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Here is my latest artwork, dedicated to all the women who have been abused and even murdered by their husbands and boyfriends. I understand that it sounds very "cliché" to create art with this kind of content, but it really makes me sad the fact that we live in the 21st century and that  many men still  defend the idea that a woman "belongs" to man, who possesses her, who decides what she will wear, where she will go,  or with whom she will meet. My artwork is titled "Her own Mandylion", because the life of these women was (and for many of them, still is) a real martyrdom and we should never forget them,  their faces should be marked in our minds, like this face on my "Mandylion".  I hope you like my artwork!

Here is my latest artwork, dedicated to all the women who have been abused and even murdered by their husbands and boyfriends. I understand that it sounds very "cliché" to create art with this kind of content, but it really makes me sad the fact that we live in the 21st century and that  many men still  defend the idea that a woman "belongs" to man, who possesses her, who decides what she will wear, where she will go,  or with whom she will meet. My artwork is titled "Her own Mandylion", because the life of these women was (and for many of them, still is) a real martyrdom and we should never forget them,  their faces should be marked in our minds, like this face on my "Mandylion".  I hope you like my artwork!

Here is my latest artwork, dedicated to all the women who have been abused and even murdered by their husbands and boyfriends. I understand that it sounds very "cliché" to create art with this kind of content, but it really makes me sad the fact that we live in the 21st century and that  many men still  defend the idea that a woman "belongs" to man, who possesses her, who decides what she will wear, where she will go,  or with whom she will meet. My artwork is titled "Her own Mandylion", because the life of these women was (and for many of them, still is) a real martyrdom and we should never forget them,  their faces should be marked in our minds, like this face on my "Mandylion".  I hope you like my artwork!

@contemporarybyzantinepainting has honored me by this veryspecial post!!!! I feel so grateful and happy!!!! #contemporarybyzantinepainting

Good morning, my dear friends! Here is a part of a beautiful conversation between me and my dear Instagram friend Natalie of the unique historical account @medievalarabhistory! It was Natalie 's idea, and I feel very glad and grateful for her kindness and for her generosity. If you are interested in the whole interview and many photos of my artwork, I mention here the blog; bibliotecanatalie.com

Good morning, my dear friends! Here is a part of a beautiful conversation between me and my dear Instagram friend Natalie of the unique historical account @medievalarabhistory! It was Natalie 's idea, and I feel very glad and grateful for her kindness and for her generosity. If you are interested in the whole interview and many photos of my artwork, I mention here the blog; bibliotecanatalie.com

Good morning, my dear friends! Here is a part of a beautiful conversation between me and my dear Instagram friend Natalie of the unique historical account @medievalarabhistory! It was Natalie 's idea, and I feel very glad and grateful for her kindness and for her generosity. If you are interested in the whole interview and many photos of my artwork, I mention here the blog; bibliotecanatalie.com

With all the fuss that has erupted over a new film about the Homeric epics, let's take a look at what a woman from Greece was actually like during the Bronze Age: What did she wear, how did she comb and decorate her hair, and what makeup did she use?

The first photo, with @bronwen.timetravels represents a modern attempt to revive Mycenaean times. The second photo depicts the head of a woman from Mycenae, from the distant 13th century BC. From the facial features, the intense makeup and the hairstyle, one can easily see the shocking influence that the Minoan civilization exerted on its successor, the Mycenaean. The convergence of old and new inhabitants led to their gradual osmosis and this in turn to the final overlapping of the pre-Hellenic element ("Minoans") by the early Greek element ("Mycenaeans"). 

The figure, made of plaster, is unknown to us which woman (queen, priestess or goddess), it represents. The most prevalent version is that it is a seated goddess, who receives offerings from demons, as depicted on the gold ring from Tiryns. In addition, looking at the mural with theMycenaean lady, from the same period, we have the opportunity to see the fashion of the time.  Another similar head, but not so well preserved, has also been found in the religious center of Mycenae.  Bothheads have decorative rosette designs on their foreheads, jaws, and cheekbones. It is noteworthy that somewhat similar decoration of the female face (makeup or tattoos) is  found today in regions of the wider Balkan (photograph of a Gorani woman) and Mediterranean (photographs of women from regions of North Africa). 

Wouldn't it be a wonderful idea if the film's leading actress had  rosette makeup on her face? What do you think?

With all the fuss that has erupted over a new film about the Homeric epics, let's take a look at what a woman from Greece was actually like during the Bronze Age: What did she wear, how did she comb and decorate her hair, and what makeup did she use?

The first photo, with @bronwen.timetravels represents a modern attempt to revive Mycenaean times. The second photo depicts the head of a woman from Mycenae, from the distant 13th century BC. From the facial features, the intense makeup and the hairstyle, one can easily see the shocking influence that the Minoan civilization exerted on its successor, the Mycenaean. The convergence of old and new inhabitants led to their gradual osmosis and this in turn to the final overlapping of the pre-Hellenic element ("Minoans") by the early Greek element ("Mycenaeans"). 

The figure, made of plaster, is unknown to us which woman (queen, priestess or goddess), it represents. The most prevalent version is that it is a seated goddess, who receives offerings from demons, as depicted on the gold ring from Tiryns. In addition, looking at the mural with theMycenaean lady, from the same period, we have the opportunity to see the fashion of the time.  Another similar head, but not so well preserved, has also been found in the religious center of Mycenae.  Bothheads have decorative rosette designs on their foreheads, jaws, and cheekbones. It is noteworthy that somewhat similar decoration of the female face (makeup or tattoos) is  found today in regions of the wider Balkan (photograph of a Gorani woman) and Mediterranean (photographs of women from regions of North Africa). 

Wouldn't it be a wonderful idea if the film's leading actress had  rosette makeup on her face? What do you think?

With all the fuss that has erupted over a new film about the Homeric epics, let's take a look at what a woman from Greece was actually like during the Bronze Age: What did she wear, how did she comb and decorate her hair, and what makeup did she use?

The first photo, with @bronwen.timetravels represents a modern attempt to revive Mycenaean times. The second photo depicts the head of a woman from Mycenae, from the distant 13th century BC. From the facial features, the intense makeup and the hairstyle, one can easily see the shocking influence that the Minoan civilization exerted on its successor, the Mycenaean. The convergence of old and new inhabitants led to their gradual osmosis and this in turn to the final overlapping of the pre-Hellenic element ("Minoans") by the early Greek element ("Mycenaeans"). 

