURS.

RED-FIGURED ΕΡΥΘΡΟΜΟΡΦΟΣ = ERYTHROMORPHUS)
VESSEL IN THE FORM OF A KNUCKLEBONE (ASTRAGALOS).
470 – 450 BC.
#Hellas, #Greece.

Personifications of floating Clouds on an ANCIENT ATTIC vessel from AEGINA. Here, four girls personifying clouds, float in the air. The second girl holds a long tendril with flower.

On the reverse side of this vessel, the God of WINDS, AEOLOS, directs the dance or the girls (clouds) from the mouth of his cave.

Knucklebones is a game of dexterity played with a number of small objects that are thrown up, caught, and manipulated in various manners. IT IS ANCIENT IN ORIGIN IS FOUND IN THE ANCIENT HELLENIC GAME OF THE ASTRAGALOS (a bone in the ankle, or hock) of a sheep was used.

SOPHOCLES (A GREEK TRAGEDIN OF THE 5th CENTURY BC), in a written fragment of one of his works, ascribed the game to the mythical figure PALAMEDES, who supposedly taught it to his HELLENIC countrymen DURING THE CIVIL WAR WITH TROY. The game is also mentioned BY HERODOTUS AND PLATO .

Dimensions: Length: 16.51 centimetres (6.5 inches).

Αν οι θεοί συνομιλούν, χρησιμοποιούν την ελληνική γλώσσα.. ΚΙΚΈΡΩΝ ..

When the gods converse, they use the Greek language.. CICERO .

HELLENISTIC MYRTLE WREATH OF MIDA
HELLENISTIC WREATH – MEDA’S DIAMOND
Meda, daughter of Kothelas, king of the Getae, was a Thracian princess whom Philip married, when he was returning from the campaign in Scythia, in 339 BC. and at the time of her death she would have been 20-25 years old. Obeying the custom of her tribe which, as recorded by Herodotus, stipulated that the wives of the prominent should accompany their husbands to death, the young foreigner seems to have committed suicide when the king was murdered. Following her husband and master into the flames of the funeral pyre and into the tomb, forever companion of the king’s bed in Hades, she became for the Macedonians, who were certainly not familiar with such examples of devotion, a new Alcestis, a model of conjugal virtue and loyalty.
This seems to be the reason why Alexander, the new king, honored her so much, giving her on the journey without return gifts of untold value.
Stephen of Medes , one of Philip II’s wives

The artist convincingly renders the forms of his creatures and creates the impression of “naturalness” and liveliness. The jumble of flowers and insects, the entwining, twisting and spreading shoots everywhere evoke the image of nature in Spring, but if one looks more closely, one recognizes the underlying strict geometry of the structure, the symmetrical repeating lyre and heart-shaped patterns, the exact correspondence of the spirals and in the center the sacred symmetry of the divine knot, two sprouts that intertwine as never in nature to form the “Heraklion Amma”, [4] a symbol of the progenitor god of the Herakles, a clear reference to the royal house of the Macedonians. The laws of geometry make Creation ‘Cosmo’, a jewel. Made of gold, the immortal matter, the orderly sprouts, the flowers with deep blue petals, the bees that transform the nectar into honey do not copy nature, but render vividly and accurately like wonderful ideograms the meaning of beings. The artist of the diadem of the Goats did not attempt to depict a naturalistic image of Spring but rather Spring itself as a timeless, unchanging and life-giving Idea… In the center, above the ‘sacred knot’, a dove emerges from the calyx of an anthem , the sacred bird of Venus, symbol of love that lasts forever. Low below him, on the forehead of the lucky wearer, hang two tiny pomegranates, the sacred fruits of Persephone, symbols of fertility that overcomes death. [5]
Image of Mediterranean myrtle
Greek gold myrtle wreath (The Museum of Fine Arts, Houston)
Gift of Miss Annette Finnigan.

Correspondingly interesting and attractive is the relevant description of Étienne
When the queen wore the diadem found in the same coffin at the same time as this purple shawl, it must have looked like a veritable bouquet of spring flowers.[35] This diadem is an absolutely extraordinary artifact and very difficult to describe.[36] It develops intricate whorls on either side of a central axis, strongly marked, at the top, by three flowers supported on tendrils supported by a vertical acanthus leaf, in the center, by a knot of Heracles, and, at the bottom, by four globular pendants which were falling on the forehead. The leaves of the acanthus (?) are rather small and inconspicuous compared to the foliage and plant decoration. Although the species cannot be identified with certainty, we can distinguish at least five different types of plant forms: flowers with a double crown of narrow petals and a central bud (pink?), a wide disk with a pistil in the center, and stamens that form a small crown of flowers (anemones?), flowers with five broad petals (daffodils?), more or less elaborate anthemes (lily family?), pointed buds, borne in a rather capricious manner from different supports. Note that we do not recognize the myrtle, which however corresponds to another wreath abandoned on the floor of the vestibule. [37: M. Tsigarida, “Golden myrtle wreath from Vergina”] All (?) the flowers were colored with blue material (paste). and they were often attached to stems forming a kind of spring, which could vibrate at the slightest movement of the head. Bees are represented foraging, while a tiny bird has made its nest in the heart of a flower. The diadem ended in a lion’s head buckle.
The myrtle, a sacred plant of the goddess Aphrodite, was a symbol of love and a symbol of immortality and had chthonic associations.[8] The Greeks wore crowns at events and received them as athletic prizes with honors.[9] Crowns made of gold leaf were created to be buried with the dead but were too fragile for everyday wear. But it has been argued that they were worn at formal social events that included religious ritual, such as banquets, which began
in sacrifice to the gods.[10] Myrtle leaves and flowers were made of thin gold leaf, stamped and detailed and then joined with stems. Many wreaths that have survived to this day were found in ancient tombs. A gold myrtle wreath inlaid with precious stones is kept in the Museum of Inner Mongolia, accompanied by a note that it is a find from illegal excavations in Ulanqab and is vaguely dated to the Han period (200 BC to 200 AD). It is characteristic that the flowers are inlaid with a blue precious stone, thus resembling a Macedonian crown which was recently returned by the Getty Museum to the Archaeological Museum of Thessaloniki
Gold Myrtle Flower Diadem

HELLENISTIC WREATH – MEDA’S DIAMOND
Meda, daughter of Kothelas, king of the Getae, was a Thracian princess whom Philip married, when he was returning from the campaign in Scythia, in 339 BC. and at the time of her death she would have been 20-25 years old. Obeying the custom of her tribe which, as recorded by Herodotus, stipulated that the wives of the prominent should accompany their husbands to death, the young foreigner seems to have committed suicide when the king was murdered. Following her husband and master into the flames of the funeral pyre and into the tomb, forever companion of the king’s bed in Hades, she became for the Macedonians, who were certainly not familiar with such examples of devotion, a new Alcestis, a model of conjugal virtue and loyalty., measures 14 cm in diameter and 4 cm in height. The interior is plain and unadorned. The exterior is flanked by a mother-of-pearl band, and most of the surface covered with acanthus leaves in low relief set against a gilt background. Four projecting heads depict characters from Greek mythology: Zeus, Hera, Aphrodite and Athena.

