F.M. Ferrara & P. Vannicelli (eds), La Macedonia antica e la nascita dell’Ellenismo alle origini dell’Europa, Roma 14-15 Dicembre 2017, Scienze dell’ Antichità 26 - 2020, fasc. 3, 85-98, 2020
In this paper I have tried to present and to some extent elaborate on the data that have been com... more In this paper I have tried to present and to some extent elaborate on the data that have been compiled so far through the archaeological exploration of the sanctuary of Eukleia at Vergina / Aegae. The aim was to recognize the interlocking features of the cultic structures on the main terrace of the site, thereby constituting a temenos, and additionally to point out the parallel organization of sacred and civic space mainly in the 4th c. BC but also during the following centuries.
The basic conclusions could be delineated as follows: the Sanctuary of Eukleia was an urban sanctuary, integral to the fabric of the city and incorporated into civic life in every way. Its inauguration was intimately related to political–civic structures and represented a new phase of reorganization in the city's life (on the assumption there had been an earlier palace and theatre elsewhere). Every approach to the sanctuary should take into account not only the commissioners of the buildings but also the target group, the community, which to a great extent brought about this commissioning. Forthcoming publications are expected to shed further light on the understanding of the site.
Ι΄ ΔΙΕΘΝΗΣ ΕΠΙΣΤΗΜΟΝΙΚΗ ΣΥΝΑΝΤΗΣΗ ΓΙΑ ΤΗΝ ΕΛΛΗΝΙΣΤΙΚΗ ΚΕΡΑΜΙΚΗ, 2023
Η ανασκαφή της υστεροκλασικής οικίας με το ψηφιδωτό στη θέση Παλαιοπηγάδα στη Μαρώνεια ξεκίνησε τ... more Η ανασκαφή της υστεροκλασικής οικίας με το ψηφιδωτό στη θέση Παλαιοπηγάδα στη Μαρώνεια ξεκίνησε το 1973 και ολοκληρώθηκε το 1983. Έως σήμερα έχει γίνει αρχιτεκτονική μελέτη της οικίας από τους Λάββα και Καραδέδο. Σε αυτό το άρθρο επιχειρείται μια πρώτη παρουσίαση μέρους της κεραμική της οικίας και συγκεκριμένα από τον χώρο που έχει ταυτιστεί με τον «οίκο». Το υλικό συνίσταται κυρίως σε αγγεία καθημερινής χρήσης, αλλά εντοπίζονται και παραδείγματα πολυτελούς κεραμικής.
Το Μουσείο Εκμαγείων του ΑΠΘ ιδρύθηκε λίγο μετά την ίδρυση του ίδιου του πανεπιστημίου και της Φι... more Το Μουσείο Εκμαγείων του ΑΠΘ ιδρύθηκε λίγο μετά την ίδρυση του ίδιου του πανεπιστημίου και της Φιλοσοφικής Σχολής που αποτελεί και την αρχαιότερη σχολή. Η επιμελής συλλογή αντιγράφων έργων τέχνης της αρχαιότητας ξεκίνησε από τον καθηγητή Κωνσταντίνο Ρωμαίο. Μέσω των αντιγράφων η αρχαία τέχνη μετατρέπεται σε βιωματική εμπειρία για τους φοιτητές της Φιλοσοφικής Σχολής, τόσο σε εκείνα τα πρώτα χρόνια, όσο και στα επόμενα. Σήμερα, με περισσότερα από 900 γύψινα εκμαγεία έργων κομβικής σημασίας για τη μελέτη της αρχαίας γλυπτικής, 150 αντίγραφα έργων της Εποχής του Χαλκού, τα περισσότερα από τα οποία οφείλονται στους É. Gilliéron, πατέρα και γιο, καθώς και πρωτότυπα έργα, κυρίως κεραμικής και μικροτεχνίας, από δωρεές και συλλογές, συνιστά έναν πολύτιμο χώρο πρακτικής άσκησης για τους φοιτητές και εξοικείωσής τους με τον αρχαίο υλικό πολιτισμό. Επιπλέον, το Μουσείο συμβάλλει δυναμικά στηνεξωστρέφειατουΙδρύματος. Δημιουργεί ένα σημείο αναφοράς για μαθητές και διδάσκοντες της Πρωτοβάθμιας και Δευτεροβάθμιας Εκπαίδευσηςκαι προσαρμόζεται στις εξελίξεις που συντελούνται στους αλληλένδετους τομείς της έρευνας και της εκπαίδευσης. Χαρακτηριστική είναι η περίπτωση του πρόσφατου εκπαιδευτικού προγράμματος για άτομα,παιδιά και ενήλικες, με ειδικές εκπαιδευτικές ανάγκες που εντάχθηκε στις δράσεις του «ΑΠΘ την Κυριακή» και θα έχει και συνέχεια ως διεπιστημονικό ερευνητικό πρόγραμμα όπου αλληλεπιδρούν η Νευρογλωσσολογία, η Ψυχολογία και η Αρχαιολογία.
