Showing posts with label GREECE. Show all posts
Showing posts with label GREECE. Show all posts

Thursday, 15 January 2026

MOULD FOR THE CASTING OF SLING BULLETS

 


The sling was used as a weapon throughout antiquity. Traditionally, sling-shots were made of stone. But in the 5th century BCE, a new type of lead sling bullet was introduced. The lead bullets weighted 30-80 gr. and could be thrown over more than 100 meters.

The picture shows us a part of a double bronze mould for casting lead sling-bullets. It has conduits and cavities for the pouring of metal, small dowels for attaching to the other half, and a handle on the back side. Its length is about 12 cm.

Molten lead was poured from the top and filled the cavities. At the bottom of each cavity a Greek name in genitive is inscribed (ΤΙΜΩΝΟΣ). Such inscriptions could have denoted the name of the officer who was responsible for the casting, the commander of the military unit, the general, or the king himself.

This fascinating artifact is part of the collection of the Canellopoulos  Museum in Athens.

Source  Canellopoulos Museum  

Monday, 5 August 2024

KOTINOS ~ THE PRIZE OF OLYMPIC EXCELLENCE IN ANCIENT GREECE








The Olympic Games were born in Ancient Greece, at the sacred site of Olympia, in 776 BCE. The Games, created by Heracles in honour of the Father of the Gods, Zeus, were held every four years and attracted great athletes and a lot of spectators. One of the most interesting aspects of the Games was that all these athletes competed and gave their all for one single prize. A kotinos, a wreath made from the branches of a wild olive tree which was near the Temple of Zeus in Olympia. No gold, no silver , no bronze medals. Just a wreath for the best athlete in each sport. And yet, this seemingly 'humble ' wreath was cherished more than any other material prize. 

  As we mentioned before, the kotinos was made from the branches of a wild olive tree called  Elaia Kallistephanos) . Hercules, who first laid out the Olympic track, also planted this sacred olive tree from which the wreaths were made. It is therefore clear that the wreath was not just a prize for athletic success; it was a sacred offering, imbued with cultural and religious significance. Hence , the process of making an olive wreath was a task of precision and reverence. Before the beginning of the Games, the branches of the sacred wild-olive tree were cut by a pais amphithales (Ancient Greek: παῖς ἀμφιθαλής, a boy whose parents were both alive) with a golden sickle. Then he took them to the temple of Hera and placed them on a gold-ivory table. From there, the Hellanodikai (the judges of the Olympic Games) would take them, and carefully weave them into wreathes, ensuring that each one was a perfect circle, symbolizing unity and eternity.

The use of olive tree branches as awards for the most important athletic event of the ancient worlds, reminds us once more of the special place the olive tree held in Hellenic Religion and culture. It is the sacred tree of Goddess Athena, who had gifted it to the city of Athens, winning the favor of its people over Poseidon. The  connection of the olive tree  to the Greek Goddess of Wisdom enhances its significance as a symbol of wisdom, peace, and prosperity.



The climax of the Olympic Games was the award ceremony, where victors were crowned with olive wreaths. This momentous occasion took place within the sanctuary of Zeus, adding a divine dimension to the athletes’ triumph. The ceremony was not just an athletic celebration but a religious and cultural festival, attended by thousands, including dignitaries and priests.

More Than Just a Prize

In the ancient Greek Olympic Games, there was only one winner per sport. Therefore, winning an olive wreath in Olympia was one of the truly highest honors for an ancient athlete. The fact that the kotinos wasn't an 'expensive' prize was unimportant. Its true value was that the victor had earned the glory of victory, the respect of his peers and his home town and most of all, the favour of the Gods.  The Kotinos  was also  a testament to the athlete’s physical prowess, dedication and discipline.

Famous Victors Who Received Olive Wreaths

The victorious athletes were honoured, feted, and praised. Their deeds were heralded and chronicled so that future generations could appreciate their accomplishments. In fact, the names of the Olympic winners formed the chronology basis of the ancient world, as arranged by Timaeus in his work, The Histories. Over the centuries, numerous athletes achieved glory in the Olympic Games and were honored with olive wreaths. Their victories became part of the rich tapestry of Greek history .Athletes like Diagoras of Rhodes, who won twelve crowns in the Olympics, and Milo of Croton, a renowned wrestler, were among those who received this prestigious honor. Their victories, celebrated with olive wreaths, elevated them to a near-mythical status, immortalizing their names in the annals of history.

 


A Symbol of Peace

The kotinos was not only a symbol of athletic victory ,but also of peace. The olive branch has traditionally been associated with peace and reconciliation, and its use in the wreaths at Olympia further emphasized the Olympic Truce, during which conflicts were suspended, and unity was celebrated.