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

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)

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.

HELLENIC CIVILIZATION/ANCIENT FINE ARTS/ 4th CENTURY BC (BRITISH MUSEUM).
“THE GOBLET OF LYCURGOS” …SCIENTIST ARE STILL TRYING TO FIND OUT HOW IT CHANGES COLORS…

The British Museum acquired the LYCURGUS CUP from Victor, 3rd Lord Rothschild, in 1958. As the British Museum states on its website dedicated to the cup, the object was “originally purchased by Baron Lionel Nathan Rothschild (1808-1879)”. . The conclusion is yours to make.

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.

A historically reliable set of Athenian armor from 490 BC. It has been scrupulously copied from all available ceramic depictions of the period. This armor could only be afforded by an extremely wealthy warrior – a high-ranking officer or general ..

Perhaps the single best known sculpture from antiquity, the so-called LAOCOON group, was found in Rome in 1506 and placed on public display in the Vatican, where it remains. This cast was made from the marble original and acquired by the Ashmolean from the British Museum in 1933.

The Roman writer PLINY (active in the AD 70s) ascribed the group to the sculptors HAGESANDROS, ATHENODOROS and POLYDOROS, who worked in the later first century BC. Hellenistic sculpture. LAOCOON, a Trojan priest of APOLLO, and his sons struggle with two flesh-eating snakes, sent as a divine punishment. The priest had warned the Trojans against accepting the wooden horse sent by the AEOLIAN-ACHAIAN GREEKS at th that civill war between the WEST Greeks vs “Troades”and incurred the anger of POSEIDON (some say ATHENA,) who was supporting the ACHAIAN GREEKS.
The saying ‘ BEWARE of DANAOI (=ACHAIAN-AEOLIAN GREEKS) bearing gifts’ comes from lines spoken by the priest in VIRGIL`S poem The AENEIAD

While struggling against the snakes, LAOCOON supports himself against the altar on which he had been making a sacrifice. His head is turned back with a grimace of pain which is combined with the horror at the death of his sons, the exertion of his struggle and the awareness of his own imminent death.
The LAOCOON group is one of the most discussed and famous pieces of HELLENIC sculpture, described by Michaelangelo as a ‘MIRACLE of art’.

IT IS SEEN, AS THE EPITOME OF THE IDEAL IMAGE OF YOUTH FUL GODS IN GREEK ART.

HERMES of PRAXITELES
The statue, known as the Hermes of PRAXITELES, or the HERMES of OLYMPIA, was FOUND in the RUINS of the TEMPLE OF HERA, in OLYMPIA, GREECE. The priceless artwork is displayed at the Archaeological Museum of Olympia.

The MARBLE sculpture is dated back to the FOURTH CENTURY BC, BASED on a remark recorded by the second-century Greek traveler Pausanias.

Its style defined what is known as the “Praxitelean Style,” although art historians doubt it was indeed created by Praxiteles because there are no identified ancient replicas of it.

Grecian Delight supports Greece
A German archaeological excavation of the Temple area, led by Ernst Curtius, was begun in 1875 after an agreement was made with the Greek government.

On May 8, 1877, in the Temple of Hera, archaeologist Gustav Hirschfeld uncovered the main parts of a statue of a young man resting against a tree trunk, covered by a mantle. It was in an excellent state of preservation.

It took a great deal more effort, and six additional discoveries, to uncover the rest of the parts of the statue as it is displayed today.

There are parts of the HERMES of PRAXITELES STILL missing, including his right forearm, two fingers of his left hand, the left foot, and his penis. DIONYSUS is missing his arms and the end of his right foot.

Much of the tree trunk and the plinth are also lost. However, an ancient base of the statue survives.

HERMES of PRAXITELES
Public Domain
HERMES’ PLACE in the GREEK PANTHEON
According to Greek mythology, HERMES was born to Maia, a daughter of ATLAS and ZEUS. The infant HERMES snuck out of his cave on Mount CYLLENE in ARCADIA on the day of his birth and traveled all the way to PIERIA, 250 miles to the NORTH in MACEDONIA, to meet his half-brother APOLLO, who was grazing his cattle.

The young god stole all 50 of the animals and then went into hiding.

APOLLO chased HERMES BACK to ARCADIA and brought the MISCREANT in front of their FATHER. HERMES protested that he was an INNOCENT INFANT, and it was impossible for him to have done such a thing.

To add INSULT to INJURY, HERMES STOLE APOLLO’s BOW and ARROW from him, AS WELL.

ZEUS put HERMES on trial, and ruled that the young god should return the cows he stole at ANY cost.

Again, HERMES PROVED to be the WINNER in this situation as well. While in PIERIA, he had INVENTED the LYRE, an instrument he built using a turtle shell, two cow’s horns, and sheep gut.

Hermes6 began to play the instrument and sing so HEARTBREAKINGLY BEAUTIFUL that the god of music decided he must have the lyre, and he offered the fifty cows in return.

APOLLO also TAUGHT HERMES the ART of PROPHECY and GAVE him the KERYKEION, a winged staff with two snakes wrapped around it, his future trademark as a messenger of the gods. He received this distinction from ZEUS immediately after the said trial.

Clearly, HERMES was a MISCHIEVOUS god from the moment of his birth. Moving easily between Mount OLYMPOS and EARTH, he was very popular with mortals. He was a great liar and thief, and even became the patron saint of thieves, liars and merchants.

We can see that, from antiquity, traders have had a reputation for telling lies to sell their merchandise, even when there was nothing wrong with their merchandise.

But HERMES also served as the MESSENGER of all the GODS and was seen as the GOD of TRAVELERS and ATHLETES because of his SPEED and physical FITNESS.

The messenger of the gods was also a friend to mankind and, by relaying divine messages to mortals, he became the highest-ranking being that they would ever encounter on their level of existence. Mortals could relate to him much more than to the fearsome ZEUS.

In ancient philosophy, Hermes was the representative of “logos,” the word, as well as meaning and reason itself. The Greek word ερμηνεία (hermeneia – “interpretation,”) derives from his name. Therefore, the term “hermeneutics” means the study of the methodological principles of interpretation.

Hermes’ name was used in Hermeticism, Hermetic Magic and alchemy, all highly influential ancient disciplines which lasted well into the early modern age. These practices gave us the modern phrase “hermetically sealed

.”

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

Lady of Elce(detail)~National Archaeological Museum, Madrid.
THE LADY OF ELIKI~ GREEK-IBERIAN ART
The Lady of Elche (4th century BC. Greco-Iberian Art). is a limestone bust that was discovered in 1897 at L’Alcúdia, an archaeological site on a private estate two kilometers south of Elche, Spain.