M. Gavranović et al., Perspectives on Balkan Archaeology 1. Spheres of interaction, Leidorf , 2020
An extensive necropolis has been brought to light at Aegae, the first capital of the Macedonian k... more An extensive necropolis has been brought to light at Aegae, the first capital of the Macedonian kingdom. Among the numerous tombs, some are characterised by impressive architectural design and grave goods of great artistry. Despite the existence of the large necropolis, three burials were discovered in the area of the sanctuary of Eukleia, in the public sector of the ancient city, a few years ago. Although there were no built features to denote the spot of the burials, the individual components associated with them certainly match elite burials in Macedonia, namely metal urns, purple cloths, gold wreaths, and decorative gold attachments. This paper investigates the two metal vessels of one of the three burials that belonged to a male adolescent and is dated to the late 4th century BCE: a cylindrical bronze cist and a gold pyxis. The pyxis was contained in the larger cist. The bronze vessel is plainly decorated on the lid, the handles, and the base, whereas the gold pyxis bears no decoration at all. The aim of the study is to trace the affinities of these two artefacts with metal vases discovered elsewhere in Macedonia and other regions and to detect networks of actors involved in their production and use. The examination of the two vessels builds on the publication of the gold oak tree wreath that crowned the cremated bones and advances the approach to the burial. Furthermore, it is expected to shed more light on issues of ideology and mortuary practices addressed by the finds.
Τῷ διδασκάλῳ Τιμητικός τόμος για τον καθηγητή Ιωάννη Ακαμάτη, Θεσσαλονίκη 2019, 197-208, 2019
The funerary monument of the tumulus Stenomakri Toumba at Vergina: tracing the form, the space an... more The funerary monument of the tumulus Stenomakri Toumba at Vergina: tracing the form, the space and contingencies in the necropolis of Aegae in the 4th c. BC. The "Stenomakri Toumba" is an oblong burial tumulus that covered three elite burials dated approximately in the middle or early third quarter of the 4th century BC. The most prominent component of the assemblage, apart from the mound itself, would be the rectangular monument (10.80 x 2.75 m) made of poros and limestone. The foundation and two courses of the krepis are preserved, plainly decorated with recessed bands. The discovery of an one meter high marble volute krater deposited inside the foundation after the mid-2nd century BC destruction in the years of the Roman conquest, in combination with a marble lion paw found in the fill of the tumulus furnishes valuable indication about the decoration of the funerary monument. In order to integrate this monument in the tombscape, not only of Aegae, but also of Macedonia in general, it is methodologically essential to seek similar structures. The so called Herron in the Great Tumulus in Vergina as well as monuments in Pella, Rachona and Tragilos are deemed to be the closest parallels –although each one is characterised by distinct particularities. The study should also include the monuments in the royal necropolis at Aiani, while there are interesting similarities with funerary constructions of commemoration in Thrace and Western Greece. The concluding paragraph incorporates the funerary monument of Stenomakri Toumba in the setting of the necropolis and the cityscape of ancient Aegae. Its dating coincides with the emergence of the Macedonian type of graves and the ambitious building program of the palace, the theatre and the sanctuary of Eukleia. Taking all this into account we gain insights in the society of the period; for instance, we become aware of the mechanisms of collective memory, perception of the landscape and personal promotion.
Pottery from “Temple I” at the Sanctuary of Eukleia at Vergina / Aegae.