Olive Wreaths in Modern Olympic Symbolism

Just like the Olympic Games themselves, which gloriously returned in the modern era, the tradition of the olive kotinos  has transcended the centuries, finding its place in the modern Olympic Games. While gold, silver, and bronze medals are awarded to modern day athletes, the olive wreath still appears in various symbolic forms. It is often seen in logos, emblems, and the ceremonial aspects of the Games, serving as a link to the ancient traditions and a reminder of the Olympic Games’ Greek historical roots. Olive wreaths were the official emblem of the 2004 Summer Olympics in Athens, where the athletes also received them  in honor of the ancient tradition.



For the conclusion of this short article about the history of the kotinos, it is worth mentioning an account given to us by Herodotus :  Xerxes was interrogating some Arcadians after the Battle of Thermopylae. He inquired why there were so few Greek men defending the Thermopylae. The answer was "All other men are participating in the Olympic Games". And when asked "What is the prize for the winner?", "An olive-wreath" came the answer. Then Tiritantaechmes, one of his generals uttered: "Good heavens! Mardonius, what kind of men are these against whom you have brought us to fight? Men who do not compete for possessions, but for virtue."'

Edited from : Wikipedia , peloponnesetravel.gr


Monday, 1 January 2024

THE GORGONEION A GREEK APOTROPAIC IMAGE FROM THE DEPTHS OF CENTURIES

 




In Ancient Greece, the Gorgoneion (Greek: Γοργόνειον) was a special apotropaic amulet showing the Gorgon head, which was used by  Athena and Zeus: Both are depicted wearing  the gorgoneion as a protective pendant.  Among other attributes, it was used by Alexander the Great himself and later by rulers of the Hellenistic age as a royal aegis to imply divine birth or protection, as shown, for instance, on the Alexander Mosaic and the Gonzaga Cameo. It is considered to be one of the most powerful protective images. 



Homer refers to the Gorgon on four occasions, each time alluding to the head alone, as if she had no body. The story of Perseus slaying Medusa is well-known, yet the centre of attention has since turned on the immensely apotropaic qualities that her head obtained after the beheading.Prior to the 5th century BCE, Medusa  was depicted as particularly ugly, with a protruding tongue, boar tusks, puffy cheeks, her eyeballs staring fixedly on the viewer and the snakes twisting all around her.


The direct frontal stare, especially expressing violent aggression, was highly unusual in ancient Greek art. (The common depiction of the evil eye on 6th century drinking vessels, and particularly, eye-cups, like Gorgoneia, are assumed apotropaics.) In some instances, what sometimes appears as a beard (probably standing for stylized hair or streaks of blood) was appended to her chin, making her appear as an orgiastic deity akin to Dionysus.


Gorgoneia that decorate the shields of warriors on mid-5th century Greek vases are considerably less grotesque and menacing. By that time, the Gorgon had lost her tusks and the snakes were rather stylized. The Hellenistic marble known as the Medusa Rondanini illustrates the Gorgon's eventual transformation into a beautiful woman.

Gorgoneia appear frequently in Greek art at the turn of the 8th century BCE. One of the earliest representations is on an electrum stater discovered during excavations at Parium. Other early 8th-century examples were found at Tiryns. Going further back into history, there is a similar image from the Knossos palace, datable to the 15th century BCE. Marija Gimbutas even argues that "the Gorgon extends back to at least 6,000 BCE, as a ceramic mask from the Sesklo culture illustrates", and in her book, Language of the Goddess, she also identifies the prototype of the Gorgoneion in Neolithic art motifs, especially in anthropomorphic vases and terracotta masks inlaid with gold.

In the 6th century, gorgoneia of a canonical "lion mask type" were ubiquitous on Greek temples, especially in and around Corinth. Pedimental gorgoneia were common in Sicily; probably the earliest occurrence being in the Temple of Apollo in Syracuse. Around 500 BCE, they ceased to be used for the decoration of monumental buildings, but were still shown on antefixes of smaller structures throughout the next century.


Apart from temples, the Gorgon imagery is present on garments, dishes, weapons, and coins found across the Mediterranean region from Etruria to the Black Sea coast. The Gorgon coins were struck in 37 cities, making her image on coins second in numismatic ubiquity only to several principal Olympian Gods and Goddesses. On mosaic floors, the Gorgoneion usually was depicted next to the threshold, as if guarding it from hostile intruders. On Attic kilns, the gorgoneion over the kiln door protected from mishaps.


SOURCE Wikipedia

Thursday, 28 September 2023

GREEK ASIA FLAG NOW AVAILABLE


 The flag of Greek Asia is now available for purchasing, along with some other amazing accessories . You can find them at the Greek webshop Γαλαζιο Καταστημα. The link for the Greek Asia items is the following .  https://galaziokatastima.gr/product-category/greek_asia/

Wednesday, 31 May 2023

LET'S VISIT THE PARTHENON - HISTORY TOUR IN ASSASSIN'S CREED: ODYSSEY

A detailed visit to the famous Pathenon of Athens in the discovery mode for Assassin's Creed Odyssey! In the video we can experiencea guided tour of the site while discussing greek architecture, religious practices, mythology, and daily life. 