~Ancient Eliki, colony of the Achaeans (Elche, Spain)~
It was founded by Ionian settlers in 600 BC. near Lefki Akra (Alicante).
The distant Greek settlers named the city in memory of their birthplace of the Achaean Eliki next to Aegio.
Over time, the local Iberians also joined the Greek population of the city.
It seems that due to its commercial location it flourished.
From its ancient Greek period, the famous Dama de Elche (Dama de Elche) is preserved, a bust of a woman carved in colorful stone in Greco-Iberian style.

During the Second Carthaginian War, the general Hannivas destroyed the city.
When the Romans dominated Spain they rebuilt it under the name Iulia Ilice Augusta.
For about three centuries Eliki experienced a long period of prosperity.
Its superior water quality and better land access (via a trade route) led to the withering of the neighboring city of White Acre (2nd-3rd century AD).

With the advent of Christianity in the region, Eliki became the seat of a bishop.
During the 5th century AD it was occupied by the Arianist Visigoths who destroyed its ancient monuments.
During the period 554 -620 AD it came under Byzantine rule thanks to the old patrician Justinian Liverio.
Then it was recaptured by the Visigoths and in 711 it passed into the possession of the Arabs.
At the end of the 13th century, in the framework of the Spanish reconquista, the king of Aragon, James II the Righteous 1267–1327, liberated Eliki from the Moorish despotism.
Today’s Elche developed from the 18th century onwards.
From the 19th century the establishment of a railway and a shoe industry gave greater commercial prestige to the town.

Even in modern times the inhabitants of Elche (remembering their distant Greek origins) celebrate the Greek week which includes the typical life of an ancient Greek city: Rhapsodies, theaters, dancing, torches, parades of hoplites, amphorae, ancient coins, offerings, tunics , pedicles and Homeric speech.

At the same time, they celebrate the Assumption of the Virgin every August 15 with religious performances.
They even call themselves pobladores Griegos, that is, Greek residents.

Lady of Elce(detail)~National Archaeological Museum,Madrid.

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

HELLENIC CIVILIZATION/ MAGNA GRAECIA/POMPEIA /

TRICLINIUM=TRIKLINON(=THREE BED ROOM) OF THE HOUSE OF
VETTII IN POMPEI

A triclinium ( pl. : triclinia) is a formal dining room in a Roman building. The word is adopted from the Greek triklinion (τρικλίνιον)—from tri- (τρι-), “three”, and klinē (κλίνη), a sort of couch or rather chaise longue.
First recorded in 1640–50; from Latin trīclīnium, from Greek triklī́nion=τρικλίνιο, diminutive of tríklīnos “having three couches (adjective), dining room so furnished (noun),” equivalent to tri- tri- + klī́n(ē) “couch” (see clinic) + -ion diminutive suffix. Etymology edit. triklinos < ancient Greek triklinos < tri- + bed. three bed room=
τρίκλινος< τρι- + κλίνη. Adjective editing. triclinos, -i, -o. which has three beds..
In ancient Greek and Roman architecture, a dining room in an elite house. Triclinia (pl.) normally featured dining couches arranged on three sides of a table.
The triclinium was named after the three couches typically found in the dining rooms of upper-class . The lectus, or couch, was an all-purpose piece of furniture. Usually made of wood with bronze adornments, the open bottom was crisscrossed with leather straps, which supported stuffed cushions.
The dining room was one of the most important reception spaces of the residence and, as such, it included high-quality decorative fixtures, such as floor mosaics, wall paintings, and stucco reliefs, as well as portable luxury objects, such as artworks (particularly sculptures) and furniture. Like the Greeks, the Romans reclined on couches while banqueting, although in the Roman context respectable women were permitted to join men in reclining. This practice set the convivium apart from the Greek symposium, or male aristocratic drinking party, at which female attendees were restricted to entertainers such as flute-girls and dancers as well as courtesans (hetaerae).

A dining room typically held three broad couches, each of which seated three individuals, thus allowing for a total of nine guests. This type of room is commonly described as a triclinium (literally, “three-couch room”), although dining rooms that could accommodate greater numbers of couches are archaeologically attested. In a triclinium, the couches were arranged along three walls of the room in a U-shape, at the center of which was placed a single table that was accessible to all of the diners. Couches were frequently made of wood, but there were also more opulent versions with fittings made of costly materials, such as ivory and bronze

OLYMPIAS OF EPIRUS

While her birth name was Polyxena, she is widely known by her later name, Olympias. Wife of Philip II, mother of Alexander the Great, Olympias exercised unprecedented power who defied the ancient world’s rules for women, and charted her and her son’s rise to power through wits, ambition, and might. She was perhaps the first woman to play a major role in ancient Greek political history.

She was born around 375 BCE, the daughter of Neoptolemus I of Epirus, a Greek king, and an unknown mother. Her family was a powerful one in ancient Greece. They claimed to be descended from the Greek hero Achilles, the main character in Homer’s “Iliad.”

Olympias was also known by several other names: Polyxena (her Original Name), Myrtale, and Stratonice. Historians believe she chose the name Olympias to celebrate her husband’s victory in the Olympic Games.

Olympias made it her life’s main mission to ensure that Alexander would one day be King. She was a devoted mother to her young son and constantly reminded him of his ancestral lineage to Achilles, which would have a powerful impact on Alexander.

ΑΜΦΙΠΟΛΙΣ ΒΑΚΤΡΙΑΣ
(τόπος ανακάλυψης του δίσκου)

AMPHIPOLIS OF BACTRIA
(disc discovery location)

“When two suns will shine in the sky, the earth will be on fire! The heavenly goddess, eternal mother of all, the winged Nemesis with her chariot will bring! From her womb, she will restore an ancient bond”!

In the bloodline of Alexander (stripe), my friends, the fetus that will restore the right order was conceived! It will be a beast for those who promote immorality! They already know it, their mind controls them, they stand defenseless against his appetites and wait for the fate! Those whose eyes are awakened, live the events and understand! For MOST others, with lO IQ OR INFERIORITY COMPLEX this seems like NOTHING!!

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

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

The Golden Larnax (Chrysi Larnaka)( (greek – Χρυσή Λάρναξ) (with the Panhellenic Sun on the lid) that contains the remains (bones) from the burial of King Philippos II of Macedonia and the royal golden wreath (greek- χρυσό διάδημα) . Formerly located at the Thessaloniki’s Archaeological Museum, Thessaloniki Greece, now displayed at the underground museum stage of Verghina, inside the Great Tumulu

HELLENIC CIVILIZATION /
FEMALE BURIALS, APPEAR TO BELONG TO PRIESTESSES.
THEIR GOLD REGALIA USUALLY INCLUDES HEADDRESSES, SOME QUITE TALL, AS WELL, AS SPANGLES EMBOSSED WITH GODDESSES, ANIMALS, SYMBOLS AND RITUAL SCENES AND MOTIVES FROM THE GREEK MYTHOLOGY-COSMOLOGY HELLENIC (=GREEK) MYTHOLOGY-COSMOLOGY.
DATED FROM THE GREEK COLONIZATION OF THE BLACK SEA REGION.
“THIS GOLDEN KALATHOS (A SHAPE FAVORED IN GREEK ART) WAS FOUND IN ONE OF THREE TOMBS IN THE MASSIVE MOUND BOLSHAYA BLIZNITSA (15m TALL) ITS INTERIOR WAS BUILT WITH STONE VAULTING. IT LIES NEAR A WEALTHY TRADING CENTER ON THE TAMAN PENINSULA, ACROSS THE KERCH STRAIGHT FROM CRIMEA.