Chronological and interpr... more Pottery from “Temple I” at the Sanctuary of Eukleia at Vergina / Aegae. Chronological and interpretive approaches. “Temple I” at the Sanctuary of Eukleia at Vergina is situated on the terrace with pronounced religious character in the western public area of the ancient city of Aegae that formed part of the agora. Its orientation is North – South and its dimensions are 8x3. It is consisted of pronaos and cella and there are details that indicate refurbishment in the frame of a second building phase. Among the ceramics, which come mainly from the destruction layer of the building, potsherds possibly related to an earlier floor are spotted. Despite the rather fragmentary picture of the pottery meticulous study could produce some conclusions. Lamps, relief bowls and cups sustain a date around the mid 2nd c. BC for the destruction of the temple. Vessels of the 3rd c. are also recognized, as well as a few 4th c. potsherds that correspond to the deeper layers of the building. Correlation to the excavation data could possibly result in the understanding of the earlier phase of the temple. Commentary on the vase types and shapes of the assemblage will prove to be very useful for the study of a cult place. For example it is really interesting that three chytrai in quite good preservation state are included.
This paper examines a gold olive wreath in its context. The precious item was found at the arch... more This paper examines a gold olive wreath in its context. The precious item was found at the archaeological site of Vergina, the old capital of the Macedonian kingdom, in the broader area of the “sanctuary of Eukleia”. In 2008-2009 three burials in valuable vessels were discovered in the fill of a construction that had stopped being used in the end of the 4th c. B.C. The fill was sealed by the clay floor of the next building phase. One of the receptacles was a silver panathenaic amphora with gilded parts and incised decoration. It contained the cremated remains of a child aged 3-7, the gold olive wreath and other gold ornaments. The wreath had been affected by the fire during the cremation and additionally it had been bent in order to be placed in the vessel. Even though it was recovered fragmented, its fine artistry and the quality of material and construction are noteworthy. It weighs approximately 300-350 grams; its hoop is composed of two tubular stems from which grow branches, leaves and olives in absolute symmetry and harmony. It lies in the tradition of 4th c. BC gold wreaths produced in Central Macedonia. In order to approach the artefact beyond the first stage of description an attempt is made to highlight episodes in its life history by designating some of the intersecting clusters connected to it. The commissioner, the maker and the bearer are the basic actors whereas the funeral is the last episode where all networks meet. The assessment of the three burials based on crucial criteria is vital for gaining insights on the special features of the assemblages. It is concluded that the child burial is exceptional in its own way: because of the unique panathenaic amphora and the wreath. Apart from the networks and interrelations outlined above, an extremely important parameter for all three assemblages is the location. The three burials were not deposited in an organized cemetery. No grave or tombstone marked their location. The choice for a burial in a sacred and public place in the last quarter of the 4th c. BC is absolutely indicative of the social rank of the dead, but the lack of monumental structures or even some sort of grave marking must be attributed to special historical circumstances. We cannot define them, but at least try to approach objects and agents involved.
This article focuses on a recent find from the archaeological site of Vergina, which is identifie... more This article focuses on a recent find from the archaeological site of Vergina, which is identified as the old capital of the
Macedonian kingdom, Aegae. In the surroundings of a sanctuary three burials were discovered with outstanding
components. One of them, a gold oak wreath, constitutes the object of investigation. At the outset of the study the
excavation site and the data of the discovery of the burials are outlined. Then the wreath is analytically presented in terms
of typology, technology, craftsmanship and style. In order to incorporate it in a network of precious artefacts, the other four
oak wreaths found in Macedonia and dated to the fourth century BC are described and all of them are compared in the
search for similarities or differences. Through this procedure three of them, all from Vergina, emerge as belonging to the
same artistic tradition and possibly the same place of production.
Then the issue of different contexts is addressed. First of all, the burial in question and the particularities of the other two
burials with oak wreaths from Vergina are examined, resulting in the articulation of a pattern. The next step comprises a general
sketch of the meaning of wreaths in antiquity both in life and in death, while a subsequent brief consideration of funerary
assemblages from the same period and region lays emphasis on the symbolic significance of these head ornaments in their
contexts. Attention is also drawn to the plant that the wreath imitates, which is connected to Zeus. In this framework the
oldest known oak wreath, that of ‘Philip II’, is evaluated mainly by examining politics as reflected on coinage. The power
of such symbols as applied to other members of the same family is put forward. Another level of approach, the evaluation of
the wider territorial context, offers insights into the decision to deposit the burial in the area of an intra muros sanctuary in
the old and venerated capital of the kingdom.