The figure, made of plaster, is unknown to us which woman (queen, priestess or goddess), it represents. The most prevalent version is that it is a seated goddess, who receives offerings from demons, as depicted on the gold ring from Tiryns. In addition, looking at the mural with theMycenaean lady, from the same period, we have the opportunity to see the fashion of the time.  Another similar head, but not so well preserved, has also been found in the religious center of Mycenae.  Bothheads have decorative rosette designs on their foreheads, jaws, and cheekbones. It is noteworthy that somewhat similar decoration of the female face (makeup or tattoos) is  found today in regions of the wider Balkan (photograph of a Gorani woman) and Mediterranean (photographs of women from regions of North Africa). 

Wouldn't it be a wonderful idea if the film's leading actress had  rosette makeup on her face? What do you think?

With all the fuss that has erupted over a new film about the Homeric epics, let's take a look at what a woman from Greece was actually like during the Bronze Age: What did she wear, how did she comb and decorate her hair, and what makeup did she use?

The first photo, with @bronwen.timetravels represents a modern attempt to revive Mycenaean times. The second photo depicts the head of a woman from Mycenae, from the distant 13th century BC. From the facial features, the intense makeup and the hairstyle, one can easily see the shocking influence that the Minoan civilization exerted on its successor, the Mycenaean. The convergence of old and new inhabitants led to their gradual osmosis and this in turn to the final overlapping of the pre-Hellenic element ("Minoans") by the early Greek element ("Mycenaeans"). 

The figure, made of plaster, is unknown to us which woman (queen, priestess or goddess), it represents. The most prevalent version is that it is a seated goddess, who receives offerings from demons, as depicted on the gold ring from Tiryns. In addition, looking at the mural with theMycenaean lady, from the same period, we have the opportunity to see the fashion of the time.  Another similar head, but not so well preserved, has also been found in the religious center of Mycenae.  Bothheads have decorative rosette designs on their foreheads, jaws, and cheekbones. It is noteworthy that somewhat similar decoration of the female face (makeup or tattoos) is  found today in regions of the wider Balkan (photograph of a Gorani woman) and Mediterranean (photographs of women from regions of North Africa). 

Wouldn't it be a wonderful idea if the film's leading actress had  rosette makeup on her face? What do you think?

With all the fuss that has erupted over a new film about the Homeric epics, let's take a look at what a woman from Greece was actually like during the Bronze Age: What did she wear, how did she comb and decorate her hair, and what makeup did she use?

The first photo, with @bronwen.timetravels represents a modern attempt to revive Mycenaean times. The second photo depicts the head of a woman from Mycenae, from the distant 13th century BC. From the facial features, the intense makeup and the hairstyle, one can easily see the shocking influence that the Minoan civilization exerted on its successor, the Mycenaean. The convergence of old and new inhabitants led to their gradual osmosis and this in turn to the final overlapping of the pre-Hellenic element ("Minoans") by the early Greek element ("Mycenaeans"). 

The figure, made of plaster, is unknown to us which woman (queen, priestess or goddess), it represents. The most prevalent version is that it is a seated goddess, who receives offerings from demons, as depicted on the gold ring from Tiryns. In addition, looking at the mural with theMycenaean lady, from the same period, we have the opportunity to see the fashion of the time.  Another similar head, but not so well preserved, has also been found in the religious center of Mycenae.  Bothheads have decorative rosette designs on their foreheads, jaws, and cheekbones. It is noteworthy that somewhat similar decoration of the female face (makeup or tattoos) is  found today in regions of the wider Balkan (photograph of a Gorani woman) and Mediterranean (photographs of women from regions of North Africa). 

Wouldn't it be a wonderful idea if the film's leading actress had  rosette makeup on her face? What do you think?

With all the fuss that has erupted over a new film about the Homeric epics, let's take a look at what a woman from Greece was actually like during the Bronze Age: What did she wear, how did she comb and decorate her hair, and what makeup did she use?

The first photo, with @bronwen.timetravels represents a modern attempt to revive Mycenaean times. The second photo depicts the head of a woman from Mycenae, from the distant 13th century BC. From the facial features, the intense makeup and the hairstyle, one can easily see the shocking influence that the Minoan civilization exerted on its successor, the Mycenaean. The convergence of old and new inhabitants led to their gradual osmosis and this in turn to the final overlapping of the pre-Hellenic element ("Minoans") by the early Greek element ("Mycenaeans"). 

The figure, made of plaster, is unknown to us which woman (queen, priestess or goddess), it represents. The most prevalent version is that it is a seated goddess, who receives offerings from demons, as depicted on the gold ring from Tiryns. In addition, looking at the mural with theMycenaean lady, from the same period, we have the opportunity to see the fashion of the time.  Another similar head, but not so well preserved, has also been found in the religious center of Mycenae.  Bothheads have decorative rosette designs on their foreheads, jaws, and cheekbones. It is noteworthy that somewhat similar decoration of the female face (makeup or tattoos) is  found today in regions of the wider Balkan (photograph of a Gorani woman) and Mediterranean (photographs of women from regions of North Africa). 

Wouldn't it be a wonderful idea if the film's leading actress had  rosette makeup on her face? What do you think?

With all the fuss that has erupted over a new film about the Homeric epics, let's take a look at what a woman from Greece was actually like during the Bronze Age: What did she wear, how did she comb and decorate her hair, and what makeup did she use?

The first photo, with @bronwen.timetravels represents a modern attempt to revive Mycenaean times. The second photo depicts the head of a woman from Mycenae, from the distant 13th century BC. From the facial features, the intense makeup and the hairstyle, one can easily see the shocking influence that the Minoan civilization exerted on its successor, the Mycenaean. The convergence of old and new inhabitants led to their gradual osmosis and this in turn to the final overlapping of the pre-Hellenic element ("Minoans") by the early Greek element ("Mycenaeans"). 

The figure, made of plaster, is unknown to us which woman (queen, priestess or goddess), it represents. The most prevalent version is that it is a seated goddess, who receives offerings from demons, as depicted on the gold ring from Tiryns. In addition, looking at the mural with theMycenaean lady, from the same period, we have the opportunity to see the fashion of the time.  Another similar head, but not so well preserved, has also been found in the religious center of Mycenae.  Bothheads have decorative rosette designs on their foreheads, jaws, and cheekbones. It is noteworthy that somewhat similar decoration of the female face (makeup or tattoos) is  found today in regions of the wider Balkan (photograph of a Gorani woman) and Mediterranean (photographs of women from regions of North Africa). 

Wouldn't it be a wonderful idea if the film's leading actress had  rosette makeup on her face? What do you think?

With all the fuss that has erupted over a new film about the Homeric epics, let's take a look at what a woman from Greece was actually like during the Bronze Age: What did she wear, how did she comb and decorate her hair, and what makeup did she use?