GOLD EARRING WITH GARNETS AND MERMAID.

CLASSICAL HELLENIC(BEFORE “HELLENISTIC”) PERIOD 4th/3rd century BC

CHRISTIE’s.

I wanted to show this jewel for its beauty and originality as well as for the refined manufacturing technique.

I hope you appreciate it

ORECCHINO IN ORO CON GRANATI E SIRENA.

Periodo elleninico IV/III secolo a.c.

Christie’s.

Ho voluto mostrare questo gioiello per la sua bellezza ed originalità nonché per la raffinata tecnica di lavorazione.

Spero che apprezziate.

ILIAD: THE MYTHICAL HORSE HYMN TO TECHNOLOGY HEPHAESTUS BUILT FOR ACHILLES…..

“He puts the earth, he puts the sea, he puts the heavens above, he puts the tireless sun, the bright moon, and all the stars, as they crown the sky…” Homer wrote in his 134 verses in the Iliad, about Achilles’ mythical shield.

A shield work of art, one of the most impressive objects of ancient history. The legendary creation built by Hephaestus, hides major and minor symbolisms.

The “Shield of Achilles” is the shield used by Achilles to fight Hector, and is described in Homer’s Iliad. In the epic, Achilles has lost his armor after lending it to his companion, Patroclus. Patroclus has been killed in battle by Hector, who has taken his weapons as booty. Achilles’ mother, Thetis, asks the god Hephaestus to forge a new suit of armor for her son.

The passage describing the shield is an early example of the “expression” (a literary description of a work of visual art) and influenced many later poems, including the Shield of Hercules, attributed to Hesiod.

Homer gives a detailed description of the images adorning the new shield, the work of Hephaestus. Starting from the center of the shield it moves outwards, from circle to circle, and the shield is described as follows:

The earth, the sky and sea, the sun, the moon and the constellations.

“Two beautiful cities full of people”: in one, a wedding and a trial take place, while the other is besieged by two armies, where the shield shows an ambush and a battle.

A field being recultivated for the third time.

The property of a king, where his harvest is harvested.

A vineyard where people pick grapes.

A “herd of horned animals with straight horns.”

The bull in front has been attacked by a pair of wild lions and the shepherds with their dogs are trying to drive them away.

An image of a sheep farm.

A dance scene, where young men and women dance.

The great ocean current.

Achilles’ shield can be read in a variety of different ways. One interpretation is that the shield is simply a physical encapsulation of the whole world. The layers of the shield are a series of contrasts i.e. war and peace, work and celebration, although the depiction of a murder in the city at peace shows that man is never completely free of conflict.

Wolfgang Sandewald, a German writer, claims that these intersecting contrasts show the basic forms of a civilized and essentially orderly life.

This contrast, too, is seen as a way to make us “see war in relation to peace.” The description of the shield fades between the battle for Patroclus’ body and Achilles’ re-entry into battle, which is also one of the bloodiest parts of the epic.

Consequently, the shield could be translated as a “rest before an impending deluge”, used to emphasize the cruelty of the violence during the Trojan War. It could also be translated as a reminder to the reader of what will be lost if Troy finally falls.

By: Gioacchino Vella

Gold earring, 4th century BC
It depicts with excellent technique a group of two horsemen on a chariot while the upper part is decorated with a rosette.
This amazing gold artefact is one of many pieces of fine jewelry found in tombs in the COLCHIS region.
COLCHIS then had huge reserves of gold
National Museum of Agriculture

HELLENIC CIVILIZATION/IONIA(“ASIA MINOR”)/ZEVGMA/MOTIVES FROM THE GREEK MYTHOLOGY-COSMOLOGY.
Zeugma Mosaic Museum, in the city of Gaziantep, Turkey, is the biggest mosaic museum in the world, containing 1700 m2 of mosaics. It opened to the public on 9 September 2011. The 30,000 m2 (320,000 sq ft) museum features 2,448 m2 (26,350 sq ft) of mosaic and replaces the Bardo National Museum in Tunis as the world’s largest mosaic museum.

THE MUSEUMS HELLENIC MOSAICS ARE FOCUSED ON ZEUGMA, WHICH HAVE BEEN FOUNDED, AS SELEUCIA BY SELEUCOS I NICATOR, FOUNDER OF THE SELEUCID KINGDOM after serving as a military officer in the army of ALEXANDER the GREAT.
The treasures, including the mosaics, remained relatively unknown until 2000 when artifacts appeared in museums and when plans for new dams on the EUPHRATES meant that much of ZEUGMA would be flooded. In 2011, many of the mosaics remain covered, and teams of researchers continue to work on the project.

MAGNA GRAECIA The mosaic of ALEXANDER the GREAT that adorned the Faun’s mansion in POMPEII. NATIONAL ARCHEOLOGICAL MUSEUM, NAPOLI.

ANTIOPE AND SATYROS = ΑΝΤΙΟΠΗ ΚΑΙ ΣΑΤΥΡΟΣ/MOTIVES FROM THE GREEK MYTHOLOGY-COSMOLOGY/IONIA/”MINOR ASIA”/ TODAY’S TURKEY…

DIONYSOS
ORIGINALLY DIONYSOS WAS THE GREEK GOD OF FERTILITY. DIONYSOS WAS THE SON OF THE SUPREME GOD ZEUS AND SEMELE, THE DAUGHTER OF A KING
WHY IS DIONYSOS CALLED BACCHUS?
HE WAS ALSO KNOWN AS BACCHOS (/ˈbækəs/ or /ˈbɑːkəs/; ANCIENT GREEK: ΒΆΚΧΟΣ BACCHOS) BY THE GREEKS (A NAME LATER ADOPTED BY THE ROMANS) FOR A frenzy HE IS SAID TO INDUCE CALLED BACCHEIADIONYSOS
ORIGINALLY DIONYSOS WAS THE GREEK GOD OF FERTILITY. DIONYSOS WAS THE SON OF THE SUPREME GOD ZEUS AND SEMELE, THE DAUGHTER OF A KING
WHY IS DIONYSOS CALLED BACCHUS?
HE WAS ALSO KNOWN AS BACCHOS (/ˈbækəs/ or /ˈbɑːkəs/; ANCIENT GREEK: ΒΆΚΧΟΣ BACCHOS) BY THE GREEKS (A NAME LATER ADOPTED BY THE ROMANS) FOR A frenzy HE IS SAID TO INDUCE CALLED BACCHEIA

APOLLO AND DAPHNE

“THE FIRST BATH OF ACHILLEUS”

GREEK MOSAIC/

HOUSE OF THESEUS/ KATO-PAPHOS ARCHELOGICAL PARK, CYPRUS ….ON THE LEFT OF THE MOSAIC IS THETIS = ΘΕΤΙΣ

, THE MOTHER OF ACHILEUS.

