******* T P O I A ******Ι Λ Λ Ι Ο Ν***** “T R O Y”

TROY (=TPOIA, alias ILION HISTORICALFACTS vs. “ACCES”, CERTAIN PSEVDO-“HSTORIANS”-“SCHLARS” etc..etc..

H E R E:  *****************VERY IMPORTANT,!!

PAY ATTENTION TO THE FACTS HERE!:

IT WAS A CIVIL WAR BETWEEN WESTERN METROPOLITAN GREEKS, MAINLY WERE. ΔΑΝΑΟΙ = DANAOI/(HOMER) ,AHAEANS/FROM MYCHAENE, EOLEANS, VS ΤΡΩΆΔΕΣ (=TROYANS)

PRIAMUS, FOR EXAMPLE WAS UNCLE OF AJAX OF DANAEANS!!

PRIAMUS SISTER ISIONE MARRIED TO TELAMONIOS OF SALAMIS (THE FAMUS ISLAND FROM THE BATTLE AGAINST PERSIANS) OPPOSITE THE PREFECTURE OF ATTICA.(WHERE ATHENS IS).. THEY GOT TWO SONS: AJAX & TEUCROS AND BOTH WENT AGAINST THEIR UNCLE PRIAMOS, UNDER THE LEADING OF ACHILES (THE TEMPLATE OF ALEXANDER THE GREAT LATER) .

THE CONFLICT WAS BETWEEN THE SAME ROYAL FAMILIES!!

PRIAMOS HAD A LOT OF CHILDREN..

THE FIRST BORN WAS 1) HECTOR, 2) THEN PARIS, 3) DIIPHOBOS(= ΔΗΙΦΟΒΟΣ=THE ONE, WHO FEARS OF DIOS (Genetivus of 3th irregular grammatical form of nominativus. ZEUS!!, ..SO DIOS = OF ZEUS). 4) POLYDOROS(=GIFTED WITH MANY ABILITIES)

THE MOST PROMINENT DAUGHTERS OF PRIAMOS, WHO PLAYED MAJOR ROLES AT THE TROJAN CIVIL CONFLICT WITH THE METROPOLITAN GREEKS THE WELL KNOWN TROJAN WAR

HIS DAUGHTERS:

ANDROMACHE(=MAN’S BATTLE), WAS THE WIFE OF THE TROJAN HERO HECTOR. GODDESS ATHENA, WAS THE PROTECTOR OF THE WESTERN GREEKS, WHILE APOLLO OF TROY..

AND THE OTHER ONES

Well-Known Daughters

• Cassandra: A prophetess cursed by Apollo to always speak true prophecies that no one would believe.(Ancient Greek: Κασσάνδρα) breaks down into two Greek root words. It combines kekasmai (meaning to shine or to excel) and aner (meaning man). This gives the name the literal meaning of “she who excels men” or “shining upon man”
• Polyxena: A young princess sacrificed on the grave of Achilles after the fall of Troy.(Her name comes from Greek roots meaning “very hospitable” or “entertaining many guests”. She is best known for her tragic death after the Trojan War)
• Laodice: Described by Homer as the fairest and most beautiful of Priam’s daughters, married to Helicaon. originates from the Greek name Laodike combined with the suffix -ia. It literally means “she who renders justice to the people” or “people’s rights,” coming from laos (“people”) and dike (“justice” or “right”).
• Creusa: The first wife of the Trojan hero Aeneas and mother of Ascanius, who vanished during the chaotic sack of the city.The name Creusa comes from the Ancient Greek word Kréousa (Κρέουσα), meaning “princess”, “ruler,” or “mistress.” It is the feminine participle form of the verb kreíō (κρείω), which means “to rule” or “to command.”
• Iliona: The eldest daughter, married to King Polymestor of Thrace...from the Ancient Greek word Kreousa (Κρέουσα), meaning “princess,” “ruler,” or “mistress”. It is the feminine form of the verb kreiō (κρείω), which means “to rule” or “to command.”
• In mythology, the name belongs to several figures, including the Creusa of Troy (wife of Aeneas) and the Creusa of Corinth (daughter of Creon). Root word:Kreiō (to rule, master, or lord over)
• Meaning: The female ruler, queen, or princess
• If you would like, I can also share details on:
• Themythological figuresnamed Creusa
• the name appears in Virgil’s AeneidorEuripides’ plays

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STATUE, SHOWING THE STRANGULATION OF THE COMPLEX of LAOCOON & HIS SONS ANTIPHANES THYMVEOS, BY SNAKES

LAOCOON WAS PRIEST AT APOLLO TEMPLE IN TROY, DURING THE CIVIL WAR BETWEEN THE ACHAEANS-AEOLIANS-DANAAENS OF METROPWEST GREECE, AGAINST TROY.(HOMER)

THIS FAMOUS AND PERFECT MASTER PIECE WAS MADE IN WONDERFUL (PENTELIC ONE) MARBLE BY THE SCULPTORS: ATHENODOROS=ΑΘΗΝΌΔΩΡΟΣ= GIFTED FROM GODDESS ATHENA (ΑΘΉΝΑ+ΔΩΡΟ)

POLYDOROS(=GIFTED WITH MANY ABILITIES) & AGISANDROS (“AGISANDER” LATER IN LATIN) FROM RHODOS IN 20BC

THE FIRST & ORIGINAL STATUE WAS MADE IN BRONZE

2000 BC IN PERGAMOS

ALL THE ANCIENT GREEK CITY-STATES OF I O N I A (“MINOR ASIA” OF TODAY’S TURKEY), FROM. I O N I A, K A R I A, P O N T O S (“ANATOLIA” (???!!), C AP A D O K I A, P A M P H I L I A, L Y K I A ETG,,,ETC

…………..IN NOWDAYS “TURKEY”.!!!!!!……….

**** THIS CIVIlL WAR BETWEEN THE GREEKS IS ROMANTICIZED DUE TO THE ABDUCTION OF HELENA OF SPARTA

THIS CIVIlL WAR BETWEEN THE GREEKS IS ROMANTICIZED DUE TO THE ABDUCTION OF HELENA OF SPARTA

The ACHAEANS and DANAEANS, who lived, in WEST GREECE at that time, united and with their ships and army went to CONQUER TROY.
Thus began the Trojan War which lasted ten years. It was the greatest war of antiquity and led to the death of countless TROJANS and ACHAEANS(OR DANAEANS).
The occasion was a woman, the beautiful HELEN, the queen of SPARTA.
Many great LADS FOUGHT in this war. ACHILLES, the son of THETIS, HECTOR the leader of the TROJANS, the FEARLESS DIOMEDES,
the strong AEDAS, MENELAUS, the husband of HELEN, his brother AGAMEMNON, who was the LEADER of the ACHAEANS, the versatile Odysseus and many others. . We will meet
all of them in the following lessons. ALSO, we will meet ANDROMACHE, HEKTOR’S BEAUTIFUL WIFE, HIS RESPECTED PARENTS, HECABE and PRIAMOS, and MANY others!
What should ONE remember FIRST of all that happened. The myths that mention them are so charming, that it is worth reading them and remembering them forever.

. Paris prepared a fast boat and left for Sparta. He arrived at Menelaus’ palace bearing rich gifts. There everyone welcomed him and hosted him, as befits the king of Troy. However, Paris, with the help of Aphrodite, outwitted Helen and convinced her to follow him. And one day when Menelaus was away, they left for Troy.The abduction of Helen by Paris. Among them is the winged god Eros.
From an ancient Greek vas

1. The apple of ERIS
Many years ago , in ancient times, when the twelve gods lived in Olympus, Zeus decided to marry the king of Phthia, Peleus, to a sea fairy, Thetis, the daughter of Nereus. The wedding took place in Pelion and all the gods and goddesses were invited. Only Eris , the goddess of strife, was not invited, because wherever she went she sowed hatred and quarrels. She got very angry and went to the wedding unseen and left an all-gold apple on the table, on which she had written: “to the most beautiful”. Immediately Hera, Athena and Aphrodite began to argue about who was the most beautiful who would get the apple. They also asked Zeus, but he did not want to upset any of the three goddesses. That is why he told them to go to the mountain Ida, next to Troy, where Paris, the son of King Priam, was grazing his flock on a slope, so that he could choose the most beautiful goddess. So the three goddesses, together with Hermes, flew to Ida and stood in front of the startled king. Hermes told him the will of Zeus and gave him the golden apple of Eris. Then Hera ordered him to make him the greatest king, Athena the bravest and wisest warrior and Aphrodite to find him the most beautiful woman to marry. Paris, after thinking about it, gave the golden apple to Aphrodite. Hera and Athena left angry, while Aphrodite revealed to Paris that the beautiful Helen, the wife of Menelaus, the king of Sparta, was the most beautiful in the world and advised him to go and get her.

The Paris crisis. On the right is Paris, in the center the god Hermes, followed by the three goddesses:
Aphrodite, Athena, Hera. From an ancient Greek vase

A compass on a white background, c. 465–460 BC. with a height including the cover of 17.2 cm. Compasses were a kind of “toilet” and “jewellery box, clay and later ivory or metal vessels, usually round with a separate lid. They were used more by women to store cosmetics or jewelry. They got their name from the wooden Corinthian boxes that were made from the hard and durable wood of the boxwood, a durable evergreen shrub (box), which can reach up to 6 m. From this Greek word came the Latin buxus: box-box and the English box.

This compass is said to have been excavated circa 1906 at Kymi (Cumae, the first ancient Greek colony of Magna Graecia on mainland Italy founded by settlers from the Euboean city of the same name in the 8th century BC). It passed through several buyers until it was acquired by the MET, The Metropolitan Museum of Art NY, 07.286.36a .

In her performances, she has scenes from the crisis of Paris, on a white background.

By the middle of the 5th century BC, the white ground technique was commonly used for the beautiful white lekyths, (bottles for scented oil, perfumes, wine for funerary rites and then placed as offerings in tombs) and for fine vessels of other shapes . As classical painters sought to achieve increasingly complex dramatic depictions with the limited capabilities of the red-figure technique, the white background gave new emphasis to glaze lines and polychrome, making the representations resemble frescoes. Their white color is due to a thin layer of white clay (kaolin) which after firing gave this effect and on top of which they were decorated with additional colors.

The decoration of this compass, which has three elegant short legs as a base, reflects the ease with which an accomplished artist like the “Painter of Penthesilea” to whom it is attributed, depicted a traditional subject: the judgment of Paris. I know you all know the legend, but if you want to “refresh” it, it’s in the 1st comment.

The moment of crisis is represented in successive scenes: One scene shows Pari, a young virgin, sitting on a rock wearing a petasos, a hiker’s and shepherd’s hat. He converses with Hermes, easily recognizable by his caduceus and winged sandals. Behind him a grown man is perhaps Zeus or Priam. Turning the compass clockwise, Athena is depicted, holding a spear in one hand and her helmet in the other, talking to Hera. The latter holds a royal scepter, as the mother and breath of the gods. Then Aphrodite converses with her son, the winged love with the beautiful ethereal rendering of wings. Below EROS the inscription: “O PAIS KALOS” (The young man is handsome).

[The well-known charming myth of the crisis of Paris, which gave rise to your famous Trojan War, is well known. But you can “refresh” its occasions, as well as the faces that appear on the compass]: Zeus, the king of the gods, gave a banquet for the marriage of the sea nymph Thetis with the mortal Peleus (by whom she gave birth to Achilles). Eris, goddess of discord, was uninvited. Angered by this “blockage”, she caused trouble at the feast when she threw a golden apple (the Apple of Strife), on which was the inscription “the beauty” (for the most beautiful). Three goddesses claimed the apple: Hera, Athena and Aphrodite. They asked Zeus to judge which of them was more beautiful. Zeus, unwilling to favor any claim himself, decided that the mortal Paris, son of Priam, king of Troy, would judge. Led by Hermes, the three candidate goddesses appeared before Paris (by teleportation) on Mount Ida of the Troas. Each of them tried with their powers to bribe the handsome but carefree king, who had been removed from the city to graze flocks, because they had bad omens. Hera proposed to him to make him king of Europe and Asia, Athena would offer him wisdom and skill in war and Aphrodite offered the love of the most beautiful woman in the world, Helen of Sparta, wife of the Greek king Menelaus. Paris accepted Aphrodite’s gift and awarded her the apple, taking with Helen the enmity of the Achaeans. The mission of the Achaeans to Troy, to recapture Helen from Paris, is the mythological basis of the Trojan War. Later in the war, Paris will fatally wound Achilles in the heel with an arrow, as Achilles’ mother Thetis, who tried unsuccessfully to prevent him from going to war, had fearfully predicted…

The beautiful helen

. Paris prepared a fast boat and left for Sparta. He arrived at Menelaus’ palace bearing rich gifts. There everyone welcomed him and hosted him, as befits the king of Troy. However, Paris, with the help of Aphrodite, outwitted Helen and convinced her to follow him. And one day when Menelaus was away, they left for Troy.The abduction of Helen by Paris. Among them is the winged god Eros.
From an ancient Greek vase.

When Menelaus heard the news, that Paris took Helen from him, and he wanted to take revenge on him and bring her back, he left Crete and went straight to Mycenae to his brother Agamemnon. Then, together with the wise Nestor the king of Pylos, they decided to send an invitation to all the kings and heroes in every part of Greece, to take part in this campaign which was a matter of honor. The rapist had to be punished, or no one could henceforth be sure of his wife, when the sacred institutions of hospitality were thus violated. It was therefore necessary for everyone to consider the insult that Paris did to Menelaus as personal. However, the fates and the oracles of the oracles played their role here as well: those who knew their destiny, hardly decided to follow the campaign. Odysseus, the resourceful and brave son of Laertes and king of Ithaca, knew from then on that it would be twenty years before he would see his people again, so he pretended to be mad when Agamemnon and Palamedes went to call him. He was newly married and had just had a son, Telemachus. So, dressed funny and acting crazy they found him plowing his field. The cunning Palamedes revealed his pretense by placing the young Telemachus before the plough, Naturally, Odysseus did not step over the child’s body, but stopped ploughing. There went the old Nestor, the king of Pylos, Idomeneus from Crete, Aeandas from Salamis, the other Aeandas from Locris, Diomedes from Argos, Philoctetes, the friend of Herakles, from Magnesia, the Odysseus from Ithaca and Achilles, the son of Peleus and Thetis from Phthia with his friend Patroclus and the brave Myrmidons. They chose Agamemnon as their leader.

*******’*************T H E T R O J A N S = OI Τ Ρ Ω Ε Σ

The fortress of Troy was located on the Ida mountain, beyond the Hellespont.

IT WAS BUILT BY THE COURITES, FROM CREATAE 5000BC..
BUT THE LEGACY IS SAYING, THAT Poseidon and Apollo had built it for Laomedon. At the time when the events that will be mentioned next took place, Laomedon’s son Priam, who had Hekabe as his wife, reigned in Troy. Priam was originally called Podarkis (good-footed) and was the brother of Isione who had followed Telamon to Salamis, married him and gave birth to Teucros and Aedes who both took part in the Trojan War. Achaeans and Trojans seem to have been members NOT only of the SAME branch of Greeks race (same language, religion and customs) BUT ALSO THE SAME FAMILY In the fortress of Troy Priam raised a royal family with so many children that no other like it is mentioned. He gave birth to fifty sons, besides daughters. The first-born was Hector, followed by Paris, Diiphobus, Helen, Polydoros, Troilus, etc. Of the daughters, the most famous are Kreusa, Laodiki, Polyxeni and Cassandra who had fortune-telling abilities.

Troy, the hero who gave his name to the Trojan people, is the son of Erichthonius, the grandson of Dardanus, and his mother was Astyochus. He married Callirroi, daughter of Scamandros and had a daughter Cleopatra (the name Cleopatra is Greek) and three sons: Ilos who founded the citadel of Ilium, Assarakos and Ganymede whom Zeus loved.

.Priam had originally married Arisbe from whom he had fathered Aesacus. He then abandoned her and proceeded to marry Hekavi. Hekabi was extremely fertile. Although ancient writers do not agree on the number of children she bore, the family she raised with Priam was very large.Hector, King Priam and Queen Hecuba – Trojan War – Red Figure AmphoraPriam had originally married Arisbe from whom he had fathered Aesacus. He then abandoned her and proceeded to marry Hekavi. Hekabi was extremely fertile. Although ancient writers do not agree on the number of children she bore, the family she raised with Priam was very large.

Opposite page: Peleus assigns the Centaur Chiron to educate the young Achilles. (Black-figure lekythos around 500 BC, Athens, Archaeological Museum).

.

Sitting on their throne, Priam and Hecabe accept with lively gestures the sad news of the murder of their son Troilus. (Clazomenian hydria shell, around 540 BC, Athens, Archaeological Museum)
Paris and Helen of Menelaus

Agamemnon, The king of Mycenae, had married Clytemnestra and Menelaus had married Helen. Menelaus reigned in Sparta and there he received Paris and his entourage when he visited, bringing with him rich gifts. When Paris saw Helen, he was dazzled by her beauty. Menelaus honored the foreign king according to the customs of hospitality, but on the tenth day he was forced to leave for Crete. Then Paris found the opportunity and approached Helen who could not resist the power of Aphrodite. So she accepted the treasures that Paris gave her and followed him at night. The couple left secretly and arrived in Troy where their wedding was celebrated. Then Iris, the messenger of the gods, brought the news to Menelaus who was in Crete.

Helen and Paris in a design by the French Nadar.

The Achaean campaign in Troy Helen, the most beautiful woman in the world at that time was desired by all the princes of Greece. Tyndareus, her father, had a hard time deciding. Then, according to Odysseus’ idea, Tyndareus decided to bind all prospective grooms with an oath, that they would accept the election of Helen herself and that they would rush to help if the honor of the husband happened to be threatened. This oath was invoked by the Atreides in requesting the participation of so many heroes in the campaign. On the subject of Helen the Fair, Euripides wrote in 412 BC. the tragedy “Helen”. The Italian neoclassical sculptor Antonio Canova created the “Helen of Troy” statue.

But also the brave Achilles, the greatest figure of this war, was sent by his mother to hide in the palace of the king of Skyros, Lycomedes, dressed as a woman, among his cousins. This was revealed by the trick of Odysseus, who went with women’s dresses and ornaments to the palace, gifts for the king’s daughters among whom were hidden a spear and a shield. As Odysseus showed the lyuses to the maidens, he caused the war trumpet to sound the sound of battle. Then Achilles, unrestrained, grabbed the weapons he had been wandering around before and prepared for an attack. This is how the expeditionary force was revealed and followed to Avlida. It took ten years for the flower of valor and martial art to be concentrated in the port of Avlida at that time. Among the heroes were the king of Pylos the wise Nestor, Diomedes the hero of Aetolia, Aedas the son of Telamon, Aedas the Locros, Idas, the king of Crete Idomeneas and others.

Achilles prepares for the great Trojan campaign: he wears his shins and Thetis holds his spear and shield. (Black-figure plaque, 560 BC, Athens, Archaeological Museum).

Hephaestus, who made Achilles’ weapons, gives them to Thetis.

A sign of the goddess’s favor, was sacrificed amid the cheers of the troops. Immediately the winds blew the sails of the ships and the Greek fleet set sail from Avlida bound for Troy to wash away Helen’s shame.

Menelaus against Paris. Paris, Louvre

Trojan War – Iliad

The Achaeans, faithful to their religion and traditions, made a sacrifice before the start of the Trojan war so that the gods would reveal signs about the future and its outcome. During the sacrifice, a snake was presented whose spine was red as blood. This snake came out of the altar and climbed the plane tree that was nearby. On the highest branch was a sparrow with her young. The snake swallowed the eight sparrows in turn and then their mother. Once he had swallowed all nine birds, he was turned into stone, by Zeus. The seer Calchus interpreted this unnatural event as follows: the siege of Troy would last nine years and in the tenth it would fall.

Troy or Ilion was the site of these deadly battles, protected by Apollo with the silver bow. The first dead of the war was Protesilaus, on the side of the Achaeans, to whom they erected a monument and honored him. The goddesses Athena and Hera helped the Achaean troops. In Homer’s epic, the Iliad, many of the events that took place in the Trojan War are mentioned. The most important of these have as their protagonist the brave Achilles whose fame of exploits has spread far and wide.

Protesilaos, the first casualty of the Trojan War, was a Thessalian and indeed one of Helen’s potential suitors. He took part in the war with a fleet of forty ships. While jumping off the ship, he was struck by Hector.

ACHILEUS and AJAX.-NEPHEW OF PRIAM) Two heroes with a lot in common, in morals, bravery and mental cultivation. The great Heracles once passed through the kingdom of Telamon and begged Zeus to make invulnerable the new-born AJAX he had wrapped with his lioness. AJAX indeed became invulnerable except for the shoulder, the ribs and the armpit, that is, the points corresponding to those covered by the quiver on the body of Hercules.

Zeus was warned of a prophecy that Thetis would have a son who would grow up to be greater than his father. Worried by this, Zeus arranged for Thetis to marry a mortal man so that her child couldn’t challenge his power. In another version of the story, Thetis rejects Zeus’s advances and a furious Zeus decrees that she will never marry a god. Either way, Thetis ends up married to the mortal Peleus and Achilles is born.
Standing figure of woman with man and lion either side pressing against her
Terracotta relief showing Peleus and Thetis, c. 490–470 BC. Thetis tries to resist marriage to Peleus by transforming her body into powerful elements such as fire and wild beasts, here a lion

Thetis attempts to make the baby Achilles immortal, by dipping him in the River Styx (the river that runs through the underworld), while holding him by his heel. The one part of his body left untouched by the waters becomes his only point of weakness, hence the phrase ‘Achilles heel.

The learned centaur Chiron instructs the boy Achilles in the playing of the lyre. He rests upon his equine haunch and wears an animal-skin cloak and wreath of laurel.

Achilles and Ajax Playing a Board Game
540-530 BCE.
Terracotta amphora. Height 2 feet
(Musei Vaticani, Rome). ARCHAIC BLACK-FIGURE POTTERY
Exekias
Achilles and Ajax Playing a Board Game
540-530 BCE.
Terracotta amphora. Height 2 feet
(Musei Vaticani, Rome)
An example of black-figure painting is Achilles and Ajax Playing a Board Game on an amphora signed by Exekias as both potter and painter (at left is written: Exekias epoiesen = ΕΞΕΚΊΑΣ ΕΠΟΊΗΣΕΝ =
“Exekias made [me or it].” At right is also written, less relevantly, O Netorides kalos = Ο ΝΕΤΟΡIΔHΣ ΚΑΛΟΣ =
“Onetorides is beautiful”).
The central image is a narrative scene, with geometric patterns subsumed into border devices. In the panel framed by a lustrous black “glaze,” Ajax (Aiantos = “of Ajax [Aias]”) and Achilles (Akhileos = “of Akhilleus”) are depicted playing a board game during a lull in the Trojan War. In a symmetrical and deceptively tranquil scene, the Homeric heroes bend over a table and call out the scores of the game (which are written before their lips – tesara = 4, for Achilles, tria = 3, for Ajax) 

Achilles prepares for the great Trojan campaign: he wears his shins and Thetis holds his spear and shield. (Black-figure plaque, 560 BC, Athens, Archaeological Museum).

Hephaestus, who made Achilles’ weapons, gives them to Thetis. a doe, a sign of the goddess’s favor, was sacrificed amid the cheers of the troops. Immediately the winds blew the sails of the ships and the Greek fleet set sail from Avlida bound for Troy to wash away Helen’s shame.

The father Peleus advises his son, Achilles,
as he leaves for war.

“Aien exceletuein…”, that is,
“always be first and surpass all in battle”.

Peleus, because Achilles was still very young, sent with him and his teacher, the Phoenix, to advise him:

“Be able in words and worthy in deeds” /Homer, Iliad

Achilles.From an ancient Greekvase.

And the gods looked on from Olympus. Poseidon, Hera, Athena were with the Achaeans. Ares,

Aphrodite, Apollo with the Trojans. And Zeus sometimes with the Achaeans and sometimes with the Trojans.
In the last year of the war, when food was scarce and the army was starving, Agamemnon sent a ship to bring the Oenotropics to Troy. They, however, leaving Delos, begged the god Dionysus to help them. And Dionysus turned them into doves and they flew away and returned to DELOS

 The father of the Oinotropes, Anios.
From an ancient Greek vase.

 The Achaeans reach Troy
Traveling to Troy, the Achaeans passed through Delos. There, in the temple of Apollo, Anios was a priest who had three daughters, the Oinotropes. The soil that Spermo touched became wheat. The soil touched by Oino became wine and the soil touched by Elaida became oil. Anius, who was also a soothsayer, told the Achaeans that in ten years they would take Troy and invited them to stay nine years in Delos and in the tenth year to go to Troy. However, they did not accept.
So the Achaeans left Delos and in a few days they reached Troy. There reigned Priam and Hecabe who had fifty sons and many daughters. One of their daughters was Cassandra who was a fortune teller. However, Apollo had punished her and no one believed her words.
The Trojans, seeing the countless ships of the Achaeans, took their weapons and ran to the shore to fight them. Their leader was Priam’s eldest son, Hector, the brother of Paris. None of the Achaeans dared to set foot on land. Thetis had told them that the first one to set foot on Troy’s soil would fall dead. Then Odysseus threw his shield on the land and with one leap stood on it. Fooled by his trick, Protesilaos jumped second and stepped on the ground. And immediately he fell dead from Hector’s pole. Then began a terrible battle. The Trojans were defeated and shut up in the city walls. The Achaeans pulled their ships ashore and made a camp which they closed with a wooden wall, because they understood that it would take a long time before they could conquer Troy. The anger of Achilles
For nine years the Achaeans fought in Troy, but Priam’s castle was unoccupied and the Trojans, led by Hector, defended it bravely. In the tenth year , however, Achilles and Agamemnon quarreled over two beautiful slaves, Chrysis and Briseis. This brought many calamities to the Achaeans. Chrysis was Agamemnon’s slave . Chrysis`s father, who was a priest of Apollo, came supplicating to the Achaean camp, bearing rich gifts, the golden rod and the god’s sacred wreaths. He fell at Agamemnon’s feet and begged him to give Chrysis back to him. Agamemnon did not respect the old man and angrily kicked him out. Chrysis then begged Apollo to punish the Achaeans severely. Apollo heard him from Olympus and immediately took his bow and went to the camp of the Achaeans . He sat aside and, unseen, he shot animals and people with his arrows. Then a terrible disease fell among them and the Achaeans died, one after the other.

. Apollo shoots his arrows. From an ancient Greek vase.

The evil lasted nine days . On the tenth day the kings asked the soothsayer Calchas to tell them why such calamity befell them. He said that Apollo was angry because Agamemnon did not respect Chrysis. To stop the evil, Agamemnon sent Chryseis back to her father. However,Chrysis, her father, who was a priest of Apollo, came supplicating to the Achaean camp, bearing rich gifts, the golden rod and the god’s sacred wreaths. He fell at Agamemnon’s feet and begged him to give Chryseis back to him. Agamemnon did not respect the old man and angrily kicked him out. Chrysis then begged Apollo to punish the Achaeans severely. Apollo heard him from Olympus and immediately took his bow and went to the camp of the Achaeans . He sat aside and, unseen, he shot animals and people with his arrows. Then a terrible disease fell among them and the Achaeans died, one after the other he ordered Achilles’ slave, Briseis, to be brought to his tent. Achilles became very angry, hatred and rage filled his soul. He wanted to kill Agamemnon for insulting him, but the goddess Athena ran and restrained him. However, embittered, he closed himself in his tent and swore never to fight again.

Chrysis leaves Achilles’ tent to surrender to Agamemnon.
The seated figure on the right is Achilles. From an ancient Greek vase.

The death of Patroclus Achilles was no longer fighting and the Trojans took courage. Fierce battles took place outside Troy’s walls and countless Achaeans fell dead. Desperate then, Agamemnon sent to Achilles the old Phoenicus, Achilles’ teacher, Aiades, the strongest warrior of the Achaeans, and the versatile Odysseus, to beg him to return to the battle and would give him back Brisida and countless gifts. But Achilles did not accept and said that he would fight only if the Trojans reached his ships. The fighting continued more fiercely. The Trojans chased the Achaeans to their camp. Hector smashed the wooden gate of the camp with a huge stone and the Trojans rushed in and set fire to a ship. The Achaeans were saved by Aedas, who wounded Hector and the battle stopped for a while. Seeing the suffering of the Achaeans, Patroclus went to his friend Achilles. “Achilles,” he said to him, “the Trojans are burning our ships. Since you do not fight, they fear no one. Give me your armour, your chariot with your immortal horses and your brave Myrmidons, that I may fight in your place.’ Achilles agreed and advised him to drive the Trojans out of the camp and turn back.

Patroclus rushed with the brave Myrmidons into battle. The Trojans, whethey saw him, thought it was Achilles and ran away towards Troy.  Achilles tends tthe wounded Patroclus.
From an ancient Greek vase.

Patroclus forgot Achilles’ advice and chased the Trojans to the walls of Troy. But Hector met him there, he went close and they started to fight.
Then Apollo struck Patroclus on the back. He fell down and Hector killed him and took Achilles’ divine weapons from him.
There was a fight around the dead body. The immortal horses of Achilles, Xanthus and Valios, which Poseidon had given him, as if they saw Patroklos dead, bowed their heads and wet the earth with their tears. The Achaeans took the dead Patroclus and brought him to the ships. Achilles, seeing his friend dead, burst into lamentation. His mother Thetis heard him and came out of the sea to comfort him. And she herself went to Olympus and brought him new armor, which Hephaestus had made for him.

The Lament of Achilles
The news of Patroclus’ death was brought to Achilles by Nestor’s son, Antilochus.”Patroklos has fallen, and his turn for the dead is beaten,naked, because Hector has taken his chariots!”.
On hearing this, Achilles’ pain bursts forth wildly: without hesitation the hero pours black ash on his head with both hands, and then, with his beautiful face strained, his divine robe soiled, he falls and lies on the ground, pulling and tearing out his hair. For fear, lest in his despair he draw his sword and be killed, Antilochus is forced to hold his hands. Achilles does not speak, only moans loudly. Homer, Iliad S 20-35

The shield of Achilles
Hephaestus puts all his art into making Achilles’ new armor. But mostly he worked on the round shield. In the picture we see him handing it over to Thetis. He puts first the earth, the sea and the sky with the sun, the moon and all the stars. And then he starts drawing two states side by side. In the first, people have peace. They marry their children with songs and joys and settle their differences with judges. In the other state they have a war. Inside the city the women, children and old men have stayed, while outside the walls two armies have fallen into battle. The wounded and the dead lie all around. So Hephaestus tells the story of the joys of peace and the miseries of war. Then he puts the farmers plowing their fields, the laborers harvesting with sickles, he puts vines laden with grapes and people who harvested them while singing, he puts shepherds tending their flocks , features dancing boys and girls with flowers in their hair. And all around he makes the vast Ocean sparkle. And when he is done, he stands to look at her. He knows that if people notice the beauty of the shield, they will no longer want to fight. They will want to dance and sing, plow their fields, harvest their vines and tend their flocks. They will want to live in peace. And this shield of Achilles is the first, the only weapon ever made that invites not war but peace.

Rage and despair together filled the heart of Achilles after the death of Patroclus and he wanted to take revenge on Hector, who killed his fraternal friend. The next day he put on his new armor, harnessed his immortal horses to his chariot, and with his Myrmidons went to war.
I

 Hector bids farewell to Andromache and Astyanaktas.
From an ancient Greek vase.

Inside the castle of Troy, Hector said goodbye to Andromache, his wife, took in his arms for the last time his little son, Astyanactus, and he too went out to fight. The Trojans were outside their walls ready for battle. However, seeing Achilles arriving, they were frightened. Half ran inside the walls to save themselves and the other half ran to the plain. Achilles chased them and a fierce battle ensued. The Trojans fell dead one after the other. Priam, who was watching the battle from the walls, ordered and the gates were opened for the army to enter to save itself. Only the brave Hector did not shut himself up in the walls, but remained to face the enemy. Priam and Hecabe, his mother, and the beautiful Andromachi high above the walls. At some point Achilles saw him and rushed at him like a beast. Hector lost it and started running. Three times he ran around the city and Achilles chased him. At last Hector stopped running and stood to face him. Achilles rushed at him and the fight began.
They fought hard, for both were brave lads. Finally, Achilles struck Hector in the neck with his pole and threw him to the ground. Troy’s bravest warrior was now dead. High from the walls the Trojans looked and mourned. But Priam and Hecabe, his mother, and the beautiful Andromache mourned more.