When the results of the study are combined, a working hypothesis emerges that would consider the burial containing the gold
wreath as connected to a member of the ruling family. Research turns to the literary evidence and from this it appears that there
is a possibility that the burial is that of the illegitimate murdered son of Alexander the Great.
The concluding section refers briefly to episodes in the cultural biography of the wreath. In the meantime, until further and
holistic study of the three burials and the construction where they were discovered is carried out, the gold oak wreath forms part of
exhibitions on various themes as a representative of the assemblages.
F.M. Ferrara & P. Vannicelli (eds), La Macedonia antica e la nascita dell’Ellenismo alle origini dell’Europa, Roma 14-15 Dicembre 2017, Scienze dell’ Antichità 26 - 2020, fasc. 3, 85-98, 2020
In this paper I have tried to present and to some extent elaborate on the data that have been com... more In this paper I have tried to present and to some extent elaborate on the data that have been compiled so far through the archaeological exploration of the sanctuary of Eukleia at Vergina / Aegae. The aim was to recognize the interlocking features of the cultic structures on the main terrace of the site, thereby constituting a temenos, and additionally to point out the parallel organization of sacred and civic space mainly in the 4th c. BC but also during the following centuries.
The basic conclusions could be delineated as follows: the Sanctuary of Eukleia was an urban sanctuary, integral to the fabric of the city and incorporated into civic life in every way. Its inauguration was intimately related to political–civic structures and represented a new phase of reorganization in the city's life (on the assumption there had been an earlier palace and theatre elsewhere). Every approach to the sanctuary should take into account not only the commissioners of the buildings but also the target group, the community, which to a great extent brought about this commissioning. Forthcoming publications are expected to shed further light on the understanding of the site.
Ι΄ ΔΙΕΘΝΗΣ ΕΠΙΣΤΗΜΟΝΙΚΗ ΣΥΝΑΝΤΗΣΗ ΓΙΑ ΤΗΝ ΕΛΛΗΝΙΣΤΙΚΗ ΚΕΡΑΜΙΚΗ, 2023
Η ανασκαφή της υστεροκλασικής οικίας με το ψηφιδωτό στη θέση Παλαιοπηγάδα στη Μαρώνεια ξεκίνησε τ... more Η ανασκαφή της υστεροκλασικής οικίας με το ψηφιδωτό στη θέση Παλαιοπηγάδα στη Μαρώνεια ξεκίνησε το 1973 και ολοκληρώθηκε το 1983. Έως σήμερα έχει γίνει αρχιτεκτονική μελέτη της οικίας από τους Λάββα και Καραδέδο. Σε αυτό το άρθρο επιχειρείται μια πρώτη παρουσίαση μέρους της κεραμική της οικίας και συγκεκριμένα από τον χώρο που έχει ταυτιστεί με τον «οίκο». Το υλικό συνίσταται κυρίως σε αγγεία καθημερινής χρήσης, αλλά εντοπίζονται και παραδείγματα πολυτελούς κεραμικής.