PS: READ THE INCRPTIONS(IN…GREEK)

HELLENIC CIVILIZATION/PHILIPOUPOLIS/MOSAICS FROM THE GREEK MYTHAGOGY-COSMOLOGY/HERE: HERAKLES, YPPOLITE etc..

P. S: CHECK UP, THE INCRPTIONS PLEASE(!!)

,,,,,THEN: YOU KNOW ..WHO`s WHO IN THE ZOO..MEANING WHO IS THE CREATOR & WHO’s THE CREATURE!

CLASSICAL GREEK MOSAICS/DELOS 230 BC

HELLENIC CIVILIZATION/GEOMETRICAL MOSAIC/ FOLLOWING THE CLASSICAL GREEK PRINCIPLES / IDENTICAL CORINTHIAN ORDER OF THE COLUMNS/HELLENISTIC-ROMAN(LATER) PERIOD/MAROCCO/VOLUBILIS

H E L L E N I C C I V I L I Z A T I O N

***************************Z E V G M A****************************

From Ancient Greek ζεῦγμα (zeûgma, “yoking; a bond, a band”), from ζεύγνυμι (zeúgnumi, “to yoke; to join”), from ζεῦγος (zeûgos, “a yoke”) “Zeugma,”, ” It forms all or part of: adjoin; adjust; conjoin; conjugal; conjugate; conjugation; conjunct; …Zevgma has been a part of the English language since the 15th century,

The ancient Greek mosaics of Zeugma in Turkey are true archaeological treasures that can still be admired at the Zeugma Mosaic Museum in Gaziantep, Turkey.

The 30,000-square-meter (320,000 square foot) museum, which opened its doors in September of 2011 is the largest mosaic museum in the world, containing 1,700 square meters (18,000 square feet) of ancient works of art.

M OT I V E S FROM THE G R E E K M Y T H A G O G Y – C O S M O L O G Y

ZEUS TRANSFORMED, INTO A BULL IS PORTRRAYED STEALING THE GODDESS EUROPA

ACRATOS AND EUPHROSYNE

ANDROMEDA WITH PERSEUS, WHO IS HOLDING THE HEAD OF MEDUSA.

DIONYSOS AND BACCHI

ZEUS IN THE FORM OF SARYROS TRYING TO SEDUSE ANTIOPE

However, some of the mosaics appear to belong to the Roman era, as they depict Greek GODS AND GODDESSES. IN ADDITION THE MOSAICS deviate from purely HELLENIC STYLE AND IMAGERY, with archaeologists placing them in the Roman era of the city’s history.

Queen Pasiphae, wife of King Minos, (left) orders the court architect Daedalus (center) to make her a wooden cow so that she may have sex with the white bull, with whom she has fallen hopelessly in love through divine intervention. That’s where the Minotaur is born! Icarus right, Ariadne and a servant in the middle. Under Pasiphae’s chair symbolically the white bull with Eros

A Π Ο Λ Λ Ω Ν
A P O L L O was the leader of the MUSES
Initially these deities were nymphs of the mountain and the waters.
HESIOD in THEOGONY narrates:
MNIMOSYNE slept in PIERIA with KRONO’s son ZEUS
and gave birth to these virgins
that make us forget our sufferings
and alleviate our pain.
Nine nights in a row by the wise ZEUS
going up to his sacred bed,
slept next to the MNEMOSYNE,
away from all the immortals.
Muses are the source of inspiration
for every mental activity
and in many places they were worshiped with special honors,
while there is an ORPHIC HYMN of the MUSES.
PLATO in his ACADEMY
had an altar dedicated to the MUSES,
while HOMEROS invokes MUSA CALLIOPE
as his source of inspiration,
when writing his epics.
The same is found in the works of Hesiod,
but also to all the great creators of antiquity. It has not remained until today,
the term muse is used frequently
to show that someone inspires an artist,
a creator ……….

KLEIO AND EUTERPE

In linguistic approach, Europe’s name is descriptive in origin. Those who look to the ancient Greek language to parse it roots combine eurys, meaning “wide,” and ops, meaning “face” or “eye,” to arrive at “wide-gazing” as an appropriate description of Europe’s broad shoreline as seen from the shipboard perspective of the maritime Greeks. By extension, they believe this phrase connotes “mainland.” Adventurous travelers who got closer to the northern lands reported the existence of mountain systems and river basins that were much larger than those of the Mediterranean region, along with climates that were very different from those the Greeks

Princess Europa and Zeus, in the shape of a white bull! The Princess got attracted by this beautiful bull and climbed on his back. Zeus jumped in the sea to bring her to Crete. Europa, in GREEK MYTHOLOGY, the daughter either of PHOENIX or AGENOR king of THE AUTHENTIC HELLENIC PHOENICIA., BEFORE PHOENICIA BECAME SEMITIC TheBEAUTY of EUROPA inspired the love of ZEUS, who approached her in the form of a WHITE bull and carried her away from PHOENICIA to CRETE. There she bore Zeus three sons: MINOS, ruler of Crete; Rhadamanthys, ruler of the Cyclades Islands; and, according to some legends, SARPEDON ruler of LYCIA. Zeus loved Europa so much that he showered her with three priceless gifts. The first one was a bronze man, Talos, who served as a guard to her. He was the bronze giant that the Argonauts met and killed in their attempt to shore on Crete. The second was a dog, Laelaps, which could hunt anything she wanted. The last one was a javelin that had the power to hit the target, whatever it was.

She later married ASTERIOS, the king of Crete, who adopted her sons, and she was worshipped under the name of HELLOTIS in CRETE, where the festival HELLOTIA was held in her honour.

It is said that when Europa died, Zeus transformed her into a star complex and he himself took again the shape of the white bull to merge in the complex. The Taurus Constellation is believed to be the form of Zeus. Today the name Europa has been given to one of Jupiter’s 16 moons and in fact this moon is very special, as it is believed to have water on its surface.

EUROPA being abducted by ZEUS disguised as a bull, Europa being abducted by Zeus disguised as a bull, detail from AN IDENTICAL ATTICA krater, 5th century; in the Tarquinia National Museum, Italy.(less)Courtesy of the Museo Nazionale Tarquiniense, Tarquinia, Italy; photograph, Hirmer Fotoarchiv, Munich P.S: ATTICA IS THE PREFECTURE WHERE ATHENS IS

MAGNA GRAECIA //POMPEI

Sappho (/ˈ s æ f oʊ /; Attic Greek Σαπφώ[sapːʰɔ̌ː], Aeolic Greek Ψάπφω, Psappho[psápːʰɔː]) was a Greek lyric poet, born on the island of Lesbos. TheAlexandrians included her in the list of nine lyric poets. Her birth was sometime between 630 and 612 BCE, and it is said that she died around 570 BCE, but little is known for certain about her life. The bulk of her poetry, which was well-known and greatly admired through much ofantiquity,has been lost; however, her immense reputation has endured through surviving fragments.