Achilles-Hector duel. From an ancient Greek vase

Immediately Achilles took the dead man’s weapons, tied his legs with leather straps from the chariot and let his head drag on the ground. Then he struck his horses and they galloped towards the ships, dragging the dead Hector with them.
The next day the Achaeans burned the dead Patroclus. Achilles cut his long hair and put it in Patroclus’ hands, to be burned with him. He washed his bones with wine and placed them in a golden vessel, which his mother Thetis had given him.
The dead Hector remained unburied for eleven days, until Priam went to Achilles, fell at his feet and begged him to give him the body of his child to bury. Achilles was moved. He ordered the dead body to be washed and adorned, and gave it to the old king, to be taken to Troy. And he ordered the war to cease for eleven days, so that the Trojans could mourn and burn the dead, as was their custom.

Priam comes bearing gifts to Achilles’ tent and begs him. From an ancient Achaean vase.

Parents’ dreams for their children
Hector, before clashing with Achilles, enters the castle of Troy and bids farewell to his family. There he meets his wife Andromache and his young son Astyanaktas.As soon as he opened his arms to his son, the little one was frightened by the weapons and helmet and pulled away. Then Hector and Andromache laughed. He took off the brilliant helmet and laid it on the ground.
He then took the son, kissed him, danced with him in his arms,
and so he prayed to Zeus and to the other gods:
“Father Zeus and you other gods, give this one,
my son, as I shine among the Trojans to become
a strong man, and to rule Troy with great power.
and one should say: “much better than this one’s parent,”
as if he were returning from the war with bloody spoils of
an enemy he had killed, and his mother would be deeply rejoicing.”/ Homer, Iliad G 474-481,

Games to honor Patroklos
Achilles, after the burial of Patroklos, organizes games to honor his dead friend. The competitions are many: chariot racing, boxing, wrestling, road, armed combat, discus, archery, javelin. All the Achaean lads took part in the games and won great prizes from the hands of Achilles. Spectators participate by shouting and placing bets. In the last race, Achilles gives Agamemnon the first prize without letting him compete, since everyone knew that he was the first among the Greeks both in strength and in chariots. Thus the two rivals reconcile, after the destruction caused by their conflict. Patroclus was honored like no other hero. Everyone will remember his power and want to be like him. This was also the purpose of the epitaph matches.// Homer, Iliad Ps 258-897 (adaptation).

Winners and losers cry together
And as both of them remembered their pain, Priam wept the manly Hector, huddled before Achilles’ feet, and Achilles wept with his father and Patroclus, and the lamentations echoed all around.

Homer, Iliad Ω 509-512 (free translation by G. Economides).

The end of Achilles
After Hector’s burial , the war outside Troy’s walls resumed. Achilles killed the Trojan warriors one after another. One day, however, when he was outside the Shadow Gates, the largest gate of the castle of Troy, Apollo saw him and advised Paris to shoot him with his arrows in his right heel. His
mother , Thetis, when he was young, had made him immortal by immersing him in the enchanted waters of Lake Styx. However, his right heel was not wet, because it was holding him back from there. So Paris marked Achilles and stuck a medicated arrow in his right heel. Groaning, the hero knelt on the ground. With pained cries he tried to pull the arrow from his heel. After a while he collapsed dead. A fierce battle took place around his dead body . The Trojans were fighting to take him. However, Odysseus and Aedas grabbed him and brought him to the ships. All the Achaeans mourned the loss of the hero. Suddenly there was a terrible roar from the sea and out of the waves came Thetis and the Nereids, her sisters. They all stood around the dead body. For seventeen days they cried and cursed him. Then they burned his body, put his bones in the same pot as those of Patroclus, and, to honor him, held games. After a few days Paris was also killed. He was killed by Philoctetes with one of the poisoned arrows that Herakles had given him.

 The death of Achilles.
Modern sculpture.

The Divine Armor of Achilles: A Legacy of Glory and Tragedy.

HERE:

Neoptolemos/Pyrrhos holding the helmet of Achilles as he receives the armor of Achilles from Odysseus. 490-480 BCE, by the Athenian painter Douris.

Forged by the master craftsman Hephaestus at the request of Thetis, the armor of Achilles was a masterpiece of divine artistry and near-indestructible protection. After the Trojan hero Hector slew Patroclus and claimed Achilles’ original armor, the grieving warrior returned to battle in a new set of god-crafted armor, most notably featuring an intricately designed shield depicting the vastness of human life—cities in celebration, farmers at work, and the turning of the cosmos itself. With this armor, Achilles became an unstoppable force, slaying Hector and sealing his place as the greatest warrior of the Civil War vs Troy.

Yet even divine craftsmanship could not defy fate, and Achilles ultimately fell to an arrow guided by Apollo, striking the only vulnerable part of his body—his infamous heel.

Following Achilles’ death, his armor became a prize coveted by the Danaeans(=west Greeks) warriors. A contest was held to determine its rightful heir, with Odysseus and Ajax as the primary contenders. While Ajax was the physically strongest of the Acheans(or Danaens, =west Greeks) west the armor was awarded to Odysseus, whose intellect and strategic prowess were deemed more fitting of Achilles’ legacy. Consumed by humiliation and rage, Ajax fell into madness, slaughtering livestock in a delusional fury before taking his own life in despair. The armor, now a symbol of both glory and tragedy, was said to have been dedicated to a temple, though later legends suggest that even Alexander the Great may have worn it, further linking it to the idea of unmatched heroism and destiny.

Achilles’ armor serves as a profound reflection on the limits of power and the inescapability of fate. It highlights not only the might of Achilles but also the destruction wrought by pride and rivalry, as seen in the downfall of Ajax. More than just a piece of battle equipment, the armor embodies the themes of honor, mortality, and the relentless pursuit of greatness that define the heroes of Greek mythology based on historivsl facts..Jere daboit the civil war between Acheans vs Troads(=Trojans)

in 1994, an extraordinary tomb from 2500 BC in todays Turkey`, offers a vivid glimpse into ancient history-mythagogy of the civil war between Achaeans and Danaeans of West Greece vs Trojans. The tomb depicts a gripping scene from Greek legend: the sacrifice of Princess Polyxena to the ghost of Achilles following the Trojan War. This dramatic artwork captures the intensity of the moment, preserving a powerful story from antiquity. Today, visitors can marvel at this stunning relic at the Istanbul Archaeology Museum, where it stands as a testament to the enduring legacy of Greek myths and the artistry of the past. A must-see for history and mythology enthusiasts alike!Discovered

ACHILLES AT THE COURT OF KING LYCOMEDES (rear end panel of sarcophagus).
MARBLE. Ca 240 CE.
Inv. No. Ma 2120.
PARIS, LOUVRE MUSEUM .
PRIVATE COLLECTION, BORGHESE.
ORIGIN: BY ATHENIAN ATHENODOROS.
*** ROME./ FROM ATHENS WORKSHOP.
THE SARCOPHAGI HAD BEEN SAW ED UP TO FOUR PLATS WHICH WERE INSTALLED INTO THE FACADE OF VILLA BORGHESE. THE PLATES HAD BEEN MOVED TO THE LOUVRE, WHERE THE SARCOPHAGOS WAS RECONSTITUTED IN INTEGRITY .

Burial customs
They wash the dead body, anoint it with oil, wrap it in a white sheet and decorate it. He is laid on the funeral bed and mourned by relatives and friends. Close friends and relatives cut their hair to show their mourning. They raise a wooden structure from logs and dry branches. They place the deceased on top with many of his personal items (kterismas). After the fire is lit and burns people, slaughtered animals and objects, they put it out and carefully collect the bones of the deceased. They wash them, place them in a vase and finally raise a mound of earth and stones covering all the remains. In the end they all eat together. Homer, Iliad (adaptation

Achaeans despaired. They did not believe that they would succeed in conquering Troy. Then Odysseus, the resourceful, thought that Troy would not fall by arms but by cunning. So he advised the Achaeans to make a large wooden horse, hollow inside, the Trojan horse. So the Achaeans
made it and wrote on it: “Gift of the Achaeans to Athena”. And one dark night Odysseus, Menelaus, Diomedes, Neoptolemus, who was the son of Achilles, and some other brave Achaeans got into the horse. Agamemnon with the rest of the army, after burning the camp, got into the ships and went and hid behind Tenedos.
In the morning the Trojans, looking from the walls, could not believe their eyes. The Achaeans had left and left behind only a large wooden horse by the shore! So they came out of the walls, approached it and saw that it was a dedication to Athena. Many said that they had to raise it on the citadel of Troy, so that the goddess would protect them. Cassandra was unfair , shouting that Achaeans were hidden inside his belly. No one believed her. And a Trojan, Laocoondas, who was a priest of Apollo, said: ” “Fear the Achaeans even if they bring you gifts.“

THE FIRST & ORIGINAL STATUE WAS MADE IN BRONZE

200BC IN PERGAMOS>>>>>>>>>>>

>>>>>>>>>^^^^^^^^^

VERY IMPORTANT,!!

PAY ATTENTION TO THE FACTS HERE!:

IT WAS A CIVIL WAR BETWEEN WESTERN GREEKS, CALLED DANAEANS/ΔΑΝΑΟΙ

(HOMER) OR AHAIOI/AXAIOI

vs TROADES/ΤΡΩΆΔΕΣ (=TROYANS)…PRIAMUS WAS UNCLE OF AJAX.

PRIAMUS SISTER ISIONE MARRIED TELAMONIOS OF SALAMIS (the FAMOUS ISLAND FROM THEIR BATTLE AGAINST PERSIANS), OPPOSITE THE

PREFECTURE OF ATTICA..

THEY GOT TWO SONS : AJAX & TEUCROS and both went against their uncle PRIAMUS, under the leading of ACHILEUS (THE TEMPLATE OF ALEXANDER THE GREAT LATER) .

BOTH TROJANS & jAhaians OR DANAI (HOMER) WERE HELLENES(=GREEKS) FROM THE SAME ETHNICITY, WITH THE SAME LANGUAGE, RELIGION, CUSTOMS & EVEN THE SAME FAMILIES!!, AS

PRIAMOS, WHO HAD A LOT OF CHILDREN..

THE FIRST BORN WAS HECTOR THEN PARIS, DIOPHOBOS(=the one, who fears DIOS- genetivus of ZEUS), POLYDOROS(=Gifted with many a abilities)

HIS DAUGHTERS: CREOUSA, LAODIKE, POLYXENA AND CASSANDRA, WHO HAD MAGICAL ABILITIES. .

ANDROMACHE(=MAN’S BATTLE), WAS THE WIFE OF HECTOR.

.

GODDESS ATHENA, was the protector of the western Greeks, while APOLLO of TROY..

Immediately two huge snakes sent by Poseidon came out of the sea and drowned Laocoon with his children.
Seeing this miracle, the Trojans were frightened and dragged the horse into the city. In order to enter, they also demolished a part of its walls. Then they ate, drank and feasted happily all day. At night they fell asleep tired from dancing and drinking.
At midnight the Achaeans emerged from the horse’s belly. They ran and lit fires high on the walls and opened the gates. Soon the army returned from Tenedo. All the Achaeans entered Troy, killed the warriors and took the children and women as slaves. Menelaus ran to Priam’s palace and took Helen back. Then they set fire and burned the city, not even respecting the temples of the gods.
In the morning they loaded their ships with booty and set off to return home.

 

Laocoon and his two sons.
Ancient Greek sculpture. Statue

showing the Strangulation of the complex

OF LAOCOON & HIS SON’S ANTIPHANES THYMVEOS, BY SNAKES

LAOCOON WAS PRIEST AT APOLLO TEMPLE IN TROY DURING THE CIVIL WAR AGAINST AHAENS-AEOLIANS- OF WEST GREECE.

THIS FAMOUS AND PERFECT MASTER PIECE WAS MADE IN WONDERFUL MARBLE BY THE SCULPTORS:

1) ATHENODOROS (=ΑΘΗΝΌΔΩΡΟΣ= GIFTED FROM GODDESS ATHENA(= ΑΘΉΝΑ+ΔΩΡΟ),

2) POLYDOROS(=GIFTED WITH MANY ABILITIES)

AND

3) AGISANDROS (AGESANDER LATER in LATIN ) FROM RHODOS IN 20BC Agesander (flourished 1st century bce, Rhodes) was a Greek sculptor who later is credited by the 1st-century-ce Roman writer Pliny as the creator, with Polydorus and Athenodorus, of the group Laocoon and His Sons. Nothing further is known of him except that inscriptions found at Lindus in Rhodes indicate that he was alive between 42 and 21 bce.

The statue was found by a farmer outside Rome, belonging to TITUS, who took it over to his Palace, in the ancient times.

At 15th centuryAD, the pope LEO the 10th, who was admirer of ancient Greek civilization & arts took it to Vatican & MICHALANGELO tried to repaire the arms, as much, as possible.

Plinius describes, as the most beautiful masterpiece.

Now is in VATICAN Museum

>>>>>>>>>>>>>>>>>>>>>

JUST UTOPIA to REACH, or UNDERSTAND THE HIGH LEVEL OF THE ANCIENT HELLENIC SPIRIT of CREATIONS & SUN LIGHT BEAMS OF THIS UNIQUE CIVILIZATION

NEOPTOLEMOS IS KILLING PRIAMOS

Neoptolemus was the son of the hero Achilles and the princess Deidamia .Achilles’ mother, the goddess Thetis, had foreseen that her son would die in a great war; afraid for him, she took him to the court of King Lycomedes at the island of Scyros, and disguised him as a woman. While there, Achilles had an affair with the princess Deidamia; from this union, Neoptolemus was born.

Helenus, a Trojan seer, was captured by the Achaeans and was forced to tell them that Troy would fall if the Achaeans acquired the arrows of Heracles and the Palladium, and if they also convinced Neoptolemus to join the war. After acquiring the two artifacts, the Achaeans sent Odysseus to get the young Neoptolemus, who eventually joined the war. During the Trojan War, Neoptolemus turned out to be a brutal person, who killed Priam, Eurypylus, Polites and Astyanax, among others; he also made Andromache his concubine. After the end of the war, Neoptolemus took Andromache and Helenus and went to Epirus, where he became the king. With Andromache, Neoptolemus had a son, Molossus.

When he attempted to take Hermione from Orestes; the latter killed him.

Scene from the tragedy Andromache by Euripides: Orestes kills Neoptolemus at the altar of Apollo in Delphi. Despairing Hermione, wife of Neoptolemus but previously promised to Orestes, kneels at the foot of the altar.Greek fresco in Pompeii

Upon returning to main land of West Greece, Orestes reclaimed the throne of his father, becoming the ruler of Mycenae. He died after being bitten by a snake in Arcadia.




AJAX(=ΑΙΑΣ) CARRYING THE BODY OF ACHILLES. Amphora Vase Ancient Greek Pottery by EXEKIAS

From an ancient Greek vase.

How did the news of the destruction of Troy reach MycenaeWhen Troy fell to the Achaeans, Agamemnon notified Clytemnestra overnight. His men lit a great fire on the top of Ida, in Troy, and many fires, one after the other, carried the message from mountain to mountain to Mycenae:Ida -> Lemnos -> Athos -> Evia -> Kithairon -> Mycenae.

Aeschylus, Agamemnon, verses 280 – 316 (arrangement)So we see that the people of that time had discovered a very fast means of communication, sending their messages with fire. In the hills and mountains near the cities, there were specific people who were responsible for lighting the fires, in order to communicate.

5. The sufferings of warThe Trojan War, which had lasted ten whole years, was over. However, he left behind dead people, destroyed houses, widows and orphans. Like any war. The ancient poet Euripides in his work “Troades” talks about the suffering and pain that war brings to people:Queen Hekave and the captive Trojan women mourn what they have lost and worry about the suffering they have to endure hereafter. Cassandra becomes Agamemnon’s slave. Andromache falls into the hands of Neoptolemus, son of Achilles. Her son, Astyanaktas, was thrown from the walls of Troy, so that he would not seek revenge later.The poet does not miss the opportunity to emphasize the miseries that await the victors on the return journey. Because whoever destroys states and does not respect the temples of the gods, it will not be long before disaster strikes.

Euripides, Troas (arrangement)

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

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Electra, daughter of King Agamemnon, wants to avenge her father’s death. After his return from the Trojan War, he was murdered by his wife Klytaimnestra and her lover Aigisthos. Elektra is waiting for one day to get her revenge and for her brother Orestes, sent away to be raised elsewhere, to come home and help her.

IN THE ROYAL PALACE IN MYCENE
Clytaimnestra’s handmaidens talk about Elektra. They think she behaves frighteningly and dangerously. The youngest of them defends Elektra and the others beat her. Elektra becomes lonely. She remembers her father, relives the murder and imagines the rites of dance and blood sacrifice when the father is once avenged.

Her younger sister Chrysothemis warns her about the mother who wants to have Elektra thrown in prison. Chrysothemis can’t stand the confined life in the palace anymore. She wants to be human and woman. Alarms from inside the house announce the arrival of Klytaimnestra. Elektra wants to talk to her.

Clytaimnestra is tormented by dreams. She asks Elektra for advice. Klytaimnestra’s confidants warn her about her daughter. Elektra, first introduces herself and speaks kindly to the mother. Finally, she loses control and declares that the only cure for the anxiety dreams is the death of Klytaimnestra. Then someone whispers a message to Klytaimnestra. Her death throes turn into triumph.

Chrysothemis returns and tells her that two strangers have come with the message that Orestes is dead. Elektra can’t believe it at first. A servant sets off to break the news to Aigisthos. Elektra realizes that she must complete the revenge herself and tries to convince her sister to kill Klytaimnestra and Aigisthos with her that same night. But she fails to break Chrysothemi’s resistance. Elektra has hidden away the ax with which her father was murdered. Now she picks it up.

Shortly thereafter, a stranger arrives. He tells of the death of Orestes – but it is Orestes himself. The siblings recognize each other; he has come to Mycenae to avenge his father’s death. Orestes’ companions remind that Klytaimnestra is waiting for them in the palace. Orestes enters. Elektra breathlessly follows the events from outside. Klytaimnestra’s death scream is heard.

Orestes was the son of Agamemnon and Clytemnestra , who was hunted by the Erinyes after he killed his mother.

The story of Orestes is the main topic of various ancient Greek plays. After the Trojan War, Orestes’ father, Agamemnon, returned to Mycenae (or Argos), along with his prize, the Trojan princess Cassandra. Cassandra had the gift of foretelling the future, but was also cursed not to be believed by anyone. Despite Cassandra’s warnings about what was about to happen, Agamemnon entered his palace, only to be murdered by his wife Clytemnestra and her lover Aegisthus, who was Agamemnon’s cousin. Orestes, a young boy at the time, was not present at the palace, but had run away with his sister Electra and found refuge at the court of Athens.

When Orestes became an adult, he was urged by his sister and the god Apollo to avenge their father’s death; Orestes, assisted by his friend Pylades, returned to the city, and murdered his mother and her lover. However, committing matricide was a horrible act that brought the fury of the Erinyes upon him. He was driven mad and was pursued by them.

Orestes sought refuge at the temple of Apollo, but even the god was powerless to stop the Erinyes. In the end, Athena accepted his pleas and organised a formal trial to be held before twelve judges. The Erinyes asked that the perpetrator be punished, while Orestes said that he followed Apollo’s orders. When the judges voted, the result was a tie; however, Athena’s vote, who was the chief justice, broke ties, leading to Orestes’ acquittal. Grateful, Orestes dedicated an altar to Athena, while the Erinyes were appeased by getting a new ritual, during which they were worshipped as the Venerable Ones.

According to a different source, while Orestes was still pursued by the Erinyes, Apollo told him to go to the land of Tauris and bring back a statue of Artemis, which had fallen from the sky. Orestes agreed and went to Tauris, accompanied by his friend Pylades. There, they were captured by the cult of Artemis, who was told to sacrifice all Greeks to the goddess. When the priestess of Artemis heard that two Greeks had been captured, she offered to help one of them escape if they would agree to carry a letter to her brother; Orestes demanded that Pylades should go, while Orestes would stay behind to be slain. Pylades reluctantly agreed, but when he received the letter, he realised who the priestess really was. All three of them eventually escaped, carrying with them the statue of Artemis. Aegisthus being murdered by Orestes and Pylades – The Louvre

Aigisthos arrives and meets Elektra outside the palace gate. Elektra’s terrifying supervision and unexpected kindness scares him. On his way in, he is murdered by Orestes.

Chrysothemis joyfully recounts the battle between Aigisthos’s friends and those who sided with Orestes. The brother has won. Elektra has achieved her goal in life. Vengeance has been exacted. She begins her ritual dance and sinks dead to the ground.

Alexander the Great laid the foundations for scientific mapping. A pioneer explorer, who laid the foundations of scientific mapping, was Alexander the Great. With his campaign in the East, he inspired his contemporaries and later cartographers to record in detail the areas through which he passed. The cartographic and exploratory work of the army of Alexander the Great and his descendants was studied by 15th century explorers, who sought to discover new worlds. Savvas Demertzis, a map collector and historian, spoke about its importance at an event at the Aristotle University of Thessaloniki. “Alexander the Great’s campaign not only had a military dimension, but also included an important task of searching for and recording new information. “The Macedonian king arrived in unknown countries at that time and played a very decisive role in their mapping,” Savvas Demertzis told “Demokratia” during the event. Teachings The contribution of Alexander the Great to cartography comes from Aristotle, who taught him to love knowledge. In his campaign he was accompanied by Eumenes, also a student of Aristotle, who was the first person to make real geographical measurements with the help of the body of “walkers”, which he recommended. “These were educated young people, who with a special technical regulation of breathing walked a lot of kilometers and so Eumenes calculated the distances” explains Mr. Demertzis. Eumenes mapped the areas where Alexander the Great arrived, while his work was continued by descendants of the Macedonian mercenary. The Seleucid and Egyptian contributions were important in the mapping, as they bordered areas that were unexplored. An additional important role in the development of cartography was played by the creation of large libraries in Alexandria, Antioch, Pergamon and Pella. “15th century explorers studied maps of the descendants of Alexander the Great, who had mapped areas beyond India and Africa. They helped them in their exploratory work and so they reached America “, adds Mr. Demertzis. No maps have survived from the time of Alexander the Great. They were destroyed when the library of Alexandria burned down. However, there are copies that give important information about the exploratory work of the great recruiter.

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The François Tomb of Vulci: from the graphic documentation of the Fondo des Vergers at the Gambalunga Library to the pictorial decorations at the library of the Villa des Vergers. The des Vergers Collection is rich in drawings, tracings, engravings of wall paintings, as well as vases, bronzes and jewellery, brought to light by the excavations carried out by the company founded by Adolphe Noël des Vergers and Alessandro François in 1850. In 1852 they were joined by des Vergers’ father-in-law, the editor Ambroise Firmin Didot. In April 1857, François discovered a tomb in Vulci, later named after him, the walls of which were decorated with an outstanding pictorial cycle. In the wake of this discovery des Vergers commissioned the drawings of the tomb’s frescoes and then published them in the Atlas of his monumental work L’Étrurie et les Étrusques ou dix ans de fouilles dans les Maremmes toscanes . In 1864 he purchased, on his father-in-law’s behalf, the full-scale tracings of François Tomb’s pictorial cycle, which were made in 1862 by Carlo Ruspi for the Museo Gregoriano Etrusco facsimile. Ruspi’s tracings turned out to be particularly important, both because they provided useful information that helped des Vergers with the description of the tables XXI-XXIX of the Atlas , but also because they were most likely used by the painter Augusto Aviano towards the end of the nineteenth century as a model for the ceiling decorations of the library of Villa des Vergers in San Lorenzo in Correggiano (Rimini).

Index terms

Keywords:

Adolphe Noël des Vergers , 

Alessandro François , 

Ambroise Firmin Didot , 

François-des Vergers-Firmin Didot excavation company , 

Vulci , 

François tomb , 

des Vergers Collection , 

Villa des Vergers , 

Rimini Gambalunga Library , 

Rimini Civic Museum

Keyword:

Adolphe Noël des Vergers , 

Alessandro François , 

Ambroise Firmin Didot , 

François-des Vergers-Firmin Didot excavation company , 

Vulci , 

François Tomb , 

Des Vergers Fund , 

Villa des Vergers , 

Gambalunga Library of Rimini , 

Municipal Museum of Rimini

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• 1 On des Vergers see Firmin Didot – Beulé [1867]; Scott de Martinville 1867; Albini 1930; Copies 1 (…)
• 2 On the versatile figure of Ambroise Firmin Didot see Werdet 1864, p. 32-45; Mollier 1988, p. 81-10 (…)
• 3 On the Villa des Vergers at the time of Adolphe see Mussoni 2011, p. 13-28.
• 4 On the Fondo des Vergers see Delbianco 1996; Delbianco 2014b, p. 22-45; Delbianco 2014c.
• 5 BGR AdV, b. VI, fasc. 11, s. fascicle 8, n. 3-4: Delbianco 2014c, p. 201 sq.
• 6 On François see Conestabile 1858; Pelagatti 1960; Bruni 2011, p. 50-51, notes 5-6.
• 7 Bruni 2011, p. 19-65; 97  sq. , notes 1-17.

1Adolphe Noël des Vergers (Paris 1804 – Nice 1867), an eclectic scholar with interests in orientalist studies, geography and archaeology 1 , son-in-law of the Parisian publisher Ambroise Firmin Didot (Paris 1790-1876), himself an antiquarian, bibliophile and collector 2 , in 1843 purchased the villa of San Lorenzo in Correggiano (Rimini, Papal State) 3 from the Belmontis , making it the Italian base for studies and government missions systematically documented by the materials of the Fondo des Vergers 4 , acquired by the Gambalunga Library of Rimini in 1934 upon the death of des Vergers’ daughter, the Marquise Hélène de Toulongeon (1843-1934). Des Vergers’ interests in Etruscan history date back to a very early period: in 1838, during a trip to Italy, he visited the excavations on Monte Falterona (1838-1839), which brought to light one of the richest votive offerings in the Etruscan world in the site later called the “Lago degli Idoli”. 5 In 1850 he set up an excavation company in the Tuscan Maremma with the already famous excavator Alessandro François (Florence 1796 – Livorno 1857), Royal Commissioner of War and Navy of the Grand Duchy of Tuscany at Livorno 6 , who, with the aim of opening a National Etruscan Museum in Florence with his own collection 7 , carried out excavation work during the leaves periodically granted by the Ministry. The company expanded in December 1852 with the entry of Didot and continued until 1857, the year of François’ death.

• 8 The correspondence exchanged between François and des Vergers, which will be cited with the acronym BGR AdV without the (…)
• 9 On Migliarini see Nieri 1929, 1930; On the Heyde 2003.
• 10 BGR AdV, Report , [1852 post Sept. 14]: Delbianco 2014c, p. 180, n. 40.
• 11 On the Giulietti family, and in particular on Vincenzo, see Barni – Paolucci 1985, p. 28.
• 12 Paolucci 2007, p. 29-38: Francesco Bonci Casuccini (1781-1857); p. 39-47: Ottavio (1819-1886), fig (…)
• 13 On François’ excavations in the grounds of the Mensa Vescovile in Chiusi see Paolucci 2014a, p. 27-35.
• 14 Barni – Paolucci 1985, p. 17; Tailors 2001, p. 29.
• 15 Franceschi, on whom see Marzi Costagli (1984), is also mentioned in BGR AdV, Note of the spe (…)
• 16 Augusto Volpini 1912; Comanducci [1945], II, p. 898.

2The extensive correspondence that François exchanged with his partner des Vergers 8 allows us to follow this second activity step by step before, during and after the excavations, when he took care of having the finds restored and drawn, of regularly sending the drawings and transparencies to his partner in Paris, of having the appraisal and inventories of the materials carried out by Arcangelo Michele Migliarini (1779-1865), curator of the Antiquities of the Uffizi Galleries since 1841 9 . In his letters he tends to gloss over the names of the estates (and their owners) in which he worked in the various Etruscan centres, with the exception of the Statement of expenses incurred by the François-des Vergers excavation company from 5 February 1850 to 24 September 1852 10 , where he mentions both the owners of the estates (Vincenzo Giulietti 11 , Francesco and above all Ottavio Casuccini 12 , Agostino Pacchiarotti, the bishop Giovanni Battista Ciofi 13 , Vittoria Pallottaj widow Rosati), as well as the restorers (Vincenzo Monni, 14 Gian Gualberto Franceschi 15 ) and the painters/designers (Leopoldo Gori, Augusto Volpini 16 ) employed from time to time.

• 17 BGR AdV, letter Livorno 10.10.1852. On the first season of excavations in Vulci see François 1857a.
• 18 For the excavation activity in Vulci by Luciano and Alexandrine Bonaparte see Buranelli 1995.

3From 1850 to 1854 François conducted excavation campaigns in Belora di Riparbella (Pisa), S. Vincenzino di Cecina and Fitto di Cecina (Livorno), Chiusi, Chianciano, Volterra, Orbetello, Vulci. He excavated in Vulci in 1853, a year after Princess Alexandrine de Bleschamp, widow of Lucien Bonaparte, had granted him permission to excavate “perfectly halfway” in the lands of the principality of Canino. “A somewhat onerous condition” – he would admit with des Vergers – but which he had accepted willingly because he hoped to have the fortune of opening the “immense sepulchre” of Cuccumella, 17 succeeding in the enterprise that Bonaparte had failed to do 18 .

• 19 On Torlonia see Felisini 2004 and 2014; Monsagrati 2006.
• 20 BGR AdV, letter Livorno 20.02.1856.
• 21 BGR AdV, letter Livorno 03.24.1856, 04.10.1856, 06.27.1856. See Paolucci 2014a, p. 58-62.
• 22 BGR AdV, letter Livorno 10 and 23.10.1856; 18.11.1856.
• 23 BGR AdV, letter Livorno 18.11.1856; 12.02.1857.
• 24 BGR AdV, letter Livorno 17.02.1857.
• 25 François was retired from service by decree dated 04.03.1857: see BGR AdV, letter Livor (…)
• 26 BGR AdV, Canino letter 16 and 24.03.1857.
• 27 BGR AdV, Canino letter 19.03.1857.
• 28 BGR AdV, Canino letter 03.31.1857.
• 29 BGR AdV, Canino letter 5.04.1857, where the opening is scheduled for the following day. In reality it had the (…)

4Upon the death of Princess Alexandrine (1855), the former fief of Canino and Musignano was purchased by Prince Alessandro Torlonia (1800-1886) 19 . Having entered into negotiations with François, the new owner in February 1856 authorised him to carry out the excavations of Cuccumella 20 , which took place with little success from 10 April to 11 May and were suspended at the end of the month’s leave granted to him by the Tuscan Government 21 . In October of the same year, the excavator signed a contract with Torlonia which allowed him to excavate in the prince’s properties in Canino and Cerveteri for the three-year period 1857-1859. 22 After having obtained assurances from his capitalist partners regarding the financing of the new archaeological research 23 , the research permit from the papal authorities 24 and his withdrawal from service by his Government 25 , on 16 March 1857 François began excavations in the necropolis of Ponte Rotto near the Fiora river with a team of fourteen workers and a corporal. In the meantime he began to think about organising the excavations in the necropolis of Cerveteri, which, at Torlonia’s request, would begin in November, at the end of the research at Cuccumella. 26 Already in the first few days he identified some hypogea, which rose to twenty after a week 27 , to forty at the end of the month 28 and to about sixty not even a week later. Their opening did not begin until 7 April, and was thus delayed because by contract a representative of Torlonia was to be present. François forewarns him in his letter to des Vergers two days earlier, where he renews his invitation to go to Vulci. 29 On 12 April he observes:

• 30 BGR AdV, Canino letter 12.04.1857.

I am absolutely certain that the hypogea I found were never visited by Prince Luciano or by other modern excavators, and those that I found to be such in my investigations I left behind; moreover there are two very new burial grounds discovered by me. 30

• 31 BGR AdV, letter Canino 19.04.1857, with transcription of the inscription of the cippus, published in Buranelli (…)
• 32 On the necropolis of Ponte Rotto see Moretti Sgubini 1987, 2004b. On the Tomb of the Saties see, from u (…)
• 33 BGR AdV, Canino letter 04.28.1857.