 SOURCE ~ Invicta YouTube channel

Tuesday, 2 May 2023

NAIADS ~ THE GUARDIAN NYMPHS OF FRESH WATERS



In Hellenic Religion, the Naiads (/ˈnaɪædz, ˈneɪædz, -ədz/; Greek: Ναϊάδες, translit. naïádes) are a type of female spirit, or nymph, presiding over and protecting fountains, wells, springs, streams, brooks and other bodies of fresh water. 

They are distinct from River Gods, who embodied rivers, and the very ancient spirits that inhabited the still waters of marshes, ponds and lagoon-lakes such as pre-Mycenaean Lerna in the Argolis.

The Naiads are classified depending on Their domain:

The Crinaeae – The Naiad Nymphs of fountains and wells

The Limnades (or the Limnatides) – The Naiad Nymphs of lakes

The Pegaeae – The Naiad Nymphs of springs

The  Potameides – The Naiad Nymphs of rivers

The Eleionomae – The Naiad Nymphs of wetlands


​As with all Nymphs, the Naiads are depicted as beautiful maidens; often shown with a pitcher, as the Naiads are thought to carry water for their parents.

​Though creatures from a different realm than the human one, Naiads are not necessarily considered to be immortal, for they live and die alongside their water source; so if a spring dries up, the associated Naiad perishes with it. It is also believed that Naiads have a finite lifespan, although Plutarch did suggest that this lifespan was 9720 years.



Apart from the bringing forth of water, Naiads are also protectors of young maidens; additionally, Their waters are often able to heal or help in prophecy. One of the important Pegaeae,(spring Naiads) , is Cassotis, a Naiad from the spring located at Delphi, one of the most significant Oracles in all of antiquity.

WORSHIP OF NAIADS

Due to their connection to one of the most essential elements for life and prosperity, the fresh water, the Naiads were often the object of archaic local cults, worshipped by humans. Boys and girls at coming-of-age ceremonies dedicated their childish locks to the local Naiad of the spring. In places like Lerna their waters' ritual cleansings were credited with magical medical properties. Also, the Naiads of island springs, like Aegina and Salamis,were extremely important to the Ancient Greeks,along with the Naiads of town fountains and wells, like Thebe and Thespia. These Naiads, as well as giving Their names to the regions themselves, were also considered to be very reason why people could live where they did.


TALES OF NAIADS IN HELLENIC RELIGION

Generally speaking, the Naiads are not considered to be the most helpful of NAymphs in Greek mythology, for They could be vengeful when angered; indeed, the Eleionomae, Naiads of wetlands, did not need a reason to be vengeful, and would simply cause individuals to become lost in the swamps.However, we need to bear in mind that Their abodes were fragile and often susceptible to human abuse. Therefore, having a fierce temperament is an essential personality trait when you try to protect a resource desired by all humans, due to necessity.


The Gods and the Naiads

Many Gods of the Hellenic Pantheon would chase after Naiads, and the lovers of Apollo included Cyrene, Daphne and Sinope, whilst Zeus was a lover of Aegina, Poseidon joined with Salamis, and Hades lusted after Minthe.


In one version of the story of the Charites, the Graces, these three maidens were born after a relationship between Helios and the most beautiful of all Naiads, Aegle.

As the same time though, many prominent individuals in Ancient Greece, and families, would have a family tree that included one or more Naiad.


      Famous Naiad Stories

An example of the vengeful nature of the Naiads comes from the story of Daphnis and Nomia. Daphnis was a shepherd on Sicily, and the Naiad Nomia fell in love with him. She was faithful to him, but Daphnis was deliberately intoxicated by a princess on Sicily, so that she could seduce him. When Nomia found out, she blinded Daphnis. 


                                                           Hylas and the Naiads

Probably the most famous tale of the Naiads concerns the Mysian Naiads of the spring of Pegae in Bithynia. The Argo stopped off in Bithynia when the Argonauts made their way to Colchis. The three Naiads, Euneica, Malis and Nycheia, observed Hylas amongst the Argonauts and kidnapped him.

The Argo would sail on without him, and the ship would also leave behind Heracles who vowed to search for his friend Hylas. Heracles did not find Hylas, but whether Hylas wanted to be found is questionable. Some say he had fallen in love with the Naiads, and stayed with them forever more.

     Arethusa 

Another famous Naiad, who went beyond Greece is Arethusa (Greek: Ἀρέθουσα). She is a Nymph who fled from Her home in Arcadia beneath the sea and came up as a fresh water fountain on the island of Ortygia in Syracuse, Sicily. She is the patron figure of Syracuse and Her depiction in ancient Greek coins of the region is one of the most beautiful ones. 


                  Silver decadrachm of Arethusa, minted in Syracuse, Sicily (405–400 BCE)

The Naiads have been honoured and respected by the Ancient Greeks as the Guardians of all regions that involve fresh water, the essence of life, agriculture and prosperity. 