The first photo, with @bronwen.timetravels represents a modern attempt to revive Mycenaean times. The second photo depicts the head of a woman from Mycenae, from the distant 13th century BC. From the facial features, the intense makeup and the hairstyle, one can easily see the shocking influence that the Minoan civilization exerted on its successor, the Mycenaean. The convergence of old and new inhabitants led to their gradual osmosis and this in turn to the final overlapping of the pre-Hellenic element ("Minoans") by the early Greek element ("Mycenaeans"). 

The figure, made of plaster, is unknown to us which woman (queen, priestess or goddess), it represents. The most prevalent version is that it is a seated goddess, who receives offerings from demons, as depicted on the gold ring from Tiryns. In addition, looking at the mural with theMycenaean lady, from the same period, we have the opportunity to see the fashion of the time.  Another similar head, but not so well preserved, has also been found in the religious center of Mycenae.  Bothheads have decorative rosette designs on their foreheads, jaws, and cheekbones. It is noteworthy that somewhat similar decoration of the female face (makeup or tattoos) is  found today in regions of the wider Balkan (photograph of a Gorani woman) and Mediterranean (photographs of women from regions of North Africa). 

Wouldn't it be a wonderful idea if the film's leading actress had  rosette makeup on her face? What do you think?

With all the fuss that has erupted over a new film about the Homeric epics, let's take a look at what a woman from Greece was actually like during the Bronze Age: What did she wear, how did she comb and decorate her hair, and what makeup did she use?

The first photo, with @bronwen.timetravels represents a modern attempt to revive Mycenaean times. The second photo depicts the head of a woman from Mycenae, from the distant 13th century BC. From the facial features, the intense makeup and the hairstyle, one can easily see the shocking influence that the Minoan civilization exerted on its successor, the Mycenaean. The convergence of old and new inhabitants led to their gradual osmosis and this in turn to the final overlapping of the pre-Hellenic element ("Minoans") by the early Greek element ("Mycenaeans"). 

The figure, made of plaster, is unknown to us which woman (queen, priestess or goddess), it represents. The most prevalent version is that it is a seated goddess, who receives offerings from demons, as depicted on the gold ring from Tiryns. In addition, looking at the mural with theMycenaean lady, from the same period, we have the opportunity to see the fashion of the time.  Another similar head, but not so well preserved, has also been found in the religious center of Mycenae.  Bothheads have decorative rosette designs on their foreheads, jaws, and cheekbones. It is noteworthy that somewhat similar decoration of the female face (makeup or tattoos) is  found today in regions of the wider Balkan (photograph of a Gorani woman) and Mediterranean (photographs of women from regions of North Africa). 

Wouldn't it be a wonderful idea if the film's leading actress had  rosette makeup on her face? What do you think?

With all the fuss that has erupted over a new film about the Homeric epics, let's take a look at what a woman from Greece was actually like during the Bronze Age: What did she wear, how did she comb and decorate her hair, and what makeup did she use?

The first photo, with @bronwen.timetravels represents a modern attempt to revive Mycenaean times. The second photo depicts the head of a woman from Mycenae, from the distant 13th century BC. From the facial features, the intense makeup and the hairstyle, one can easily see the shocking influence that the Minoan civilization exerted on its successor, the Mycenaean. The convergence of old and new inhabitants led to their gradual osmosis and this in turn to the final overlapping of the pre-Hellenic element ("Minoans") by the early Greek element ("Mycenaeans"). 

The figure, made of plaster, is unknown to us which woman (queen, priestess or goddess), it represents. The most prevalent version is that it is a seated goddess, who receives offerings from demons, as depicted on the gold ring from Tiryns. In addition, looking at the mural with theMycenaean lady, from the same period, we have the opportunity to see the fashion of the time.  Another similar head, but not so well preserved, has also been found in the religious center of Mycenae.  Bothheads have decorative rosette designs on their foreheads, jaws, and cheekbones. It is noteworthy that somewhat similar decoration of the female face (makeup or tattoos) is  found today in regions of the wider Balkan (photograph of a Gorani woman) and Mediterranean (photographs of women from regions of North Africa). 

Wouldn't it be a wonderful idea if the film's leading actress had  rosette makeup on her face? What do you think?

With all the fuss that has erupted over a new film about the Homeric epics, let's take a look at what a woman from Greece was actually like during the Bronze Age: What did she wear, how did she comb and decorate her hair, and what makeup did she use?

The first photo, with @bronwen.timetravels represents a modern attempt to revive Mycenaean times. The second photo depicts the head of a woman from Mycenae, from the distant 13th century BC. From the facial features, the intense makeup and the hairstyle, one can easily see the shocking influence that the Minoan civilization exerted on its successor, the Mycenaean. The convergence of old and new inhabitants led to their gradual osmosis and this in turn to the final overlapping of the pre-Hellenic element ("Minoans") by the early Greek element ("Mycenaeans"). 

The figure, made of plaster, is unknown to us which woman (queen, priestess or goddess), it represents. The most prevalent version is that it is a seated goddess, who receives offerings from demons, as depicted on the gold ring from Tiryns. In addition, looking at the mural with theMycenaean lady, from the same period, we have the opportunity to see the fashion of the time.  Another similar head, but not so well preserved, has also been found in the religious center of Mycenae.  Bothheads have decorative rosette designs on their foreheads, jaws, and cheekbones. It is noteworthy that somewhat similar decoration of the female face (makeup or tattoos) is  found today in regions of the wider Balkan (photograph of a Gorani woman) and Mediterranean (photographs of women from regions of North Africa). 

Wouldn't it be a wonderful idea if the film's leading actress had  rosette makeup on her face? What do you think?

With all the fuss that has erupted over a new film about the Homeric epics, let's take a look at what a woman from Greece was actually like during the Bronze Age: What did she wear, how did she comb and decorate her hair, and what makeup did she use?

The first photo, with @bronwen.timetravels represents a modern attempt to revive Mycenaean times. The second photo depicts the head of a woman from Mycenae, from the distant 13th century BC. From the facial features, the intense makeup and the hairstyle, one can easily see the shocking influence that the Minoan civilization exerted on its successor, the Mycenaean. The convergence of old and new inhabitants led to their gradual osmosis and this in turn to the final overlapping of the pre-Hellenic element ("Minoans") by the early Greek element ("Mycenaeans"). 