5On April 19 he informs des Vergers that the previous week he had found many objects but of little importance in the tombs of plebeian people and that on the other hand he had discovered an inscribed sepulchral cippus, placed at the beginning of the 150-palm dromos of “a large family hypogeum”, which “after the Cuccumella is the most grandiose ever found in these excavations, and must have several sarcophagi”. 31 François had discovered the Tomb of the Saties , which later took his name. 32 On April 28 he had already entered “the atrium in front of the vestibule, where the tombs are, and tomorrow – he assured – I will penetrate it”. 33 On May 1 he sent his partner a detailed and enthusiastic report:

I finally arrived at the first tomb of the necropolis that I announced to him I had discovered in the locality of Ponte Rotto near the Fiora, a river that laps the walls of ancient Vulci. It belonged to Warriors of that city: it is composed of five rooms, the first of which is painted with figures, and if the drawings were to be extracted there would be a lot to write about, but a lot since it is a very interesting subject, and many of the figures have Etruscan inscriptions. These tombs are empty, and in perfect conservation, and worthy of being seen, studied, and published. The necropolis itself is virgin, and I calculate that it has four other tombs at least.

6He continues with the list of the “superb objects” found and concludes by underlining that:

• 34 BGR AdV, letter Canino 1.05.1857, published in Buranelli 1987b, p. 35  sq. , card 2 (manual transcription (…)

Now the essential thing would be to have the drawings of the surviving paintings of the first room extracted, so as not to defraud science, assuring it that they are very interesting both for their beauty, as for their scientific importance, being in my opinion the most beautiful paintings I have ever seen in Etruscan tombs. The Archaeological Institute should send one of its members here with a designer, and then have them published in the Annals of the Institute. 34

• 35 On Rosa see Ferro 1892; Barnabei 1933; Tomei 1999; and, for the relations with des Vergers, von Hesberg (…)
• 36 The pencil drawing on tracing paper, complete with measurements, is preserved in BGR AdV, b. VI, fasc. (…)
• 37 On Henzen see Kolbe 1984; Blanck 2003; and, for his relationship with des Vergers, Blanck 1996 and 2009
• 38 On Nicola Ortis (1830-1896) see Servolini 1955, p. 585. On the agreements between Henzen and des (…)
• 39 The drawings no. I, IV, VII are present in the FdV, located respectively in BGR GDS inv. 5075, 507 (…)
• 40 The Ortis practice is preserved in BGR AdV, b. VI, fasc. 3: Delbianco 2014c, p. 196. On the affair of (…)
• 41 François 1857b, p. 104; Buranelli 1987b, p. 32; 38, card 4.

7Des Vergers visited the excavations at the beginning of May in the company of his friend Pietro Rosa (1810-1891), architect and topographer 35 , who drew the plan of the tomb (fig. 1). 36 Then, following a recommendation from Wilhelm Henzen (1816-1887), first secretary of the Institute of Archaeological Correspondence 37 , he had a copy of the wall paintings made by the young painter Nicola Ortis 38 , a pupil of Tommaso Minardi, who left for Vulci on 12 May and returned to Rome on 1 June with nine pencil drawings on a 1:10 scale. He had accompanied the drawings, three of which have come down to us 39 (fig. 2), with a Description of the paintings in the tomb discovered in the ancient city of Vulci in Etruria , where the figures represented in each panel are listed in order, distinguishing the nude from the clothed and indicating the type of clothing and the relative colour of the latter. He had completed the work with a pen drawing of the plan of the tomb, where the position of the paintings on the walls of the large central room in the shape of an inverted T is marked. 40 On the plan he had also taken care to indicate in hatching the “dry wall” of ancient construction that closed the right side of the vestibule, separating three lateral rooms from the other rooms, or “that rough wall” that François decided to knock down with blows of a hoe 41 .

Fig. 1 – Plan of the François Tomb drawn by Pietro Rosa on tracing paper in 1857 (des Vergers, L’Étrurie et les Étrusques , III, plate XXX ds.).

Zoom Original (jpeg, 339k)

© Gambalunga Library, Rimini.

Fig. 2 – 1:10 scale drawings of the pictorial cycle of the François Tomb made by Nicola Ortis in 1857, plate. VII: Sisyphus and Amphiaraus (des Vergers, L’Étrurie et les Étrusques , III, plate XXVI).

Zoom Original (jpeg, 358k)

© Gambalunga Library, Rimini.

• 42 On the role played by the Institute in the first publications of the paintings from the François Tomb see (…)
• 43 On Bartolomeo Bartoccini (1816-1882) see Servolini 1955, p. 55; on Bartoccini’s copies of the drawings (…)
• 44 The delicate affair is documented by Henzen’s letters to des Vergers, Rome 5 and 27.06.1857, 4.07 (…)

8Henzen immediately asked des Vergers for permission to publish in the Monumenti inediti the engravings of the pictorial cycle from the drawings of Ortis 42 , but to his repeated requests his friend replied that he reserved the publication for Paris, after which he would gladly make the engraved plates available to the Institute. He expressed his appreciation for the far-sighted initiative of Henzen, who had had a copy of the drawings of Ortis made by Bartolomeo Bartoccini 43 to use it, if authorised to publish them, or to keep it (with his approval) in the Archives of the Institute as a backup copy. 44

• 45 Des Vergers 1857a. The letter is published in full in Blanck 2009, p. 155  sq.
• 46 François 1857b.
• 47 Des Vergers 1857b.

9Henzen immediately published in the May-June Bulletin a good part of the letter that des Vergers had sent him from Civitavecchia on 7 May via Rosa with the first news of the exceptional discovery 45 , in the July Bulletin François’ excavation report 46 , in the August-September Bulletin des Vergers’ report dedicated to the pictorial cycle 47 .

10The discovery of the tomb had a strong echo in the press, not only nationally, as François reported to his partner in his letter of July 2:

The excavated tomb has aroused universal fanaticism […] The Gazzetta di Genova has a beautiful article in praise of you and Mr. Didot, reporting the article of the Gazzetta di Augusta. From the article of the Diary of Rome inserted by the Municipality, I believe, of Canino, it reports the description of the hypogeum, and lashes out at the Tuscans for their apathy towards archaeological studies; it speaks of our collection, and I believe from what I was written from Turin that it is the work of the Director of those Museums who knows our collection well, and all my works.

• 48 BGR AdV, letter Livorno 2.07.1857.

11In the same letter he informed him that Prince Torlonia had undertaken to cover half of the cost of the restoration, which from now on would be carried out “before my eyes on a daily basis by the very skilled restorer [Tocchelli di Canino] that Prince Luciano had”. 48 In another letter dated 29 July, therefore following the publication of the excavation report, he gave news of further discoveries:

• 49 BGR AdV, letter Livorno 29.07.1857. On the lion-shaped askos , preserved in the British Museum, you (…)

In the last two chambers of the great tomb several very beautiful complete vases were found, very singular for their remote antiquity, being truly Etruscan, and what is most interesting is a magnificent rhyton made in the shape of a lion of surprising beauty, equally intact. 49

• 50 On Henri-Adrien Prévost de Longpérier (1816-1882) see Vapereau 1870, p. 1156; Gran Aymerich 2001, (…)
• 51 Des Vergers 1857c, 1857d.

12François died suddenly in Livorno on 9 October, while he was making preparations for the resumption of excavations in November. The excavation campaign having ended so abruptly, all the grave goods were taken to the castle of Musignano and reunited with the objects found in the Vulci excavations of the previous two years. Between May and August des Vergers had presented to the Académie des inscriptions et belles-lettres three reports on the excavations and discoveries of Vulci, two read by his friend Adrien de Longpérier 50 and one communicated in person showing the drawings of Ortis 51 , and he was already thinking about writing a volume on the Vulci paintings which would be published by and at the expense of Didot.

• 52 Letter from des Vergers to Henzen, Paris 9.07.1857: Blanck 2009, p. 172.
• 53 Letter from des Vergers to Henzen, dated 24.04.1858: Blanck 2009, p. 184.
• 54 Letter from des Vergers to Henzen, Rimini 23.07.1858: Blanck 2009, p. 188  sq.

13In reality, the plan of the work, as emerges from the correspondence with Henzen, became more precise over time. Des Vergers started from the idea of ​​making it a publication «very restricted and limited only to the number of examples necessary to give to my friends», which is why he offered to pass on the copper plates after its publication to the Institute for Unpublished monuments . 52 He later presented it as «the first shipment of the elite of our Etruscan monuments, the first shipment that will contain the paintings of Vulci», the description of which would have been preceded by «an introduction to Etruria considered under the archaeological and historical perspective ». 53 Finally he decided that he would constitute «the first edition of our work» divided into three parts: «1. The Maremmes – 2. The Etruscans – 3. Description of the monuments (12 plans of tomb paintings and 30 plans of vase paintings. The text is in-8°; the atlas in-f°». 54 – 1:10 scale drawings of the pictorial cycle of the François Tomb made by Nicola Ortis in 1857, plate. VII: Sisyphus and Amphiaraus (des Vergers, L’Étrurie et les Étrusques , III, plate XXVI).13In reality, the plan of the work, as emerges from the correspondence with Henzen, became more precise over time. Des Vergers started from the idea of ​​making it a publication «very restricted and limited only to the number of examples necessary to give to my friends», which is why he offered to pass on the copper plates after its publication to the Institute for Unpublished monuments . 52 He later presented it as «the first shipment of the elite of our Etruscan monuments, the first shipment that will contain the paintings of Vulci», the description of which would have been preceded by «an introduction to Etruria considered under the archaeological and historical perspective ». 53 Finally he decided that he would constitute «the first edition of our work» divided into three parts: «1. The Maremmes – 2. The Etruscans – 3. Description of the monuments (12 plans of tomb paintings and 30 plans of vase paintings. The text is in-8°; the atlas in-f°». 54

• 55 On Brunn see Flasch 1902; Amelung 1910; Lullies 1988; Gran-Aymerich 2001, p. 117  sq. ; White 2009 (…)
• 56 Letter from des Vergers to Henzen, San Lorenzo 25.11.1858 [but 25.10.1858: cf. tp]: Blanck 2009, p (…)

14Then, since the publication times were taking longer than expected due to the decision to reduce the number of vase plates and to publish the Atlas in a single volume instead of three, des Vergers asked and obtained from Henzen that the plates of the Vulci paintings engraved by Bartoccini from his copies of Ortis’ drawings should appear in the Monumenti inediti not in 1858, as planned, but in 1859, and that the related essay on Etruscan painting by Heinrich Brunn (1822-1894), second secretary of the Instituto 55 since 1856 , should appear in the Annals of the same year. 56 The further delay was of little use, because des Vergers’ monumental work with the significant title L’Étrurie et les Étrusques ou dix ans de fouilles dans les Maremmes toscanes was published only in 1862-1864.

• 57 Letter from des Vergers to Henzen, San Lorenzo 5.10.1858, 28.11.1858: Blanck 2009, p. 190, 194.
• 58 On the brothers Alessandro (1823-1883) and Augusto Castellani (1829-1914) see Moretti Sgubini 2000; Sa (…)
• 59 Letter from Brunn to des Vergers, dated 8.5.1860: Blanck 2009, p. 313  sq.
• 60 The corrected plates XXXI-XXXII are preserved in BGR AdV, b. VI, fasc. 7: Delbianco 2014c, p. 198 sq
• 61 Letter from des Vergers to Brunn, Paris 15.05.1860; from Brunn to des Vergers, Rome 26.05.1860: Blanck (…)
• 62 Letter from des Vergers to Brunn, Paris 1.01.1861; from Brunn to des Vergers, Rome 19.01.1861: Blanck (…)

15Brunn, having to deal in his essay also with the cycle of frescoes of the François Tomb, between October and November 1858, equipped with a letter of introduction from des Vergers, made his first trip to Vulci, which was completely fruitless because he was not allowed to see either the grave goods or the paintings of the tomb. 57 He returned in 1860, when at the request of the François heirs it was decided to proceed with the division of the Vulci objects. He made the trip in the company of Prince Torlonia, who had “invited him almost suddenly”, of the Castellani brothers, collectors of ancient art and jewelers 58 , of Fortunato Lanci, secretary of the prince, and of other people. Together they checked the materials stored in the Musignano castle and established that Torlonia should immediately take the gold and the lion-shaped vase with him to Rome, while the vases would be quickly transferred to Rome to the Instituto to be restored under the direct supervision of Brunn. The latter took the opportunity to visit the François Tomb, where he verified the accuracy of the Ortis/Bartoccini drawings, finding them substantially faithful but lacking “in terms of character and style”; furthermore, by removing a piece of the filler wall, he discovered the painting of the group of Marce Camitlnas and Cneve Tarchunies Rumach . 59 Back in Rome, at the request of des Vergers who had not yet printed the plates of the Vulci paintings and therefore could have corrected them, he sent to Paris the plates XXXI-XXXII of the unpublished Monuments of 1859 with some corrections in pencil in the inscriptions and in the details of the figures. 60 He also sent him, in the accompanying letter, a sketch of the newly discovered painting and the transcription of the relative inscriptions. 61 However, he was unable to satisfy the Frenchman who, wishing to have the plates of the Vulci paintings coloured in some copies of his publication, asked him for a more detailed description of the colours than the one Ortis had attached to the drawings. He had not had the time, but above all «it would have been necessary to indicate the various shades not with words, but with real colours». 62

• 63 The documentation relating to the practice of the division des Vergers-François-Torlonia, including (…)

16On 11 June 1861, the division of the objects found in the excavations of Vulci was finally carried out between Torlonia and des Vergers, who also acted as attorney general of the François heirs. Brunn, in charge of the division, had drawn up two lists based on the estimate of the antique dealer Luigi Depoletti: A went to des Vergers, B to Torlonia. The frescoes of the François Tomb were recognized as the property of Prince Torlonia as the owner of the land, but he wanted to reserve “a memory and benefit” of them for the François heirs and des Vergers, assigning them a fifth of the price of the paintings or a tempera copy of them if he managed to sell them within two years of the contract. 63

• 64 Letter from des Vergers to Brunn, [Paris] 2.04.1862: Blanck 2009, p. 332 sq .

17On 2 April 1862, just before the opening of the Musée Napoléon III in Paris, where a place of honour was reserved for the archaeological and artistic testimonies of Etruscan civilisation, des Vergers announced to Brunn the publication of the first part of L’Étrurie et les Étrusques , consisting of an Atlas of 29 folio plates and a volume with half the text. He anticipated that the second part would consist of a plate of jewels, plates of objects for which he had been commissioned to have the drawings made, a map of the Maremma and the final part of the text. 64

• 65 Brunn 1862. Cf. Blanck 1987, p. 174.

18At the end of 1862 Brunn published in the Bulletin an extract from an article by Otto Jahn that had just appeared in the Archäologische Zeitung (1862, col. 307-309), where the German scholar intervened on the pictorial cycle of the François Tomb, correcting the interpretation of the great battle scene contrasted with the sacrifice of the Trojan prisoners proposed by des Vergers and reiterated by Brunn, according to whom it would have been a human sacrifice in honour of the dead. On the basis of the inscriptions and with the support of a speech by the emperor Claudius to the Senate, he instead saw in it the episode of the liberation of Celio Vibenna by Mastarna, the future king of Rome Servius Tullius, in a sudden assault together with three other men who killed their opponents. 65

• 66 On Carlo Ruspi (1798-1863) see Colonna 1984; Weber-Lehmann 1986; Buranelli 1986; Colonna 1999; Lu (…)
• 67 Blanck 1987, p. 174 sq .; Buranelli 1987d. For the detachment of the frescoes carried out under the direction (…)
• 68 Letter from Henzen to des Vergers, Rome 30.01.1864: Blanck 2009, p. 249. Henzen gave notice of the a (…)
• 69 See below and fig. 7-8. The pencil drawing lacks the inscriptions, evidently omitted due to (…)
• 70 Letter from des Vergers to Henzen, Paris 2.04.1864: Blanck 2009, p. 265; of Vergers 1862-1864, III (…)
• 71 The third volume of L’Étrurie et les Étrusques owned by des Vergers bears the mark in Gambalunga (…)

19At the end of February 1864, des Vergers purchased from the heirs on behalf of his father-in-law the life-size tracings of the wall paintings of the François Tomb that Carlo Ruspi, the «artist-archaeologist» pioneer of the drawing/copying from life of Etruscan painted tombs 66 , had executed for the facsimile of the Gregorian Etruscan Museum in 1862, before the frescoes were detached (1863) and transferred to the Torlonia Museum at Lungara (now in Villa Albani in Rome) 67 . The sale took place thanks to the mediation of Henzen, who, after having written about it without success to the Berlin Museum, wanted to secure the tracings by proposing them to the person most directly interested, convinced as he was that after the losses suffered by the frescoes during the detachment and the necessary forthcoming restorations, they would constitute «les restes les plus authenticques de votre belle découverte». 68 The transparencies, where Ruspi had noted the colours, coloured the outlines of the parts and even coloured some parts, proved very useful to des Vergers, because they allowed him to correct several details in the branches taken from Ortis’ drawings and probably to have the drawing of the group of Marce Camitlnas and Cneve Tarchunies Rumach (BGR GDS inv. 5074) done for plate XXX left, as the comparison with the Ruspi transparencies, fig. 4 69 seems to suggest ; furthermore, they provided him with precious information for the explanation of the plates XXI-XXIX that he was completing. 70 Plates XXX-XL and the explanation of all 40 plates were in fact included in the second part of L’Étrurie et les Étrusques , published in 1864. At the same time, the publishing house Firmin Didot put on the market the complete edition of the work in three volumes dated 1862-1864, where the Atlas is covered with a general frontispiece that presents it as the third volume, but retains the old frontispiece with the subtitle Atlas and the date 1862 placed between the preliminary epigraphic appendix and the following explanation of the plates. It is probable that on the initiative of des Vergers, three of the plates dedicated to the frescoes of the tomb of Vulci (XXI, XXII, XXIV) were water-coloured, based on the chromatic indications provided by Ruspi’s tracings, which were then added and bound in the volume owned by him and sent to Gambalunga (fig. 3). 71

Fig. 3 – Des Vergers, L’Étrurie et les Étrusques , III, plate XXI: François Tomb, sacrifice of the Trojan prisoners, from the drawing by Nicola Ortis. One of three water-coloured copper engravings added and bound in the volume owned by des Vergers.

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© Gambalunga Library, Rimini.

• 72 On Julius Zielke (1826-1907), whose drawings are not preserved in BGR FdV, see Thieme – Becker 1 (…)
• 73 On the Marquis Giovanni Pietro Campana and his collection see, most recently, Gaultier – Haumesser (…)

20It is now worth dwelling on the Atlas, whose composition substantially reflects the history of the excavation company, in its successes and its setbacks. In 1862 – as we have seen – the first 29 plates were published, which we will review in their far from casual succession. The chromolithographic plates I-III, taken from the drawings of Julius Zielke 72 , reproduce the Tomb of the Reliefs of Cerveteri (third quarter of the 4th century BC), discovered in the winter of 1846-1847 by the Marquis Giovanni Pietro Campana (1808-1880) 73 in the Banditaccia necropolis, showing a general view, the back wall and the entrance wall, a lateral portion and some pillars (fig. 4).

Fig. 4 – Des Vergers, L’Étrurie et les Etrusques , III, plate. I: Tomb of the Reliefs of Cerveteri, general view. Chromolithograph from the lost drawing by Julius Zielke.

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• 74 BGR AdV, b. VI, fasc. 11, s. fasc. 9: Delbianco 2014c, p. 202, 389 under the year 1855.
• 75 Des Vergers 1857d, p. 231  sq.
• 76 Des Vergers 1862, p. 409  sq.
• 77 Des Vergers 1862-1864, I, p. 93-95.
• 78 Des Vergers 1862, p. 409-411; letter from des Vergers to Henzen, Paris 15.12.1863: Blanck 2009, p.  (…)

21In truth, the Tomb of the Reliefs had already aroused des Vergers’ interest years before: in August 1855 he was supposed to illustrate it at the Institut de France , accompanying the report with an exhibition of drawings specially commissioned by Zielke. But on that occasion, due to lack of time, he managed to read two of the three scheduled reports and this one was left behind. 74 He presented it in 1857 to the Académie des inscriptions et belles-lettres with the support of Zielke’s drawings, after having spoken about the discoveries in the necropolis of Vulci. 75 He later published the adapted text in the article dedicated to the Musée Napoléon III 76 and in the first volume of L’Étrurie et les Étrusques. 77 In 1862, Zielke’s drawings were used to create the facsimile of the burial chamber of the Tomb of the Reliefs in one of the rooms of the Musée Napoléon III. 78

 Des Vergers, L’Étrurie et les Étrusques , III, plate XXI: François Tomb, sacrifice of the Trojan prisoners, from the drawing by Nicola Ortis. One of three water-coloured copper engravings added and bound in the volume owned by des Vergers.

• 79 For the place and circumstances of the excavation, the description and attribution of the vases published in the A (…)
• 80 Volpini’s suggestive watercolour drawings were transmitted by François to his partner together with oth (…)
• 81 Des Vergers 1862-1864, III, p. 14  sq.
• 82 Des Vergers 1857b, p. 130  sq.

22Plates IV-XIX reproduce vases found in the first four years of the company: in Chiusi in 1850 and 1853, in Chianciano in 1851, in Vulci in 1853. 79 The chromolithographic plate XX is dedicated to the Cuccumella, the monumental and impenetrable supposed tomb of the Lucumoni which François was preparing to continue the excavation of before he died. It was engraved from the copy, made in 1853 by the painter Volpini 80 , of a drawing preserved in the castle of Musignano and commissioned by Luciano Bonaparte after the first excavations of the tomb (1828-1829) (fig. 5). 81 The chalcographic plates XXI-XXIX, engraved from Ortis’ drawings, reproduce the pictorial cycle of the François Tomb, created by Etruscan workers between 340 and 310 BC (des Vergers had also dated it to the Hellenistic age before the Roman conquest of Vulci) 82 and characterised by superb figurative scenes arranged on the walls of the atrium and the tablinum and punctuated by the eight doors that overlook the vestibule and seven burial chambers. Des Vergers, respecting the peculiar contrast of the frescoes, first presents the episodes taken from Greek myth (Trojan cycle, Theban cycle), then those linked to local traditions and historical events, starting in both cases with the large scenes on the side walls of the tablinum. Plate XXI depicts the sacrifice of the young Trojan prisoners to honour Patroclus (left wall of the tablinum); XXII Ajax Oileus insulting Cassandra (entrance wall, left); XXIII Nestor and Phoenix (left wall of the atrium); XXIV the duel between Eteocles and Polynices (half-wall to the left of the entrance to the tablinum); XXV the liberation of the Vulcentian Caelius Vibenna by Mastarna (the future king of Rome Servius Tullius) and the triple massacre of Etruscan warriors at the hands of his companions on the expedition, one of whom was Aulus Vibenna, brother of Caelius (right wall of the tablinum); XXVI Amphiaraus and Sisyphus (entrance wall, right); XXVII Vel Saties , the founder of the tomb, with his little son Arnza (right wall of the atrium); XXVIII the back wall of the tablinum with the Trojan prisoner (part of the scene on plate XXI) and Caelius Vibenna (part of the scene on plate XXV); the XXIX is the semi-wall to the right of the access to the tablinum with a door surmounted by decorative and animalistic friezes.

Fig. 5 – Des Vergers, L’Étrurie et les Etrusques , III, plate. XX: Tomb of the Cuccumella of Vulci. Chromolithograph from drawings by Augusto Volpini.

Fig. 4 – Des Vergers, L’Étrurie et les Etrusques , III, plate. I: Tomb of the Reliefs of Cerveteri, general view. Chromolithograph from the lost drawing by Julius Zielke.

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© Gambalunga Library, Rimini.

• 83 On Augustin François Lemaître (1797-1870), who collaborated on several illustrated publications of the Fi (…)
• 84 It should be noted that some readings and identifications proposed by des Vergers for the pictorial cycle n (…)
• 85 For the goldsmith’s works, sold by des Vergers and Torlonia to the Musée Napoléon III and then passed to the Louvre (…)
• 86 Des Vergers 1862-1864, III, p. 33-58.

23Plates XXX-XL, published with the second part of the work in 1864, are still dedicated to the François Tomb, with the exception of the last one. Plate XXX, engraved by Augustin François Lemaître 83 , closes the representations of the pictorial cycle: they depict, side by side, the group of Marce Camitlnas and Cneve Tarchunies Rumach ( Gnaeus Tarquinius of Rome defeated by Marce Camitlnas ), absent in plate XXIX already engraved at the time of its discovery (1860), and the plan drawn by Rosa in 1857. 84 Plates XXXI-XXXIX refer to the tomb furnishings: plate XXXI, drawn and engraved by Lemaître, presents the very refined goldsmith work found in the tomb, which he associates with the precious earrings found in Belora in 1850 85 ; the others portray four Attic red-figure vases, among which the large amphora by the Syleus Painter stands out in five plates (XXXII-XXXVI). Finally, plate XL presents the synoptic table of the Etruscan, Phoenician and ancient Greek alphabets, complementary to the long essay De la langue et de l’alphabet étrusques . 86

Fig. 5 – Des Vergers, L’Étrurie et les Etrusques , III, plate. XX: Tomb of the Cuccumella of Vulci. Chromolithograph from drawings by Augusto Volpini.

• 87 See above and note 39.
• 88 BGR GDS, inv. 5070-5072.
• 89 An attempt to re-establish the connection between the drawings of antiquity and the François correspondence in (…)
• 90 For the current location of the unpublished objects and their collection history see Bu (…)

24In the Des Vergers Fund of the Gambalunga Library are preserved drawings I, IV, VII by Ortis 87 , the large group of transparencies and drawings (often watercolour) of vases and bronzes transmitted to Des Vergers by François and later by Brunn, the three drawings of the goldsmiths’ works of Vulci and Belora by Lemaître 88 , the proofs of the chalcographic, lithographic and chromolithographic engravings for the plates of the Atlas. With regard to the group of drawings and transparencies commissioned by François, it should be noted that the majority remained unpublished and that Des Vergers did not take care to maintain the relations between the graphic documentation and the letters of transmission, causing the loss, if not noted on the pieces, of the information on the circumstances of their discovery. 89 This explains why he himself incurred some uncertainty/inaccuracy in the localisation of the published pieces. 90

Fig. 6 – 1:1 scale transparencies of the pictorial cycle of the François Tomb made by Carlo Ruspi in 1862, fig. 3: Vel Saties and her little son Arnza (des Vergers, L’Étrurie et les Étrusques , III, plate XXVII, left half without the frieze). SAERBo AF, neg. no. 1750.

• 91 The stamp is accompanied, as in all photos of the same provenance, by a brief description (…)
• 92 The negatives are marked with no. 1749-1753: no. 1749 reproduces the Ruspi transparency fig. 4 (des (…)

25The collection also included 17 transparencies by Carlo Ruspi, recorded in the old inventory of Gambalunga drawings and prints at nos. 3179-3195, now untraceable. Traces of them are also preserved in two photographs from the Gambalunga photographic archive bearing the stamp «Soprintendenza alle Antichità dell’Emilia e della Romagna in Bologna. Gabinetto fotografico» 91 on the back , and also in five negatives preserved in the photographic archive of the former Archaeological Superintendence of Emilia Romagna in Bologna, two of which coincide with the Gambalunga photographs. The five negatives, dated 5 October 1934, provide documentation of seven transparencies: four are copies of details of the decoration, three of scenes from the figurative cycle 92 (fig. 6-9). Unfortunately, at the current stage of research, there is a lack of elements to clarify the mystery of their disappearance.

Fig. 7 – 1:1 scale transparencies of the pictorial cycle of the François Tomb executed by Carlo Ruspi in 1862, fig. 4: Cneve Tarchunies Rumach won by Marce Camitlnas (des Vergers, L’Étrurie et les Étrusques , III, plate XXX sn.). SAERBo AF, neg. no. 1749.

Fig. 6 – 1:1 scale transparencies of the pictorial cycle of the François Tomb made by Carlo Ruspi in 1862, fig. 3: Vel Saties and her little son Arnza (des Vergers, L’Étrurie et les Étrusques , III, plate XXVII, left half without the frieze). SAERBo AF, neg. no. 1750. Fig. 8 – Cneve Tarchunies Rumach won by Marce Camitlnas . Preparatory drawing, without inscriptions, of plate XXX left, probably taken from the Ruspi tracing, fig. 4, immediately after its purchase (February 1864).

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© MiBAC. Superintendence of archaeology, fine arts and landscape for the metropolitan city of Bologna and the provinces of Modena, Reggio Emilia and Ferrara, formerly the Archaeological Superintendence of Emilia-Romagna.

Fig. 7 – 1:1 scale transparencies of the pictorial cycle of the François Tomb executed by Carlo Ruspi in 1862, fig. 4: Cneve Tarchunies Rumach won by Marce Camitlnas (des Vergers, L’Étrurie et les Étrusques , III, plate XXX sn.). SAERBo AF, neg. no. 1749.scale transparencies of the pictorial cycle of the François Tomb executed by Carlo Ruspi in 1862: decorative friezes with a female head inserted into a scaly bull and motifs of ovoli, small arches and a perspective meander. SAERBo AF, neg. no. 1752.

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© MiBAC. Superintendence of archaeology, fine arts and landscape for the metropolitan city of Bologna and the provinces of Modena, Reggio Emilia and Ferrara, formerly the Archaeological Superintendence of Emilia-Romagna.

Fig. 8 – Cneve Tarchunies Rumach won by Marce Camitlnas . Preparatory drawing, without inscriptions, of plate XXX left, probably taken from the Ruspi tracing, fig. 4, immediately after its purchase (February 1864).

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© Gambalunga Library, Rimini.

Fig. 9 – 1:1 scale transparencies of the pictorial cycle of the François Tomb executed by Carlo Ruspi in 1862: decorative friezes with a female head inserted into a scaly bull and motifs of ovoli, small arches and a perspective meander. SAERBo AF, neg. no. 1752.

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© MiBAC. Superintendence of archaeology, fine arts and landscape for the metropolitan city of Bologna and the provinces of Modena, Reggio Emilia and Ferrara, formerly the Archaeological Superintendence of Emilia-Romagna.

• 93 Longperier 1867.

26Des Vergers died suddenly (a fate shared with François) in Nice on 2 January 1867. At the end of April his extraordinary collection of antiquities, consisting of painted vases, bronzes and paintings, was sold at auction, the sales catalogue of which was compiled by Adrien de Longpérier. 93

• 94 For the restoration work on the villa carried out by the des Vergers see Mussoni 2011, p.

27In 1880 Emma Firmin Didot (1819-1902), widow of des Vergers, began the restoration of the villa of San Lorenzo in Correggiano based on a project by her friend Arthur-Stanislas Diet, one of the most important architects then active in Paris, who managed to complete the restoration of the exterior of the villa. Upon his death (1890) the architect Georges Paul Chédanne, a famous exponent of Art Nouveau, took over and seems to have taken care of the interiors (furnishings, ceilings, fireplaces, balustrades, doors and windows). 94 The works, which lasted until 1902, were directed by Gaston des Vergers (1840-1913), son of Emma, ​​who entrusted the Friulian painter Augusto Aviano 95 with the execution of the frescoes on the ceilings and walls, the pictorial cycle of the chapel and other artistic works. As documented by a photograph taken by Gaston and contained in the photo album of the restored villa that he donated in January 1907 to Tito Azzolini, director of the Emilia Regional Technical Office for the conservation of monuments 96 , Aviano sumptuously decorated the ceiling of the library, among other things reproducing in the upper band of the walls the animalistic frieze and some figurative scenes from the tomb of Vulci (fig. 10). It is more than probable that the artist took Ruspi’s tracings as a model and it is not excluded that the three coloured plates of the Vulci paintings bound in the des Vergers copy of the third volume of Gambalunga’s L’Étrurie et les Étrusques are rather to be understood as preparatory studies by Aviano for the decorations of the library, now unfortunately lost.

 The library of Villa des Vergers, with the upper band of the walls decorated by Augusto Aviano with reproductions of the animalistic frieze and some figurative scenes from the François Tomb. Photograph taken by Gaston des Vergers in 1906 ca. ABABo GDS (Studio Pym, Giuseppe Nicoletti).