Edited from : Wikipedia, greeklegendsandmyths.com


Tuesday, 6 December 2022

NYX ~ THE GREEK GODDESS OF NIGHT



Apart from the famous Divine Residents of Mount Olympus, the Hellenic Pantheon has many other deities. Nyx, the Goddess of Night, is one of the Primordial Goddesses that preceded the Olympians
. Though rarely receiving standard worship, Nyx is feared and respected by both Gods and mortals as one of the most significant forces of Creation.



Hesiod tells us that Her Father is Chaos, the first of all Gods. 
The Orphics tell us that She is the daughter and successor of Phanes, a creator God. A First-Born Goddess, She is a powerful Oracle and we see Her using this power to advise Her descentants; Uranus, her son by Phanes; Cronus, youngest son of Uranus; and Zeus, son of Cronus and Father of the Olympian Gods. 
Nyx is the consort of Erebus, with whom She has had numerous children, some of which play a crucial role in the lives of Gods and humans.She is the mother of  the twin brothers Thanatos (Death) and Hypnos (Sleep) , Eris (Strife), Geras (Old Age), Moros (Doom), Nemesis (Retribution), and also groups of deities, the Moirai (Fates), the Keres (the Hounds of Hades), and the Oneiroi (the Gods of dreams). It is interesting to note that Nyx has also given birth to Aether and Hemera, deities which represent the light and the daytime. 
She lives in Tartarus, one of the darkest and most dreaded places of the Greek Religion. As the sun sets, Nyx emerges from the depths of the Underworld along with Her companion, Erebus, and They both spread darkness all over the world. The next morning Hemera comes to bring the daylight back to humans and Nyx returns to Her home.



Aristotle, in Metaphysics, Book XII, asserted that some “theologians” derive all things from night. This idea fits the theogony of Aristophanes’ Birds. The Orphic Hymn to Goddess Nyx can be found below, in both Ancient Greek and English .

ORPHIC HYMN TO NYX 

Νύκτα θεῶν γενέτειραν ἀείσομαι ἠδὲ καὶ ἀνδρῶν.
[Νὺξ γένεσις πάντων, ἣν καὶ Κύπριν καλέσωμεν]
κλῦθι, μάκαιρα θεά, κυαναυγής, ἀστεροφεγγής,
ἡσυχίηι χαίρουσα καὶ ἠρεμίηι πολυύπνωι,
εὐφροσύνη, τερπνή, φιλοπάννυχε, μῆτερ ὀνείρων,
ληθομέριμν' ἀγαθή τε πόνων ἀνάπαυσιν ἔχουσα,
ὑπνοδότειρα, φίλη πάντων, ἐλάσιππε, νυχαυγής,
ἡμιτελής, χθονία ἠδ' οὐρανία πάλιν αὐτή,
ἐγκυκλία, παίκτειρα διώγμασιν ἠεροφοίτοις,
ἣ φάος ἐκπέμπεις ὑπὸ νέρτερα καὶ πάλι φεύγεις
εἰς Ἀίδην∙ δεινὴ γὰρ ἀνάγκη πάντα κρατύνει.
νῦν σε, μάκαιρα, καλῶ, πολυόλβιε, πᾶσι ποθεινή,
εὐάντητε, κλύουσα ἱκετηρίδα φωνὴν
ἔλθοις εὐμενέουσα, φόβους δ' ἀπόπεμπε νυχαυγεῖς.

ENGLISH TRANSLATION

 Nyx, parent Goddess, source of sweet repose, from whom at first both Gods and men arose,
Hear, blessed Kypris, decked with starry light, in sleep’s deep silence dwelling in ebon night!
Dreams and soft case attend Your dusky train, pleased with the lengthened gloom and fearful strain.
Dissolving anxious care, the friend of Mirth, with darkling coursers riding round the earth.
Goddess of phantoms and of shadowy play, whose drowsy power divides the natural day:
By Fate’s decree You constantly send the light to deepest hell, remote from mortal sight
For dire Necessity which nothing withstands, invests the world with adamantine bands.
Be present, Goddess, to your suppliant’s prayer, desir’d by all, whom all alike revere,
Blessed, benevolent, with friendly aid dispel the fears of Twilight’s dreadful shade.

EDITED FROM https://greekgodsandgoddesses.net/

https://www.greeklegendsandmyths.com/

https://www.britannica.com/

https://www.theoi.com/Library.html

Sunday, 26 December 2021

ORPHIC HYMN TO GODDESS HEKATE


 Hekate is one of the most well-known Goddesses of the Greek Religion. A Goddess of Crossroads,Hekate is linked with witchcraft, the Underworld and at the same time She protects the household and watches over newborns. Here you can read Her Orphic Hymn, both in Ancient Greek and English.The English translation is by Adam Forrest. You will also find a video of  the band Daemonia Nymphe, who have created a lovely, shortened version of the Hymn.