The figure, made of plaster, is unknown to us which woman (queen, priestess or goddess), it represents. The most prevalent version is that it is a seated goddess, who receives offerings from demons, as depicted on the gold ring from Tiryns. In addition, looking at the mural with theMycenaean lady, from the same period, we have the opportunity to see the fashion of the time.  Another similar head, but not so well preserved, has also been found in the religious center of Mycenae.  Bothheads have decorative rosette designs on their foreheads, jaws, and cheekbones. It is noteworthy that somewhat similar decoration of the female face (makeup or tattoos) is  found today in regions of the wider Balkan (photograph of a Gorani woman) and Mediterranean (photographs of women from regions of North Africa). 

Wouldn't it be a wonderful idea if the film's leading actress had  rosette makeup on her face? What do you think?

With all the fuss that has erupted over a new film about the Homeric epics, let's take a look at what a woman from Greece was actually like during the Bronze Age: What did she wear, how did she comb and decorate her hair, and what makeup did she use?

The first photo, with @bronwen.timetravels represents a modern attempt to revive Mycenaean times. The second photo depicts the head of a woman from Mycenae, from the distant 13th century BC. From the facial features, the intense makeup and the hairstyle, one can easily see the shocking influence that the Minoan civilization exerted on its successor, the Mycenaean. The convergence of old and new inhabitants led to their gradual osmosis and this in turn to the final overlapping of the pre-Hellenic element ("Minoans") by the early Greek element ("Mycenaeans"). 

The figure, made of plaster, is unknown to us which woman (queen, priestess or goddess), it represents. The most prevalent version is that it is a seated goddess, who receives offerings from demons, as depicted on the gold ring from Tiryns. In addition, looking at the mural with theMycenaean lady, from the same period, we have the opportunity to see the fashion of the time.  Another similar head, but not so well preserved, has also been found in the religious center of Mycenae.  Bothheads have decorative rosette designs on their foreheads, jaws, and cheekbones. It is noteworthy that somewhat similar decoration of the female face (makeup or tattoos) is  found today in regions of the wider Balkan (photograph of a Gorani woman) and Mediterranean (photographs of women from regions of North Africa). 

Wouldn't it be a wonderful idea if the film's leading actress had  rosette makeup on her face? What do you think?

With all the fuss that has erupted over a new film about the Homeric epics, let's take a look at what a woman from Greece was actually like during the Bronze Age: What did she wear, how did she comb and decorate her hair, and what makeup did she use?

The first photo, with @bronwen.timetravels represents a modern attempt to revive Mycenaean times. The second photo depicts the head of a woman from Mycenae, from the distant 13th century BC. From the facial features, the intense makeup and the hairstyle, one can easily see the shocking influence that the Minoan civilization exerted on its successor, the Mycenaean. The convergence of old and new inhabitants led to their gradual osmosis and this in turn to the final overlapping of the pre-Hellenic element ("Minoans") by the early Greek element ("Mycenaeans"). 

The figure, made of plaster, is unknown to us which woman (queen, priestess or goddess), it represents. The most prevalent version is that it is a seated goddess, who receives offerings from demons, as depicted on the gold ring from Tiryns. In addition, looking at the mural with theMycenaean lady, from the same period, we have the opportunity to see the fashion of the time.  Another similar head, but not so well preserved, has also been found in the religious center of Mycenae.  Bothheads have decorative rosette designs on their foreheads, jaws, and cheekbones. It is noteworthy that somewhat similar decoration of the female face (makeup or tattoos) is  found today in regions of the wider Balkan (photograph of a Gorani woman) and Mediterranean (photographs of women from regions of North Africa). 

Wouldn't it be a wonderful idea if the film's leading actress had  rosette makeup on her face? What do you think?

Motherhood. From Isis and Harpocrates to Virgin Mary and Jesus Christ,the creation of the image of a Mother and her Child has been an ancient tradition with a dramatic continuity in our Eastern Mediterranean neighborhood. First photo;Isis holding Harpocrates. Hellenistic religious spirit on a mural from the Late Antiquity Egypt, 4th century AD/CE . 2nd picture; Virgin and Child, 18th century,Aleppo, Syria. 3rd, 4rth and 5th photos; Greekpost-byzantine icons depicting the Virgin Galaktotrophousa (The Milk-giver), and the last one depicts Saint Anna Galaktotrophousa and Virgin Mary as a Child; Maronite Eparchy of Cyprus.

Motherhood. From Isis and Harpocrates to Virgin Mary and Jesus Christ,the creation of the image of a Mother and her Child has been an ancient tradition with a dramatic continuity in our Eastern Mediterranean neighborhood. First photo;Isis holding Harpocrates. Hellenistic religious spirit on a mural from the Late Antiquity Egypt, 4th century AD/CE . 2nd picture; Virgin and Child, 18th century,Aleppo, Syria. 3rd, 4rth and 5th photos; Greekpost-byzantine icons depicting the Virgin Galaktotrophousa (The Milk-giver), and the last one depicts Saint Anna Galaktotrophousa and Virgin Mary as a Child; Maronite Eparchy of Cyprus.

Motherhood. From Isis and Harpocrates to Virgin Mary and Jesus Christ,the creation of the image of a Mother and her Child has been an ancient tradition with a dramatic continuity in our Eastern Mediterranean neighborhood. First photo;Isis holding Harpocrates. Hellenistic religious spirit on a mural from the Late Antiquity Egypt, 4th century AD/CE . 2nd picture; Virgin and Child, 18th century,Aleppo, Syria. 3rd, 4rth and 5th photos; Greekpost-byzantine icons depicting the Virgin Galaktotrophousa (The Milk-giver), and the last one depicts Saint Anna Galaktotrophousa and Virgin Mary as a Child; Maronite Eparchy of Cyprus.

Motherhood. From Isis and Harpocrates to Virgin Mary and Jesus Christ,the creation of the image of a Mother and her Child has been an ancient tradition with a dramatic continuity in our Eastern Mediterranean neighborhood. First photo;Isis holding Harpocrates. Hellenistic religious spirit on a mural from the Late Antiquity Egypt, 4th century AD/CE . 2nd picture; Virgin and Child, 18th century,Aleppo, Syria. 3rd, 4rth and 5th photos; Greekpost-byzantine icons depicting the Virgin Galaktotrophousa (The Milk-giver), and the last one depicts Saint Anna Galaktotrophousa and Virgin Mary as a Child; Maronite Eparchy of Cyprus.