Trojan (alias Ilion),

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 AUTHENTICITY 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

MYCENAEAN GREECE
Mycenaean Greece (or the Mycenaean civilization) was the last phase of the Bronze Age in Ancient Greece, spanning the period from approximately 1750 to 1050 BC.
It represents the first advanced and distinctively Greek civilization in mainland Greece with its palatial states, urban organization, works of art, and writing system.
The Mycenaeans were mainland Greek peoples who were likely stimulated by their contact with insular Minoan Crete and other Mediterranean cultures to develop a more sophisticated sociopolitical culture of their own.
The most prominent site was Mycenae, after which the culture of this era is named. Other centers of power that emerged included Pylos, Tiryns, and Midea in the Peloponnese, Orchomenos, Thebes, and Athens in Central Greece, and Iolcos in Thessaly.
Mycenaean settlements also appeared in Epirus,Macedonia, on islands in the Aegean Sea, on the south-west coast of Asia Minor, and on Cyprus, while Mycenaean-influenced settlements appeared in the Levant and Italy.
Mycenaean Greece was dominated by a warrior elite society and consisted of a network of palace-centered states that developed rigid hierarchical, political, social, and economic systems. At the head of this society was the king, known as a wanax.

The term Mycenaean is often used in reference to the Late Bronze Age of mainland Greece in general and of the islands except Crete (Modern Greek: Kríti).

Mycenaean Greece perished with the collapse of Bronze Age culture in the eastern Mediterranean, to be followed by the Greek Dark Ages, a recordless transitional period leading to Archaic Greece where significant shifts occurred from palace-centralized to decentralized forms of socio-economic organization (including the extensive use of iron).

Various theories have been proposed for the end of this civilization, among them the Dorian invasion or activities connected to the “Sea Peoples”. Additional theories such as natural disasters and climatic changes have also been suggested. The Mycenaean period became the historical setting of much ancient Greek literature and mythology, including the Trojan Epic Cycle.

STATUE, SHOWING THE STRANGULATION OF THE COMPLEX of LAOCOON & HIS SONS ANTIPHANES THYMVEOS, BY SNAKES

LAOCOON WAS PRIEST AT APOLLO TEMPLE IN TROY, DURING THE CIVIL WAR BETWEEN THE AHAENS-AEOLIANS-DANAAENS OF WEST GREECE, AGAINST TROY.(HOMER)

THIS FAMOUS AND PERFECT MASTER PIECE WAS MADE IN WONDERFUL (PENTELIC ONE) MARBLE BY THE SCULPTORS: ATHENODOROS=ΑΘΗΝΌΔΩΡΟΣ= GIFTED FROM GODDESS ATHENA (ΑΘΉΝΑ+ΔΩΡΟ)

POLYDOROS(=GIFTED WITH MANY ABILITIES) & AGISANDROS (“AGISANDER” LATER IN LATIN) FROM RHODOS IN 20BC

THE FIRST & ORIGINAL STATUE WAS MADE IN BRONZE

2000 BC IN PERGAMOS>>>>>>>>>>>

>>>>>>>>>^^^^^^^^^

VERY IMPORTANT,!!

PAY ATTENTION TO THE FACTS HERE!:

IT WAS A CIVIL WAR BETWEEN WESTERN GREEKS, CALLED DANAOI/ΔΑΝΑΟΙ (HOMER) or AHAIOI/AXAIOI

VS TROADES/ΤΡΩΆΔΕΣ (=TROYANS)

…PRIAMUS, FOR EXAMPLE WAS UNCLE OF AJAX OF DANAEANS!!

PRIAMUS SISTER ISIONE MARRIED TO TELAMONIOS OF SALAMIS (THE FAMUS ISLAND FROM THE BATTLE AGAINST PERSIANS) OPPOSITE THE PREFECTURE OF ATTICA.(WHERE ATHENS IS).. THEY GOT TWO SONS: AJAX & TEUCROS AND BOTH WENT AGAINST THEIR UNCLE PRIAMOS, UNDER THE LEADING OF ACHILES (THE TEMPLATE OF ALEXANDER THE GREAT LATER) .

THE CONFLICT OFTEN WAS IN BETWEEN THE SAME ROYAL FAMILIES!!

PRIAMOS HAD A LOT OF CHILDREN..

THE FIRST BORN WAS HECTOR, THEN PARIS, DIIPHOBOS =THE ONE, WHO FEARS OF

ZEUS (DIOS,:GENETIVUS FORM of ZEUS gram), POLYDOROS(=GIFTED WITH MANY ABILITIES)

HIS DAUGHTERS: CREOUSA, LAODIKE, POLYXENA AND CASSANDRA, WHO HAD MAGICAL ABILITIES..

ANDROMACHE(=MAN’S BATTLE), WAS THE WIFE OF THE TROJAN HERO HECTOR.

GODDESS ATHENA, WAS THE PROTECTOR OF THE WESTERN GREEKS, WHILE APOLLO OF TROY..

*********************************************************************************************************

STATUE, SHOWING THE STRANGULATION OF THE COMPLEX of LAOCOON & HIS SONS ANTIPHANES THYMVEOS, BY SNAKES

LAOCOON WAS PRIEST AT APOLLO TEMPLE IN TROY, DURING THE CIVIL WAR BETWEEN THE ACHAEANS-AEOLIANS-DANAAENS OF WEST GREECE, AGAINST TROY.(HOMER)

THIS FAMOUS AND PERFECT MASTER PIECE WAS MADE IN WONDERFUL (PENTELIC ONE) MARBLE BY THE SCULPTORS: ATHENODOROS=ΑΘΗΝΌΔΩΡΟΣ= GIFTED FROM GODDESS ATHENA (ΑΘΉΝΑ+ΔΩΡΟ)

POLYDOROS(=GIFTED WITH MANY ABILITIES) & AGISANDROS (“AGISANDER” LATER IN LATIN) FROM RHODOS IN 20BC

THE FIRST & ORIGINAL STATUE WAS MADE IN BRONZE

200BC IN PERGAMOS

VERY IMPORTANT,!!

PAY ATTENTION TO THE FACTS HERE!:

IT WAS A CIVIL WAR BETWEEN WESTERN GREEKS, CALLED DANAOI/ΔΑΝΑΟΙ

(HOMER) or AHAIOI/AXAIOI VS TROADES/ΤΡΩΆΔΕΣ (=TROYANS)

…PRIAMUS, FOR EXAMPLE WAS UNCLE OF AJAX OF DANAEANS!!

PRIAMUS SISTER ISIONE MARRIED TO TELAMONIOS OF SALAMIS (THE FAMUS ISLAND FROM THE BATTLE AGAINST PERSIANS) OPPOSITE THE

PREFECTURE OF ATTICA. (WHERE ATHENS IS)..

THEY GOT TWO SONS: AJAX & TEUCROS AND BOTH WENT AGAINST THEIR UNCLE PRIAMOS, UNDER THE LEADING OF ACHILES (THE TEMPLATE OF ALEXANDER THE GREAT LATER) .

THE CONFLICT OFTEN WAS IN BETWEEN THE SAME ROYAL FAMILIES!!

PRIAMOS HAD A LOT OF CHILDREN..

THE FIRST BORN WAS HECTOR, THEN PARIS, DIIPHOBOS =THE ONE, WHO FEARS OF

ZEUS (DIOS,:GENETIVUS FORM of ZEUS gram), POLYDOROS(=GIFTED WITH MANY ABILITIES)

HIS DAUGHTERS: CREOUSA, LAODIKE, POLYXENA AND CASSANDRA, WHO HAD MAGICAL ABILITIES..

ANDROMACHE(=MAN’S BATTLE), WAS THE WIFE OF THE TROJAN HERO HECTOR

GODDESS ATHENA, WAS THE PROTECTOR OF THE WESTERN GREEKS, WHILE APOLLO OF TROY..

The statue was found by a farmer outside ROME, belonging to TITUS, who took it over to his Palace, in the ancient times.

At 15thcenturyAD, the pope LEO the 10th, who was admirer of ANCIENT Greek civilization & arts took it to VATICAN & MICHALANGELO tried to repaire the arms, as much, as possible.

PLINIUS describes, as the most beautiful MASTERPIECE.

NOW IS IN VATICAN MUSEUM

The Great Necropolis of Ancient Portus – Necropoli di Porto, Comune di Fiumicino, Lazio, Italy
The floor mosaic outside Tomb 43 is likely a reference to the trade of the dead man, presumably a ship-owner, but the Greek words (“This is a place free of fear”) could give another, more metaphysical meaning to it. In that case the lighthouse of Portus would represent the reaching of peace at the end of life, a sort of “Rest in Peace”
A great number of the inscriptions on the tombs suggest Graeco-Oriental origin. Scholars believe this is because Portus and Ostica were a cosmopolitan towns where the bourgeois population was full of businessmen of non-Italian birth. Latin, however, was the language that most townspeople used during the time that the necropolis was built. Nonetheless, the presence of Graeco-Oriental inscriptions, along with Isola Sacra tombs that resembled Hellenistic tombs of Petra, suggests Roman naturalization of foreign influence, which was prominent in the Empire

The theater of Ephesus

The theatre is cut into the west slope of Mount Pion upon which the Acropolis was located. Hellenistic theatres are generally built on a natural slope of a hill in order to benefit from the gradient of the hill. The best example is the Acropolis Theatre of Pergamum which was constructed in the 3rd century BC, almost at the same time with the Ephesus Theatre. The excavations of the Great Theatre reveal that it was first constructed about 250 B.C, during the reign of Lysimachos. During the Roman period, it was enlarged and formed its current style that is seen today.

Ephesus was laid upon a grid system such as any other Hellenistic ancient city. According to this layout, major public buildings are located along the principal streets. One of the major streets of Ephesus, Arcadian runs between where the Harbor and the Great Theatre. 

The temple of Artemis was in Ephesus of today’s Turkey. Called Artemision and was built in 440 BC Considered one of the Seven Wonders of the ancient world. Noteworthy is the fact that it took 120 years to be completed and was originally started by the king of Lydia, Kroisos. Pausanias says that the cult of Artemis of Ephesus was founded by natives of Asia Minor. Today the remnants not resemble anything in the magnificent temple there.The Temple was built of Pentelian marble(fromthe mountain of the best marble quality in Attica county, where Athens is lying) and limestone materials carried by ship over from neighboring Penteli. Somewhere 120 marble columns supporting the main part of the church. Each column had a height of 20 meters. Huge boulders were transported there with pulleys and connected with metal pins. After the completion of the roof decorated artists building with wonderful carved scenes. In the middle of the temple was a marble statue of Artemis. The temple was one of the greatest of the classical world, much larger than the Parthenon in Athens was built later. The base of the foundation had length 131 meters and width 79 meters.

The only restored columns that exists today. But still more glorious ruins of the city, a theater, a library, baths and many other public buildings.

IROSTRATOS AND ALEXANDER
Two hundred years later, in 356 BC The temple was destroyed by fire. Fire someone put the Irostratos, who wanted in this way to become famous(!).

By coincidence, the day of the destruction of the temple, Alexander the Great was born. Later, Alexander visited Ephesus and gave the order to build the temple again in the same position.

THE FINAL DESTRUCTION
The temple of Alexander survived until the 3rd AD century. With the passage of time the mud engulfed the port of Ephesus and the city ended up insignificant! The Goths then ransacked the temple and floods completed the destruction Today what remains of the temple in Ephesus are few boulders foundations and restored only one column!

The temple of Artemis (Diana in Latin), as it should have been 600 BC It had 120 columns of marble and were decorated with beautiful sculptures.
Croesus was the last king of Lydia, a region of Asia Minor. It was known for its many riches. 560 BC commanded to build a magnificent temple in Ephesus.

THE ENORMOUS PERISTYLE, WHICH FORMED FOUR GREAT PORTICOES AROUND THE COURTYARD, CONSISTED OF 60DORIC COLUMNS. IN THE ROUND CHAMBER WHICH HEUZEY NAMED THE ‘THOLOS’ TO THE EAST OF THE PROPYLON, A DEDICATORY WAS FOUND. THE 5 ROOMS ON THE SOUTH SIDE HAD MOSAIC FLOORS, ONE OF WHICH – EXECUTED IN PEBBLES – SURVIVES IN EXCELLENT CONDITION. YOU CAN SEE ONE THE GREEK KEY PATTERN SURROUNDING THE MOSAIC FLOOR.FINALLY, THE MOST IMPORTANT ARCHAEOLOGICAL FOUND THAT COMBINE GREEK KEY/MEANDER AND VERGINA SUN/STAR IS THE IVORY SHIELD THAT WAS FOUND IN PIECES IN PHILIP´S TOMB AT VERGINA ARCHAEOLOGICAL SITE. THE ARDUOUS PROCESS OF RESTORATION TOOK SEVERAL YEARS – IT IS INDEED A UNIQUE MASTERPIECE OF THE 4TH CENTURY B.C. YOU CAN SEE CLEARLY THESE PAN–HELLENIC SYMBOLS IN THE PICTURE AT THE BEGINNING OF THE ARTICLE.REFERENCES1- TIMES OF REMEDIES AND MOON PHASES BY C. M. BOGER, PAGE 1322- SALLY HUTCHISON CEELY-GEOMETRIC STYLE IN ART, WISCONSIN ACADEMY OJ SCIENCES, ARTS AND LEITERS,VOL. 71, PART 2, 1983, PAGE 33- .THE WAY OF THE LABYRINTH BY HELEN CURRY, PAGES 21-235- “VERGINA SUN” OR THE “RAYS OF THE SUN GOD” ?

“HELLENISM, THE HISTORICAL COURSE OF 4000 YEARS, CREATED HUGE MULTINATIONAL EMPIRES (MULTINATIONALS, BUT NEVER MULTICULTURAL, AS STATED BY THE GREAT GREEK BYZANTINIST HELEN GLYKATZI-AHRWEILER), VAST KINGDOMS, HAD TRADE RELATIONS WITH DOZENS OF PEOPLES AND COUNTRIES, BUT OFTEN SUFFERED BARBARIAN INVASIONS AND PEOPLES CONQUERED WHOLLY OR PARTLY BY FOREIGN ARMIES AND DISPLACED PARTS OF THE ETERNAL GREEK TERRITORIES.

THE RESULT OF ALL THESE HISTORICAL DEVELOPMENTS, DURING THE BYZANTINE TIME SOME GREEK POPULATIONS TO SPEAK DIFFERNT OTHER LANGUAGES, AS SOME ASIA MINOR (TURKISH-SPEAKING GREEKS) TO SPEAK LATIN, (VLACH-SPEAKING GREEKS), TO SPEAK SLAVIC (SLAV-SPEAKING GREEKS) TO SPEAK ALBANIC(ARVANITOFONOI GREEKS), OR ITALIAN (THE GREKANOI OF MAGNA GRECIA IN SOUTHERN ITALY).

THE PERSIANS REFERRED TO THE MACEDONIANS AS “YAUNÃ TAKABARA” (“GREEKS WITH HATS THAT LOOK LIKE SHIELDS”).

THEREFORE, THE FACT THAT SOME SEGMENTS OF THE POPULATION OF MACEDONIA HAD FORMERLY THE SOLE LANGUAGE OF A BODY SLAVOGENES IDIOM, NOT A CAPABLE AND SUFFICIENT CRITERION FOR THE ATTEMPTED IN THE PAST AND ATTEMPTED TODAY BY FOREIGN CENTERS PLACING THEM OUTSIDE THE GREEK NATION …

“AS ALEXANDER COMES FROM ALEX AND THE MAN, SO THE AKESANDROS NAME COMES FROM AKESIS * AKESIOS (THERAPY, THERAPEUTIC -DUE THANKS GOD APOLLO , WHO ALSO WAS CALLED AKESIOS, AS WELL BECAHE USE CURE DISEASES) AND THE MAN. WHAT FOLLOWS FROM THIS? QUITE SIMPLY, THAT THE USURPATION OF ALEXANDER THE GREAT AND PHILIP AND THE NAME OF MACEDONIA SINCE OUR AMIABLE NEIGHBORS LEADS TO THE CONCLUSION THAT THE PARANOIA OF “MACEDONISM” AND NATIONALIST OF LIRIMATON NOT SO NEED AN ALEXANDER, BUT A AKESANDROU, TO SUBMIT IN THE TREATMENT OF LEARNING HISTORY. THESE ARE NOT, FROM GREEK SIDE, WITH ALL THE FRIENDLINESS EMANATING FROM THE ETYMOLOGICAL ORIGIN OF AN ANCIENT FILIONA …
* FROM THE VERB AKEOMAI() = TREAT COMES THE WELL-KNOWN AND IN THE LANGUAGE OF LEGAL MEDICAL TERM “ANIKESTOS” (FAILURE) THAT IS INCURABLE

https://en.wikipedia.org/wiki/Argead_dynasty

LANGUAGES
ANCIENT MACEDONIAN,THEN ATTIC GREEK, AND LATER KOINE GREEK
RELIGION
GREEK POLYTHEISM

ALEXANDER THE GREAT – ”Medallion” East of the Empire, Beroia (provincial capital of Macedonia, the Heart of Greece), 3rd century A.D., Gold, Diam. 54 mm; 96.3 g
Museu Calouste Gulbenkian, Lisboa

The obverse shows the diademed head of Alexander the Great (r. 336-323 BC). This posthumous and idealized portrait includes symbols of Alexander’s deification, one of which is the ram’s horn, characteristic of the Egyptian god Amon. This iconography derives from the type of coin introduced by one of Alexander’s immediate successors, King Lysimachos of Thrace (297-281 BC).

The reverse shows a hunting scene, with the hunter’s spear piercing a wild boar that is being attacked by two dogs. The legend “King Alexander”, which appears to the left and above, identifies the hunter.

The “medallion” is part of a treasure including twenty similar pieces found in Aboukir, Egypt, in 1902. The designation “medallion” is purely a matter of convention based on the piece’s morphology and size, as the use given to such pieces cannot be definitively established.

ANCIENT DION (GENETIVUS OF ZEUS 3TH DECLINATION) WAS A CENTRE OF THE WORSHIP OF ZEUS AND THE MOST IMPORTANT SPIRITUAL SANCTUARY OF THE ANCIENT MACEDONIANS.

What symbolizes the Vergina Sun?

THE VERGINA SUN (OTHERWISE “STAR OF VERGINA”) IS A SYMBOL WIDELY USED BY THE ANCIENT GREEKS. ALTHOUGH THE SUN OF VERGINA IS A SYMBOL OF PAN, BECAME FAMOUS BECAUSE OF THE MACEDONIANS, WHO USE IT AS A SYMBOL OF THE DYNASTY ARGEAD THE KINGDOM OF MACEDONIA.

THE TYPICAL VERGINA SUN, CONSISTS OF 16 RAYS. WE CAN ALSO SEE HIM WITH 12 OR EVEN EIGHT RAYS OF THE SUN. THE SUN WITH SIXTEEN RAYS REPRESENTS THE FOLLOWING: THE FOUR RAYS REPRESENT THE FOUR ELEMENTS OF NATURE, LAND – SEA – FIRE – AIR AND THE REMAINING 12 RAYS REPRESENT THE 12 GODS OF OLYMPUS.

THE VERGINA SUN, THE PROPERTY REPRESENTS SOMETHING VIRGIN. THIS IS WHY WE USUALLY SEE IS THE ANCIENT GREEK SYMBOL, THE VIRGIN GODDESS ATHENA. BUT IN SEVERAL OTHER CASES, IT CAN IDENTIFY AND APOLLO

THE VERGINA SUN WAS A COMMON SYMBOL OF ANCIENT GREECE AND IS FOUND IN COINS, POTTERY, MURALS AND STATUES, LONG BEFORE THE MACEDONIAN KINGDOM AND THE DYNASTY SLOW.

DEKAEXASTEROI AND OCHTASTEROI SUNS PRESENTED IN MACEDONIAN AND HELLENISTIC COINS AND SHIELDS PERIOD. THERE IS ALSO NUMBER OF ATHENS ILLUSTRATION SOLDIERS CARRY A SIXTEEN IDENTICAL SYMBOL ON THEIR ARMOR, FROM THE 6TH CENTURY, AS WELL AS COINS FROM THE ISLAND TO THE MAINLAND GREECE, AS IN CORFU, 5TH FINDING CENTURY, LOCRIS, 4TH BC CENTURY.

AFTER THE UNION OF THE GREEKS UNDER THE LEADERSHIP OF ALEXANDER THE GREAT, THE VERGINA SUN WAS THE MAIN SYMBOL OF GREEK ETHNOGENNESIS.

THE SYMBOL OF THE SUN OF VERGINA WAS ONE OF THE SYMBOLS OF ANCIENT GREECE, LONG BEFORE THE RISE OF THE GREEK KINGDOM OF MACEDONIA. DOZENS OF COINS, ETC. POTS BEARING THE SYMBOL FOUND IN MANY PARTS OF GREECE, OUTSIDE OF MACEDONIA.

http://ancient-medieval-macedonian-history.blogspot.com/2008/12/vergina-sun-or-rays-of-sun-god.

 Vergina Sun, a Pan-Hellenic Symbol [http://ancient-medieval-macedonian-history.blogspot.com/2008/07/vergina-suna-pan-hellenic-symbol.html]7- Macedonia,

http://ancient-medieval-macedonian-history.blogspot.com/info@macedonian.com.auAustralian Macedonian Advisory Council

Macedonian stater featuringAlexander the Great and the goddess Athena on the obverse.

The Vergina Sun – OLD PANHELLENIC Symbol –  has been proposed as a symbol of ancient Macedonia or of the Argead dynasty by archeologists.

The Pella curse tablet (Greek katadesmos): from Prof. Radcliffe G. Edmonds III, Bryn Mawr College.

ALEXANDER the GREAT letter to the Persian King Darious:

“Your ancestors, having campaigned in Macedonia and the rest of Greece, they hurt us while they had wronged me previously; because became leader of the Greeks and because I want to punish the Persians I spent in Asia, because you made the beginning (injustice) . Because you helped them Perinthians who unjustly wronged my father, and in Thrace, who we dominated the Ochus sent power.
And when my father was murdered by the conspirators, that you set up,as you  boasted, that  you killed Arsi with the help of Vagoou and seized power, nor equitable nor according to Persian law but beeing unfair to your own Persians and sending in my guilt to the other Greeks hostile letters to fight me, and sending money to the Spartans and some other Greeks who were from other cities sometimes not accepted while the Spartans took them, and when your envoys corrupted my friends, and the peace that succeeded the Greeks attempted to disperse, campaigned against you, because you have done the principle of hatred.

And I defeated in battle your first generals and your princes and now you and your powers and possess my country given to me by the gods, those of them who helped you and not been killed in battle, but fled to me, all these I am taking care of and they are with me not unwittingly but aware and conciously will join my campaing  against you.

And because I’m dominating the whole of Asia, come near me. And if you are afraid lest, after you come, you suffer something bad from me, send some of their friends to get sworn assurances. Once you come to me, ask and get your mother and wife and children and everything else you want.

For what would persuade me, you shall have. And from now on, when you address me, can you address regarding equal, but if you need something, do not you address me as dominant all thy “otherwise I will think about you as wrong. But if you have a different view of the kingdom, Stay and Fight for her and do not go, because I will come against you, wherever you are. “
(Arrian, Alexander Annavasis, 2-14,)

THE FIRST SETTLEMENTS OF EPHESUS WERE MADE BY THE IONIANS IN THE 11TH CENTURY BC, WHEN ANDROCLES (FROM ATHENS), ESTABLISHED A COASTAL TOWN WHICH WAS LOCATED 1.5 KILOMETERS AWAY FROM ARTEMIS’S TEMPLE. ACCORDING TO LEGEND, HE HAD BEEN ADVISED TO ESTABLISH A CITY AT THE PLACE WHICH WOULD BE SHOWN TO HIM BY A FISH AND A BOAR. DURING ANDROCLES’S REIGN, EPHESUS BECAME A MEMBER OF THE IONIAN LEAGUE AND HIS DESCENDANTS RULED THE CITY FOR A LONG PERIOD. AS YEARS PASSED, EPHESUS GREW TO A PROSPEROUS CITY AND IT WAS TURNED TO A TRADE AND BANKING CENTRE THUS RULED BY RICH MERCHANTS. THIS ATTRACTED THE INTEREST OF THE KING OF LYDIA, KROISOS, WITH WHOM EPHESUS HAD ALREADY COMMERCIAL RELATIONS. LYDIANS CONQUERED EPHESUS AND MADE THE HABITANTS TO THE INLAND CLOSE TO THE TEMPLE OF ARTEMIS. THE LYDIANS RULED EPHESUS UNTIL THE PERSIAN WARS WHEN THE PERSIANS TOOK IT OVER. HOWEVER, ALEXANDER THE GREAT SET THE CITY FREE IN 334 BC AND AFTER HIS DEATH IT WAS RULED BY LYSIMACHUS, A DESCENDANT OF ALEXANDER THE GREAT.

HTTP://ANCIENT-MEDIEVAL-MACEDONIAN-HISTORY

http://ancient-medieval-macedonian-history.blogspot.se/2008/07/vergina-suna-pan-hellenic-symbol.html

http://ancient-medieval-macedonian-history.blogspot.se/2008/12/vergina-sun-or-rays-of-sun-god.html

http://macedonia-evidence.org/obama-letter.html

Artemis

Artemis was mainly known as the goddess of hunting. She was born by Leto and Zeus. Apollowas her twin brother. According to the myth, Zeus had desired to lay with his cousin Leto. After their coupling, Leto was pregnant but Hera, the jealous wife of Zeus, had punished her by prohibiting any place of the earth, seen by the sun, accepting her giving birth to her child.

After long wanderings, Leto resorted to her sister Asteria, who had become a floating rock in order to avoind Zeus’s pursuing. Asteria, anchored in the bottom of the sea and accepted her sister who initially gave birth to Artemis and the goddess helped her mother to give birth to Apollo too. Once born, Artemis was said to be the embodiment of the moon and Apollo the embodiment of the sun.

Artemis is also known as the mood goddess as well and it was said that the silver belonged to her and that Artemis owned a silver chariot  which she used to ride at night shooting arrows of silver light.

Artemis had decided to stay unmarried and preferred to live in the forests accompanied by young girls called dryads.  Known as the Lady of the Wild, the wild animals were sacred to her and she punished the people who killed more than that they could eat.

Contrary to the Athenian Artemis who was a virgin, Artemis of Ephesus was considered to be the Great Mother and a sculpture depicts her with many breast signifying that she was the mother of the life.

The Romans used to name the goddess Diana instead of Artemis.

The Ionians named that goddess “Artemis” and when the Lydian king Croesus invaded the city, the temple, which was surrounded by walls and a wooden statue devoted to Artemis had been placed in it, was destroyed by a flood.  Croesus started constructing the new  stone temple at the same position and adorned it with columns, in the 7th century BC.

Artemis Temple (also known – many centuries later – ,as the Temple of Diana) was included among the Seven Wonders of the World. It was 115 m long and 55 m wide. Its construction lasted 120 years and its architectural order was Ionic Dipteros with double column-rows on each long and triple column-rows along the wide sides. The Temple of Artemis consisted of 127 columns with a diameter of 1.20 m and 19 m tall.

Temple of Artemis

(Recostraction)

AS THE CITY WAS LOCATED BY THE RIVER KAYSTROS (NOWADAYS KNOWN AS KUCUK MENDERES RIVER) WHICH CUT OFF THE OUTLET TO THE SEA WITH ALLUVIAL SAND, IT CREATED A MARSHY EARTH WHICH IN TURN CREATED AN UNHEALTHY ENVIRONMENT FOR THE POPULATION OF EPHESUS. LYSIMACHUS DECIDED TO TRANSFER THE CITY TO THE VALLEY SITUATED BETWEEN THE MOUNTAINS KORESSOS AND PION (NOWADAYS KNOWN AS BULBUL ANDPAYIR). HE ALSO FORTIFIED THE CITY WITH A WALL 9 KM LONG. HE NAMED THE NEW CITY AFTER HIS WIFE,ARSINOE. THE CITY GREW AGAIN IN A RICH TRADE CENTRE AND SEVERAL PUBLIC BUILDINGS SUCH AS STADIUMS, GYMNASIUMS, THEATRES ETC WERE ERECTED IN IT.

AFTER LYSIMACHUS’S DEATH, THE CITY WAS RULED BY THE EGYPTIANS AND THE SYRIANS AND IT WAS CONQUERED BY THE ROMANS IN 190 BC. EPHESUS WAS RULED BY THE ROMANS INDIRECTLY, THROUGHPERGAMUM AND STARTED BLOOMING DURING THE AUGUSTAN EMPIRE ERA. IT BECAME THE CAPITAL OF THE ASIAN PROVINCE OF THE ROMAN EMPIRE AND IT GREW TO THE MOST IMPORTANT TRADING CENTRE OF MINOR ASIA, INHABITED BY 250,000 PEOPLE. MOST OF THE MONUMENTS, THAT HAVE SURVIVED NOWADAYS, DATE PACK TO THE PROSPEROUS PERIOD.

THE GOTHS INVADED THE CITY IN 263 AD AND THEY DESTROYED BOTH THE CITY AND THE TEMPLE OF ARTEMIS. EPHESUS DECLINED SINCE THEN AND EVEN THOUGH IT WAS REBUILT, IT NEVER REGAINED ITS OLD SPLENDOR.

DURING THE BYZANTINE ERA, EPHESUS WAS A VERY IMPORTANT CITY (5TH-6TH CENTURIES AD). A BIG PART OF THE CITY WAS REBUILT BY CONSTANTINE I. IN 614 AD THE CITY WAS DESTROYED AGAIN DUE TO AN EARTHQUAKE. CONTINUOUSLY, THE HARBOR OF THE CITY TURNED TO A MARSHY ARE ONCE PREVENTING THE INHABITANTS FROM ACCESSING THE SEA AND CARRY ON THEIR TRADING ACTIVITIES. THE HARBOR DECLINE AND THE ARABIC INVASIONS MADE THE POPULATION TO MOVE TOWARDS A HILL WHERE THEY WOULD BE PROTECTED. AS THEY HAD NO MORE A CONNECTION WITH THE SEA, THE CITY DECLINED AND IT WAS TURNED TO A SMALL VILLAGE, OCCUPIED BY THE TURKS IN 1390.

FINALLY, THE CITY WAS ABANDONED DURING THE 15TH CENTURY AS THERE WAS NO POSSIBILITY TO REGAIN ITS PAST FLOURISHING.

 

 

Hellenic scripts of what is remaining now from Ilion or Troja now days..

Danaoi and Achaoi  (named the troups of both Doric, Ionic, Aiolic,& Achaic in dialect kingdoms – Troja and Ephesos Ionic dialect, Pergamos & Alicarnassos: Doric), who made the campaing against Troja – meaning war between Greeks..The Athenians (in Attica county,- Ionic Dialect), Spartans, Mychenians(Agamemnon), Achileus ,- the leader of Myrmidons & the Idol of Alexander the Great, 900 years later, Ajax(Aias) – king of Salamis, son of Isione, sister of Priamos of Troja – against his own uncle(!!). This war was not of course for the beautiful Helenas eyes sake..as always the Greek Mythology (and the Hellenic religion, as well  does are based on HISTORIC facts & thus creating an ultimate pedagogical & philosophical-poetical era) dramatises in epical manners all these facts….if since some thousand years later has been grotesquely copied, and named…as …the “Old Testament”…….

The cult of Apollo emblem is phoenix in Troy. The

Troy (or Ilion), is the city-theater of the Trojan war, part of which is described in Homer’s Iliad. An ancient epic, the 9th or 8th BC century. (Iliad means “epic of Ilion”).

The beginning of the story of the Trojans mixes with myths and legends. According to Greek mythology, the Trojans were ancient people of the city of Troy in the region of Troas, in the country of Phrygia, in the land of Asia Minor. Troy was known for its riches, which won by the port trade with east and west, the beautiful clothes, iron production, and massive defensive walls. The royal family of Troy goes back to Electra and Zeus, parents of Dardanus. Electra nursed the Dardanus in the palace on the island of Samothrace. The king named the Trojans he eats people and the country Troas, from his name. The Ilos founded the city of Ilion attaching to his name. Zeus gave LiCl the Palladium. Poseidon and Apollo built the walls and fortifications around Troy for Laomedon, son of the younger group. When Laomedon refused to pay, Poseidon flooded the country and demanded the sacrifice of Isioni a sea monster. Eneskypse horse and sea monster snatched the people of the plain.