Το Μουσείο Εκμαγείων του ΑΠΘ ιδρύθηκε λίγο μετά την ίδρυση του ίδιου του πανεπιστημίου και της Φι... more Το Μουσείο Εκμαγείων του ΑΠΘ ιδρύθηκε λίγο μετά την ίδρυση του ίδιου του πανεπιστημίου και της Φιλοσοφικής Σχολής που αποτελεί και την αρχαιότερη σχολή. Η επιμελής συλλογή αντιγράφων έργων τέχνης της αρχαιότητας ξεκίνησε από τον καθηγητή Κωνσταντίνο Ρωμαίο. Μέσω των αντιγράφων η αρχαία τέχνη μετατρέπεται σε βιωματική εμπειρία για τους φοιτητές της Φιλοσοφικής Σχολής, τόσο σε εκείνα τα πρώτα χρόνια, όσο και στα επόμενα. Σήμερα, με περισσότερα από 900 γύψινα εκμαγεία έργων κομβικής σημασίας για τη μελέτη της αρχαίας γλυπτικής, 150 αντίγραφα έργων της Εποχής του Χαλκού, τα περισσότερα από τα οποία οφείλονται στους É. Gilliéron, πατέρα και γιο, καθώς και πρωτότυπα έργα, κυρίως κεραμικής και μικροτεχνίας, από δωρεές και συλλογές, συνιστά έναν πολύτιμο χώρο πρακτικής άσκησης για τους φοιτητές και εξοικείωσής τους με τον αρχαίο υλικό πολιτισμό. Επιπλέον, το Μουσείο συμβάλλει δυναμικά στηνεξωστρέφειατουΙδρύματος. Δημιουργεί ένα σημείο αναφοράς για μαθητές και διδάσκοντες της Πρωτοβάθμιας και Δευτεροβάθμιας Εκπαίδευσηςκαι προσαρμόζεται στις εξελίξεις που συντελούνται στους αλληλένδετους τομείς της έρευνας και της εκπαίδευσης. Χαρακτηριστική είναι η περίπτωση του πρόσφατου εκπαιδευτικού προγράμματος για άτομα,παιδιά και ενήλικες, με ειδικές εκπαιδευτικές ανάγκες που εντάχθηκε στις δράσεις του «ΑΠΘ την Κυριακή» και θα έχει και συνέχεια ως διεπιστημονικό ερευνητικό πρόγραμμα όπου αλληλεπιδρούν η Νευρογλωσσολογία, η Ψυχολογία και η Αρχαιολογία.
M. Gavranović et al., Perspectives on Balkan Archaeology 1. Spheres of interaction, Leidorf , 2020
An extensive necropolis has been brought to light at Aegae, the first capital of the Macedonian k... more An extensive necropolis has been brought to light at Aegae, the first capital of the Macedonian kingdom. Among the numerous tombs, some are characterised by impressive architectural design and grave goods of great artistry. Despite the existence of the large necropolis, three burials were discovered in the area of the sanctuary of Eukleia, in the public sector of the ancient city, a few years ago. Although there were no built features to denote the spot of the burials, the individual components associated with them certainly match elite burials in Macedonia, namely metal urns, purple cloths, gold wreaths, and decorative gold attachments. This paper investigates the two metal vessels of one of the three burials that belonged to a male adolescent and is dated to the late 4th century BCE: a cylindrical bronze cist and a gold pyxis. The pyxis was contained in the larger cist. The bronze vessel is plainly decorated on the lid, the handles, and the base, whereas the gold pyxis bears no decoration at all. The aim of the study is to trace the affinities of these two artefacts with metal vases discovered elsewhere in Macedonia and other regions and to detect networks of actors involved in their production and use. The examination of the two vessels builds on the publication of the gold oak tree wreath that crowned the cremated bones and advances the approach to the burial. Furthermore, it is expected to shed more light on issues of ideology and mortuary practices addressed by the finds.
Τῷ διδασκάλῳ Τιμητικός τόμος για τον καθηγητή Ιωάννη Ακαμάτη, Θεσσαλονίκη 2019, 197-208, 2019
The funerary monument of the tumulus Stenomakri Toumba at Vergina: tracing the form, the space an... more The funerary monument of the tumulus Stenomakri Toumba at Vergina: tracing the form, the space and contingencies in the necropolis of Aegae in the 4th c. BC. The "Stenomakri Toumba" is an oblong burial tumulus that covered three elite burials dated approximately in the middle or early third quarter of the 4th century BC. The most prominent component of the assemblage, apart from the mound itself, would be the rectangular monument (10.80 x 2.75 m) made of poros and limestone. The foundation and two courses of the krepis are preserved, plainly decorated with recessed bands. The discovery of an one meter high marble volute krater deposited inside the foundation after the mid-2nd century BC destruction in the years of the Roman conquest, in combination with a marble lion paw found in the fill of the tumulus furnishes valuable indication about the decoration of the funerary monument. In order to integrate this monument in the tombscape, not only of Aegae, but also of Macedonia in general, it is methodologically essential to seek similar structures. The so called Herron in the Great Tumulus in Vergina as well as monuments in Pella, Rachona and Tragilos are deemed to be the closest parallels –although each one is characterised by distinct particularities. The study should also include the monuments in the royal necropolis at Aiani, while there are interesting similarities with funerary constructions of commemoration in Thrace and Western Greece. The concluding paragraph incorporates the funerary monument of Stenomakri Toumba in the setting of the necropolis and the cityscape of ancient Aegae. Its dating coincides with the emergence of the Macedonian type of graves and the ambitious building program of the palace, the theatre and the sanctuary of Eukleia. Taking all this into account we gain insights in the society of the period; for instance, we become aware of the mechanisms of collective memory, perception of the landscape and personal promotion.