Orphic Hymn To Hekatê

Hekatê of the Path, I invoke Thee, Lovely Lady of the Triple Crossroads,

Celestial, Chthonian, and Marine One, Lady of the Saffron Robe.

Sepulchral One, celebrating the Bakchic Mysteries among the Souls of the Dead,

Daughter of Persês, Lover of Solitude, rejoicing in deer.

Nocturnal One, Lady of the Dogs, invincible Queen.

She of the Cry of the Beast, Ungirt One, having an irresistible Form.

Bullherder, Keeper of the Keys of All the Universe, Mistress,

Guide, Bride, Nurturer of Youths, Mountain Wanderer.

I pray Thee, Maiden, to be present at our hallowed rites of initiation,

Always bestowing Thy graciousness upon the Boukolos*.

Boukolos,literally meaning herdsman. Ηere the term refers to a devotee of the Mysteries. )



The Hymn in Ancient Greek


Εἰνοδίην Ἑκάτην κλῄιζω, τριοδῖτιν, ἐραννήν,   1

οὐρανίην, χθονίαν τε, καὶ εἰναλίην κροκόπεπλον,

τυμβιδίην, ψυχαῖς νεκύων μέτα βακχεύουσαν,

Πέρσειαν, φιλέρημον, ἀγαλλομένην ἐλάφοισιν,

νυκτερίην, σκυλακῖτιν, ἀμαιμάκετον βασίλειαν,   5

ταυροπόλον, παντὸς κόσμου κληιδοῦχον ἄνασσαν,

ἡγεμόνην, νύμφην, κουροτρόφον, οὐρεσιφοῖτιν,

λισσόμενοις κούρην τελεταῖς ὁσίαισι παρεῖναι

βουκόλῳ εὐμενέουσαν ἀεὶ κεχαρηότι θυμῷ.



Nocturnal Hekate by Daemonia Nymphe




Sources: Hermetic Fellowship , HellenicGods.org , YouTube



Wednesday, 14 April 2021

NAUCRATIS ~ THE GREEK COLONY OF EGYPT



 Naucratis or Naukratis (Greek: Ναύκρατις, "Naval Command" ) was a city of ancient Egypt, on the Canopic branch of the Nile river, and 72 km (45 mi) southeast of the open sea and Alexandria. It was the first and, for much of its early history, the only permanent Greek colony in Egypt; it was a symbiotic nexus for the interchange of Greek and Egyptian art and culture.


The modern villages of Kom Gi’eif, el-Nibeira and el-Niqrash cover the archaeological site, which has become a find of the highest significance and the source of not only many beautiful objects of art now gracing the museums of the world but also an important source of some of the earliest Greek writing in existence, from the inscriptions on its pottery.The sister port of Naucratis was the harbour town of Thonis/Heracleion, which was undiscovered until 2000.

Archaeological evidence suggests that the history of the ancient Greeks in Egypt dates back at least to Mycenaean times (1600–1100 BCE) and more likely even further back into the proto-Greek Minoan age. This history is strictly one of commerce as no permanent Greek settlements have been found of these cultures to date.



The first report of Greeks in 7th century BCE Egypt is a story in the Histories of Herodotus of Ionian and Carian pirates forced by storm to land on or near the Nile Delta. It relates the plight of the Saite Pharaoh Psammetichus I (Psamtik) of the 26th dynasty of Egypt, who was overthrown and sought the advice of the Oracle of Leto at Buto. The oracle cryptically advises him to enlist the aid of the "bronze men" who would "come from the sea." Inspired upon seeing the bronze armor of the shipwrecked pirates, he offers them rewards in return for their aid in his campaign of return to power. Upon the success of this endeavor, he makes good on his word and bestows on the mercenaries two parcels of land (or "camps," στρατόπεδα) on either side of the Pelusian branch of the Nile.At present these sites remain uncertain but this may be a reference to the city of Daphnae.




Naukratis was the site of an Egyptian town before the Greeks arrived, later becoming established as a military settlement occupied by mercenaries. Naukratis was located on the Canopic branch of the Nile in the western Delta some 16 km from Sais. The Canopic tributary was one of the major waterways linking the Nile valley with the Mediterranean, and the most accessible of the Nile’s tributaries during the Saite Period. The early settlement then developed into a busy trading port. They exchanged goods with the Greeks and with other Mediterranean states. Greek traders settled in Naukratis and a large Greek community began to develop.


In 570 BCE, the Pharaoh Apries (Wahibre, reigned 589–570 BCE) led the descendants of this mercenary army made up of 30,000 Carians and Ionians against a former general turned rebel by the name of Amasis. Although fighting valiantly they suffered defeat and Amasis II became Pharaoh (reigned 570–526 BC). Amasis shut down the "camps" and moved the Greek soldiers to Memphis where they were employed "to guard him against the native Egyptians."