A generation before the Trojan War, Heracles captured Troy and killed Laomedon and his sons, except for young Priam. Priam later became king. During his reign, the Mycenaean Greeks invaded and captured Troy during the Trojan War. Both Trojan and the Mycenaean civilization destroyed. The Trojans Aeneas, Brutus, and Elymos escaped destruction and were founders Alva Long (neighboring city of Rome), Britain, and Elymos, a country of Sicily. The Maxyanoi was a tribe in western Libya claimed to be descendants of the Trojans, according to Herodotus. The Trojan ships metaforfothikan to Naiades, who rejoices to see the shipwreck of Odysseus.

The Iliad and The TROIKOS CYCLE
The Homer (Iliad) is one of the Homeric epics and preserved until nowadays. The composition, which according to tradition was made by Homer, placed in the 8th century BC and based on tradition oral composition and recitation of heroic poems that had developed in previous centuries. The poem, which describes some events of the tenth and final year of the siege of Troy (Ilion) by the Achaeans, written in hexameter and has 15.692 verses. Some time after creation, during the Hellenistic period, was divided into 24 rhapsodies (capital) and small changes came in this form nowadays. Each of the rhapsodies indicated by a capital letter of the Greek alphabet, while the rhapsodies of the Odyssey with a small.
The Homeric epics with the Orphic is the oldest surviving texts of ancient Greek literature in ancient Greece was considered the most important works, and used in education. As the main theme of rhapsodists, their recitation was a key part of Greek religious festivals.

The events of the Trojan War which tells the Iliad happening in tenth year of the war and unfolding in about 51 days. Top of the poem is the wrath, the wrath of Achilles, after a dispute with Agamemnon for the distribution of the spoils of the battles, leading to the withdrawal of Achilles by warfare. In the Iliad include events following the departure of Achilles and the successes of the Trojans, the entrance of Patroclus in the war with the armor of Achilles, the death of Patroclus, the return of Achilles in the battle for revenge, the death of Hector and the desecration Achillea.Telos from the tradition of the dead the Trojans Hector for burial. The episodes that have preceded ten years of war and the history of war, included in the Cypria, and the events after the burial of Hector until the fall of Troy contained in subsequent projects the Trojan cycle, Negress, Little Iliad, Ilion persita.

Case and Structure of the Iliad
The disagreement Achilles and Agamemnon and the rage of Achilles
On the first day of action, the Trojan Chrysis, priest of Apollo and father of Cressida, captive of Agamemnon, came to the camp of the Achaeans and called for the release of his daughter. But Agamemnon was adamant and challenging brutally priest, who prayed to Apollo to avenge this unacceptable behavior (hubris). Apollo responded and punished with ruinous plague the Achaean army. After nine days of illness, convened meeting of the army requested by the seer Calchas to reveal the cause of the anger of the gods. Agamemnon initially refuses to return the girl, intense wrangling with Achilles and finally persuaded to return as long to get to return one of the spoils of Achilles, the Briseis. Achilles is forced to retreat, but offended refuses to continue to fight and begs his mother, Thetis, to ask Zeus to enhance the Trojans in battle to punish the Achaeans. The meeting of Thetis with Gods delaying her son’s desire for twelve days, because Jupiter is absent in the country the Ethiopians.

 

The evolution of the competitions until the first embassy to Achilles
In the second rhapsody, Zeus sends a dream to Agamemnon to stimulate attack of the Trojans, misleading information that the gods support Achaeans. Agamemnon calls a meeting after disagreements Achaeans prepared for battle. When the Trojans informed and they start the preparations. Such events inserted the list of opponents forces and Greek ships. The two armies decide to judge the outcome of the battle in a duel between Paris and Menelaus. Menelaus prevail, but Aphrodite rescues Paris. Opponents decide a truce, but the gods to Assembly decide to cause the violation by the Trojans to continue the war. The battles begin, stands out the presence of Diomedes injuring even the god Mars, the two sides have significant losses, but the Trojans are in a difficult position. Hector temporarily leave the battle to ask the Troades make supplication to Athena. When he returns, he duels with Ajax(Priamos of Troja was his uncle, Hisione was the syster of Priamos), but there is no winner. Hostilities stopped because it gets dark (that day covered the rhapsodies B through H) and decided truce for burying the dead, while the Achaeans strengthen the walling of the camp. In rhapsody I described another day battles, in which the Trojans prevail, and the next two the night following the battle in which the Achaeans asking unsuccessfully Achilles to return to war.

The onslaught of the Trojans
The Rhapsody Av begins with new battles. Although initially distinguished Agamemnon and repels the Trojans to their walls, the gods encourage Hector and since then injured many heads of Greeks (Agamemnon, Diomedes, the doctor Machaonas), the Trojans go, pushing the Achaeans in retreat and pull down the walls of their camp (rhapsodies L and M). On rhapsodies N-II continues the battle around the ships of the Achaeans, who are in dire straits. Then Patroclus persuaded Achilles to give him his arms and let him lead the army of Myrmidons to deceive the Trojans and curb their enthusiasm.

 

Excellence and death of Patroclus
The rhapsody II continues with the entrance of Patroclus into battle. Despite the advice of Achilles confine itself to remove the Trojans from the camp and do not hunt up the city, Patroclus fights and chases up the walls, where only the intervention of Apollo was able to repulse the attack of the Achaians. During conflicts Patroclus, on the enthusiasm approached several of the city walls, followed duel with Hector, who killed him with the help of Apollo. In Rhapsody P is the battle for the body of Patroclus, in which Menelaus distinguished. Eventually Ajax manages to dislodge the dead from the Trojans, but Hector holds his armor. Wearing the armor of Achilles, Hector tries again to get the body of Patroclus, without success. In Rhapsody S. Achilles mourns the death of his friend and decides to avenge him. Thetis asks Hephaestus to build new weapons and Rhapsody ends with the extensive description of the shield made.

The return of Achilles
In Rhapsody T Achilles receives new weapons and calls a meeting of the Achaeans. Reconciles with Agamemnon, since both admit they were driven to conflict by divine intervention, and returned Briseis, whom Agamemnon swears that he had touched. After the assembly Achilles mourns Patroclus departs for battle. In Rhapsody Y conflicts begin, involving and gods. Achilles duel with Aeneas, saved by Poseidon. Achilles fought with the river god Scamander and chased the Trojans to their walls (rhapsody F). The Trojans fled the city, except for Hector, who remained on the battlefield to confront Achilles (rhapsody X). Athena misled the promised help, but ultimately supported Achilles manages to kill him. Achilles refuses to hand over the Trojans Hector. Instead, they tie him to his chariot and drags. The Rhapsody ends with the lamentations of the family of Hector.

The tradition of Hector and burial
In the days after the death of Hector Achaeans completed the funeral rites for Patroclus, burned his body and organized competitions in honor of (rhapsody Y). The last rhapsody starts with twelve days desecration of the corpse of Hector by Achilles. The twelfth day the gods make meeting and send Thetis to persuade Achilles to deliver the dead and Iris motivate Priam begging Achilles. The evening the meeting of Priam to Achilles, who accept the ransom and return the dead and decided truce for the ceremony of burning. Here are ten days laments and preparations and eleventh day is burning and burial of Hector, in which the project ends.

 

http://www.hellinon.net/MacedonianEvidence.htm

The first step to destroy a nation is to delete the memory.

…….DESTROY HIS BOOKS, ITS CULTURE, TWISTING ITS HISTORY…….AFTER YOU PUT SOMEONE TO WRITE NEW BOOKS, MANUFACTURE A NEW CULTURE, INVENT A NEW STORY …IT WILL NOT NEED MUCH TIME TO START THIS NATION FORGETTING WHAT IS AND WHAT WAS. THE WORLD AROUND HIM WILL FORGET EVEN FASTER. 

Milan Kundera (The book of laughter and forgetting)
MOST POPULAR

Swastika just in Sanskrit means “That is well and is”. This symbol is Greek origin in ancient times referred to 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 (!)

 

 

Parts of the Phillip ivory shield that found in Vergina Tomb. You can see clearly the two Pan-Hellenic symbols: The 16th Sun/Star (Vergina Sun) and the Meander (Greek key). The shield itself can be found in the museum of Vergina in Central Macedonia, Greece. Greek Sun/Star or Vergina Sun/StarThere are many other symbols which use the rayed star (the ancient Greek symbol) across the centuries. The ancient Greek stars can contain 3-rays up to 24-rays, and all rays have many shapes, according to their inner meaning found in archaeological monuments. Many ancient archaeological findings exist today, such as ancient Greek coins, texts, icons, emblems, tituli, ostraca, fragments, epigrammata, papyrorum, tablettes, recensios, sculpures, vases, monuments etc. which make use of the ancient Greek rayed star symbol. 

 

VERGINA THE ULTIMATE PANHELLENIC SYMBOL OF THE SUN (APOLLO)

  Even Achilles (Alexander`s the Great Idol) has the rayed star on his armory – as well as many of the ancient Greek gods and goddesses.

ACHILLES WAS (900 YEARS LATER) THE IDOL OF ALEXANDER THE GREATAND AJAX (WHO WAS NEPHEW OF PRIAMOS! ASIONI – AJAX MOTHER WAS PRIAMOS SISTER).

HERE:  PLAYING DICE, 6TH CENT, BC AMPHORA THE SYMBOL IS THE CONTINUATION OF THE OLDEST ANCIENT GREEK(PANHELLENIC) SYMBOL OF THE SUN, WHICH ALSO PREDOMINATED ON THE ACROPOLIS OF ATHENS

 Acropolis ceiling

. 

  

 Inside the outer wall of columns of the Parthenon in Nashville, Tennessee. This «Parthenon» is a full-scale replica of the original Parthenon in Athens. It was built in 1897 as part of the Tennessee Centennial Exposition.The Sun was also the most important symbol of the origin and continuation of all Hellenes: Arcadians, Athenians, Thessalians, Macedonians – their first God, before the Olympian Gods. The choice of this symbol was obvious and natural: one of the most vital elements on earth is the Sun – the source of life.Many people call it “the Sun of Vergina” or the “Macedonian Star” but this is only a partial truth. This symbol has a history of more than three thousand years. It was the original logo or sign which the Proto-Hellenes used as their emblem for many centuries. The Macedonians simply continued the ancient Proto-Hellenic (Homeric) heritage or tradition of their forefathers. From the late 17th century AD, and in particular the 18th century, classical Greek civilization began to attract the ever-growing interest, curiosity and imagination of western Europeans. One manifestation of this was the numerous “journeys of discovery” undertaken by various scholars to the soil of “rediscovered Hellas” itself, which was then still part of the Ottoman Empire. Two such individuals were the young architects James Stuart and Nicholas Revett, who in 1751 arrived in Attica and immediately set about accurately recording the architectural details of surviving buildings of classical Athens and its surroundings. The most known Rayed Star is the ancient Greek Macedonian symbol of Vergina. The “Vergina Sun”, “Star of Vergina” or “Argead Star” is the name given to a symbol of a stylised star or sun with sixteen rays. It was unearthed in 1977 during archaeological excavations in Vergina, in the northern Greek province of Macedonia. 

 The vergina star was found in the tombs of the kings of the ancient kingdom of Macedon, and was described as the symbol variously as a “star”, a “starburst” or as a “sunburst”. The well known larnax on which it appears belonged to Greek King Philip II of Macedon, the father of the Greek Alexander the Great III. The larnax is on display at the archaeological museum in Vergina. Another version of the Vergina Sun, with 12 rays, was found on the larnax of Olympias, the mother of Alexander the Great. Only the Greeks can really understand the inner, esoteric, hidden ancient meaning of the vergina symbol and, in this movie a hint of it is presented.  The Macedonian Tomb of Lyson and Kallikles at Leucadia. The tomb is dated to ca. 200 B.C. The tomb was accidentally discovered in 1942 at Leucadia Emathias and subsequently excavated by Ch. Macaronas. The results of the investigation were published in a book by his collaborator, Stella Miller, in 1993.

 Depictions of Macedonian shields prove that their surface was decorated in relief. This is the case, for example, with the shields carved on the balustrade of the Alhena temple al Pergamon, where the central convex part of the shield was covered with concentric circles with patterns and an eight-ray star in the middle. One of two shields shown on the walls of the tomb of Lyson and Collides is decorated with a sixteen- raystar and similar shields occur on the walls of the Agios Athanasios tumulus (Thessaloniki) excavated in 1994 .

There is a surviving fragmentary Macedonian shield with a twelve-ray star in the centre and elements of an arch-shaped ornament and eight-ray stars around the edge ; a similarly designed silver circular applique with an eight-ray star in the middle and seven arch-shaped elements around the edge was found in tomb A at Derveni. Meander or Greek Key A Greek key pattern or meander, symbolizing the flow of a river, often is found in stylized form as a border decoration on rugs, ceramics, and walls. A meander is similar to the Chinese sign for “returning,” thus it is also a symbol of rebirth and eternity.

The speech and clear confession of Alexander the Great(Alexandros o Megas) to both Athenians and Persians

Firstly we intend to examine the ancient evidence on the way the Ancient Macedonians were defining themselves in reference to their own identity. Concerning their own beliefs about themselves we shall review the available evidence coming from the ancient sources, both Literary and Archaeological.
A. The Literary Evidence
The first available evidence comes from the
Macedonian king Alexander during his speech to Atheneans. Essentially we have a clear confession that Alexander considers himself a Greek.
-Had I not greatly at heart the Common welfare of Greece I should not have come to tell you; but I am myself Greek by descent, (“te gar Hellên genos eimi tôrchaion“) and I would not willingly see Greece exchange freedom for slavery. …If you prosper in this war, forget not to do something for my freedom; consider the risk I have run, out of zeal for the Greek Cause,….I am Alexander of Macedon‘1

Another cited excerpt makes it even more clear that Alexander I
was proud of his Hellenic identity. While speaking to Persians:
Tell your king who sent you how a Greek man, viceroy of
the Macedonians (“anêr Hellên – Makedonôn hyparchos”)has received you hospitably… “

This plundered cist tomb, built of limestone and situated at the edge of the Great Tumulus next to the “Ηρώον”-‘heroon'(=”Heroes Garden”, was named Tomb of Persephone because of its painted ornamentation. Prominent among figures of the Fates (Μοιραι) and of Demeter(Δήμητρα) seated on the “mirthless rock” is a depiction of the abduction of Persephone by the god of the underworld, Pluto.

The artistry of execution, strength of conception and restraint of colouring all denote an artist of great talent (perhaps Nikomachos = Battle winner from: Niki+Machi..ex: Andromache of Troja – one of the Doughters of Priamos) of the mid-4th century BC; this dating is supported by the sherds of pottery found in the interior of the tomb.

Hades abducting Persephone, a mural from the Macedonian royal tomb at Vergina, mid 4th century BC

DOUBLE CROSS MAIANDROS- AGKYLOTOS -SVASTIKA
THE SWASTIKA IS AN EXTREMELY POWERFUL SYMBOL. IT CAN BE WIDELY KNOWN BY THE NAZIS, WHO USED IT AS A SYMBOL OF THE PERIOD THAT MASSACRED THOUSANDS OF PEOPLE, BUT CENTURIES AGO HAD A POSITIVE SIGNIFICANCE. SO WHAT IS THE HISTORY OF THIS SYMBOL? NOWADAYS REPRESENTS GOOD OR BAD?
THE SWASTIKA IS AN ANCIENT SYMBOL THAT WAS USED FOR OVER 3000 YEARS. . BUILDERS SUCH AS POTTERY AND COINS FROM ANCIENT TROY (IONIAN GREEK CIVILIZATION), SHOW THAT THE SWASTIKA WAS A COMMON SYMBOL IN USE WAY BACK IN 1000 BC.

GAMMADION
ANCIENT GREEK SYMBOL OF THE SUN, THE GAMMADION OR TETRASKELION, HOLY TETRAKTYS, RIGHTLY OR SOVASTIKA, SWASTIKA.

THE CONTINUITY OF THE GREEK RACE, THE SPREAD OF THE GREEK RACE JUST AS THE RAYS OF THE LIGHT.

ILIOS- MOON -SELLAS – GREECE. IT IS MYSTICAL SACRED SYMBOL, ( KALOS IONOS-ΚΑΛΌΣ ΟΙΩΝΌΣ)=GOOD OMEN,  (EULOGIA-ΕΥΛΟΓΊΑ)=BLESSING,  (EUDEMONIA-ΕΥΔΑΙΜΟΝΊΑ)=BLISS, (ΜΑΚΡΟΖΩΊΑ-MACROZOIA)=LONGEVITY, (GONIMOTITA-ΓΟΝΙΜΌΤΗΤΑ)=FERTILITY, ,(ZOE & HYGEIA-ΖΩΉ ΚΑΙ ΥΓΕΊΑ)=LIFE AND HEALTH. .

JUST AS THE LIFE-GIVER SUN SUPPLIES THE EARTH.
 
IT CONNECTS THE PAST WITH THE PRESENT AND THE FUTURE. THE ENTIRE GREEK WORLDVIEW, THE THEOGONY, KNOWLEDGE, BIRTH, EVOLUTION, TO INFINITY AND THE UNIVERSAL.
THE LACK AND EXCESS, THE CONNECTION OPPOSITES, AND YET THE SAME FORCES, EN-EXIST IN NATURE.

 About 900 B.C. a geometric rectilinear decorative style of triangles, chequers, and meanders began to dominate. These elements were organized in rows of separate bands, encircling the vase. During this period in geometric Greece, the meander became the dominating motif on the vases. From its origin in the Palaeolithic onward, the meander (a rectilinear geometric design) was symbolic of water, perhaps because of its resemblance to waves, lightening, and rivers. The meander was adapted, or perhaps reinvented, and made more complex by the vase painters of Athens. Rectilinear decorations of meanders, triangles, and rectangles, soon covered the vase, like a mesh or mosaic design becoming one with the vase itself. The shape of the vase was influenced by the design and became more sculptural and architectonic.Archaeologists have found what we have come to call the Greek key pattern on artifacts whose dates preceded ancient Greece by thousands of years. Anthropologist Marija Gimbutas found a meander pattern on a figurine in the Ukraine that dates from 18,000 to 15,000 BCE. Many believe the root of the labyrinth pattern derives from the shifting, twisting path of the Meander River of Phrygia in the Mediterranean region of present-day Turkey.One of the most important finds made during the Vergina excavations is the splendid Hellenistic Palace, which dates from the last 3rd of the 4th c. or the beginning of the 3rd c. BC.

MOSAIC ATLAS

www.mosaicatlas.com450 × 338Sök med bild

TITLE: MOSAIC OF CALLIOPE(ONE OF THE NINE MUSES; SEE: ABOVE:SURROUNDED BY SOCRATES AND THE SEVEN WISE MEN LOCATION: THE NATIONAL MUSEUM OF BEIRUT DESCRIPTION: FROM BAALBEK, LEBANON, 3RD C. A.D. CALLIOPE IS IN THE MIDDLE AND ABOVE

Greek Art / Greek Mosaics and Murals

sasgreekart.pbworks.com449 × 480Sök med bild

THESE TWO MURALS SHOWN ARE PERFECT EXAMPLE OF THE USUAL DESIGN OF A USUAL MOSAIC AND AN INTRICATE DESIGN OF AN UNUSUAL MOSAIC. THE MOSAIC OF ALEXANDER THE …HTTPS://WWW.GOOGLE.SE/SEARCH?Q=ALEXANDER+THE+GREAT+MOSAIC&BIW

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Letter to President Barack Obama

ancient-scholars@macedonia-evidence.org

http://macedonia-evidence.org/obama-letter-fyrom.html

May 18, 2009

THE HONORABLE BARACK OBAMA
PRESIDENT, UNITED STATES OF AMERICA
WHITE HOUSE
1600 PENNSYLVANIA AVENUE, NW
WASHINGTON, DC 20500

DEAR PRESIDENT OBAMA,

            WE, THE UNDERSIGNED SCHOLARS OF GRAECO-ROMAN ANTIQUITY, RESPECTFULLY REQUEST THAT YOU INTERVENE TO CLEAN UP SOME OF THE HISTORICAL DEBRIS LEFT IN SOUTHEAST EUROPE BY THE PREVIOUS U.S. ADMINISTRATION.

            ON NOVEMBER 4, 2004, TWO DAYS AFTER THE RE-ELECTION OF PRESIDENT GEORGE W. BUSH, HIS ADMINISTRATION UNILATERALLY RECOGNIZED THE “REPUBLIC OF MACEDONIA.”  THIS ACTION NOT ONLY ABROGATED GEOGRAPHIC AND HISTORIC FACT, BUT IT ALSO HAS UNLEASHED A DANGEROUS EPIDEMIC OF HISTORICAL REVISIONISM, OF WHICH THE MOST OBVIOUS SYMPTOM IS THE MISAPPROPRIATION BY THE GOVERNMENT IN SKOPJE OF THE MOST FAMOUS OF MACEDONIANS, ALEXANDER THE GREAT.

            WE BELIEVE THAT THIS SILLINESS HAS GONE TOO FAR, AND THAT THE U.S.A. HAS NO BUSINESS IN SUPPORTING THE SUBVERSION OF HISTORY. LET US REVIEW FACTS.  (THE DOCUMENTATION FOR THESE FACTS [HERE IN BOLDFACE] CAN BE FOUND ATTACHED AND AT: HTTP://MACEDONIA-EVIDENCE.ORG/DOCUMENTATION.HTML)

            THE LAND IN QUESTION, WITH ITS MODERN CAPITAL AT SKOPJE, WAS CALLED PAIONIA IN ANTIQUITY.  MTS. BARNOUS AND ORBELOS (WHICH FORM TODAY THE NORTHERN LIMITS OF GREECE) PROVIDE A NATURAL BARRIER THAT SEPARATED, AND SEPARATES, MACEDONIA FROM ITS NORTHERN NEIGHBOR.   THE ONLY REAL CONNECTION IS ALONG THE AXIOS/VARDAR RIVER AND EVEN THIS VALLEY “DOES NOT FORM A LINE OF COMMUNICATION BECAUSE IT IS DIVIDED BY GORGES.”

            WHILE IT IS TRUE THAT THE PAIONIANS WERE SUBDUED BY PHILIP II, FATHER OF ALEXANDER, IN 358 B.C. THEY WERE NOT MACEDONIANS AND DID NOT LIVE IN MACEDONIA. LIKEWISE, FOR EXAMPLE, THE EGYPTIANS, WHO WERE SUBDUED BY ALEXANDER, MAY HAVE BEEN RULED BY MACEDONIANS, INCLUDING THE FAMOUS CLEOPATRA, BUT THEY WERE NEVER MACEDONIANS THEMSELVES, AND EGYPT WAS NEVER CALLED MACEDONIA.

            RATHER, MACEDONIA AND MACEDONIAN GREEKS HAVE BEEN LOCATED FOR AT LEAST 2,500 YEARS JUST WHERE THE MODERN GREEK PROVINCE OF MACEDONIA IS. EXACTLY THIS SAME RELATIONSHIP IS TRUE FOR ATTICA AND ATHENIAN GREEKS, ARGOS AND ARGIVE GREEKS, CORINTH AND CORINTHIAN GREEKS, ETC.

            WE DO NOT UNDERSTAND HOW THE MODERN INHABITANTS OF ANCIENT PAIONIA, WHO SPEAK SLAVIC – A LANGUAGE INTRODUCED INTO THE BALKANS ABOUT A MILLENNIUM AFTER THE DEATH OF ALEXANDER – CAN CLAIM HIM AS THEIR NATIONAL HERO.  ALEXANDER THE GREAT WAS THOROUGHLY AND INDISPUTABLY GREEK. HIS GREAT-GREAT-GREAT GRANDFATHER, ALEXANDER I, COMPETED IN THE OLYMPIC GAMES WHERE PARTICIPATION WAS LIMITED TO GREEKS.

            EVEN BEFORE ALEXANDER I, THE MACEDONIANS TRACED THEIR ANCESTRY TO ARGOS, AND MANY OF THEIR KINGS USED THE HEAD OF HERAKLES – THE QUINTESSENTIAL GREEK HERO – ON THEIR COINS.

EURIPIDES – WHO DIED AND WAS BURIED IN MACEDONIA– WROTE HIS PLAY ARCHELAOS IN HONOR OF THE GREAT-UNCLE OF ALEXANDER, AND IN GREEK.  WHILE IN MACEDONIA, EURIPIDES ALSO WROTE THE BACCHAI, AGAIN IN GREEK.  PRESUMABLY THE MACEDONIAN AUDIENCE COULD UNDERSTAND WHAT HE WROTE AND WHAT THEY HEARD.

            ALEXANDER’S FATHER, PHILIP, WON SEVERAL EQUESTRIAN VICTORIES AT OLYMPIA AND DELPHI, THE TWO MOST HELLENIC OF ALL THE SANCTUARIES IN ANCIENT GREECE WHERE NON-GREEKS WERE NOT ALLOWED TO COMPETE.  EVEN MORE SIGNIFICANTLY, PHILIP WAS APPOINTED TO CONDUCT THE PYTHIAN GAMES AT DELPHI IN 346 B.C.  IN OTHER WORDS, ALEXANDER THE GREAT’S FATHER AND HIS ANCESTORS WERE THOROUGHLY GREEK. GREEK WAS THE LANGUAGE USED BY DEMOSTHENES AND HIS DELEGATION FROM ATHENS WHEN THEY PAID VISITS TO PHILIP, ALSO IN 346 B.C.

ANOTHER NORTHERN GREEK, ARISTOTLE, WENT OFF TO STUDY FOR NEARLY 20 YEARS IN THE ACADEMY OF PLATO.  ARISTOTLE SUBSEQUENTLY RETURNED TO MACEDONIA AND BECAME THE TUTOR OF ALEXANDER III. THEY USED GREEK IN THEIR CLASSROOM WHICH CAN STILL BE SEEN NEAR NAOUSSA IN MACEDONIA.

            ALEXANDER CARRIED WITH HIM THROUGHOUT HIS CONQUESTS ARISTOTLE’S EDITION OF HOMER’S ILIAD.  ALEXANDER ALSO SPREAD GREEK LANGUAGE AND CULTURE THROUGHOUT HIS EMPIRE, FOUNDING CITIES AND ESTABLISHING CENTERS OF LEARNING.  HENCE INSCRIPTIONS CONCERNING SUCH TYPICAL GREEK INSTITUTIONS AS THE GYMNASIUM ARE FOUND AS FAR AWAY AS AFGHANISTAN.  THEY ARE ALL WRITTEN IN GREEK.

            THE QUESTIONS FOLLOW:  WHY WAS GREEK THE LINGUA FRANCA ALL OVER ALEXANDER’S EMPIRE IF HE WAS A “MACEDONIAN”?  WHY WAS THE NEW TESTAMENT, FOR EXAMPLE, WRITTEN IN GREEK?

            THE ANSWERS ARE CLEAR:  ALEXANDER THE GREAT WAS GREEK, NOT SLAVIC, AND SLAVS AND THEIR LANGUAGE WERE NOWHERE NEAR ALEXANDER OR HIS HOMELAND UNTIL 1000 YEARS LATER.  THIS BRINGS US BACK TO THE GEOGRAPHIC AREA KNOWN IN ANTIQUITY AS PAIONIA.  WHY WOULD THE PEOPLE WHO LIVE THERE NOW CALL THEMSELVES MACEDONIANS AND THEIR LAND MACEDONIA?  WHY WOULD THEY ABDUCT A COMPLETELY GREEK FIGURE AND MAKE HIM THEIR NATIONAL HERO?

THE ANCIENT PAIONIANS MAY OR MAY NOT HAVE BEEN GREEK, BUT THEY CERTAINLY BECAME GREEKISH, AND THEY WERE NEVER SLAVS.  THEY WERE ALSO NOT MACEDONIANS.  ANCIENT PAIONIA WAS A PART OF THE MACEDONIAN EMPIRE.  SO WERE IONIA AND SYRIA AND PALESTINE AND EGYPT AND MESOPOTAMIA AND BABYLONIA AND BACTRIA AND MANY MORE.  THEY MAY THUS HAVE BECOME “MACEDONIAN” TEMPORARILY, BUT NONE WAS EVER “MACEDONIA”.  THE THEFT OF PHILIP AND ALEXANDER BY A LAND THAT WAS NEVER MACEDONIA CANNOT BE JUSTIFIED.

            THE TRADITIONS OF ANCIENT PAIONIA COULD BE ADOPTED BY THE CURRENT RESIDENTS OF THAT GEOGRAPHICAL AREA WITH CONSIDERABLE JUSTIFICATION. BUT THE EXTENSION OF THE GEOGRAPHIC TERM “MACEDONIA” TO COVER SOUTHERN YUGOSLAVIA CANNOT. EVEN IN THE LATE 19TH CENTURY, THIS MISUSE IMPLIED UNHEALTHYTERRITORIAL ASPIRATIONS.

            THE SAME MOTIVATION IS TO BE SEEN IN SCHOOL MAPS THAT SHOW THE PSEUDO-GREATER MACEDONIA, STRETCHING FROM SKOPJE TO MT. OLYMPUS AND LABELED IN SLAVIC.   THE SAME MAP AND ITS CLAIMS ARE IN CALENDARS, BUMPER STICKERS, BANK NOTES, ETC., THAT HAVE BEEN CIRCULATING IN THE NEW STATE EVER SINCE IT DECLARED ITS INDEPENDENCE FROM YUGOSLAVIA IN 1991.  WHY WOULD A POOR LAND-LOCKED NEW STATE ATTEMPT SUCH HISTORICAL NONSENSE?  WHY WOULD IT BRAZENLY MOCK AND PROVOKE ITS NEIGHBOR?

            HOWEVER ONE MIGHT LIKE TO CHARACTERIZE SUCH BEHAVIOR, IT IS CLEARLY NOT A FORCE FOR HISTORICAL ACCURACY, NOR FOR STABILITY IN THE BALKANS.  IT IS SAD THAT THE UNITED STATES OF AMERICA HAS ABETTED AND ENCOURAGED SUCH BEHAVIOR.

            WE CALL UPON YOU, MR. PRESIDENT, TO HELP – IN WHATEVER WAYS YOU DEEM APPROPRIATE – THE GOVERNMENT IN SKOPJE TO UNDERSTAND THAT IT CANNOT BUILD A NATIONAL IDENTITY AT THE EXPENSE OF HISTORIC TRUTH.  OUR COMMON INTERNATIONAL SOCIETY CANNOT SURVIVE WHEN HISTORY IS IGNORED, MUCH LESS WHEN HISTORY IS FABRICATED.