Sappho’s recently discovered poem on old age (lines 9–20), assigned to Book IV based on its meter. 3rd-century BC papyrus (P.Köln XI 429), from a 2007 exhibit of the Altes Museum

SAPFO ON A FRESCO OF POMPEI

Sappho on an Attiac red-figure vase by the Brygos Painter, c. 470 BC.

Sappho reading to her companions on an Attic vase of c. 435 BC

THE GREEK ORIGIN OF ORPHEUS AND ITS SIGNIFICANCE
https://enneaetifotos.blogspot.com/2024/01/e.html?m=1
Orpheus is a huge chapter in what we call Greek tradition. Proclus mentions that “after all the Greek theology of the Orphic Mystagogia is an offspring”. And as we will surely know, the entire edifice of Greek culture is founded on Greek worship. And this is nothing but the way of seeing life, nature and everything. That is, Greek theology. From there derive all the high and timeless values, which the Christian frenzy either copied or perverted and condemned.
Next is that the propaganda of Christian circles, which is irritated by anything Greek, would attempt to distort and obscure the Orpheus story. To confuse with intent to cause confusion. So things are not simple and superficial. The reasons are much deeper, and only if one penetrates the essence of Hellenism and Judeo-Christianity will he be able to understand why some try to present him as a “barbarian”. Because in doing so, they are trying to support a series of fallacies.
In short, whatever the Greeks achieved was not theirs but foreign. As for the myths related to this supreme spiritual entity, which they pervert precisely because they do not understand them, thus even reaching what the ancients called “insults”, it will not be discussed here. What we will attempt is to present all those elements that negate the fallacies of the followers of the Jewish schismatic group called Christianity.
The alleged barbaric origin of Orpheus is attempted to be based on the nickname “Thrace”. We say “Orpheus the Thracian”. Thrace, at that time, extended over a much wider area than today, inhabited by many barbarian peoples, including Greek races. The deception lies in the fact that they stick to this name, without giving more information, information that solves the issue once and for all and that is present in the sources. Of course, their whole enterprise is aided by the distortion of texts and meanings which they impart to their ignorant readers.
Origin of Orpheus
Let’s see some information about Thrace, from the old geographical dictionary of N. Lorentis…
In the most ancient times, the boundaries and extent of this country were vaguely defined; according to Homer, the entire extended country of Europe beyond Thessaly is understood under this name, on which the poet mentions as the same parts the Pierian, the Imathian and the Paionian, inhabited under the Peons and Kikons. And Herodotus includes among the nations of Thrace the Getae and Dacas; according to Strabo, Scylacus and Pliny, Thrace extended from the Istron River to the Strymons; and in the past Thrace was inhabited by many individual peoples, having the same customs and laws changing to each other.So when the ancients speak of “Thrace”, they are referring to a much wider area than we understand today. In this region there were many peoples (tribes). Some barbaric and others Greek, as we will see later.
We are very happy to have ancient texts that give us information about both the exact birthplace of Orpheus, his origin, and his place of action. Let’s start from the “Argonauts” of Orpheus. More specifically, it states at the end of the project:
Where did you rush to the snow-covered Thrace, Livythron is the place, I am the homeland of the earth; andron I entered the periklito, where I became a mother of great readers Oiagroios.
Levithra is the fatherland of Orpheus. These belong to Thrace (as they were called then) and are located at the foot of Mount Olympus. Olympus is located on the borders of Thessaly and Macedonia (as they are called today).
Sweida’s dictionary states:
Orpheus, of Levithra in Thrace (a city not under Pieria), son of Oiagros and Calliope; and Oiagros the fifth was from Atlas, according to Alcyone, one of his daughters. It happened generations before the Trojans.
Information is becoming more and more specific. Levithra is in Pieria. In the “Geographical” dictionary of N. Lorentis, it is mentioned about Pieria that it is “a province of today’s Macedonia located on the border of Thessaly near Mount Olympus, according to Strabo forming the coast between the Aliakmonos river and the Axios, and in ancient times it belonged to the Thrace; Orpheus was descended from this country” (p. 446).
The grammarian and poet Ioannis Tzetzis (12th century), in the work “Lykofron”, mentions that Orpheus lived around Helikon and Levithra. The name “Leivithron” means “reithron, oheton, krunon and place in Macedonia and according to Helikon” (Hesychius, “Glossai”). Today the area is called “Kanalia”, and it means the same thing. That is, a place where water flows and which has many ravines and springs.
In the Argonauts of Orpheus it is mentioned: “Pierien Levithron ta’ akra karina”.
Pausanias in “Boiotics” (L΄7-9), writes that Orpheus was buried in Dion “and the country of Macedonia is under Mount Pierian” and that his bones are there. In the years when Pausanias wrote (around the 2nd AD century), Pieria was said to belong to Macedonia, just as we say today. In fact, “there is also a river of Helikon”, which reaches “as far as Olympus”, passing through Levithra, “the fourth mountain in Macedonia”, and where “the tomb of Orpheus is at the mouth of the city”. That is, Levithra is not far from Dion, where the tomb of Orpheus is located. For the existence of the monument of Orpheus in Dion, Diogenes Laertius also speaks in the “Lives of the Philosophers”.
In the Argonautics of Apollonius of Rhodes, it is mentioned:
Let’s first remember Orpheus, the one who, according to tradition, gave birth to him in Thrace, on top of Pimplida, as Calliope united with Oiagros. [..] the famous Orpheus, the lord of Bistonian Pieria.
Here, we have the name of the mountain where Orpheus was born.
In Orpheus’ Argonautica, Jason addresses Orpheus:
Orpheus, Calliope and Oiagro, friend of the barber, Vistonii Kikonessi polyrheniosin ansans, rejoice in Aemonius the first able vessel, Strymonias you flow, Rhodope the proud to help.
(f. 77 et seq.)
The information we get from this verse of the Argonauts of Orpheus tells us that Oiagros reigned in Vistonia among the people of the Cykons. The Kikones were “an ancient nation of Thrace, living along the coast from Ismaros to the Lisos river opposite the island of Samothrace” (Geographical dictionary N. Lorenti, p. 267). In the same book it is stated that “on its shores, official Greek colonies were established since ancient times” (p. 208).
Homer mentions about the Kikones (who sided with the Trojans): “With the sword fighters the Kikones went, Euphimus, of the well-nourished Keadis from Troizena” (Iliad, rhapsody II).
As Konstantinides’ Homeric dictionary explains, “Troizenos, son of Keus, father of Euphimos” (p. 637).
The genealogical line passes from Keas (Keadis) to Troizenos and from there to Ephimos who leads the Kicones. Kicon was the son of Apollo and the nymph Rhodes (or Rhodope). It is obvious that the names are Greek, and are in use even in our modern times!
An additional proof for the Greekness of Orpheus is his Doric origin. This is what the poet Moschos (2nd century BC) tells us in the “Epitaph of Bion”, where he writes: “lost Dorios Orpheus”.
Finally, it should be mentioned that “Hellanicus and Damascus and Pherecydes in Orpheus are the relatives of Homer” (Proclus, Life of Homer 26.14). This information is also useful. So Orpheus is an ancestor of Homer!
Possible etymologies of his name
Even from the etymology of the name “Orpheus”, one can understand the Greekness of the name. Below are some possible etymologies.
A. Orpheus: from “orfni”, which means “the darkness of the night”/ “on the darkness of Hades, of the Underworld” (D. Dimitrakos, vol. I’, p. 5244).
The same thing is mentioned in the dictionary of Lidel and Scott (ed. A. Konstantinidis):
“chthonos orfni, on the underworld, i.e. of Aidos”/”The root of orfni, orfnos, orpheus is erefo: Erebus”. (vol. A, p. 361). Indeed, the myth links Orpheus to Hades, as he descended into it to bring Eurydice to the upper world. But it can also be connected to the ancient mysteries which were incomprehensible to the uninitiated. After all, Hades means that which cannot be seen with the physical eyes.
B. Orpheus: from the root “orf” which indicates that someone is deprived of something. Hence the word “orphan”. Some argue that he can be considered metaphorically “orphaned” since he was deprived of his wife.
C. Orpheus: from “Or” and “faos”, which means bright speech. The word “oros” means (and) “reason” (oros esti logos delian peion esti, according to Galen), and the word “phaos” means light.
Dating
The issue of dating – as far as the figures of mythology are concerned – is difficult already from the years of Diodorus Siculus. He writes:
I am not unaware that those who compose ancient mythologies happen to have great difficulty in writing. Because due to its antiquity, the relevant material is difficult to find, the writers are in a very difficult position, while at the same time, as its chronological placement is not amenable to precise control, it makes the readers despise the historical ones. Moreover, the variety and multitude of heroes, demigods, and other men to be descended make the narrative almost impossible. But the biggest and most outrageous obstacle of all is that those who recorded the most ancient facts and mythologies do not agree with each other.
(Historical Library, Book D΄, 1.1)
However, the position of our story is this…
We, however, since we have an opposite opinion from them, suffered the trouble of the relevant inscription and took care in every way to expose the ancient myths. For many and great deeds were performed by the heroes and demigods and many other great men, whom, for the benefits they rendered to all men, posterity honored some with isotheisms and others with heroic sacrifices, while all their history glorified to the ages with the praises due to them.
(p. 1.4)
Diomedes
https://www.pare-dose.net/8027