Motherhood. From Isis and Harpocrates to Virgin Mary and Jesus Christ,the creation of the image of a Mother and her Child has been an ancient tradition with a dramatic continuity in our Eastern Mediterranean neighborhood. First photo;Isis holding Harpocrates. Hellenistic religious spirit on a mural from the Late Antiquity Egypt, 4th century AD/CE . 2nd picture; Virgin and Child, 18th century,Aleppo, Syria. 3rd, 4rth and 5th photos; Greekpost-byzantine icons depicting the Virgin Galaktotrophousa (The Milk-giver), and the last one depicts Saint Anna Galaktotrophousa and Virgin Mary as a Child; Maronite Eparchy of Cyprus.

Motherhood. From Isis and Harpocrates to Virgin Mary and Jesus Christ,the creation of the image of a Mother and her Child has been an ancient tradition with a dramatic continuity in our Eastern Mediterranean neighborhood. First photo;Isis holding Harpocrates. Hellenistic religious spirit on a mural from the Late Antiquity Egypt, 4th century AD/CE . 2nd picture; Virgin and Child, 18th century,Aleppo, Syria. 3rd, 4rth and 5th photos; Greekpost-byzantine icons depicting the Virgin Galaktotrophousa (The Milk-giver), and the last one depicts Saint Anna Galaktotrophousa and Virgin Mary as a Child; Maronite Eparchy of Cyprus.

Ermou street,maybe the most popular street in Athens! It connects some ofthe most important sights of the city. All these photos have been chosen from the Photo Collection of the precious Hellenic Literary and Historical Archive (Elia.org.gr).

Ermou street,maybe the most popular street in Athens! It connects some ofthe most important sights of the city. All these photos have been chosen from the Photo Collection of the precious Hellenic Literary and Historical Archive (Elia.org.gr).

Ermou street,maybe the most popular street in Athens! It connects some ofthe most important sights of the city. All these photos have been chosen from the Photo Collection of the precious Hellenic Literary and Historical Archive (Elia.org.gr).

Ermou street,maybe the most popular street in Athens! It connects some ofthe most important sights of the city. All these photos have been chosen from the Photo Collection of the precious Hellenic Literary and Historical Archive (Elia.org.gr).

Ermou street,maybe the most popular street in Athens! It connects some ofthe most important sights of the city. All these photos have been chosen from the Photo Collection of the precious Hellenic Literary and Historical Archive (Elia.org.gr).

Ermou street,maybe the most popular street in Athens! It connects some ofthe most important sights of the city. All these photos have been chosen from the Photo Collection of the precious Hellenic Literary and Historical Archive (Elia.org.gr).

Ermou street,maybe the most popular street in Athens! It connects some ofthe most important sights of the city. All these photos have been chosen from the Photo Collection of the precious Hellenic Literary and Historical Archive (Elia.org.gr).

Ermou street,maybe the most popular street in Athens! It connects some ofthe most important sights of the city. All these photos have been chosen from the Photo Collection of the precious Hellenic Literary and Historical Archive (Elia.org.gr).

Lately, I have often come across photos on social media that show religious Orthodox women praying inside their neighborhood church while wearing headscarves.  This trend is manufactured and directed by circles unknown to me. It is obvious that it constitutes a conservative and regressive turn, as well as a trend towards degrading the position of women within the church, and therefore, in our secularized modern society. 

In Greece, a country that has directly inherited, due to  cultural and linguistic factors, Byzantine religious traditions, this trend is not at all common. No woman, regardless of age, social class, or educational level, wears a headscarf when entering a Greek Orthodox church. Is this common in Slavic countries? If anyone knows, please enlighten us. 

One might say that the Apostle Paul was talking about modesty, especially in regard to the appearance and behavior of women. This is a common argument of some ultra-conservative people, which, referring to another era and today openly encourages sexism. People's appearance has nothing to do with kindness, love, solidarity and all the values ​​that this particular religion teaches. The conservative turn, directed from unknown centers, which promotes the head covering as a necessary church accessory, and exclusively for women, precisely leads to discrimination, fanaticism and intolerance.

 

(This specific text has no intention of offending other peoples and other religions. It refers exclusively to the morals of the Orthodox Church and expresses wonder and skepticism about a very recent, specific trend).

Lately, I have often come across photos on social media that show religious Orthodox women praying inside their neighborhood church while wearing headscarves.  This trend is manufactured and directed by circles unknown to me. It is obvious that it constitutes a conservative and regressive turn, as well as a trend towards degrading the position of women within the church, and therefore, in our secularized modern society. 

In Greece, a country that has directly inherited, due to  cultural and linguistic factors, Byzantine religious traditions, this trend is not at all common. No woman, regardless of age, social class, or educational level, wears a headscarf when entering a Greek Orthodox church. Is this common in Slavic countries? If anyone knows, please enlighten us. 

One might say that the Apostle Paul was talking about modesty, especially in regard to the appearance and behavior of women. This is a common argument of some ultra-conservative people, which, referring to another era and today openly encourages sexism. People's appearance has nothing to do with kindness, love, solidarity and all the values ​​that this particular religion teaches. The conservative turn, directed from unknown centers, which promotes the head covering as a necessary church accessory, and exclusively for women, precisely leads to discrimination, fanaticism and intolerance.

 

(This specific text has no intention of offending other peoples and other religions. It refers exclusively to the morals of the Orthodox Church and expresses wonder and skepticism about a very recent, specific trend).

Lately, I have often come across photos on social media that show religious Orthodox women praying inside their neighborhood church while wearing headscarves.  This trend is manufactured and directed by circles unknown to me. It is obvious that it constitutes a conservative and regressive turn, as well as a trend towards degrading the position of women within the church, and therefore, in our secularized modern society. 

In Greece, a country that has directly inherited, due to  cultural and linguistic factors, Byzantine religious traditions, this trend is not at all common. No woman, regardless of age, social class, or educational level, wears a headscarf when entering a Greek Orthodox church. Is this common in Slavic countries? If anyone knows, please enlighten us. 

One might say that the Apostle Paul was talking about modesty, especially in regard to the appearance and behavior of women. This is a common argument of some ultra-conservative people, which, referring to another era and today openly encourages sexism. People's appearance has nothing to do with kindness, love, solidarity and all the values ​​that this particular religion teaches. The conservative turn, directed from unknown centers, which promotes the head covering as a necessary church accessory, and exclusively for women, precisely leads to discrimination, fanaticism and intolerance.

 

(This specific text has no intention of offending other peoples and other religions. It refers exclusively to the morals of the Orthodox Church and expresses wonder and skepticism about a very recent, specific trend).

Lately, I have often come across photos on social media that show religious Orthodox women praying inside their neighborhood church while wearing headscarves.  This trend is manufactured and directed by circles unknown to me. It is obvious that it constitutes a conservative and regressive turn, as well as a trend towards degrading the position of women within the church, and therefore, in our secularized modern society. 