                                                                                   SINCERELY,

NAME

TITLE

INSTITUTION

ANAGNOSTIS P. AGELARAKIS, PROFESSOR OF ANTHROPOLOGY, ADELPHI UNIVERSITY (USA)

IOANNIS M. AKAMATIS, PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF THESSALONIKI (GREECE)

JUNE W. ALLISON, PROFESSOR EMERITA, DEPARTMENT OF GREEK AND LATIN, THE OHIO STATE UNIVERSITY (USA)

GEORGIOS ANAGNOSTOPOULOS, PROFESSOR OF PHILOSOPHY, UNIVERSITY OF CALIFORNIA-SAN DIEGO (USA)

MARIANA ANAGNOSTOPOULOS, ASSISTANT PROFESSOR OF PHILOSOPHY, CALIFORNIA STATE UNIVERSITY, FRESNO (USA)

RONNIE ANCONA, PROFESSOR OF CLASSICS, HUNTER COLLEGE AND THE GRADUATE CENTER, CUNY (USA)

JOHN P. ANTON, DISTINGUISHED PROFESSOR OF GREEK PHILOSOPHY AND CULTURE UNIVERSITY OF SOUTH FLORIDA (USA)

DR. NORMAN GEORGE ASHTON, SENIOR HONORARY RESEARCH FELLOW, THE UNIVERSITY OF WESTERN AUSTRALIA (AUSTRALIA)

LUCIA ATHANASSAKI, ASSOCIATE PROFESSOR OF CLASSICAL PHILOLOGY, UNIVERSITY OF CRETE (GREECE)

EFFIE F. ATHANASSOPOULOS, ASSOCIATE PROFESSOR ANTHROPOLOGY AND CLASSICS, UNIVERSITY OF NEBRASKA-LINCOLN (USA)

HARRY C. AVERY, PROFESSOR OF CLASSICS, UNIVERSITY OF PITTSBURGH (USA)

DR. DIRK BACKENDORF. AKADEMIE DER WISSENSCHAFTEN UND DER LITERATUR MAINZ (GERMANY)

ELIZABETH C. BANKS, ASSOCIATE PROFESSOR OF CLASSICS (RET.), UNIVERSITY OF KANSAS (USA)

LEONIDAS BARGELIOTES, EMERITUS PROFESSOR OF PHILOSOPHY, UNIVERSITY OF ATHENS, PRESIDENT OF THE OLYMPIC CENTER FOR PHILOSOPHY AND CULTURE (GREECE)

ALICE BENCIVENNI, RICERCATORE DI STORIA GRECA, UNIVERSITÀ DI BOLOGNA (ITALY)

DAVID L. BERKEY, ASSISTANT PROFESSOR OF HISTORY, CALIFORNIA STATE UNIVERSITY, FRESNO (USA)

LUIGI BESCHI, PROFESSORE EMERITO DI ARCHEOLOGIA CLASSICA, UNIVERSITÀ DI FIRENZE (ITALY)

JOSINE H. BLOK, PROFESSOR OF ANCIENT HISTORY AND CLASSICAL CIVILIZATION, UTRECHT UNIVERSITY (THE NETHERLANDS)

ALAN BOEGEHOLD, EMERITUS PROFESSOR OF CLASSICS, BROWN UNIVERSITY (USA)

EFROSYNI BOUTSIKAS, LECTURER OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF KENT (UK)

EWEN BOWIE, EMERITUS FELLOW, CORPUS CHRISTI COLLEGE, OXFORD (UK)

KEITH BRADLEY, ELI J. AND HELEN SHAHEEN PROFESSOR OF CLASSICS, CONCURRENT PROFESSOR OF HISTORY, UNIVERSITY OF NOTRE DAME (USA)

KOSTAS BURASELIS, PROFESSOR OF ANCIENT HISTORY, UNIVERSITY OF ATHENS (GREECE)

STANLEY M. BURSTEIN, PROFESSOR EMERITUS, CALIFORNIA STATE UNIVERSITY, LOS ANGELES (USA)

FRANCIS CAIRNS, PROFESSOR OF CLASSICAL LANGUAGES, THE FLORIDA STATE UNIVERSITY (USA)

JOHN MCK. CAMP II, AGORA EXCAVATIONS AND PROFESSOR OF ARCHAEOLOGY, ASCSA, ATHENS (GREECE)

DAVID A. CAMPBELL, EMERITUS PROFESSOR OF CLASSICS. UNIVERSITY OF VICTORIA, B.C. (CANADA)

PAUL CARTLEDGE, A.G. LEVENTIS PROFESSOR OF GREEK CULTURE, UNIVERSITY OF CAMBRIDGE (UK)

PAAVO CASTREN, PROFESSOR OF CLASSICAL PHILOLOGY EMERITUS, UNIVERSITY OF HELSINKI (FINLAND)

WILLIAM CAVANAGH, PROFESSOR OF AEGEAN PREHISTORY, UNIVERSITY OF NOTTINGHAM (UK)

ANGELOS CHANIOTIS, PROFESSOR, SENIOR RESEARCH FELLOW, ALL SOULS COLLEGE, OXFORD (UK)

PAUL CHRISTESEN, PROFESSOR OF ANCIENT GREEK HISTORY, DARTMOUTH COLLEGE (USA)

JAMES J. CLAUSS, PROFESSOR OF CLASSICS, UNIVERSITY OF WASHINGTON (USA)

ADA COHEN, ASSOCIATE PROFESSOR OF ART HISTORY, DARTMOUTH COLLEGE (USA)

RANDALL M. COLAIZZI, LECTURER IN CLASSICAL STUDIES, UNIVERSITY OF MASSACHUSETTS-BOSTON (USA)

KATHLEEN M. COLEMAN, PROFESSOR OF LATIN, HARVARD UNIVERSITY (USA)

REV. DR. DEMETRIOS J CONSTANTELOS, CHARLES COOPER TOWNSEND PROFESSOR OF ANCIENT AND BYZANTINE HISTORY, EMERITUS; DISTINGUISHED RESEARCH SCHOLAR IN RESIDENCE AT THE RICHARD STOCKTON COLLEGE OF NEW JERSEY (USA)

MICHAEL B. COSMOPOULOS, PH.D., PROFESSOR AND ENDOWED CHAIR IN GREEK ARCHAEOLOGY, UNIVERSITY OF MISSOURI-ST. LOUIS (USA)

CAROLE L. CRUMLEY, PHD., PROFESSOR OF EUROPEAN ARCHAEOLOGY, UNIVERSITY OF NORTH CAROLINA, CHAPEL HILL (USA)

KEVIN F. DALY, ASSISTANT PROFESSOR OF CLASSICS, BUCKNELL UNIVERSITY (USA)

JOSEPH W. DAY, PROFESSOR OF CLASSICS, WABASH COLLEGE (USA)

FRANÇOIS DE CALLATAŸ, PROFESSOR OF MONETARY AND FINANCIAL HISTORY OF THE GREEK WORLD, ECOLE PRATIQUE DES HAUTES ETUDES (PARIS/SORBONNE) AND PROFESSOR OF FINANCIAL HISTORY OF THE GRECO-ROMAN WORLD, UNIVERSITÉ LIBRE DE BRUXELLES (FRANCE AND BRUSSELS)

WOLFGANG DECKER, PROFESSOR EMERITUS OF SPORT HISTORY, DEUTSCHE SPORTHOCHSCHULE, KÖLN (GERMANY)

LUC DEITZ, AUSSERPLANMÄSSGER PROFESSOR OF MEDIAEVAL AND RENAISSANCE LATIN, UNIVERSITY OF TRIER (GERMANY), AND CURATOR OF MANUSCRIPTS AND RARE BOOKS, NATIONAL LIBRARY OF LUXEMBOURG (LUXEMBOUR

CHARALAMBOS DENDRINOS, LECTURER IN BYZANTINE LITERATURE AND GREEK PALAEOGRAPHY, ACTING DIRECTOR, THE HELLENIC INSTITUTE, ROYAL HOLLOWAY, UNIVERSITY OF LONDON (UK)

MICHAEL DEWAR, PROFESSOR OF CLASSICS, UNIVERSITY OF TORONTO (CANADA)

JOHN D. DILLERY, ASSOCIATE PROFESSOR OF CLASSICS, UNIVERSITY OF VIRGINIA (USA

JOHN DILLON, EMERITUS PROFESSOR OF GREEK, TRINITY COLLEGE DUBLIN (IRELAND)

SHEILA DILLON, ASSOCIATE PROFESSOR, DEPTS. OF ART, ART HISTORY & VISUAL STUDIES AND CLASSICAL STUDIES, DUKE UNIVERSITY (USA)

MICHAEL D. DIXON, ASSOCIATE PROFESSOR OF HISTORY, UNIVERSITY OF SOUTHERN INDIANA (USA)

DOUGLAS DOMINGO-FORASTE, PROFESSOR OF CLASSICS, CALIFORNIA STATE UNIVERSITY, LONG BEACH (USA)

MYRTO DRAGONA-MONACHOU, PROFESSOR EMERITA OF PHILOSOPHY, UNIVERSITY OF ATHENS (GREECE)

STELLA DROUGOU, PROFESSOR OF CLASSICAL ARCHAEOLOGY, ARISTOTLE UNIVERSITY OF THESSALONIKI (GREECE)

PIERRE DUCREY, PROFESSEUR HONORAIRE, UNIVERSITÉ DE LAUSANNE (SWITZERLAND)

JOHN DUFFY, PROFESSOR, DEPARTMENT OF THE CLASSICS, HARVARD UNIVERSITY (USA)

ROGER DUNKLE, PROFESSOR OF CLASSICS EMERITUS, BROOKLYN COLLEGE, CITY UNIVERSITY OF NEW YORK (USA)

MICHAEL M. EISMAN, ASSOCIATE PROFESSOR ANCIENT HISTORY AND CLASSICAL ARCHAEOLOGY, DEPARTMENT OF HISTORY, TEMPLE UNIVERSITY (USA)

MOSTAFA EL-ABBADI, PROFESSOR EMERITUS, UNIVERSITY OF ALEXANDRIA (EGYPT)

R. MALCOLM ERRINGTON, PROFESSOR FÜR ALTE GESCHICHTE (EMERITUS) PHILIPPS-UNIVERSITÄT, MARBURG (GERMANY)

CHRISTOS C. EVANGELIOU, PROFESSOR OF ANCIENT HELLENIC PHILOSOPHY, TOWSON UNIVERSITY, MARYLAND, HONORARY PRESIDENT OF INTERNATIONAL ASSOCIATION FOR GREEK PHILOSOPHY (USA)

PANAGIOTIS FAKLARIS, ASSISTANT PROFESSOR OF CLASSICAL ARCHAEOLOGY, ARISTOTLE UNIVERSITY OF THESSALONIKI (GREECE)

DENIS FEENEY, GIGER PROFESSOR OF LATIN, PRINCETON UNIVERSITY (USA)

MICHAEL FEREJOHN, ASSOCIATE PROFESSOR OF ANCIENT PHILOSOPHY, DUKE UNIVERSITY (USA)

KLEOPATRA FERLA, PH.D. IN ANCIENT HISTORY, HEAD OF RESEARCH AND MANAGEMENT OF CULTURAL INFORMATION, FOUNDATION OF THE HELLENIC WORLD, ATHENS (GREECE)

ELIZABETH A. FISHER, PROFESSOR OF CLASSICS AND ART HISTORY, RANDOLPH-MACON COLLEGE (USA)

NICK FISHER, PROFESSOR OF ANCIENT HISTORY, CARDIFF UNIVERSITY (UK)

R. LEON FITTS, ASBURY J CLARKE PROFESSOR OF CLASSICAL STUDIES, EMERITUS, FSA, SCOT., DICKINSON COLLLEGE (USA)

JOHN M. FOSSEY FRSC, FSA, EMERITUS PROFESSOR OF ART HISTORY (AND ARCHAEOLOGY), MCGILL UNIVERTSITY, MONTREAL, AND CURATOR OF ARCHAEOLOGY, MONTREAL MUSEUM OF FINE ARTS (CANADA)

DR. ATHANASIOS FOTIOU, ADJUNCT PROFESSOR, COLLEGE OF THE HUMANITIES, GREEK AND ROMAN STUDIES, CARLETON UNIVERSITY, OTTAWA (CANADA)

ROBIN LANE FOX, UNIVERSITY READER IN ANCIENT HISTORY, NEW COLLEGE, OXFORD (UK)

DR. LEE FRATANTUONO, WILLIAM FRANCIS WHITLOCK PROFESSOR OF LATIN, OHIO WESLEYAN UNIVERSITY (USA)

STAVROS FRANGOULIDIS, ASSOCIATE PROFESSOR OF LATIN. ARISTOTELIAN UNIVERSITY OF THESSALONIKI (GREECE)

WILLIAM K. FREIERT, PROFESSOR OF CLASSICS AND HANSON-PETERSON CHAIR OF LIBERAL STUDIES, GUSTAVUS ADOLPHUS COLLEGE (USA)

RAINER FRIEDRICH, PROFESSOR OF CLASSICS EMERITUS, DALHOUSIE UNIVERSITY, HALIFAX, N.S. (CANADA)

HEIDE FRONING, PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF MARBURG (GERMANY)

PETER FUNKE, PROFESSOR OF ANCIENT HISTORY, UNIVERSITY OF MÜNSTER (GERMANY)

TRAIANOS GAGOS, PROFESSOR OF GREEK AND PAPYROLOGY, UNIVERSITY OF MICHIGAN (USA)

KARL GALINSKY, CAILLOUX CENTENNIAL PROFESSOR OF CLASSICS, UNIVERSITY OF TEXAS, AUSTIN (USA)

ROBERT GARLAND, ROY D. AND MARGARET B. WOOSTER PROFESSOR OF THE CLASSICS, COLGATE UNIVERSITY, HAMILTON NY (USA)

HANS-JOACHIM GEHRKE, PROF. DR., PRESIDENT OF THE GERMAN ARCHAEOLOGICAL INSTITUTE BERLIN (GERMANY)

DR. IOANNIS GEORGANAS, RESEARCHER, DEPARTMENT OF HISTORY AND ARCHAEOLOGY, FOUNDATION OF THE HELLENIC WORLD (GREECE)

DOUGLAS E. GERBER, PROFESSOR EMERITUS OF CLASSICAL STUDIES, UNIVERSITY OF WESTERN ONTARIO (CANADA)

DR. ANDRE GEROLYMATOS, CHAIR AND PROFESSOR OF HELLENIC STUDIES, SIMON FRASER UNIVERSITY (CANADA)

STEPHEN L. GLASS, JOHN A. MCCARTHY PROFESSOR OF CLASSICS & CLASSICAL ARCHAEOLOGY, PITZER COLLEGE: THE CLAREMONT COLLEGES (USA)

HANS R. GOETTE, PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF GIESSEN (GERMANY); GERMAN ARCHAEOLOGICAL INSTITUTE, BERLIN (GERMANY)

SANDER M. GOLDBERG, PROFESSOR OF CLASSICS, UCLA (USA)

MARK GOLDEN, PROFESSOR, DEPARTMENT OF CLASSICS, UNIVERSITY OF WINNIPEG (CANADA)

ELLEN GREENE, JOSEPH PAXTON PRESIDENTIAL PROFESSOR OF CLASSICS, UNIVERSITY OF OKLAHOMA (USA)

ROBERT GREGG, TERESA MOORE PROFESSOR OF RELIGIOUS STUDIES, EMERITUS, DIRECTOR, THE ABBASI PROGRAM IN ISLAMIC STUDIES, STANFORD UNIVERSITY (USA)

FREDERICK T. GRIFFITHS, PROFESSOR OF CLASSICS, AMHERST COLLEGE (USA)

DR. PETER GROSSMANN, MEMBER EMERITUS, GERMAN ARCHAEOLOGICAL INSTITUTE, CAIRO (EGYPT)

ERICH S. GRUEN, GLADYS REHARD WOOD PROFESSOR OF HISTORY AND CLASSICS, EMERITUS, UNIVERSITY OF CALIFORNIA, BERKELEY (USA)

MARTHA HABASH, ASSOCIATE PROFESSOR OF CLASSICS, CREIGHTON UNIVERSITY (USA)

CHRISTIAN HABICHT, PROFESSOR OF ANCIENT HISTORY, EMERITUS, INSTITUTE FOR ADVANCED STUDY, PRINCETON (USA)

DONALD C. HAGGIS, NICHOLAS A. CASSAS TERM PROFESSOR OF GREEK STUDIES, UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL (USA)

JUDITH P. HALLETT, PROFESSOR OF CLASSICS, UNIVERSITY OF MARYLAND, COLLEGE PARK, MD (USA)

KIM HARTSWICK, ACADEMIC DIRECTOR, CUNY BACCALAUREATE FOR UNIQUE AND INTERDISCIPLINARY STUDIES, NEW YORK CITY (USA)

PROF. PAUL B. HARVEY, JR. HEAD, DEPARTMENT OF CLASSICS AND ANCIENT MEDITERRANEAN STUDIES, THE PENNSYLVANIA STATE UNIVERSITY (USA)

ELENI HASAKI, ASSOCIATE PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF ARIZONA (USA)

ROSALIA HATZILAMBROU, PH.D., RESEARCHER, ACADEMY OF ATHENS (GREECE)

MILTIADES B. HATZOPOULOS, DIRECTOR, RESEARCH CENTRE FOR GREEK AND ROMAN ANTIQUITY, NATIONAL RESEARCH FOUNDATION, ATHENS (GREECE)

STEPHAN HEILEN, ASSOCIATE PROFESSOR OF CLASSICS, UNIVERSITY OF ILLINOIS AT URBANA- CHAMPAIGN (USA)

WOLF-DIETER HEILMEYER, PROF. DR., FREIE UNIVERSITÄT BERLIN UND ANTIKENSAMMLUNG DER STAATLICHEN MUSEEN ZU BERLIN (GERMANY)

PONTUS HELLSTROM, PROFESSOR OF CLASSICAL ARCHAEOLOGY AND ANCIENT HISTORY, UPPSALA UNIVERSITY (SWEDEN)

STEVEN W. HIRSCH, ASSOCIATE PROFESSOR OF CLASSICS AND HISTORY, TUFTS UNIVERSITY (USA)

KARL-J. HOLKESKAMP, PROFESSOR OF ANCIENT HISTORY, UNIVERSITY OF COLOGNE (GERMANY)

FRANK L. HOLT, PROFESSOR OF ANCIENT HISTORY, UNIVERSITY OF HOUSTON (USA)

DAN HOOLEY, PROFESSOR OF CLASSICS, UNIVERSITY OF MISSOURI (USA)

MEREDITH C. HOPPIN, GAGLIARDI PROFESSOR OF CLASSICAL LANGUAGES, WILLIAMS COLLEGE, WILLIAMSTOWN, MA (USA)

CAROLINE M. HOUSER, PROFESSOR OF ART HISTORY EMERITA, SMITH COLLEGE (USA) AND AFFILIATED PROFESSOR, UNIVERSITY OF WASHINGTON (USA)

PROFESSOR CARL HUFFMAN, DEPARTMENT OF CLASSICS, DEPAUW UNIVERSITY (USA)

JOHN HUMPHREY, PROFESSOR OF GREEK AND ROMAN STUDIES, UNIVERSITY OF CALGARY (CANADA)

FROSEN JAAKKO, PROFESSOR OF GREEK PHILOLOGY, UNIVERSITY OF HELSINKI (FINLAND)

DR THOMAS JOHANSEN, READER IN ANCIENT PHILOSOPHY, UNIVERSITY OF OXFORD (UK)

VINCENT JOLIVET, ARCHAEOLOGIST CNRS, PARIS [FRENCH SCHOOL ROME] (ITALY)

GEORGIA KAFKA, VISITING PROFESSOR OF MODERN GREEK LANGUAGE, LITERATURE AND HISTORY, UNIVERSITY OF NEW BRUNSWICK (CANADA)

MIKA KAJAVA, PROFESSOR OF GREEK LANGUAGE AND LITERATURE; HEAD OF THE DEPARTMENT OF CLASSICAL STUDIES, UNIVERSITY OF HELSINKI (FINLAND)

ANTHONY KALDELLIS, PROFESSOR OF GREEK AND LATIN, THE OHIO STATE UNIVERSITY (USA)

ELENI KALOKAIRINOU, ASSISTANT PROFESSOR OF PHILOSOPHY, SECRETARY OF THE OLYMPIC CENTER OF PHILOSOPHY AND CULTURE (CYPRUS)

LILIAN KARALI, PROFESSOR OF PREHISTORIC AND ENVIRONMENTAL ARCHAEOLOGY, UNIVERSITY OF ATHENS (GREECE)

ANDROMACHE KARANIKA, ASSISTANT PROFESSOR OF CLASSICS, UNIVERSITY OF CALIFORNIA, IRVINE (USA)

ROBERT A. KASTER, PROFESSOR OF CLASSICS AND KENNEDY FOUNDATION PROFESSOR OF LATIN, PRINCETON UNIVERSITY (USA)

DR. ATHENA KAVOULAKI, LECTURER, DEPARTMENT OF PHILOLOGY, UNIVERSITY OF CRETE, RETHYMNON (GREECE)

VASSILIKI KEKELA, ADJUNCT PROFESSOR OF GREEK STUDIES, CLASSICS DEPARTMENT, HUNTER COLLEGE, CITY UNIVERSITY OF NEW YORK (USA)

JOHN F. KENFIELD, ASSOCIATE PROFESSOR, DEPARTMENT OF ART HISTORY, RUTGERS UNIVERSITY (USA)

DIETMAR KIENAST, PROFESSOR EMERITUS OF ANCIENT HISTORY, UNIVERSITY OF DÜSSELDORF (GERMANY)

KARL KILINSKI II, UNIVERSITY DISTINGUISHED TEACHING PROFESSOR, SOUTHERN METHODIST UNIVERSITY (USA)

DR. FLORIAN KNAUSS, ASSOCIATE DIRECTOR, STAATLICHE ANTIKENSAMMLUNGEN UND GLYPTOTHEK MÜNCHEN (GERMANY)

DENIS KNOEPFLER, PROFESSOR OF GREEK EPIGRAPHY AND HISTORY, COLLÈGE DE FRANCE (PARIS, FRANCE)

ORTWIN KNORR, ASSOCIATE PROFESSOR OF CLASSICS, WILLAMETTE UNIVERSITY (USA)

ROBERT B. KOEHL, PROFESSOR OF ARCHAEOLOGY, DEPARTMENT OF CLASSICAL AND ORIENTAL STUDIES HUNTER COLLEGE, CITY UNIVERSITY OF NEW YORK (USA)

THOMAS KOENTGES, VISITING LECTURER, ANCIENT HISTORY, UNIVERSITY OF LEIPZIG (GERMANY)

GEORGIA KOKKOROU-ALEVRAS, PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF ATHENS (GREECE)

ANN OLGA KOLOSKI-OSTROW, ASSOCIATE PROFESSOR AND CHAIR, DEPARTMENT OF CLASSICAL STUDIES, BRANDEIS UNIVERSITY (USA)

ERIC J. KONDRATIEFF, ASSISTANT PROFESSOR OF CLASSICS AND ANCIENT HISTORY, DEPARTMENT OF GREEK & ROMAN CLASSICS, TEMPLE UNIVERSITY (USA)

DR ELENI KORNAROU, VISITING LECTURER OF ANCIENT GREEK LITERATURE, DEPT. OF CLASSIC AND PHILOSOPHY, UNIVERSITY OF CYPRUS (CYPRUS)

HARITINI KOTSIDU, APL. PROF. DR. FÜR KLASSISCHE ARCHÄOLOGIE, GOETHE-UNIVERSITÄT, FRANKFURT/M. (GERMANY)

LAMBRINI KOUTOUSSAKI, DR., LECTURER OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF ZÜRICH (SWITZERLAND)

DAVID KOVACS, HUGH H. OBEAR PROFESSOR OF CLASSICS, UNIVERSITY OF VIRGINIA (USA)

PROF. DR. ULLA KREILINGER, INSTITUT FÜR KLASSISCHE ARCHÄOLOGIE, UNIVERSITÄT ERLANGEN (GERMANY)

DR. CHRISTOS KREMMYDAS, LECTURER IN ANCIENT GREEK HISTORY, ROYAL HOLLOWAY, UNIVERSITY OF LONDON (UK)

PETER KRENTZ, W. R. GREY PROFESSOR OF CLASSICS AND HISTORY, DAVIDSON COLLEGE (USA)

FRIEDRICH KRINZINGER, PROFESSOR OF CLASSICAL ARCHAEOLOGY EMERITUS, UNIVERSITY OF VIENNA (AUSTRIA)

MICHAEL KUMPF, PROFESSOR OF CLASSICS, VALPARAISO UNIVERSITY (USA)

DONALD G. KYLE, PROFESSOR OF HISTORY, UNIVERSITY OF TEXAS AT ARLINGTON (USA)

PROF. DR. DR. H.C. HELMUT KYRIELEIS, FORMER PRESIDENT OF THE GERMAN ARCHAEOLOGICAL INSTITUTE, BERLIN (GERMANY)

MARGARET L. LAIRD, ASSISTANT PROFESSOR, ROMAN ART AND ARCHAEOLOGY, UNIVERSITY OF WASHINGTON (USA)

GERALD V. LALONDE, BENEDICT PROFESSOR OF CLASSICS, GRINNELL COLLEGE (USA)

STEVEN LATTIMORE, PROFESSOR EMERITUS OF CLASSICS, UNIVERSITY OF CALIFORNIA, LOS ANGELES (USA)

FRANCIS M. LAZARUS, PRESIDENT, UNIVERSITY OF DALLAS (USA)

MARY R. LEFKOWITZ, ANDREW W. MELLON PROFESSOR IN THE HUMANITIES, EMERITA WELLESLEY COLLEGE (USA)

IRENE S. LEMOS FSA, PROFESSOR IN CLASSICAL ARCHAEOLOGY,, S.IOANNOU CENTRE FOR CLASSICAL AND BYZANTINE STUDIES, OXFORD UNIVERSITY (UK)

IOANNES G. LEONTIADES, ASSISTANT PROFESSOR OF BYZANTINE HISTORY, ARISTOTLE UNIVERSITY OF THESSALONIKI (GREECE)

IPHIGENEIA LEVENTI, ASSISTANT PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF THESSALY (GREECE)

DANIEL B. LEVINE, PROFESSOR OF CLASSICAL STUDIES, UNIVERSITY OF ARKANSAS (USA)

CHRISTINA LEYPOLD, DR. PHIL., ARCHAEOLOGICAL INSTITUTE, UNIVERSITY OF ZÜRICH (SWITZERLAND)

VAYOS LIAPIS, ASSOCIATE PROFESSOR OF GREEK, CENTRE D’ETUDES CLASSIQUES & DEPARTEMENT DE PHILOSOPHIE, UNIVERSITÉ DE MONTREAL (CANADA)

HUGH LLOYD-JONES, PROFESSOR OF GREEK EMERITUS, UNIVERSITY OF OXFORD (UK)

YANNIS LOLOS, ASSISTANT PROFESSOR, HISTORY, ARCHAEOLOGY, AND ANTHROPOLOGY, UNIVERSITY OF THESSALY (GREECE)

STANLEY LOMBARDO, PROFESSOR OF CLASSICS, UNIVERSITY OF KANSAS (USA)

ANTHONY LONG, PROFESSOR OF CLASSICS AND IRVING G. STONE PROFESSOR OF LITERATURE, UNIVERSITY OF CALIFORNIA, BERKELEY (USA)

JULIA LOUGOVAYA, ASSISTANT PROFESSOR, DEPARTMENT OF CLASSICS, COLUMBIA UNIVERSITY (USA)

DR. JOHN MA, LECTURER IN ANCIENT HISTORY, OXFORD UNIVERSITY AND TUTORIAL FELLOW IN ANCIENT HISTORY, CORPUS CHRISTI COLLEGE, OXFORD (UK)

A.D. MACRO, HOBART PROFESSOR OF CLASSICAL LANGUAGES EMERITUS, TRINITY COLLEGE (USA)

JOHN MAGEE, PROFESSOR, DEPARTMENT OF CLASSICS, DIRECTOR, CENTRE FOR MEDIEVAL STUDIES, UNIVERSITY OF TORONTO (CANADA)

DR. CHRISTOFILIS MAGGIDIS, ASSOCIATE PROFESSOR OF ARCHAEOLOGY, DICKINSON COLLEGE (USA)

CHRYSSA MALTEZOU, PROFESSOR EMERITUS, UNIVERSITY OF ATHENS, DIRECTOR OF THE HELLENIC INSTITUTE OF BYZANTINE AND POSTBYZANTINE STUDIES IN VENICE (ITALY)

JEANNETTE MARCHAND, ASSISTANT PROFESSOR OF CLASSICS, WRIGHT STATE UNIVERSITY, DAYTON, OHIO (USA)

EVANGELINE MARKOU, ADJUNCT LECTURER IN GREEK HISTORY, OPEN UNIVERSITY OF CYPRUS (CYPRUS)

ANNA MARMODORO, FACULTY OF PHILOSOPHY, UNIVERSITY OF OXFORD (UK)

RICHARD P. MARTIN, ANTONY AND ISABELLE RAUBITSCHEK PROFESSOR IN CLASSICS, STANFORD UNIVERSITY (USA)

MARIA MAVROUDI, PROFESSOR OF BYZANTINE HISTORY, UNIVERSITY OF CALIFORNIA, BERKELEY (USA)

JODY MAXMIN, ASSOCIATE PROFESSOR, DEPT. OF ART & ART HISTORY, STANFORD UNIVERSITY (USA)

ALEXANDER MAZARAKIS-AINIAN, PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF THESSALY (GREECE)

JAMES R. MCCREDIE, SHERMAN FAIRCHILD PROFESSOR EMERITUS; DIRECTOR, EXCAVATIONS IN SAMOTHRACE INSTITUTE OF FINE ARTS, NEW YORK UNIVERSITY (USA)

BRIAN MCGING M.A., PH.D., F.T.C.D., M.R.I.A., REGIUS PROFESSOR OF GREEK, TRINITY COLLEGE DUBLIN (IRELAND)

JAMES C. MCKEOWN, PROFESSOR OF CLASSICS, UNIVERSITY OF WISCONSIN-MADISON (USA)

RICHARD MCKIRAHAN, EDWIN CLARENCE NORTON OF CLASSICS AND PROFESSOR OF PHILOSOPHY, PITZER COLLEGE: THE CLAREMONT COLLEGES (USA)

ROBERT A. MECHIKOFF, PROFESSOR AND LIFE MEMBER OF THE INTERNATIONAL SOCIETY OF OLYMPIC HISTORIANS, SAN DIEGO STATE UNIVERSITY (USA)

ANDREAS MEHL, PROFESSOR OF ANCIENT HISTORY, UNIVERSITÄT HALLE-WITTENBERG (GERMANY)

JOHN RICHARD MELVILLE-JONES, WINTHROP PROFESSOR, CLASSICS AND ANCIENT HISTORY, UNIVERSITY OF WESTERN AUSTRALIA (AUSTRALIA)

MARION MEYER, PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF VIENNA (AUSTRIA)

DR. ARISTOTLE MICHOPOULOS, PROFESSOR & CHAIR, GREEK STUDIES DEPT., HELLENIC COLLEGE (BROOKLINE, MA, USA)

HARALD MIELSCH, PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF BONN (GERMANY)

STEPHEN G. MILLER, PROFESSOR OF CLASSICAL ARCHAEOLOGY EMERITUS, UNIVERSITY OF CALIFORNIA, BERKELEY (USA)

LYNETTE G. MITCHELL, SENIOR LECTURER IN CLASSICS & ANCIENT HISTORY, EXETER UNIVERSITY (UK)

PHILLIP MITSIS, A.S. ONASSIS PROFESSOR OF CLASSICS AND PHILOSOPHY, NEW YORK UNIVERSITY (USA)

PETER FRANZ MITTAG, PROFESSOR FÜR ALTE GESCHICHTE, UNIVERSITÄT ZU KÖLN (GERMANY)

DAVID GORDON MITTEN, JAMES LOEB PROFESSOR OF CLASSICAL ART AND ARCHAEOLOGY, HARVARD UNIVERSITY (USA)

METTE MOLTESEN, MA, CURATOR OF ANCIENT ART, NY CARLSBERG GLYPTOTEK, COPENHAGEN (DENMARK)

MARGARET S. MOOK, ASSOCIATE PROFESSOR OF CLASSICAL STUDIES, IOWA STATE UNIVERSITY (USA)

ANATOLE MORI, ASSOCIATE PROFESSOR OF CLASSICAL STUDIES, UNIVERSITY OF MISSOURI- COLUMBIA (USA)

WILLIAM S. MORISON, ASSOCIATE PROFESSOR OF ANCIENT HISTORY, GRAND VALLEY STATE UNIVERSITY (USA)

JENNIFER SHERIDAN MOSS, ASSOCIATE PROFESSOR, WAYNE STATE UNIVERSITY (USA)

ALIKI MOUSTAKA, PROFESSOR OF CLASSICAL ARCHAEOLOGY, ARISTOTELIAN UNIVERSITY OF THESSALONIKI (GREECE)

MARK MUNN, PROFESSOR OF ANCIENT GREEK HISTORY AND GREEK ARCHAEOLOGY, THE PENNSYLVANIA STATE UNIVERSITY (USA)

IOANNIS MYLONOPOULOS, ASSISTANT PROFESSOR OF GREEK ART HISTORY AND ARCHAEOLOGY, COLUMBIA UNIVERSITY, NEW YORK (USA)

ALEXANDER NEHAMAS, EDMUND N. CARPENTER II CLASS OF 1943 PROFESSOR IN THE HUMANITIES, PROFESSOR OF PHILOSOPHY AND COMPARATIVE LITERATURE, PRINCETON UNIVERSITY (USA)

RICHARD NEUDECKER, PD OF CLASSICAL ARCHAEOLOGY, DEUTSCHES ARCHÄOLOGISCHES INSTITUT ROM (ITALY)