Η EΛΛΗΝΙΚΉ ΚΑΤΑΓΩΓΉ ΤΟΥ ΟΡΦΈΩΣ ΚΑΙ Η ΣΗΜΑΣΊΑ ΤΗΣ
https://enneaetifotos.blogspot.com/2024/01/e.html?m=1

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H E L L E N I C A R T S

Posted on February 16, 2024

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

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

THE SYMBOLIC SACRIFICE OF THE PIG CORRESPONDS TO THE KILLING OF THE ANIMAL –

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

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

ETIMOU LOGIKI

By: Etimou LOGIKI

ACROPOLIS OF ATHENS, GREECE in 1670s, in 1860s and 2021.

The explosion destroyed the roof and the sides of the PARTHENON.

Today there is a major reconstruction of the PARTHENON and other structures on the ACROPOLIS.

All reactions:

FLOWER FESTIVAL

From the 11th of Anthestirion, to the 13th of Anthestirion, 3rd year of the 700th Olympiad, mid-moon. From sunset on 02/20/2024 to sunset on 02/23/2024.

On the first day we had the Pythoia, that is the opening of the pyths, the next day we had the Hoes, (vessels of wine) while the third day, the Hytroi, was dedicated to the dead.

The contestants were speechless during the wine-drinking, while afterwards with the wine that was left over they made libations inside the sanctuary of Limnaios.

We also had apothecaries in other cities of Greece, in Boeotia, in Corinth, in Apollonia of Halkidiki, in Thira, in Magnesia, etc.

Apollonius – Ariadne

FLOWER FESTIVAL

From the 11th of Anthestirion, to the 13th of Anthestirion, 3rd year of the 700th Olympiad, mid-moon. From sunset on 02/20/2024 to sunset on 02/23/2024.

ΑΝΘΕΣΤΗΡΙΑ

.

YOUNG MEN RIDE HORSES ON THE PARTHENON FRIEZE

ANOTHER PART OF THE PARTHENON FRIEZE SHOWED THE RICH YOUNG MEN OF ATHENS RIDING THEIR HORSES. THE HORSES ARE EXCITED TO BE IN A PARADE, AND THE YOUNG MEN ARE TRYING TO KEEP THEM UNDER CONTROL.

TEMPLE OF APOLLO/ DELPHI//BEOTIA

O N I A (“MINOR ASIA”) /: A L I C A R N A S S O S BUDRUM IN NOW DAYS TURKEY

section of the Amazon frieze

Section of the Amazon frieze from the Mausoleum of Halicarnassus, attributed to Pytheas, c. 350 BCE; in the British Museum, London

English: Detail of the Amazon Frieze from the Mausoleum at Halicarnassus: combats between Greeks and Amazons
Date	14 August 2009, 12:30:55
Source	Own work
Author	Yair Haklai

Siphnian Treasury, c. 530 B.C.E., Sanctuary of Apollo, Delphi, Greece

…

Three-sided marble relief. Left side. Greek. Classical Period, c. 450–440 B.C. | Museum of Fine Arts, Boston

ΟΔΥΣΣΈΑΣ. ODYSSEUS with his dog ARGOS.

A M A L T H E I A — Leap to the Divine

Amalthea and her horn, a symbol of fertility and abundance, were later destroyed by Zeus in the firmament.

The question naturally arises:

“Is it possible for a GOAT to nurse the father of the gods?”

Because,

Finally, Amalthea and her symbolic horn of wealth are raised to the Heavenly Dome,

the nurse of Zeus, as AEGA is SAINT

In conclusion,

It is the Circle of the course, starting from Heaven, staying in darkness, fighting against Titans and ascending/returning to the Star of origin.

In this route, the Goat

A M A L T H E A

PENTELIAN MARBLE ‘ DECORATED IN BAS-RELIEF OF ‘HERMES CONSIGNING THE YOUNG DIONYSUS TO THE NYMPHS OF NISSA to NURSE AND FEED HIM’, SIGNED BY THE ATHENIAN SCULPTOR SALPION

ARCHEOLOGICAL MUSEUM OF NAPLES

Boulton & Fothergill designed to hold essence or perfume. It was based on the antique Gaeta vase created by the Greek sculptor Salpion, now in the National Museum, Naples.