In Greece, a country that has directly inherited, due to  cultural and linguistic factors, Byzantine religious traditions, this trend is not at all common. No woman, regardless of age, social class, or educational level, wears a headscarf when entering a Greek Orthodox church. Is this common in Slavic countries? If anyone knows, please enlighten us. 

One might say that the Apostle Paul was talking about modesty, especially in regard to the appearance and behavior of women. This is a common argument of some ultra-conservative people, which, referring to another era and today openly encourages sexism. People's appearance has nothing to do with kindness, love, solidarity and all the values ​​that this particular religion teaches. The conservative turn, directed from unknown centers, which promotes the head covering as a necessary church accessory, and exclusively for women, precisely leads to discrimination, fanaticism and intolerance.

 

(This specific text has no intention of offending other peoples and other religions. It refers exclusively to the morals of the Orthodox Church and expresses wonder and skepticism about a very recent, specific trend).

Lately, I have often come across photos on social media that show religious Orthodox women praying inside their neighborhood church while wearing headscarves.  This trend is manufactured and directed by circles unknown to me. It is obvious that it constitutes a conservative and regressive turn, as well as a trend towards degrading the position of women within the church, and therefore, in our secularized modern society. 

In Greece, a country that has directly inherited, due to  cultural and linguistic factors, Byzantine religious traditions, this trend is not at all common. No woman, regardless of age, social class, or educational level, wears a headscarf when entering a Greek Orthodox church. Is this common in Slavic countries? If anyone knows, please enlighten us. 

One might say that the Apostle Paul was talking about modesty, especially in regard to the appearance and behavior of women. This is a common argument of some ultra-conservative people, which, referring to another era and today openly encourages sexism. People's appearance has nothing to do with kindness, love, solidarity and all the values ​​that this particular religion teaches. The conservative turn, directed from unknown centers, which promotes the head covering as a necessary church accessory, and exclusively for women, precisely leads to discrimination, fanaticism and intolerance.

 

(This specific text has no intention of offending other peoples and other religions. It refers exclusively to the morals of the Orthodox Church and expresses wonder and skepticism about a very recent, specific trend).

Lately, I have often come across photos on social media that show religious Orthodox women praying inside their neighborhood church while wearing headscarves.  This trend is manufactured and directed by circles unknown to me. It is obvious that it constitutes a conservative and regressive turn, as well as a trend towards degrading the position of women within the church, and therefore, in our secularized modern society. 

In Greece, a country that has directly inherited, due to  cultural and linguistic factors, Byzantine religious traditions, this trend is not at all common. No woman, regardless of age, social class, or educational level, wears a headscarf when entering a Greek Orthodox church. Is this common in Slavic countries? If anyone knows, please enlighten us. 

One might say that the Apostle Paul was talking about modesty, especially in regard to the appearance and behavior of women. This is a common argument of some ultra-conservative people, which, referring to another era and today openly encourages sexism. People's appearance has nothing to do with kindness, love, solidarity and all the values ​​that this particular religion teaches. The conservative turn, directed from unknown centers, which promotes the head covering as a necessary church accessory, and exclusively for women, precisely leads to discrimination, fanaticism and intolerance.

 

(This specific text has no intention of offending other peoples and other religions. It refers exclusively to the morals of the Orthodox Church and expresses wonder and skepticism about a very recent, specific trend).

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Yannis Stephanides (1919-2010) was a significant painter,illustrator and engraver. One of the most important moments of his careeras an illustrator, was the publication of the 18 volumes of Greek Mythology.I still remember some of these books on my childhood library!

Saint George. A naive,late19th century, Greek icon, painted with the so-called "nazarene" style, which depitcs artistic solutions from the western neo-classical movement. Artist unknown.Source; Municipality of Thessalonike.

Konstantinos Maleas (Istanbul 1879-Athens 1928); Various views of the Acropolis, painted during his stay in Athens (1917-1921). He was a colorist deeply influenced by theartistic movements of impressionism andpost-impressionism. He traveled a lot, in Greece, in Europe, in the Eastern Mediterranean countries. He is considered one of the most important Greek painters of the first decades of the 20th century.

Konstantinos Maleas (Istanbul 1879-Athens 1928); Various views of the Acropolis, painted during his stay in Athens (1917-1921). He was a colorist deeply influenced by theartistic movements of impressionism andpost-impressionism. He traveled a lot, in Greece, in Europe, in the Eastern Mediterranean countries. He is considered one of the most important Greek painters of the first decades of the 20th century.

Konstantinos Maleas (Istanbul 1879-Athens 1928); Various views of the Acropolis, painted during his stay in Athens (1917-1921). He was a colorist deeply influenced by theartistic movements of impressionism andpost-impressionism. He traveled a lot, in Greece, in Europe, in the Eastern Mediterranean countries. He is considered one of the most important Greek painters of the first decades of the 20th century.

Konstantinos Maleas (Istanbul 1879-Athens 1928); Various views of the Acropolis, painted during his stay in Athens (1917-1921). He was a colorist deeply influenced by theartistic movements of impressionism andpost-impressionism. He traveled a lot, in Greece, in Europe, in the Eastern Mediterranean countries. He is considered one of the most important Greek painters of the first decades of the 20th century.

Konstantinos Maleas (Istanbul 1879-Athens 1928); Various views of the Acropolis, painted during his stay in Athens (1917-1921). He was a colorist deeply influenced by theartistic movements of impressionism andpost-impressionism. He traveled a lot, in Greece, in Europe, in the Eastern Mediterranean countries. He is considered one of the most important Greek painters of the first decades of the 20th century.

Konstantinos Maleas (Istanbul 1879-Athens 1928); Various views of the Acropolis, painted during his stay in Athens (1917-1921). He was a colorist deeply influenced by theartistic movements of impressionism andpost-impressionism. He traveled a lot, in Greece, in Europe, in the Eastern Mediterranean countries. He is considered one of the most important Greek painters of the first decades of the 20th century.

Konstantinos Maleas (Istanbul 1879-Athens 1928); Various views of the Acropolis, painted during his stay in Athens (1917-1921). He was a colorist deeply influenced by theartistic movements of impressionism andpost-impressionism. He traveled a lot, in Greece, in Europe, in the Eastern Mediterranean countries. He is considered one of the most important Greek painters of the first decades of the 20th century.

Konstantinos Maleas (Istanbul 1879-Athens 1928); Various views of the Acropolis, painted during his stay in Athens (1917-1921). He was a colorist deeply influenced by theartistic movements of impressionism andpost-impressionism. He traveled a lot, in Greece, in Europe, in the Eastern Mediterranean countries. He is considered one of the most important Greek painters of the first decades of the 20th century.