Herodotus: "Amasis was partial to the Greeks, and among other favors which he granted them, gave to such as liked to settle in Egypt the city of Naucratis for their residence." 

It's worth noting that Herodotus says "gave the city (πόλῐν)", which seems to indicate the existence (now borne out by archaeological evidence) of a "city" already there. This older city, settlement more likely, was no doubt small and inhabited by a mix of native Egyptians, Greeks and possibly even Phoenicians. Thus it seems the city was turned over to the Greeks, "chartered," in the years immediately following 570 BCE. The earlier date of c. 625 BC put forward by archaeologists may be the actual establishment of a settlement at the site.

Amasis indeed converted Naucratis into a major treaty-port and commercial link with the west. This was done most likely as a means to contain the Greeks and concentrate their activities in one place under his control. It became not the colony of any particular city-state but an emporion (trading post) similar to Al Mina, the largest market port of north Syria.

According to Herodotus, the walled shrine known as the Hellenion was a co-operative enterprise financed by 9 eastern Greek cities:

4 Ionian: Chios, Klazomenai, Teos and Phocaea

4 Dorian: Rhodes, Halicarnassus, Knidos and Phaselis

1 Aeolian: Mytilene

Miletus, Samos and Aegina had their own separate sanctuaries. Thus the natives of at least 12 Greek city-states worked in a collaboration which, not only was it rare, but also proved to be lasting.

Naucratis later became an important center of Greek culture under the Roman Empire, producing several celebrated orators of the Second Sophistic in the 2nd and early 3rd centuries CE. The 3rd century writer Athenaeus came from Naucratis.


The site of Naucratis was discovered by Flinders Petrie who dug there in 1884–1885. He was followed by Ernest Arthur Gardner and finally David George Hogarth, in 1899 and 1903.


The archaeological focus fell into two areas of northern and southern quarters. Found farthest south was a large Egyptian storehouse or treasury and just north of that a Greek mud-brick Temple of Aphrodite roughly 14 m × 8 m (curiously not mentioned in Herodotus' list.) Directly east of this temple a small factory for faience scarab seals has been found.


In the northern section several temple ruins have been found- Temple of Hera, Temple of Apollo and Temple of Dioscuri, including what may be Herodotus' Hellenion discovered by Hogarth in 1899 . "None of the votive pottery found here need have arrived earlier than the reign of Amasis, so it may well be that the Hellenion was founded as the result of his reorganization of the status of Naucratis, while the independent sanctuaries ... are of the earlier years of the town."


More recently, American archaeologists W. Coulson and A. Leonard founded "The Naucratis Project" in 1977 carrying out surveys in 1977–1978 and further surveys and excavations to the south of the site from 1980–1982 (under the auspices of the American Research Center in Egypt). Unfortunately, they found the original northern sanctuary section submerged under a lake formed by the risen water table and roughly 15 m deep.

 This part of the site remains under water today, making further work there difficult if not impossible. Their assessment of the approach taken and methods used by their predecessors was less than complimentary. According to Leonard and Coulson, the first excavations focused on the religious building,neglecting the trading and domestic sites. Moreover, little to no research has been done on the later Hellenistic and Roman aspects of the site.To make matters more challenging, a significant part of Naucratis had been dug in Patrie's time by the local farmers, in order to use the soil as fertilizer.

 The barrier of the high water table made it impossible for them to find anything older than the Ptolemaic era. They agreed with Hogarth that the "great temenos" of Petrie was actually an Egyptian building and that indeed the entire south section of the town appeared to be non-Greek. Overall most of the finds were vases (some whole, most fragmentary) used as votives in the temples, but also stone statuettes and scarab seals. These are scattered to museums and collections around the world, the earlier material largely brought to Britain (mostly in the British Museum) and the latter to the Graeco-Roman Museum in Alexandria.




The Egyptians supplied the Greeks with mostly grain but also linen and papyrus while the Greeks bartered mostly silver but also timber, olive oil and wine. Naukratis, and the associated Greek "forts" in the general delta area, as demonstrated by accounts given above, became a ready source of mercenary fighting men for the Saite pharaohs, men with superior hoplite armor and tactics, also possessing invaluable naval expertise.

Naucratis soon became a profound source of inspiration to the Greeks by re-exposing them to the wonders of Egyptian architecture and sculpture lost to them since the Bronze Age. Egyptian artifacts soon began their flow along the Greek trade routes finding their way into the homes and workshops of the Ionian Greek world and, via Aegina, the city-states of mainland Greece.

Naucratis was not only the first Greek settlement in Egypt but also Egypt's most important harbor in antiquity until the rise of Alexandria and the shifting of the Nile led to its decline. Nevertheless, the ancient city of Heracleion/Thonis also rivalled Naucratis as an important port city of Egypt, especially from the 6th to the 4th century BCE.