All reactions:

HELLENIC CIVILIZATION/LEPTIS MAGNALIBYA/750 BC CORINTHIAN & IONIAN RYTHM of the COLLUMS GREEK COLONY-NOT “PHOENICIAN”, OR CARTHAGENIAN, OR ...ALBANIAN. ETC.. ETC

HELLENIC CIVILIZATION/:

2-B-CONTINUED: SYRIA/IDENTICAL HELLENIC MOSAICS: MOTIVES FROM THE GREEK MYTHAGOGY-COSMOLOGY:. HERCULES, HIPPOLYTE, ACHILEUS…

₪₪₪.

P. S: CHECK UP PLEASE(!!), THE INCRPTIONS

,,,,,THEN: YOU KNOW…… ..WHO`s WHO in the ZOO…. MEANING WHO IS THE CREATOR & WHO’s THE.. CREATURE!!

HELLENIC CIVILIZATION/ASIA MINOR// ANCIENT HELLENIC CITY of ADANA/ DEDICATED TO THE TWO SONS OF URANUS: ADANOS & SARUS = ΑΔΑΝΟΣ & ΣΑΡΟΥΣ // MYTHAGOGY-COSMOLOGY/ /HERE:

CLASSICAL MOSAIC of POSEIDON(“NEPTUN” LATER in LATIN) 400 BC

MYTHOLOGY-COSMOLOGY/ GORGONA MEDUSA

HELLENIC CIVILIZATION/

BYZANTIUM-BUILT IN 8th Century BC, by BYZAS, KING OF MEGARA(BETWEEN ATHENS & CORINTH)..

..1100 YEARS…LATER “CONSTANTINOPEL”.. .

&….1300 YEARS LATER

“ISTANBUL”

PS: ANCIENT GREEK

WONDERFUL MARBLE STATUES & TEMPLES, OF DEMETRA, APOLLO WERE BROKEN, UNDER TO BUILD…

TEMPLE OF BACCHUS /IONIAN ORDER IN TODAY`S BAALBEK

…

VERGINA IS A PANHELLENIC SYMBOL.
The shield below is SPARTAN, AS ALL OVER GREECE

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.

SIREN ON A VIOTIAN SIREN ON A VIOTIAN BLACK-SHAPED = MELANMORPHIC = ΜΕΛΑΝΟΜΟΡΦΟ PLATE FROM TANAGRA, 570-560 BCE.

LOUVRE MUSEUM, MNB 626 PLATE FROM TANAGRA, AROUND 570-560 BCE.

LOUVRE MUSEUM, MNB 626

FLOWER FESTIVAL

From the 11th of Anthestirion, to the 13th of Anthestirion, 3rd year of the 700th Olympiad, mid-moon. From sunset on 02/20/2024 to sunset on 02/23/2024.

FLOWER FESTIVAL

From the 11th of Anthestirion, to the 13th of Anthestirion, 3rd year of the 700th Olympiad, mid-moon. From sunset on 02/20/2024 to sunset on 02/23/2024.

CONTAINER (=PYTO=RYTO) IN THE SHAPE OF A BEING’S HEAD AND A MAENADE…FROM ATHENA….

About 440 to 430 BC

LOUVRE MUSEUM…

THE RYTO (PLURALIS:.RYTA) FROM THE ANCIENT GREEK PYTO/RYTO.

it is a container for drinking liquids or blood during related rituals.

The word is said to be derived from the verb rein, .

The typology of the vessel includes features such as the open mouth and the hole near the bottom which probably served to diffuse the liquid.

“Tilt the old door

and let me lock out Boreas(=North-wind),

He is also a sailor

and has bitterness in his heart.”

Photo from ancientrome.ru/art/artworken : Boreas abducts Orithia under the gaze of one of her friends. Red clay jug. Angiographer Hermonax.

Circa 470 BC

Height 35.1 cm, rim diameter 18 cm, base diameter 13 cm.

In St. Petersburg, State Hermitage Museum.

είναι κι αυτός θαλασσινός

ALABASTER (vessel)

GREEK ALABASTER FROM LOWER ITALY ….LOUVRE

Alabaster in art and archeology means a vessel with a tall body and a small mouth. It usually does not have a handle, although sometimes it has small holes or ears for carrying it.

Alabaster was used by women, mainly for the storage of aromatic oils, as is at least witnessed in the angiographic scenes.

The scene that decorates the vase covers the perimeter of the body, while sometimes it is adorned only with an anthemion. Its height varies from 15-20 cm.

KYATHOS

Cleomenes, the king of Sparta, drank only two goblets of wine at dinner, this was not considered a sign of great temperance,

CYLIX ..THE HOLY VESSEL OF ANTIQUITY…

(Dedicated to Someone)

COOLER AND COVERED CRATER (Vessels for cooling wine)

Attic black figure cooler depicting the departure of the warrior, c. 525-500 BCE. Louvre, no. of exhibit F 319.

KANTHAROS
SYMPOSIASTIS, ON KANTHAROS BY THE PAINTER OF THE GREAT ATHENIAN KANTHAROS……. Louvre Museum, end of the 5th century B.C.

CHRONOLOGY….

By: Vera Gargalatzidou.

The LYCURGUS CUP (British Museum, PE 1958,1202.1

THE SYMBOLIC MESSAGES-MEANINGS
BEHIND THE KNOT OF HERCULES (GOLD INLAGD WITH GARNET , EMERALDS AND ENAMEL. /PRIVATE COLLECTOR/) .
… SIMILAR TO IT: METROPOLITAN MUSEUM OF ART N. YORK..

TODAY, he is without a doubt one of the MOST ICONIC FIGURES in ALL OF GREEK MYTHAGOG-COSMOLOGY

HELLENIC CIVILIZATION/ASIA MINOR/ SALAGASSOS/

MARBLE COLUMN (IONIAN ORDER), FROM THE TEMPLE OF ARTEMIS AT SARDIS.
DATED: ca. 300 BC / PARIAN MARBLE; DIMENSIONS: H. 361 cm

PERSONALLY, IT FEELS LIKE AS BITTER REGRET THAT WE GREEKS, HAVING THE
MOST ANCIENT AND GREAT CIVILIZATION, HAVE FALLEN SO LOW THAT WE WORSHIP AN ENTITY, THAT HAS NOTHING IN COMMON WITH US.

LEDA, the wife of the KING of SPARTA TYNDAREUS, meets the CYGNUS who is driven by the little EROS

When ZEUS fell in love with LEDA, he transformed into a CYGNUS and thus took refuge in her arms to protect himself from APHRODITE, who allegedly pursued him.

From their union were born POLYDEUKIS of the DIOSKOURI(=ZEUS SONS) and the beautifulO HELEN.

ARCHAEOLOGICAL MUSEUM of CHANIA.

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.

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.

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

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.

5th century BC Dodona Epirus Theater (APE ROTAN)