Konstantinos Maleas (Istanbul 1879-Athens 1928); Various views of the Acropolis, painted during his stay in Athens (1917-1921). He was a colorist deeply influenced by theartistic movements of impressionism andpost-impressionism. He traveled a lot, in Greece, in Europe, in the Eastern Mediterranean countries. He is considered one of the most important Greek painters of the first decades of the 20th century.

Konstantinos Maleas (Istanbul 1879-Athens 1928); Various views of the Acropolis, painted during his stay in Athens (1917-1921). He was a colorist deeply influenced by theartistic movements of impressionism andpost-impressionism. He traveled a lot, in Greece, in Europe, in the Eastern Mediterranean countries. He is considered one of the most important Greek painters of the first decades of the 20th century.

Konstantinos Maleas (Istanbul 1879-Athens 1928); Various views of the Acropolis, painted during his stay in Athens (1917-1921). He was a colorist deeply influenced by theartistic movements of impressionism andpost-impressionism. He traveled a lot, in Greece, in Europe, in the Eastern Mediterranean countries. He is considered one of the most important Greek painters of the first decades of the 20th century.

MURDER AT THE NEMEA STADIUM

 

During the 6th century, a small early Christian settlement had been established in ancient Nemea. The settlement was destroyed in 585 by a Slavic invasion, but... someone escaped injured and tried with difficulty to crawl to reach the hidden passage of the Stadium, already abandoned since 270 (where in previous historical periods the Nemean Games used to take place, one of the four important panhellenic athletic competitions of ancient Greece).

 

The injured man used lamps to see and cooking pots to cook his food, buried a few copper coins and carved the phrase AETHERI ZOIS (aethereal life) into the marble of the tunnel of the ancient Stadium. The excavation of the archeological site began in 1974 by the American Archaeological School and the archaeologists in charge found what was left of him. His skull bears traces of a wound from a sharp object, almost healed. It was his first injury, from which he initially escaped with his life, only to be found and violently killed a short time later.

MURDER AT THE NEMEA STADIUM

 

During the 6th century, a small early Christian settlement had been established in ancient Nemea. The settlement was destroyed in 585 by a Slavic invasion, but... someone escaped injured and tried with difficulty to crawl to reach the hidden passage of the Stadium, already abandoned since 270 (where in previous historical periods the Nemean Games used to take place, one of the four important panhellenic athletic competitions of ancient Greece).

 

The injured man used lamps to see and cooking pots to cook his food, buried a few copper coins and carved the phrase AETHERI ZOIS (aethereal life) into the marble of the tunnel of the ancient Stadium. The excavation of the archeological site began in 1974 by the American Archaeological School and the archaeologists in charge found what was left of him. His skull bears traces of a wound from a sharp object, almost healed. It was his first injury, from which he initially escaped with his life, only to be found and violently killed a short time later.

MURDER AT THE NEMEA STADIUM

 

During the 6th century, a small early Christian settlement had been established in ancient Nemea. The settlement was destroyed in 585 by a Slavic invasion, but... someone escaped injured and tried with difficulty to crawl to reach the hidden passage of the Stadium, already abandoned since 270 (where in previous historical periods the Nemean Games used to take place, one of the four important panhellenic athletic competitions of ancient Greece).

 

The injured man used lamps to see and cooking pots to cook his food, buried a few copper coins and carved the phrase AETHERI ZOIS (aethereal life) into the marble of the tunnel of the ancient Stadium. The excavation of the archeological site began in 1974 by the American Archaeological School and the archaeologists in charge found what was left of him. His skull bears traces of a wound from a sharp object, almost healed. It was his first injury, from which he initially escaped with his life, only to be found and violently killed a short time later.

MURDER AT THE NEMEA STADIUM

 

During the 6th century, a small early Christian settlement had been established in ancient Nemea. The settlement was destroyed in 585 by a Slavic invasion, but... someone escaped injured and tried with difficulty to crawl to reach the hidden passage of the Stadium, already abandoned since 270 (where in previous historical periods the Nemean Games used to take place, one of the four important panhellenic athletic competitions of ancient Greece).

 

The injured man used lamps to see and cooking pots to cook his food, buried a few copper coins and carved the phrase AETHERI ZOIS (aethereal life) into the marble of the tunnel of the ancient Stadium. The excavation of the archeological site began in 1974 by the American Archaeological School and the archaeologists in charge found what was left of him. His skull bears traces of a wound from a sharp object, almost healed. It was his first injury, from which he initially escaped with his life, only to be found and violently killed a short time later.

MURDER AT THE NEMEA STADIUM

 

During the 6th century, a small early Christian settlement had been established in ancient Nemea. The settlement was destroyed in 585 by a Slavic invasion, but... someone escaped injured and tried with difficulty to crawl to reach the hidden passage of the Stadium, already abandoned since 270 (where in previous historical periods the Nemean Games used to take place, one of the four important panhellenic athletic competitions of ancient Greece).

 

The injured man used lamps to see and cooking pots to cook his food, buried a few copper coins and carved the phrase AETHERI ZOIS (aethereal life) into the marble of the tunnel of the ancient Stadium. The excavation of the archeological site began in 1974 by the American Archaeological School and the archaeologists in charge found what was left of him. His skull bears traces of a wound from a sharp object, almost healed. It was his first injury, from which he initially escaped with his life, only to be found and violently killed a short time later.

MURDER AT THE NEMEA STADIUM

 

During the 6th century, a small early Christian settlement had been established in ancient Nemea. The settlement was destroyed in 585 by a Slavic invasion, but... someone escaped injured and tried with difficulty to crawl to reach the hidden passage of the Stadium, already abandoned since 270 (where in previous historical periods the Nemean Games used to take place, one of the four important panhellenic athletic competitions of ancient Greece).

 

The injured man used lamps to see and cooking pots to cook his food, buried a few copper coins and carved the phrase AETHERI ZOIS (aethereal life) into the marble of the tunnel of the ancient Stadium. The excavation of the archeological site began in 1974 by the American Archaeological School and the archaeologists in charge found what was left of him. His skull bears traces of a wound from a sharp object, almost healed. It was his first injury, from which he initially escaped with his life, only to be found and violently killed a short time later.

MURDER AT THE NEMEA STADIUM

 

During the 6th century, a small early Christian settlement had been established in ancient Nemea. The settlement was destroyed in 585 by a Slavic invasion, but... someone escaped injured and tried with difficulty to crawl to reach the hidden passage of the Stadium, already abandoned since 270 (where in previous historical periods the Nemean Games used to take place, one of the four important panhellenic athletic competitions of ancient Greece).