Edited from: Wikipedia


Sunday, 4 April 2021

THE STAR AND CRESCENT ON ANCIENT GREEK COINS

 

At least four different Greek Goddesses have a strong connection to the Moon: Hecate, Selene, Artemis (Diana), and Aphrodite (Venus). The star and crescent appear as powerful symbols with many meanings, and are often found on ancient coins.

Athens Owl

Athens Tetradrachm - Crescent Owl



Head of Athena to right, wearing crested Attic helmet adorned with three olive leaves and palmette, round earring and pearl necklace. Rev. ΑΘΕ Owl standing right, head facing; behind, olive spray and crescent moon; all within incuse square.

The best-known crescent moon on an ancient coin is a small symbol behind the shoulder of the owl on the reverse of the silver tetradrachm of Athens, a popular trade coin accepted for centuries and widely imitated across the Mediterranean world. The crescent first appears on the coins shortly after Athens’ victory at the Battle of Marathon, fought beneath a waning moon (August or September 490 BCE). The crescent may also recall the crescent formation of the Greek ships at the decisive Battle of Salamis (September 480 BCE).


Tarentum

Tarentum Trihemiobol - Crescent and Star coin



Tarentum, a prosperous Greek city on the heel of the Italian “boot”, issued a tiny silver trihemiobol (0.78 g) c. 450 – 380 BCE showing a distaff (a tool used in spinning thread, symbolic of the local wool industry) between two stars and a crescent. On the more common and even tinier hemiobols of Tarentum (c. 325 – 228 BCE), stars and pairs of crescents, back to back, are the only designs on both sides of the coin.


Uranopolis and Byzantium




The small town of Uranopolis (“sky city”) in Macedon was dedicated to the Goddess Aprhrodite Urania. On its bronze coins (c. 300 BCE), the Goddess appears seated on a celestial globe. The star and crescent are depicted on the reverse, in a pattern that will be repeated on coins for centuries to come: the “horns” of the crescent point upward, and the star is a pellet with six or eight rays.


Uranopolis - Crescent and Star Ancient Coin



The Greek city of Byzantium (which would become Constantinople in 330 CE, and Istanbul after 1453) adopted this symbol on its coinage in the first century BCE. According to legend, in 340 BCE, when Philip of Macedon -father of Alexander the Great- besieged Byzantium, the appearance of a sudden light in the sky warned the defenders in time to prevent a surprise night attack on the walls. In gratitude to the lunar goddess Hecate, the city placed a star and crescent on its local coinage. This custom continued well into the Roman era.


Mithridates VI (135-63 BCE), King of Pontus in Asia Minor, was one of the most determined and resourceful enemies who ever fought the Roman Republic. In the year he was born, a comet appeared in the constellation of Pegasus. A fourth-century historian reported that it “burned so brightly for 70 days that the entire sky seemed to be on fire.”


King of Pontos Mithridates VI Eupator - Crescent Star



In 119 BCE another comet appeared, when 15-year-old Mithridates deposed his mother and seized the throne for himself. The star and crescent was the badge of his dynasty and it appears consistently on his coinage. A large star and crescent surrounded by a wreath forms the reverse of a unique gold stater of c. 93 BCE. On his abundant silver coinage, the star and crescent appears on the reverse as a small symbol beside a stag or Pegasus.



Edited from: https://coinweek.com/

Friday, 5 March 2021

THE ART OF COIN MINTING IN ANCIENT GREECE

 


Ancient Greeks made their coins by following a specific procedure. First, they melted metal and poured it into round bars. These bars were afterwards cut into discs, which had the same diameter and weight- essential factors ,which define the value of each coin.Each disc was then placed between to stamps between two stamps (moulds), carved with the scenes that would appear on each side of the coin; then they hit them with a hammer until the scenes were stamped on the coin. 

 Each coin was created separately; thus, the worker had to be extra careful and skilled at his work. The moulds on which the scenes had been carved were made of bronze, iron or brass. These moulds faded after having been used frequently, and they had to be replaced. Since the moulds included detailed and wonderful miniature depictions, and their role in coin minting was essential, we can assume that their creation must  have been a quite expensive procedure.




The mints were small buildings and the workers used the following tools: a furnace, a scale, a scorp, a punch and a pair of tongs that were used for placing the disc on the anvil, where the front side mould had been placed. On the other side of the coin, a pinch on which the scene had been engraved, was placed. The first side was hit by the worker with a hammer so the coin was pressed from both sides, achieving an accurate stamping.


In the first years, there were no discs but round metal masses until the round bars were invented.



A large quantity of metals was necessary for the production of coins. A small city could just trade its products in order to buy the precious metals. On the other hand, large cities like Athens needed larger quantities of metal, which they used to take from the mines. For example, Athens acquired precious metals  from the mines of Lavrio and Aegina from the mines of Sifnos. In the Northern parts of Greece, King Philip II of Macedonia used the mines of  Damasteio and Paeonia, while Alexander the Great took advantage of the mines located in the areas he had conquered. During Hellenistic Times, Greek dynasties, such as the Ptolemies were provided with metals from the mines of Nouvia and from Cyprus.