JAMES M.L. NEWHARD, ASSOCIATE PROFESSOR OF CLASSICS, COLLEGE OF CHARLESTON (USA)

CAROLE E. NEWLANDS, PROFESSOR OF CLASSICS, UNIVERSITY OF WISCONSIN, MADISON (USA)

ANDREW G. NICHOLS, VISITING LECTURER OF CLASSICS, UNIVERSITY OF FLORIDA (USA)

JESSICA L. NITSCHKE, ASSISTANT PROFESSOR OF CLASSICS, GEORGETOWN UNIVERSITY (USA)

JOHN MAXWELL O’BRIEN, PROFESSOR OF HISTORY, QUEENS COLLEGE, CITY UNIVERSITY OF NEW YORK (USA)

JAMES J. O’HARA, PADDISON PROFESSOR OF LATIN, THE UNIVERSITY OF NORTH CAROLINA, CHAPEL HILL (USA)

MARTIN OSTWALD, PROFESSOR OF CLASSICS (RET.), SWARTHMORE COLLEGE AND PROFESSOR OF CLASSICAL STUDIES (RET.), UNIVERSITY OF PENNSYLVANIA (USA)

OLGA PALAGIA, PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF ATHENS (GREECE)

BEATA M. KITSIKIS PANAGOPOULOS, PROFESSOR OF ART HISTORY, RETIRED, SAN JOSE STATE UNIVERSITY, CAIFORNIA (USA)

CHRISTOS PANAYIDES, ASSOCIATE PROFESSOR OF PHILOSOPHY, UNIVERSITY OF NICOSIA, (CYPRUS)

VASSILIKI PANOUSSI, ASSOCIATE PROFESSOR OF CLASSICAL STUDIES, THE COLLEGE OF WILLIAM AND MARY (USA)

MARIA C. PANTELIA, PROFESSOR OF CLASSICS, UNIVERSITY OF CALIFORNIA, IRVINE (USA)

PANTOS A.PANTOS, ADJUNCT FACULTY, DEPARTMENT OF HISTORY, ARCHAEOLOGY AND SOCIAL ANTHROPOLOGY, UNIVERSITY OF THESSALY (GREECE)

ELENI PAPAEFTHYMIOU, CURATOR OF THE NUMISMATIC COLLECTION OF THE FOUNDATION OF THE HELLENIC WORLD (GREECE)

MARIA PAPAIOANNOU, ASSISTANT PROFESSOR IN CLASSICAL ARCHAEOLOGY, UNIVERSITY OF NEW BRUNSWICK (CANADA)

ANTHONY J. PAPALAS, PROFESSOR OF ANCIENT HISTORY, EAST CAROLINA UNIVERSITY (USA)

NASSOS PAPALEXANDROU, ASSOCIATE PROFESSOR, THE UNIVERSITY OF TEXAS AT AUSTIN (USA)

POLYVIA PARARA, VISITING ASSISTANT PROFESSOR OF GREEK LANGUAGE AND CIVILIZATION, DEPARTMENT OF CLASSICS, GEORGETOWN UNIVERSITY (USA)

RICHARD W. PARKER, ASSOCIATE PROFESSOR OF CLASSICS, BROCK UNIVERSITY (CANADA)

ROBERT PARKER, WYKEHAM PROFESSOR OF ANCIENT HISTORY, NEW COLLEGE, OXFORD (UK)

ROBERT J. PENELLA, PROFESSOR AND CHAIRMAN, CLASSICS, FORDHAM UNIVERSITY (USA)

ANASTASIA-ERASMIA PEPONI, ASSOCIATE PROFESSOR OF CLASSICS, STANFORD UNIVERSITY (USA)

JACQUES PERREAULT, PROFESSOR OF GREEK ARCHAEOLOGY, UNIVERSITE DE MONTREAL, QUEBEC (CANADA)

PATRICK PFEIL, MAGISTER ARTIUM UNIVERSITÄT LEIPZIG, ALTE GESCHICHTE (GERMANY)

EDWARD A. PHILLIPS, PROFESSOR OF CLASSICS AT GRINNELL COLLEGE (USA)

YANIS PIKOULAS, ASSOCIATE PROFESSOR OF ANCIENT GREEK HISTORY, UNIVERSITY OF THESSALY (GREECE)

LEFTERIS PLATON, ASSISTANT PROFESSOR OF ARCHAEOLOGY, UNIVERSITY OF ATHENS (GREECE)

JOHN POLLINI, PROFESSOR OF CLASSICAL ART & ARCHAEOLOGY, UNIVERSITY OF SOUTHERN CALIFORNIA (USA)

DAVID POTTER, ARTHUR F. THURNAU PROFESSOR OF GREEK AND LATIN. THE UNIVERSITY OF MICHIGAN (USA)

DANIEL POTTS, EDWIN CUTHBERT HALL PROFESSOR OF MIDDLE EASTERN ARCHAEOLOGY, UNIVERSITY OF SYDNEY (AUSTRALIA)

ROBERT L. POUNDER, PROFESSOR EMERITUS OF CLASSICS, VASSAR COLLEGE (USA)

NIKOLAOS POULOPOULOS, ASSISTANT PROFESSOR IN HISTORY AND CHAIR IN MODERN GREEK STUDIES, MCGILL UNIVERSITY (CANADA)

SELENE PSOMA, SENIOR LECTURER OF ANCIENT HISTORY, UNIVERSITY OF ATHENS (GREECE)

WILLIAM H. RACE, GEORGE L. PADDISON PROFESSOR OF CLASSICS, UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL (USA)

JOHN T. RAMSEY, PROFESSOR OF CLASSICS, UNIVERSITY OF ILLINOIS AT CHICAGO (USA)

CHRISTIAN R. RASCHLE, ASSISTANT PROFESSOR OF ROMAN HISTORY, CENTRE D’ETUDES CLASSIQUES & DEPARTEMENT D’HISTOIRE, UNIVERSITÉ DE MONTREAL (CANADA)

KARL REBER, PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF LAUSANNE (SWITZERLAND)

GARY REGER, PROFESSOR OF HISTORY TRINITY COLLEGE, CONNECTICUT (USA)

RUSH REHM, PROFESSOR OF CLASSICS AND DRAMA, STANFORD UNIVERSITY (USA)

HEATHER L. REID, PROFESSOR OF PHILOSOPHY, MORNINGSIDE COLLEGE (USA)

CHRISTOPH REUSSER, PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF ZÜRICH (SWITZERLAND)

WERNER RIESS, ASSOCIATE PROFESSOR OF CLASSICS, THE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL (USA)

DR TRACEY E RIHLL, SENIOR LECTURER, DEPARTMENT OF CLASSICS, ANCIENT HISTORY AND EGYPTOLOGY, SWANSEA UNIVERSITY ( WALES, UK)

ROBERT H. RIVKIN, ANCIENT STUDIES DEPARTMENT, UNIVERSITY OF MARYLAND BALTIMORE COUNTY (USA)

WALTER M. ROBERTS III, ASSISTANT PROFESSOR OF CLASSICS, UNIVERSITY OF VERMONT (USA)

BARBARA SAYLOR RODGERS, PROFESSOR OF CLASSICS, THE UNIVERSITY OF VERMONT (USA)

ROBERT H. RODGERS. LYMAN-ROBERTS PROFESSOR OF CLASSICAL LANGUAGES AND LITERATURE, UNIVERSITY OF VERMONT (USA)

GUY MACLEAN ROGERS, KEMPER PROFESSOR OF CLASSICS AND HISTORY, WELLESLEY COLLEGE (USA)

ROBERTO ROMANO, PROFESSORE DI RUOLO (II LEVEL) DI CIVILTÀ BIZANTINA E STORIA BIZANTINA, UNIVERSITÀ “FEDERICO II” DI NAPOLI (ITALY)

NATHAN ROSENSTEIN, PROFESSOR OF ANCIENT HISTORY, THE OHIO STATE UNIVERSITY (USA)

JOHN C. ROUMAN, PROFESSOR EMERITUS OF CLASSICS, UNIVERSITY OF NEW HAMPSHIRE, (USA)

DR. JAMES ROY, READER IN GREEK HISTORY (RETIRED), UNIVERSITY OF NOTTINGHAM (UK)

STEVEN H. RUTLEDGE, ASSOCIATE PROFESSOR OF CLASSICS, DEPARTMENT OF CLASSICS, UNIVERSITY OF MARYLAND, COLLEGE PARK (USA)

DANIEL J. SAHAS, PROFESSOR EMERITUS, UNIVERSITY OF WATERLOO (CANADA)

CHRISTINA A. SALOWEY, ASSOCIATE PROFESSOR OF CLASSICS, HOLLINS UNIVERSITY (USA)

PIERRE SANCHEZ, PROFESSOR OF ANCIENT HISTORY, UNIVERSITY OF GENEVA (SWITZERLAND)

THEODORE SCALTSAS, PROFESSOR OF ANCIENT GREEK PHILOSOPHY, UNIVERSITY OF EDINBURGH (UK)

THOMAS F. SCANLON, PROFESSOR OF CLASSICS, UNIVERSITY OF CALIFORNIA, RIVERSIDE (USA)

THOMAS SCHÄFER, PROFESSOR, INSTITUT FÜR KLASSISCHE ARCHÄOLOGIE, UNIVERSITÄT TÜBINGEN (GERMANY)

BERNHARD SCHMALTZ, PROF. DR. ARCHÄOLOGISCHES INSTITUT DER CAU, KIEL (GERMANY)

PROF. DR. ANDRAS SCHMIDT-COLINET, PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF VIENNA (AUSTRIA)

ROBERT C. SCHMIEL, PROF. EMERITUS OF GREEK & ROMAN STUDIES, UNIVERSITY OF CALGARY (CANADA)

ROLF M. SCHNEIDER, PROFESSOR OF CLASSICAL ARCHAEOLOGY, LUDWIG-MAXIMILIANS-UNIVERSITÄT MÜNCHEN (GERMANY)

JOSEPH B. SCHOLTEN, PHD, ASSOCIATE DIRECTOR, OFFICE OF INTERNATIONAL PROGRAMS/AFFILIATE ASSOC. PROF. OF CLASSICS, UNIVERSITY OF MARYLAND, COLLEGE PARK (USA)

PETER SCHOLZ, PROFESSOR OF ANCIENT HISTORY AND CULTURE, UNIVERSITY OF STUTTGART (GERMANY)

CHRISTOF SCHULER, DIRECTOR, COMMISSION FOR ANCIENT HISTORY AND EPIGRAPHY OF THE GERMAN ARCHAEOLOGICAL INSTITUTE, MUNICH (GERMANY)

PAUL D. SCOTTON, ASSOOCIATE PROFESSOR CLASSICAL ARCHAEOLOGY AND CLASSICS, CALIFORNIA STATE UNIVERSITY LONG BEACH (USA)

DANUTA SHANZER, PROFESSOR OF CLASSICS AND MEDIEVAL STUDIES, THE UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN AND FELLOW OF THE MEDIEVAL ACADEMY OF AMERICA (USA)

JAMES P. SICKINGER, ASSOCIATE PROFESSOR OF CLASSICS, FLORIDA STATE UNIVERSITY (USA)

ATHANASIOS SIDERIS, PH.D., HEAD OF THE HISTORY AND ARCHAEOLOGY DEPARTMENT, FOUNDATION OF THE HELLENIC WORLD, ATHENS (GREECE)

G. M. SIFAKIS, PROFESSOR EMERITUS OF CLASSICS, ARISTOTLE UNIVERSITY OF THESSALONIKI & NEW YORK UNIVERSITY (GREECE & USA)

CHRISTOS SIMELIDIS, BRITISH ACADEMY POSTDOCTORAL FELLOW, LINCOLN COLLEGE, UNIVERSITY OF OXFORD (UK)

HENK W. SINGOR, ASSOCIATE PROFESSOR OF ANCIENT HISTORY LEIDEN UNIVERSITY (NETHERLANDS)

PROF. DR. ULRICH SINN, PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF WURZBURG (GERMANY)

MARILYN B. SKINNER PROFESSOR OF CLASSICS, UNIVERSITY OF ARIZONA (USA)

NIALL W. SLATER, SAMUEL CANDLER DOBBS PROFESSOR OF LATIN AND GREEK, EMORY UNIVERSITY (USA)

PETER M. SMITH, ASSOCIATE PROFESSOR OF CLASSICS, UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL (USA)

DR. PHILIP J. SMITH, RESEARCH ASSOCIATE IN CLASSICAL STUDIES, MCGILL UNIVERSITY (CANADA)

SUSAN KIRKPATRICK SMITH ASSISTANT PROFESSOR OF ANTHROPOLOGY KENNESAW STATE UNIVERSITY (USA)

ANTONY SNODGRASS, PROFESSOR EMERITUS OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF CAMBRIDGE (UK)

GINA M. SOTER, LECTURER IV, CLASSICAL STUDIES, THE UNIVERSITY OF MICHIGAN (USA)

SLAWOMIR SPRAWSKI, ASSISTANT PROFESSOR OF ANCIENT HISTORY, JAGIELLONIAN UNIVERSITY, KRAKOW (POLAND)

STYLIANOS V. SPYRIDAKIS, PROFESSOR OF ANCIENT HISTORY. UNIVERSITY OF CALIFORNIA, DAVIS (USA)

THEODOSIA STEFANIDOU-TIVERIOU, PROFESSOR OF CLASSICAL ARCHAEOLOGY, ARISTOTLE UNIVERSITY OF THESSALONIKI (GREECE)

RACHEL STERNBERG, ASSOCIATE PROFESSOR OF CLASSICS, CASE WESTERN RESERVE UNIVERSITY (USA)

DR. TOM STEVENSON, LECTURER IN CLASSICS AND ANCIENT HISTORY, UNIVERSITY OF QUEENSLAND (AUSTRALIA)

ANDREW STEWART, NICHOLAS C. PETRIS PROFESSOR OF GREEK STUDIES, UNIVERSITY OF CALIFORNIA, BERKELEY (USA)

OLIVER STOLL, UNIV.-PROF. DR., ALTE GESCHICHTE/ ANCIENT HISTORY, UNIVERSITÄT PASSAU (GERMANY)

RICHARD STONEMAN, HONORARY FELLOW, UNIVERSITY OF EXETER (UK)

RONALD STROUD, KLIO DISTINGUISHED PROFESSOR OF CLASSICAL LANGUAGES AND LITERATURE EMERITUS, UNIVERSITY OF CALIFORNIA, BERKELEY (USA)

SARAH CULPEPPER STROUP, ASSOCIATE PROFESSOR OF CLASSICS, UNIVERSITY OF WASHINGTON (USA)

DR PANICO J. STYLIANOU, LECTURER IN ANCIENT HISTORY, LADY MARGARET HALL, UNIVERSITY OF OXFORD (UK)

THOMAS A. SUITS, EMERITUS PROFESSOR OF CLASSICAL LANGUAGES, UNIVERSITY OF CONNECTICUT (USA)

NANCY SULTAN, PROFESSOR AND DIRECTOR, GREEK & ROMAN STUDIES, ILLINOIS WESLEYAN UNIVERSITY (USA)

PETER MICHAEL SWAN, PROFESSOR OF HISTORY EMERITUS, UNIVERSITY OF SASKATCHEWAN (CANADA)

DAVID W. TANDY, PROFESSOR OF CLASSICS, UNIVERSITY OF TENNESSEE (USA)

JAMES TATUM, AARON LAWRENCE PROFESSOR OF CLASSICS, DARTMOUTH COLLEGE (USA)

MARTHA C. TAYLOR, ASSOCIATE PROFESSOR OF CLASSICS, LOYOLA COLLEGE IN MARYLAND (USA)

PETROS THEMELIS, PROFESSOR EMERITUS OF CLASSICAL ARCHAEOLOGY, ATHENS (GREECE)

EBERHARD THOMAS, PRIV.-DOZ. DR., ARCHÄOLOGISCHES INSTITUT DER UNIVERSITÄT ZU KÖLN (GERMANY)

MICHALIS TIVERIOS, PROFESSOR OF CLASSICAL ARCHAEOLOGY, ARISTOTLE UNIVERSITY OF THESSALONIKI (GREECE)

MICHAEL K. TOUMAZOU, PROFESSOR OF CLASSICS, DAVIDSON COLLEGE (USA)

STEPHEN V. TRACY, PROFESSOR OF GREEK AND LATIN EMERITUS, OHIO STATE UNIVERSITY (USA)

PROF. DR. ERICH TRAPP, AUSTRIAN ACADEMY OF SCIENCES/VIENNA RESP. UNIVERSITY OF BONN (GERMANY)

CHRISTOPHER TRINACTY, KEITER FELLOW IN CLASSICS, AMHERST COLLEGE (USA)

STEPHEN M. TRZASKOMA, ASSOCIATE PROFESSOR OF CLASSICS, UNIVERSITY OF NEW HAMPSHIRE (USA)

VASILIKI TSAMAKDA, PROFESSOR OF CHRISTIAN ARCHAEOLOGY AND BYZANTINE HISTORY OF ART, UNIVERSITY OF MAINZ (GERMANY)

CHRISTOPHER TUPLIN, PROFESSOR OF ANCIENT HISTORY, UNIVERSITY OF LIVERPOOL (UK)

YANNIS TZIFOPOULOS, ASSOCIATE PROFESSOR OF ANCIENT GREEK AND EPIGRAPHY, ARISTOTLE UNIVERSITY OF THESSALONIKI (GREECE)

GRETCHEN UMHOLTZ, LECTURER, CLASSICS AND ART HISTORY, UNIVERSITY OF MASSACHUSETTS, BOSTON (USA)

PANOS VALAVANIS, PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF ATHENS (GREECE)

ERIC R. VARNER, ASSOCIATE PROFESSOR, DEPARTMENTS OF CLASSICS AND ART HISTORY, EMORY UNIVERSITY, ATLANTA (USA)

ATHANASSIOS VERGADOS, VISITING ASSISTANT PROFESSOR OF CLASSICS, FRANKLIN & MARSHALL COLLEGE (USA)

FREDERIK J. VERVAET, PHD, LECTURER IN ANCIENT HISTORY. SCHOOL OF HISTORICAL STUDIES THE UNIVERSITY OF MELBOURNE (AUSTRALIA)

CHRISTINA VESTER, ASSISTANT PROFESSOR OF CLASSICS, UNIVERSITY OF WATERLOO (CANADA)

DR. ZSOLT VISY, LEITER UNIVERSITÄT PÉCS LEHRSTUHL FÜR ALTE GESCHICHTE UND ARCHÄOLOGIE, ARCHÄOLOGISCHES SEMINAR (HUNGARY)

EMMANUEL VOUTIRAS, PROFESSOR OF CLASSICAL ARCHAEOLOGY, ARISTOTLE UNIVERSITY OF THESSALONIKI (GREECE)

SPEROS VRYONIS, JR., ALEXANDER S. ONASSIS PROFESSOR (EMERITUS) OF HELLENIC CIVILIZATION AND CULTURE, NEW YORK UNIVERSITY (USA)

MICHAEL B. WALBANK, PROFESSOR EMERITUS OF GREEK, LATIN & ANCIENT HISTORY, THE UNIVERSITY OF CALGARY (CANADA)

DR. IRMA WEHGARTNER, CURATOR OF THE MARTIN VON WAGNER MUSEUM DER UNIVERSITÄT WURZBURG (GERMANY)

BONNA D. WESCOAT, ASSOCIATE PROFESSOR, ART HISTORY AND ANCIENT MEDITERRANEAN STUDIES, EMORY UNIVERSITY (USA)

E. HECTOR WILLIAMS, PROFESSOR OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF BRITISH COLUMBIA (CANADA)

PETER JAMES WILSON FAHA, WILLIAM RITCHIE PROFESSOR OF CLASSICS, THE UNIVERSITY OF SYDNEY (AUSTRALIA)

ROGER J. A. WILSON, PROFESSOR OF THE ARCHAEOLOGY OF THE ROMAN EMPIRE, AND DIRECTOR, CENTRE FOR THE STUDY OF ANCIENT SICILY, UNIVERSITY OF BRITISH COLUMBIA, VANCOUVER (CANADA)

ENGELBERT WINTER, PROFESSOR FOR ANCIENT HISTORY, UNIVERSITY OF MÜNSTER (GERMANY)

TIMOTHY F. WINTERS, PH.D. ALUMNI ASSN. DISTINGUISHED PROFESSOR OF CLASSICS AUSTIN PEAY STATE UNIVERSITY (USA)

IOANNIS XYDOPOULOS, ASSISTANT PROFESSOR IN ANCIENT HISTORY, ARISTOTLE UNIVERSITY OF THESSALONIKI (GREECE)

DAVID C. YOUNG, PROFESSOR OF CLASSICS EMERITUS, UNIVERSITY OF FLORIDA (USA)

MARIA YPSILANTI, ASSISTANT PROFESSOR OF ANCIENT GREEK LITERATURE, UNIVERSITY OF CYPRUS (CYPRUS)

KATERINA ZACHARIA, ASSOCIATE PROFESSOR AND CHAIR, DEPARTMENT OF CLASSICS & ARCHAEOLOGY, LOYOLA MARYMOUNT UNIVERSITY (USA)

MICHAEL ZAHRNT, PROFESSOR FÜR ALTE GESCHICHTE, UNIVERSITÄT ZU KÖLN (GERMANY)

PAUL ZANKER, PROFESSOR EMERITUS OF CLASSICAL STUDIES, UNIVERSITY OF MUNICH (GERMANY)

FROMA I. ZEITLIN, EWING PROFESSOR OF GREEK LANGUAGE & LITERATURE, PROFESSOR OF COMPARATIVE LITERATURE, PRINCETON UNIVERSITY (USA)

332 SIGNATURES AS OF JUNE 22ND, 2009, THAT WERE SENT WITH THE UPDATE.

THE ORIGINAL LETTER SENT ON MAY 18TH, 2009, HAD 200 SIGNATURES.

FOR THE GROWING LIST OF SCHOLARS, PLEASE GO TO THE ADDENDA.

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CC: J. BIDEN, VICE PRESIDENT, USA

H. CLINTON, SECRETARY OF STATE USA

P. GORDON, ASST. SECRETARY-DESIGNATE, EUROPEAN AND EURASIAN AFFAIRS

H.L BERMAN, CHAIR, HOUSE COMMITTEE ON FOREIGN AFFAIRS

I. ROS-LEHTINEN, RANKING MEMBER, HOUSE COMMITTEE ON FOREIGN AFFAIRS

J. KERRY, CHAIR, SENATE COMMITTEE ON FOREIGN RELATIONS

R.G. LUGAR, RANKING MEMBER, SENATE COMMITTEE ON FOREIGN RELATIONS

R. MENENDEZ, UNITED STATES SENATOR FROM NEW JERSEY.

---

ADDENDA

3 SCHOLARS ADDED ON JUNE 25TH 2009:

JERKER BLOMQVIST, PROFESSOR EMERITUS OF GREEK LANGUAGE AND LITERATURE, LUND UNIVERSITY (SWEDEN)

CHRISTOS KARAKOLIS, ASSISTANT PROFESSOR OF NEW TESTAMENT, UNIVERSITY OF ATHENS (GREECE)

CHRYS C. CARAGOUNIS, PROFESSOR EMERITUS OF NEW TESTAMENT EXEGESIS AND THE DEVELOPMENT OF THE GREEK LANGUAGE SINCE ANCIENT TIMES, LUND UNIVERSITY (SWEDEN)

5 SCHOLARS ADDED ON JUNE 29TH 2009:

HAROLD D. EVJEN, PROFESSOR EMERITUS OF CLASSICAL STUDIES, UNIVERSITY OF COLORADO AT BOULDER (USA)

HARA TZAVELLA-EVJEN, PROFESSOR EMERITA OF CLASSICAL ARCHAEOLOGY, UNIVERSITY OF COLORADO AT BOULDER (USA)

MICHAEL PASCHALIS, PROFESSOR OF CLASSICS, DEPARTMENT OF PHILOLOGY, UNIVERSITY OF CRETE, RETHYMNON (GREECE)

VRASIDAS KARALIS, PROFESSOR, NEW TESTAMENT STUDIES, THE UNIVERSITY OF SYDNEY (AUSTRALIA)

EMILIO CRESPO, PROFESSOR OF GREEK PHILOLOGY, UNIVERSIDAD AUTÓNOMA DE MADRID (SPAIN)

2 SCHOLARS ADDED ON JULY 8TH 2009:

DR. ZOI KOTITSA, ARCHAEOLOGIST, SCIENTIFIC RESEARCH FELLOW, UNIVERSITY OF MARBURG (GERMANY)

DR. EKATERINI TSALAMPOUNI, ASSISTANT LECTURER IN NEW TESTAMENT, GRAECO-ROMAN ANTIQUITY AND KOINE GREEK, LUDWIG-MAXIMILLIAN UNIVERSITY OF MUNICH (GERMANY)

2 SCHOLARS ADDED ON JULY 18TH 2009:

KAROL MYŚLIWIEC, PROFESSOR DR., DIRECTOR OF THE RESEARCH CENTRE FOR MEDITERRANEAN ARCHAEOLOGY, POLISH ACADEMY OF SCIENCES, WARSAW (POLAND)

STEPHEN NEALE, DISTINGUISHED PROFESSOR OF PHILOSOPHY AND LINGUISTICS, JOHN H. KORNBLITH FAMILY CHAIR IN THE PHILOSOPHY OF SCIENCE AND VALUES, CITY UNIVERSITY OF NEW YORK (USA)

1 SCHOLAR ADDED ON JULY 20TH 2009:

MARSH MCCALL, PROFESSOR EMERITUS, DEPARTMENT OF CLASSICS, STANFORD UNIVERSITY (USA)

1 SCHOLAR ADDED ON AUGUST 10TH 2009:

GEORGIA TSOUVALA, ASSISTANT PROFESSOR OF HISTORY, ILLINOIS STATE UNIVERSITY (USA)

1 SCHOLAR ADDED ON SEPTEMBER 3RD 2009:

MIKA RISSANEN, PHL, ANCIENT HISTORY, UNIVERSITY OF JYVASKYLA (FINLAND)

2 SCHOLARS ADDED ON OCTOBER 10TH 2009:

JOSÉ ANTONIO FERNÁNDEZ DELGADO. PROFESSOR OF GREEK PHILOLOGY, UNIVERSIDAD DE SALAMANCA (SPAIN)

ZINON PAPAKONSTANTINOU, ASSISTANT PROFESSOR OF HELLENIC STUDIES, HENRY M. JACKSON SCHOOL OF INTERNATIONAL STUDIES, UNIVERSITY OF WASHINGTON, SEATTLE (USA)

1 SCHOLAR ADDED ON OCTOBER 17TH 2009:

EUGENE AFONASIN, PROFESSOR OF GREEK PHILOSOPHY AND OF ROMAN LAW, NOVOSIBIRSK STATE UNIVERSITY (RUSSIA)

1 SCHOLAR ADDED ON OCTOBER 28TH 2009:

HARTMUT WOLFF, PROFESSOR FÜR ALTE GESCHICHTE (EMERITUS), UNIVERSITÄT PASSAU (GERMANY)

1 SCHOLAR ADDED ON OCTOBER 30TH 2009:

ELENI MANAKIDOU, ASSISTANT PROFESSOR OF CLASSICAL ARCHAEOLOGY, ARISTOTELES UNIVERSITY OF THESSALONIKI (GREECE)

1 SCHOLAR ADDED ON NOVEMBER 3RD 2009:

PAVLOS SFYROERAS, ASSOCIATE PROFESSOR OF CLASSICS, MIDDLEBURY COLLEGE (USA)

1 SCHOLAR ADDED ON NOVEMBER 11TH 2009:

KONSTANTINOS KAPPARIS, ASSOCIATE PROFESSOR OF CLASSICS, DEPARTMENT OF CLASSICS, UNIVERSITY OF FLORIDA (USA)

1 SCHOLAR ADDED ON NOVEMBER 14TH 2009:

PROF. DR. INGOMAR WEILER, PROFESSOR EMERITUS, ANCIENT GREEK AND ROMAN HISTORY, KARL-FRANZENS-UNIVERSITÄT OF GRAZ (AUSTRIA)

1 SCHOLAR ADDED ON NOVEMBER 15TH 2009:

WERNER PETERMANDL, UNIVERSITÄTSLEKTOR, KARL-FRANZENS-UNIVERSITÄT OF GRAZ (AUSTRIA)

1 SCHOLAR ADDED ON DECEMBER 4TH 2009:

ISTVÁN KERTÉSZ, PROFESSOR OF ANCIENT GRECO-ROMAN HISTORY, DEPARTMENT OF ANCIENT AND MEDIEVAL HISTORY, PEDAGOGIC COLLEGE IN EGER (HUNGARY)

1 SCHOLAR ADDED ON MARCH 11TH 2010:

NASSI MALAGARDIS, CHARGÉE DE MISSION AU DÉPARTEMENT DES ANTIQUITÉS GRECQUES, ETRUSQUES ET ROMAINES DU MUSÉE DU LOUVRE, PARIS (FRANCE)

2 SCHOLARS ADDED ON MARCH 25TH 2010:

GONDA VAN STEEN, PROFESSOR, DEPARTMENT OF CLASSICS, UNIVERSITY OF FLORIDA (USA)

ROBERT WAGMAN, ASSOCIATE PROFESSOR OF CLASSICS, DEPARTMENT OF CLASSICS, UNIVERSITY OF FLORIDA (USA)

2 SCHOLARS ADDED ON MARCH 27TH 2010:

ANGELOS BARMPOTIS, PH.D., DIRECTOR OF THE DIGITAL EPIGRAPHY AND ARCHAEOLOGY PROJECT, UNIVERSITY OF FLORIDA (USA)

ELENI BOZIA, PH.D. VISITING LECTURER, DEPARTMENT OF CLASSICS, UNIVERSITY OF FLORIDA (USA)

1 SCHOLAR ADDED ON APRIL 16TH 2010:

TIMOTHY JOHNSON, ASSOCIATE PROFESSOR, DEPARTMENT OF CLASSICS, UNIVERSITY OF FLORIDA (USA)

1 SCHOLAR ADDED ON APRIL 17TH 2010:

CHRISTOS C. TSAGALIS, ASSOCIATE PROFESSOR OF CLASSICS, ARISTOTLE UNIVERSITY OF THESSALONIKI (GREECE)

1 SCHOLAR ADDED ON AUGUST 31ST 2010:

POTITSA GRIGORAKOU, LECTURER IN HELLENISM IN THE ORIENT, PUBLIC UNIVERSITY OF ATHENS (GREECE)

2 SCHOLARS ADDED ON SEPTEMBER 3RD 2010:

MAURICE SARTRE, PROFESSOR OF ANCIENT HISTORY, EMERITUS. UNIVERSITÉ FRANÇOIS-RABELAIS, TOURS (FRANCE)

APOSTOLOS BOUSDROUKIS, RESEARCHER, INSTITUTE FOR GREEK AND ROMAN ANTIQUITY, NATIONAL HELLENIC RESEARCH FOUNDATION (GREECE)

1 SCHOLAR ADDED ON SEPTEMBER 10TH 2010:

ALASTAR JACKSON, HON. RESEARCH FELLOW IN ANCIENT HISTORY, MANCHESTER UNIVERSITY (U.K.)