 

The injured man used lamps to see and cooking pots to cook his food, buried a few copper coins and carved the phrase AETHERI ZOIS (aethereal life) into the marble of the tunnel of the ancient Stadium. The excavation of the archeological site began in 1974 by the American Archaeological School and the archaeologists in charge found what was left of him. His skull bears traces of a wound from a sharp object, almost healed. It was his first injury, from which he initially escaped with his life, only to be found and violently killed a short time later.

MURDER AT THE NEMEA STADIUM

 

During the 6th century, a small early Christian settlement had been established in ancient Nemea. The settlement was destroyed in 585 by a Slavic invasion, but... someone escaped injured and tried with difficulty to crawl to reach the hidden passage of the Stadium, already abandoned since 270 (where in previous historical periods the Nemean Games used to take place, one of the four important panhellenic athletic competitions of ancient Greece).

 

The injured man used lamps to see and cooking pots to cook his food, buried a few copper coins and carved the phrase AETHERI ZOIS (aethereal life) into the marble of the tunnel of the ancient Stadium. The excavation of the archeological site began in 1974 by the American Archaeological School and the archaeologists in charge found what was left of him. His skull bears traces of a wound from a sharp object, almost healed. It was his first injury, from which he initially escaped with his life, only to be found and violently killed a short time later.

Archeological site of Nemea; The Temple of Zeus and the Stadium, with its "secret" entrance.This entrance was the place where a skeleton of an Early Christian man was found by the archeologists, with some of his every day objects and some coins around him. He had found a safe place there (as he thought) in order to avoid being killed by the Slavs, who invaded Peloponnese in the 6th century. Unfortunatelyhe didn't manage to survive. I will post photos of him on my next post, with more information from the local Museum.

Archeological site of Nemea; The Temple of Zeus and the Stadium, with its "secret" entrance.This entrance was the place where a skeleton of an Early Christian man was found by the archeologists, with some of his every day objects and some coins around him. He had found a safe place there (as he thought) in order to avoid being killed by the Slavs, who invaded Peloponnese in the 6th century. Unfortunatelyhe didn't manage to survive. I will post photos of him on my next post, with more information from the local Museum.

Archeological site of Nemea; The Temple of Zeus and the Stadium, with its "secret" entrance.This entrance was the place where a skeleton of an Early Christian man was found by the archeologists, with some of his every day objects and some coins around him. He had found a safe place there (as he thought) in order to avoid being killed by the Slavs, who invaded Peloponnese in the 6th century. Unfortunatelyhe didn't manage to survive. I will post photos of him on my next post, with more information from the local Museum.

Archeological site of Nemea; The Temple of Zeus and the Stadium, with its "secret" entrance.This entrance was the place where a skeleton of an Early Christian man was found by the archeologists, with some of his every day objects and some coins around him. He had found a safe place there (as he thought) in order to avoid being killed by the Slavs, who invaded Peloponnese in the 6th century. Unfortunatelyhe didn't manage to survive. I will post photos of him on my next post, with more information from the local Museum.

Archeological site of Nemea; The Temple of Zeus and the Stadium, with its "secret" entrance.This entrance was the place where a skeleton of an Early Christian man was found by the archeologists, with some of his every day objects and some coins around him. He had found a safe place there (as he thought) in order to avoid being killed by the Slavs, who invaded Peloponnese in the 6th century. Unfortunatelyhe didn't manage to survive. I will post photos of him on my next post, with more information from the local Museum.

Archeological site of Nemea; The Temple of Zeus and the Stadium, with its "secret" entrance.This entrance was the place where a skeleton of an Early Christian man was found by the archeologists, with some of his every day objects and some coins around him. He had found a safe place there (as he thought) in order to avoid being killed by the Slavs, who invaded Peloponnese in the 6th century. Unfortunatelyhe didn't manage to survive. I will post photos of him on my next post, with more information from the local Museum.

Archeological site of Nemea; The Temple of Zeus and the Stadium, with its "secret" entrance.This entrance was the place where a skeleton of an Early Christian man was found by the archeologists, with some of his every day objects and some coins around him. He had found a safe place there (as he thought) in order to avoid being killed by the Slavs, who invaded Peloponnese in the 6th century. Unfortunatelyhe didn't manage to survive. I will post photos of him on my next post, with more information from the local Museum.

Archeological site of Nemea; The Temple of Zeus and the Stadium, with its "secret" entrance.This entrance was the place where a skeleton of an Early Christian man was found by the archeologists, with some of his every day objects and some coins around him. He had found a safe place there (as he thought) in order to avoid being killed by the Slavs, who invaded Peloponnese in the 6th century. Unfortunatelyhe didn't manage to survive. I will post photos of him on my next post, with more information from the local Museum.

Archeological site of Nemea; The Temple of Zeus and the Stadium, with its "secret" entrance.This entrance was the place where a skeleton of an Early Christian man was found by the archeologists, with some of his every day objects and some coins around him. He had found a safe place there (as he thought) in order to avoid being killed by the Slavs, who invaded Peloponnese in the 6th century. Unfortunatelyhe didn't manage to survive. I will post photos of him on my next post, with more information from the local Museum.

Archeological site of Nemea; The Temple of Zeus and the Stadium, with its "secret" entrance.This entrance was the place where a skeleton of an Early Christian man was found by the archeologists, with some of his every day objects and some coins around him. He had found a safe place there (as he thought) in order to avoid being killed by the Slavs, who invaded Peloponnese in the 6th century. Unfortunatelyhe didn't manage to survive. I will post photos of him on my next post, with more information from the local Museum.

Archeological site of Nemea; The Temple of Zeus and the Stadium, with its "secret" entrance.This entrance was the place where a skeleton of an Early Christian man was found by the archeologists, with some of his every day objects and some coins around him. He had found a safe place there (as he thought) in order to avoid being killed by the Slavs, who invaded Peloponnese in the 6th century. Unfortunatelyhe didn't manage to survive. I will post photos of him on my next post, with more information from the local Museum.

Archeological site of Nemea; The Temple of Zeus and the Stadium, with its "secret" entrance.This entrance was the place where a skeleton of an Early Christian man was found by the archeologists, with some of his every day objects and some coins around him. He had found a safe place there (as he thought) in order to avoid being killed by the Slavs, who invaded Peloponnese in the 6th century. Unfortunatelyhe didn't manage to survive. I will post photos of him on my next post, with more information from the local Museum.