Source: Greek Coins

Wednesday, 20 January 2021

GOD ZEUS ON THE COINS OF PHILIP II OF MACEDONIA



Philip II was the father of Alexander the Great and the youngest son of King Amyntas III. He took the throne in 359 BCE upon the death of his elder brothers, at a time when Macedonia was a poorly organized, economically insignificant, and militarily weak kingdom.
Greece, Macedonia. Tetradrachm of Philip II, Pella, ca. 359-336 BCE Exceptionally broad flan with a particularly elegant head of Zeus of the finest late classical style. 


Philip’s leadership and vision of Macedonia’s future allowed him to succeed in unifying the intensely fragmented city-states of Greece under his rule in little more than 20 years.

Early in his reign, Philip focused on conquering the town of Crenides, quickly succeeding and renaming it to Philippi. He established a significant military presence to control their mines which provided him the financial backing for his future expansion. He converted his newly acquired bullion into a vast supply of coins; his tetradrachms and staters became some of the best known currencies of the day.

Despite being the King of Macedonia, Philip faced an uphill battle: the Greeks feared but did not respect him. The Northern Greeks were considered less cultured by their Southern counterparts, thought to be barbaric and uncouth.

The contemporary historian Demosthenes documented Philip’s struggles, describing him as “the finest orator” and a “Greek of Greeks” but that “ill-conditioned fellows in Athens” continued to “call him a barbarian.”


Philip entered his horse into the keles, a 1.2km horseback race, in the 106th Olympics in 356 BCE and won. This was a two-fold victory: having been admitted officially into the games and winning, he solidified his standing as a civilized, true Greek.

He proceeded to win two more times, in the 107th Olympics in 352 BCE in the four-horse chariot race and in the 108th Olympics in 348 BCE in the two-horse chariot race.

The fastest way to spread current news and political messages was through coinage as modern paper wasn’t invented in Europe until the 1700s and lambskin, vellum, and papyrus were expensive. Philip chose his coin types carefully. By minting ancient greek coins commemorating his Olympic success, Philip placed extra emphasis on the fact that the Gods favoured him. 

 In Ancient Greece,it was believed that the Gods would treat Olympic winners favorably in battle, aiding Philip in his acceptance as a worthy leader and therefore helping his efforts to unite and control Greece, paving the way for his son Alexander’s later conquering of most of the known world.

Philip’s primary issue of ancient Greek coins was a series of tetradrachms bearing an obverse portrait of Zeus and on the reverse, a muscular horse ridden by a young, slim jockey shown running his victory lap and holding a palm branch, a symbol given to the victor.

Zeus appears as the patron of the Olympic Games. The quality of Zeus’ particularly elegant portrait on this coin, with a smooth forehead, clean arch of the eyebrow, and finely chiseled nose shows its inspiration by the gold and ivory statue of Zeus by Phidias at Olympia. This statue was one of the Seven Wonders of the Ancient World and further enforces the Olympic theme.

Perfectly struck and engraved in extremely high relief, possessing a sensitive and gentle expression of Zeus as a God of compassion, the portrait on this coin ranks among the finest contemporary works. Compared with the thousands of ancient Greek coin dies used across the wide mintage of Philip II tetradrachms, this is one of the most stunningly beautiful, depicted in the finest late classical style.

Zeus’ dynamic hair spills over the dotted border, a bold statement of artistic freedom and a desire to not be constrained by the restrictions of conventional coin engraving. This creates an impression of a God that can’t be contained, an artistic concept first seen in the coinage from Naxos which features Dionysus.

From sculptures uncovered in the excavation of Philip’s tomb in 1977, it has become evident that there are some subtle but clearly intentional similarities between Philip’s actual appearance and that of Zeus on his tetradrachms. The artist adopted some of Philip’s facial attributes in the depiction of Zeus, likely intending to further assert Philip’s divinity and claim to the broader throne of Greece.

After his death, the ancient Greek tetradrachms continued to be minted under Philip’s sons, but their style degraded considerably. The portrait on the obverse progressively lost its majesty and the horse became smaller as the jockey became larger, disrupting the proportion and aesthetics of the coin.

Relative to the earliest coins minted during his lifetime, the posthumous tetradrachms are much more plentiful, and their prevalence tends to negatively influence the overall perception of the series because of their inferior artistry. These coins were later copied and deviated even further from the original by several Celtic tribes as a primary pattern for the coinages in Gaul, Britain, and Eastern Europe, who adopted a much more abstract design in their execution.




Russell A. Augustin

Source: Coinweek

Friday, 1 January 2021

PICTURES OF THE GREEK GODS WITH ARABIC SCRIPT

Images of the Greek Gods with Their names in Arabic script. If you wish to upload them, right click on each picture and save them on your computer. For more info on each of the Gods and Goddesses, click on Their name above each picture.