1 SCHOLAR ADDED ON OCTOBER 5TH 2010:

FRANCES VAN KEUREN, PROFESSOR EMERITA OF ANCIENT ART HISTORY, UNIVERSITY OF GEORGIA (USA)

1 SCHOLAR ADDED ON DECEMBER 4TH 2010:

THOMAS HEINE NIELSEN, ASSOCIATE PROFESSOR OF ANCIENT GREEK, UNIVERSITY OF COPENHAGEN (DENMARK)

1 SCHOLAR ADDED ON APRIL 18TH 2011:

ANTONIS BARTSIOKAS, ASSOCIATE PROFESSOR OF ANTHROPOLOGY, DEPARTMENT OF HISTORY AND ETHNOLOGY, UNIVERSITY OF THRACE (GREECE)

1 SCHOLAR ADDED ON OCTOBER 16TH 2011:

THANASIS MASKALERIS, EMERITUS PROFESSOR OF CLASSICS AND COMPARATIVE LITERATURE, SAN FRANCISCO STATE UNIVERSITY (USA)

1 SCHOLAR ADDED ON FEBRUARY 22ND 2013:

STEPHEN BERTMAN, PROFESSOR EMERITUS OF CLASSICS, THE UNIVERSITY OF WINDSOR (CANADA)

1 SCHOLAR ADDED ON OCTOBER 12TH 2013:

HELEN KARABATZAKI, ASSOCIATE PROFESSOR EMERITUS OF ANCIENT GREEK PHILOSOPHY, UNIVERSITY OF IOANNINA (GREECE)

National Museum, Beirut, Lebanon. A Mosaic From Baalbek, Dating …

www.alamy.com1300 × 1021Sök med bild

… ALEXANDER THE GREAT. NATIONAL MUSEUM, BEIRUT, LEBANON. A MOSAIC FROM BAALBEK, DATING FROM THE 4TH

alexandersh.jpg

167.206.67.164200 × 269Sök med bild

5-67 HEAD OF ALEXANDER THE GREAT, FROM PELLA, MACEDONIA, CA. 200-150 B.C. MARBLE, APPROX. 1′ HIGH. ARCHEOLOGICAL MUSEUM, PELLA.

Head in marble of Young Alexander, found on the Akropolis, Athens. ca. 338 – 330 BC. (Akropolis Museum, Athens)

Tetradrachm minted by Alexander the Great, featuring head of Herakles (above is Heracles in Gold) on the obverse, ca. 336-326 BC

Silver tetradrachm(=Four Drachma Coin) minted by Ptolemy I Soter of Egypt. Obverse: Head of Alexander

Silver tetradrachm minted by Lysimachus of Thrace. Obverse: Alexander with horns of Ammon

Alexander “Keraunophoros”(=thundercarrier – Phoro=to srry;ie: metaphoric, Christophoros=the one, who is carring Christ etc; See. Etymology on the board)), carnelian gemstone inscribed “Of Neisos”. (Hermitage Museum, St. Petersburg)

. Silver tetradrachm minted by Philip II of Macedon. obverse: Zeus. ca. 340 BC.

MACEDONIAN COIN:
(IN ENGLISH: “ALEXANDER’S”) MACEDONIAN COIN, STATING IN GREEK: “ΑΛΕΞΑΝΔΡΟΥ”
(IN ENGLISH: “ALEXANDER’S”)

HOLY SYMBOLS OF GREEK GODS

Zeus(Zupiter later in Latin)

Symbols: Thunderbolt, Aegis, Kotinos 

Animals: Eagle, Bull, Rooster
Trees & Plants: Oak Sage. Secondary: Olive, Margaret, Amaranto, Marjoram, Walnut, Mullein, verbena, almond, violet, cassia, carnation, rope.

Neptune 
Symbols: Trident
Animals:’logo, Dolphin, Taurus
Stones: beryllium Aquamarine, Pearl
Trees & Plants: Pine, Sea Anemone, Seaweed. Secondary: linden, Outrikoularia.

Ades

Hades with Cerberus (Heraklion Archaeological Museum)
ABODE	The Underworld
SYMBOL	Cerberus, Drinking horn, scepter, Cypress,Narcissus, key
CONSORT	Persephone
PARENTS	Cronus and Rhea
SIBLINGS	Poseidon, Demeter,Hestia, Hera, Zeus, Chiron
CHILDREN	Macaria, Melinoe andZagreus
ROMAN EQUIVALENT	Dis Pater, Orcus

 
Trees & Plants: Cypress, Rodia. Secondary: Mint, Narcissus, Corn.
Hera

Symbols: Diadem, Scepter
Animals: Peacock, Cow
Trees & Plants: Lily, Orange. Secondary: Apple, Willow, Sikia, Myrrh.

 
ATHENA (Latinizased to Minerva)

Symbols: Aegis
Animals: Owl, Snake
Trees & Plants: Olive. Secondary: Oak, Birch, Stafragkatho, Mulberry.

ΑΠΟΛΛΩΝ – APOLLO:

Symbols: Lyra, Bow & Arrow
Animals: Kourouna, Wolf
Stones: Sapphire
Trees & Plants: Daphne. Secondary: Sunflower, Sunflower, mistletoe (Guy), Hyacinth, Orange,’nithos, Fenugreek, Phoenix, Lily, Leek.

ARTEMIS – (DIANA)

Symbols: Bow & Arrow, Crescent
Animals: Deer, Hawk
Stones: Amethyst, Selinolithos, Pearl
Trees & Plants: Willow, Jasmine, Beech, Myrtle. Secondary: Amaranth, Margarita, Hazel, Yarrow, Balm, Acacia, Mandrake, rue.

Αφροδίτη – Aphrodite
Symbols: Dolphin, Rose, Scallop Shell, Myrtle, Dove,Sparrow, Girdle, Mirror, and Swan  (Roman copy of 2nd century AD), National Archaeological Museum, Athens)

Άρης – Ares
Symbols: Spear & Sword
Animals: Dog, Orne
Stones: Onyx, Sardonyx
Trees & Plants: mint, rue, linden, verbena, Adelochorto.

ΔΉΜΗΤΡΑ – DEMETER (CERES IN LATIN)

Didrachme from Paros island, struck at the Cyclades and representing Demeter
Symbols: Sickle, Torch
Animals: Snake
Stones: Emerald
Trees & Plants: Ear, Barley. Secondary: Willow, Corn, Rodia, haricot, Vlichouni, Poppy.

Demeter, enthroned and extending her hand in a benediction toward the kneeling Metaneira, who offers thetriune wheat (c. 340 BC)
ABODE	Mount Olympus
SYMBOL	Cornucopia, Wheat, Torch,Bread
CONSORT	Iasion, Zeus, Oceanus,Karmanor, Poseidon andTriptolemus
PARENTS	Cronus and Rhea
SIBLINGS	Hestia, Hera, Hades,Poseidon, Zeus, Chiron
CHILDREN	Persephone, Despoina,Arion, Plutus, Philomelus,Eubuleus, Chrysothemisand Amphitheus I
ROMAN EQUIVALENT	Ceres
FESTIVALS	Thesmophoria

Demeter. Roman copy of Greek original fom: 420 f.Kr.  
Symbols: Sickle, Torch
Animals: Snake
Stones: Emerald
Trees & Plants: Ear, Barley. Secondary: Willow, Corn, Rodia, haricot, Vlichouni, Poppy.

ΕΡΜΉΣ – HERMES

Symbols: caduceus, winged sandals
Animals: Goat
Metals: Mercury
Trees & Plants: Almond, Spruce. Secondary:’nithos, Phoenix, Hazel, Clove, Cinnamon, Mulberry.

Hermes  Hermes with his mother Maia. Detail of the side B of an Attic red-figure belly-amphora, c. 500 BC.

ΉΦΑΙΣΤΟΣ – HEPHAESTUS

Symbols: Hammer & Anvil, ax, Fire
Trees & Plants: Margarita. Stones: Emerald, Lazouri, Pearl
Trees & Plants: Rose, Lily, Anemone, Milia, Myrtle. Secondary: Aloe, fern, heather, benzoin, myrrh, Quince, Sandalwood, Angelica, Pear, Astir, Afroxylia (elder), Violet.

ARIS – (MARS)

Symbols: Spear & Sword
Animals: Dog, Orne
Stones: Onyx, Sardonyx
Trees & Plants: mint, rue, linden, verbena, Adelochorto.

Hephaestus  
Symbols: Hammer & Anvil, ax, Fire
Trees & Plants: Margarita.

Pan  
Symbols: Flute, Phallus
Animals: Goat, Ram, stag, Taurus
Trees & Plants: Pine, Spruce,’mpelos. Secondary: Vanilla, Reed, Daffodil, Orchid, chin, Silenus, Savory, Fern, Wild Flowers.

DIONYSOS  

Symbols: Thyrsos, Phallus
Animals: Snake
Stones: Amethyst
Trees & Plants: Ivy,‘mpelos. Secondary: Aesculapius, Sikia, tinder, Fennel, Tamarix, Mushroom.

Dionysus riding the Panthers. Floor mosaic.
October 120-80 dd. to n.э. Delos House

Hecate 

Symbols: Manual
Animals: Snake, Dog (usually black)
Stones: Amethyst, Selinolithos, Pearl
Trees & Plants: Lavender, Myrrh, Willow. Secondary: aconite, cyclamen, Garlic, Mint, Mandrake, belladonna.

EROS – (Cupid)  
Stones: Opal
Trees & Plants: Rose red, white violet, Cane.

PROMETHEUS – (/PRƏˈMIːΘIːƏS/ PRƏ-MEE-THEE-ƏS;GREEK:ΠΡΟΜΗΘΕΥΣ [PROMƐːTʰEÚS], MEANING “FORETHOUGHT”) IS ATITAN IN GREEK MYTHOLOGY, BEST KNOWN AS THE BENEFACTOR WHO BROUGHT FIRE TO MANKIND. PROMETHEUSSIDED WITH ZEUS AND THE ASCENDING OLYMPIAN GODS IN THE VAST COSMOLOGICAL STRUGGLE AGAINST CRONUS(KRONOS) AND THE OTHER TITANS. PROMETHEUS WAS THEREFORE ON THE CONQUERING SIDE OF THE CATACLYSMIC WAR OF THE GREEK GODS, THETITANOMACHY, WHERE ZEUSAND THE OLYMPIAN GODS ULTIMATELY DEFEATED CRONUSAND THE OTHER TITANS.

 

Prometheus symbolizes the strong man who towered over the fate of the mortal, who touched the divine in man and open the road to sovereignty over the hostile environment.

The body of the fire was really ensarkotis all knowledge. Here formed the archetype of Prometheus. Prometheus is the wise who won the knowledge and pass it to humans. Culture came from the thought that the wise.

The tragedy of the hero makes the model of the tragic human or political person and in it the expression gained worldwide fame. Prometheus was a god and unlike all the other demigods were begotten. He ascended to Olympus with his strength and his mind.

Prometheus also symbolizes the ingenuity and foresight. It symbolizes the spirit of independence toward power (DIAS). Displays the strength of mind and will.

But the works of tragic poets Aeschylus and especially the myth gets another dimension. For Aeschylus in his work “Prometheus Bound” Prometheus gave gifts – knowledge – people to help them avoid extinction (30-34, 108-109). Faded from mortal fear of death (261-262) gave fire to mankind (264), arts (266) and gave them the mind and thought, origin of culture and all the arts (architecture, Arithmetic, Georgia, Navigation, Medical, Divination, Metallurgy etc).

Aeschylus in his work expresses the ideal of the citizen, who alone decided and acted, he knew to be erected in front of the fate and beats with its rationale. And this logic he wants to express in the theater. Prometheus will become a symbol of the tragic and civil man, the man who created culture. He is the hero who rose up with power, with his will and deceit against the gods. The gods punish him, but Prometheus unyielding continues to resist. And in the end beats and redeemed.

It is the struggle of the citizens of Athens who defeated the formidable power of Persia.

In Aeschylus Prometheus is son of Themis, ie. The Law and the Law. Through this struggle Jupiter – Prometheus reflects the struggle of Athens against tyranny (Pisistratus) creator of the classic culture that opposes against every irrational power and eventually impose logic.

In the stories of Prometheus many go beyond. For them, Prometheus was not only his great friend and benefactor of mankind, but also the creator of.

And not only because he was the father of Deucalion – the first mortal king on earth who became the ancestor of the Greeks and all people – but because he had fashioned with his own hands (Lucian – Prometheus). Prometheus cooperation of Athena, had fashioned humans from clay and fire and had given them form similar to the form that had the gods.

Uranus 
Trees & Plants: linden

Gaia 
Stones: Amber (Electro), Coral
Trees & Plants: Orange, Apple Tree

KRONOS – (Saturn) 

Trees & Plants: Barley, Orchid. Secondary: Corn, Lavender, Pomegranate, Raspberry.

Rea  
Trees & Plants: Myrrh

Persephone 

Trees & Plants: Rodia, Poppy.

Adonis 
Trees & Plants: Myrrh, Rose, Lettuce, Fennel, heather

Asclepius 
Animals: Snake
Trees & Plants: Daphne, Mustard.

Iris

 
Trees & Plants: Lily

Helios – Sun Phaethon (or Aelios or “Helios”) & the chariot of the sun, Athenian
red-figure krater C5th B.C., British Museum, London 
Trees & Plants: Sunflower.

Springtide
Trees & Plants: Cedar

Hypnos – Sleep

 Death and Sleep carrying the dead body of Sarpedon. Performance by erythromofro(=Red shaped) goblet early 5th century. BC, British Museum, London
Trees & Plants: Poppy

Macedonia comes from the word Makednos,
also Makedon or Macedon (Greek: Μάκεδνος Μακεδών Makedōn or poetic Μακηδών Makēdōn), was, according to *Hesiod’s Eoiae or Catalogue of Women on the origin of the Greeks, the son of Thyia and Zeus, brother of Thessalian Magnes and cousin of Boeotian or Epirotan Graecus. His mother Thyia was the daughter of the Greek progenitorsDeucalion and Pyrrha and sister of Hellen, who together with his three sons Dorus, Xuthus (with his sons Ion and Achaeus) and Aeolos, comprised the set of the basic 7 ancient tribes that formed the Hellenic nation. The above genealogy is also quoted by the Macedonian historian Marsyas of Pella.

Makednos or Makedon, meaning “tall” or “highlander”, was the tribal name of the ancient Macedonians.

The route of the Argeads fromArgos,Peloponnese toMacedonia

AMAC’s (Australian Macedonian Advisory Council) role is to promote the truth concerning the Macedonian issue in Australian and international fora

 

PHOENICIAN “ALPHABET”:  AN HISTORICAL DECEPTION 

Overwhelming evidence that one of the most important discoveries in the history of civilization is Greek ,a deception that usurps and distorts Greek History and Civilization. It is of utmost importance that the truth be restored not only for modern Greece, but also for thewhole of humanity.The deception that alphabetical script was discovered by the Phoenicians is a long-lived one.For the past 14 years [the Greek scholarly magazine] Davlos has published numerous articleson this problem. This prompted K. Katis to ask that we submit a relevant article for hismainstream daily so that this important issue would become known to a wider audience.

This article summarizes the strong evidence against the “Phoenician Deception,” and proves that the greatest discovery in the history of civilization is Greek. We believe it necessary to republish this article in [this issue of] Davlos exactly as it appeared in the daily.

A SCIENTIFIC MONSTROSITY.

According to linguistic theory, an “alphabet” is defined as “the sum of symbols following a specific sequence and order used to ascribe the essential utterances of a language, under thecondition that each utterance represents only one symbol and vice-versa”. Consequently, in alphabetical script (as an example, in the writings of the people of Europe, America, Australian, as well as the other parts of the world) each letter represents one essential sound.This is not true for the imperfect alphabets expressed through syllables where each symbolrepresents a syllable (with two or more voiced sounds). For example, in Greek Linear A andB, there is a symbol that represents the syllable ko (k + o), a symbol that represents the syllable po (p + o), etc. In Phoenician writing (which has only consonants and no vowels), this situation is even worse, as far as we can tell from the small amount of existing samples.

IN PHOENICIAN, EACH SYMBOL IS NOT EQUIVALENT TO ONE SPECIFIC SYLLABLE, BUT TO A VARIETY OF SYLLABLES, AND THUS THE READER CAN USE HIS IMAGINATION WHEN ATTEMPTING TO DECIPHER THE SOUNDS. FOR EXAMPLE, THERE ARE CONSONANTS WHICH CAN BE READ AS EITHER BA, BOU, BE, BI, BO, ETC. OTHERS  IS NOT AN ALPHABET, IT IS A LESS ADVANCED FORM OF WRITINGTHAT CAN BE READ AS GOU, GA, GE, GO, AND SO ON. CONSEQUENTLY, PHOENICIAN SCRIPT DOES NOT CONSTITUTE AN ALPHABET, AND IS NOT EVEN AN ADVANCED FORM OF SYLLABIC SCRIPT NEARING THE PERFECTION OF THE EQUIVALENT GREEK SYLLABIC WRITINGS. IT IS TRULY AMAZING TO THINK THAT, IN THE ACADEMIC WORLD OF THE PAST 150 YEARS, THE ALMOST CONTRADICTORY TERM OF “PHOENICIAN ALPHABET” HAS BEEN ESTABLISHED, WHICH, IN REALITY REFERS TO A TYPE OF WRITING THAT HAS NOTHING TO DO WITH AN ALPHABET. IT IS EVEN MORE UNBELIEVABLE TO THINK THAT THE SCIENTIFIC DOGMA THAT GREEK CAME FROM PHOENICIAN HAS BEEN ENFORCED. NOT ONLY THE PHOENICIAN IS NOT AN ALPHABET, IT IS A LESS ADVANCED FORM OF WRITING THAN GREEK LINEAR A AND B.

SO, PROFESSOR G. BABINIOTIS’ STATEMENT THAT “PHOENICIAN WRITING IS SOMETHING LIKE A SYLLABIC ALPHABET” MUST BE REJECTED AND REPLACED WITH THE CORRECT CHARACTERIZATION OF PHOENICIAN AS A “PURELY CONCISE SYLLABLE SYSTEM OF WRITING,” AS STATED BY THE FORMER PRESIDENT OF THE GREEK SOCIETY OF PHILOLOGISTS, PAN. GEORGOUNTZOS (SEE “THE ALPHABET: A GREEK DISCOVERY” BY PAN. GEORGOUNTZOS, DAVLOS, ISSUE 142, OCTOBER 1993, PAGE 8242).

GREEKNESS OF THE ALPHABET

a) Archaeological Evidence The theory that the alphabet is a Phoenician discovery has been maintained through the argument, among other things, that certain symbols of Phoenician writing are similar to the letters of the alphabet. For example, the Phoenician alef is the reverse or sideways Greek “A.” This argument was a strong one until about 100 years ago, when linguists and historians still maintained that the Greeks did not know how to write before 800 B. C.! Around 1900 A.D., however, Arthur Evans excavated the Greek Minoan Crete and discovered the Greek Linear writings, whose symbols corresponded to 17 of the 24 letters of the Greek Alphabet. Given that (A), the most ancient evidence of the Greek scripts (Linear A and Linear B) that were later discovered in Pylos, Mycenae, Menidi and Thebes — but also in more northern areas up to the Danube river as well — were dated to before 1500 B.C. And (B), that the Phoenicians and their writings appear in history no earlier than 1300 BC, Evans was the first person to express doubts about the theory that the Greeks received their script from the Phoenicians. He put forward the scientific suspicion that it was probably the other way round. The doubts pertaining as to who was first — the Phoenicians or the Greeks — in discovering writing, became a certainty when French professor, Paul Fore, an internationally acclaimed specialist on Prehistoric Archaeology, published a report in Nestor (an American Archaeological Journal of the University of Indiana — 16th year, 1989, page 2288). In this report, he submits and deciphers plates with Greek Linear writing found at the cyclopean wall of Pilikates, in Ithaca, dated, through the use of modern scientific methods, back to 2700 B.C., The language of these plates was Greek, and the decoding by professor Fore resulted in the following syllabic text, expressed phonetically: A]RE-DA-TI. DA-MI-U-A-.A-TE-NA-KA-NA-RE (ija)-TE. The phonetic equivalent of this is translated, always according to the professor, as: “Ιδού τι εγώ η Αρεδάτις δίδω εις την ανασσαν, την θεάν Ρέαν: 100 αίγας, 10 πρόβατα, 3 χοίρους” [Here is what I, Aredatis, gives to the queen- goddess Rea, 100 goats, 10 sheep, 3 pigs]. (See, “Davlos” magazine, issue 107, November 1990, page 6103). Thus, Fore proved that the Greeks were writing and speaking Greek at least 1400 years before the appearance of the Phoenicians and their script in history. But, the archaeological excavations in Greece during the last 15 years have given us many more great surprises: The Greeks were writing using not only Linear A and B, but also a type of writing identical to that of the alphabet since at least 6000 B.C. In fact, at Dispilio, in the lake of Kastoria, in northern Greece, professor G. Houmouziadis discovered a plate with writing very similar to that of the alphabet, which was dated, using radioactive Carbon- 14 and visual photothermal methodology, back to 5250 B.C. (see Davlos, issue 147). Three years later, N. Samson, a curator of the Prehistoric and Classical Antiquities Department, discovered shards of vases (“ostraka”) with letters identical to the present Greek alphabet while excavating at the “Cyclop’s Cave,” on the deserted island of Yioura, near the inhabited island of Alonnissos, in the Northern Sporades island complex. These vases were dated to5,500 to 6,000 B.C. with the same methods (see “Davlos,” issue 185, May 1997). The same archaeologist, while performing excavations on the island of Milos, discovered vessels of the proto-cycladic period (mid-3rd millennium B.C.) with letters identical to the Greek letters:

“X,” “N,” “M,” “K,” “Ξ” [ksi],”Π” [p], “Ο,” & “Ε.” (See N. Samson’s interview in Davlos,issue 204, December 1998, page 12749.)

It is apparent that these archaeological discoveries have given a “comical’ character to the so-called “Phoenician Theory” on the discovery of writing. In addition, these archaeological discoveries have revolutionized chronological dating of Greek history as it is taught today, as well as the world history of civilization itself. (See also the book by Con. Koutrouvelli, “Re- establishing the Chronology of Prehistoric Times based primarily on astronomical information from Ancient Writers,” Davlos Publishing, 1999.)

b) The somewhat mathematical proof

While the house-of-cards which provided “proof”‘ of the so-called “Phoenician alphabet” was being torn down by archaeological discoveries, another overwhelming piece of evidence surfaced. This evidence was offered to us by the 20-year long discreet and timid research of the Greek Language and Writing by a great researcher, Elias Tsatsomoiros. Unfortunately E.Tsatsomoiros passed away on December 19th 1991, after having, however, completed his revolutionary work, History of the Genesis of the Greek Language-from the hunter-gatherer to the time of Zeus-the Deciphering of the Greek Alphabet. The undersigned [writer of this article] had the honor of publishing and editing this work (Davlos Publishing, 1991), but also the honor of having worked closely with the researcher for more than a decade. We had long discussions on the numerous problems arising from the research, and we had published a series of articles in Davlos magazine. This memorable researcher proved in a remarkable way that every letter of the Greek alphabet contained a consistent code meaning, which is literally introduced either exactly or metaphorically within the general meaning of the Greek word it belongs to, as a partial meaning. Consequently, every (ancient) Greek word is basically an acronym (similar to D(imosia) E (picheirisi) H(lektrismou) [=ΔΕΗ in Greek, or as U(nited) N(ations), in English], where every letter provides a significant or less significant notional element, and then, they all together provide the logical definition of the meaning expressed bythe word. The “significant difference” of each word’s meaning is usually provided by the firstletter. Obviously, there is not enough space in this article to present the code meaning of the letters of the Greek alphabet as a whole, as they are analyzed in this revolutionary volume of research in the field of human speech. As an example, I will choose only one of the 24 letters of our alphabet, “Ypsilon” = “Y” or, small case, “u” (pronounced, long-e “eepsilon,” the 20th letter of the Greek alphabet, and familiar to us as “Y” in the so-called “Latin” alphabet– which is nothing more than a variationof the Greek “Chalcidean” alphabet). Ypsilon, therefore, as its shape indicates, has the code meaning of “a cavity” οr, if reversed, of a “convexity.” This meaning is introduced into the words containing this letter, and sometimes, by extension into the meaning of liquids (which, through their natural flow end up filling the “cavity”). I will quickly mention some of the names of vessels and liquids (such as the amphiconical κ-Υ-πελλο which is dated back to 2700 B.C. and is displayed at the Heraklion Museum). One may add to the words mentioned there, many others, such as kot-Y-li, go-Y-ttos, tr-Y-blion, p-Y-xis, amphore-Y-s, b-Y-tion, l-Y-chnos, procho-Y-s, ske-Y-os, etc, all having the meaning of a curvedobject. Also, some other words such as k-Y-hsis (rounding of the stomach ofan eng-Y-os [pregnant] woman); k-Y-ma (curving on the surface of the ocean); cr-Y-pti (curving of the ground); the preposition [h-Y-po] Y-po (meaning under a certain level); h-Y-per (preposition meaning above acertain level); Y-psos =height; and all of the hundreds of words that have h-Y-po or h-Y-per as a prefix, as well as thousands of others. This discovery, which unfortunately has been officially ignored, is a continuation of the forgotten Platonic approach to the problem of language (see Plato’s Cratylus ).

This theory:

1. Completely rejects the that the Greek language came from another language (the so-called“Indo-European”!!!), since it is proven to be the only non-conventional language of the world. In other words, the only language where a relationship betweenthe “word” (as a form) and the “meaning of the word” is established.

2. Consequently, it is proven that Greek is the first and only created language of the human species which provided the basis for all “conventional” languages, as are all the other languages of the world (where there is no causative relationship between the form and the meaning). These other languages are a corrupt form of Greek.

3. This theory proves, without a doubt, that the alphabet was created by the Greeks so that the 24 or 27 code letters would aid in attributing the meanings of the Greek words (and only of these).

4. Comparatively, this theory shows that the symbols of the Phoenician writings andtheir nouns, e.g., “alef” =ox, “beth” = hut, “gimel = camel, etc., not only do not containcoded meaning, but are also associated or refer to [the] primitive animal conditions[one would expect in a culturally backward society].

THE HERODOTUS EXTRACT

All the Greek writers who mention the alphabet (they called it “grammata”) consider it a very ancient Greek invention (by Prometheus, Palamedes, Linus, etc). The theory of the Phoenician alphabet was always, and is still, based on an exception to this general rule. Thisexception is an excerpt from Herodotus, that he himself presents as his ‘personal opinion’ (“ως εμοι δοκεει” = “as it seems to me”). This opinion was formed based on the sayings of others, as he himself mentions in the previous paragraphs (“αναπυνθανομενος” = taking information from others). Let us have a look at the Herodotus’ excerpt (History, E 58): [58. As far as the Phoenicians, they, who arrived with Cadmus, including the Gefiraioi, had lived in many other places and introduced also arts (new and unknown) to the Greeks; in fact, and also (some) writing, whichhad not been known to the Greeks before that, as I think, first this writing which was used by all the Phoenicians. With the passing of time, however, the Phoenicians changed this type of writing along with their language.]

The most important thing about this excerpt is that in the critical phrase “… ama tin foni metevallon kai ton rhithmon ton grammaton,” it is disclosed that the Phoenicians-Gefiraioi that went to Viotia with Cadmus brought some form of writing with them. But, as the Phoenicians “changed their language” (they learned Greek, in other words), they also changed their writing (they started writing, therefore, with the existing ancient Greek writing that already existed in Viotia). Although this statement was made by Herodotus, the translators, subsequently, provided the translation [meaning] that the local Greek Viotes and not the Phoenician emigrants changed their language and writing and adopted the Phoenician! This generally incoherent reference to the alphabet, as it has been saved, has been obviously altered and meddled with, who knows by whom and when. Let us look at the suspicious continuation of the text, as it has arrived to us:

Around them (the Phoenicians) lived at that place during that year (year of Cadmus) Ionian Greeks, who received through contact or through teachings by the Phoenicians their writings, changing their own writing which they used little. When using this writing and since this writing had been introduced to Greece by Phoenicians, they called it Phoenician.

Ionian Greeks living around the Phoenicians received the Phoenician writing and, using a few of its letters, since they had altered them and since it was just, they called it Phoenician-to pay tribute to the people who brought it to Greece, is a striking contradiction. Consequently, one can assume that this is a forged paragraph, hypothetically explanatory, which aims to reduce the previous statement “…as they changed their language, they changed their writing,” to an unimportant statement. This is how the “Phoenician Theory” was substantiated and is maintained as an obvious forgery.

IN ADDITION

The “Phoenician Theory” was established in Europe during a time, when, as the renowned British classical scholar, S. G. Rembroke (The Legacy of Greece, Oxford University Press, 1984) wrote, “The Phoenicians were given an intermediary role “that is not based on any historical information”. A role, in other words, of the transporter of wisdom and civilization from the “chosen” people of Israel to the “uncivilized” nations, and specifically the Greeks. This, of course, could be forgiven, since this was established around the end of the Medieval Ages, when religious fanaticism and backwardness had reached such a point that the daughter of Agamemnon, Iphigenia, is presented as the daughter of Iephtha; Deukalion is presented as…”Noah”(!!); Appis is a consul of Joseph; Apollo, Priam, Tiresias, and Orpheus are corrupted alias HYBRIDES personae of Moses. The story of the Argonauts is the crossing of the Israelites from Egypt to Palestine, and other similar distortions. The above are noted by Rembroke.

And we conclude: At the time, Hellenism was in comatose spiritual condition regarding national and historical awareness, and therefore totally unable to defend its history and civilization, and for this reason could not react and did not react. Today, it is with ourtolerance that our language is deemed “Indo-European,” and our writing “Phoenician,” our Athena and our Socrates are presented as “Blacks,” and our civilization as “African.” What spiritual situation are we in now? [i.e., What’s our excuse this time?]

 Notes: On page 13745 of this article, is a picture of a piece of shard [pottery] dated to 6,000 B.C., found on the islet of Youra of the North Sporades island complex with Greek alphabetical writings. One can see the letters “A,” “Y,” & “D” [alpha, eepsilon, and delta ], almost identical to the Greek letters of the classical alphabets. This finding proves that the Greek alphabet is older than the Greek Linear writings. This finding also completely and definitely disproves the false theory that the Greeks got their alphabet from the Phoenicians, who made their historical appearance around 1300 B.C., in other words about 4,500 to 5,000 years after the creation of this plaque at Youra. On page 13747 are shown letter-symbols from the Proto-cycladic vessels of Milos (mid-third millennium B.C.). One can distinguish the [letter] “X” [chi] to the left and the [letter] “N” to the right. These letters are written just as the letters of the Greek alphabet are written today.

NO MATTER HOW DIFFERENT MISHELLENIC(=GREEK HATING) & ANTHHELLENIC(ANTIGREEK) EVIL & DARK POWERS, WHO LEAD THE MEDIA TOWARDS TO BLIND & UNEDUCATATED  MAIN STREAM, WHO, IS THE BIGEST VICTIM OF ALL! (“HISTORY CHANEL, POLITICIANS..ETC…THE: NEW(!!!) HISTORICAL IDENTITY FOR “MACEDONIANS”, WHO SPEALK WARDASKIAN SLAVIC, TURKISH, AS ….ANCIENT TROJANS(!!!!!!)..BUT THE TEMPLES, THE RELIGION, THE ETYMOLOGY, THE PHILOSPHY, THE POETRY, THE ASTRONOMY, THE DRAMA & THEATER , THE MATHEMATICS, NAMES,  THE REAL HISTRORICAL FACTS, THE LOGICAL CONTINUATION (& CONECTION OF THE LANGUAGE TO THE: MATHEMATICAL, ARCHITECTICAL, POETICAL, RYTHMICAL, ORTHOLOGICAL INTIME & FACTS IS MORE THAN ENOUGH TO REVEAL WHO`S WHO IN THE..ZOOO & FOR NOT UNDERSTANDING CHARACTERS WITH NO SO MUCH OF I.Q, IS JUST VERY TRAGIC!

Other vessels were also found with “M,” “K,” “Ξ” [ksi], “Π” [p], “O,” and “E.” Source. 

Nicander of Colophon

Nikander, Theriaca, 10th century, Constantinople

 (Greek: Νίκανδρος ὁ Κολοφώνιος Níkandros ho Kolophṓnios; fl. 2nd century BC), Greek poet, physician and grammarian, was born at Claros (Ahmetbeyli in modern Turkey), near Colophon, where his family held the hereditary priesthood of Apollo. He flourished under Attalus III of Pergamum.

He wrote a number of works both in prose and verse, of which two survive complete. The longest, Theriaca, is a hexameter poem (958 lines) on the nature of venomous animals and the wounds which they inflict. The other, Alexipharmaca, consists of 630 hexameters treating of poisons and their antidotes. Nicander’s main source for medical information was the physician Apollodorus. Among his lost works, Heteroeumena was a mythological epic, used by Ovid in the Metamorphoses and epitomized by Antoninus Liberalis; Georgica, of which considerable fragments survive, was perhaps imitated by Virgil.^[1]

The works of Nicander were praised by Cicero (De oratore, i. 16), imitated by Ovid and Lucan, and frequently quoted by Pliny and other writers (e. g. Tertullian in De Scorpiace, I, 1).

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