Pottery from “Temple I” at the Sanctuary of Eukleia at Vergina / Aegae.
Chronological and interpr... more Pottery from “Temple I” at the Sanctuary of Eukleia at Vergina / Aegae. Chronological and interpretive approaches. “Temple I” at the Sanctuary of Eukleia at Vergina is situated on the terrace with pronounced religious character in the western public area of the ancient city of Aegae that formed part of the agora. Its orientation is North – South and its dimensions are 8x3. It is consisted of pronaos and cella and there are details that indicate refurbishment in the frame of a second building phase. Among the ceramics, which come mainly from the destruction layer of the building, potsherds possibly related to an earlier floor are spotted. Despite the rather fragmentary picture of the pottery meticulous study could produce some conclusions. Lamps, relief bowls and cups sustain a date around the mid 2nd c. BC for the destruction of the temple. Vessels of the 3rd c. are also recognized, as well as a few 4th c. potsherds that correspond to the deeper layers of the building. Correlation to the excavation data could possibly result in the understanding of the earlier phase of the temple. Commentary on the vase types and shapes of the assemblage will prove to be very useful for the study of a cult place. For example it is really interesting that three chytrai in quite good preservation state are included.
This paper examines a gold olive wreath in its context. The precious item was found at the arch... more This paper examines a gold olive wreath in its context. The precious item was found at the archaeological site of Vergina, the old capital of the Macedonian kingdom, in the broader area of the “sanctuary of Eukleia”. In 2008-2009 three burials in valuable vessels were discovered in the fill of a construction that had stopped being used in the end of the 4th c. B.C. The fill was sealed by the clay floor of the next building phase. One of the receptacles was a silver panathenaic amphora with gilded parts and incised decoration. It contained the cremated remains of a child aged 3-7, the gold olive wreath and other gold ornaments. The wreath had been affected by the fire during the cremation and additionally it had been bent in order to be placed in the vessel. Even though it was recovered fragmented, its fine artistry and the quality of material and construction are noteworthy. It weighs approximately 300-350 grams; its hoop is composed of two tubular stems from which grow branches, leaves and olives in absolute symmetry and harmony. It lies in the tradition of 4th c. BC gold wreaths produced in Central Macedonia. In order to approach the artefact beyond the first stage of description an attempt is made to highlight episodes in its life history by designating some of the intersecting clusters connected to it. The commissioner, the maker and the bearer are the basic actors whereas the funeral is the last episode where all networks meet. The assessment of the three burials based on crucial criteria is vital for gaining insights on the special features of the assemblages. It is concluded that the child burial is exceptional in its own way: because of the unique panathenaic amphora and the wreath. Apart from the networks and interrelations outlined above, an extremely important parameter for all three assemblages is the location. The three burials were not deposited in an organized cemetery. No grave or tombstone marked their location. The choice for a burial in a sacred and public place in the last quarter of the 4th c. BC is absolutely indicative of the social rank of the dead, but the lack of monumental structures or even some sort of grave marking must be attributed to special historical circumstances. We cannot define them, but at least try to approach objects and agents involved.
This article focuses on a recent find from the archaeological site of Vergina, which is identifie... more This article focuses on a recent find from the archaeological site of Vergina, which is identified as the old capital of the
Macedonian kingdom, Aegae. In the surroundings of a sanctuary three burials were discovered with outstanding
components. One of them, a gold oak wreath, constitutes the object of investigation. At the outset of the study the
excavation site and the data of the discovery of the burials are outlined. Then the wreath is analytically presented in terms
of typology, technology, craftsmanship and style. In order to incorporate it in a network of precious artefacts, the other four
oak wreaths found in Macedonia and dated to the fourth century BC are described and all of them are compared in the
search for similarities or differences. Through this procedure three of them, all from Vergina, emerge as belonging to the
same artistic tradition and possibly the same place of production.
Then the issue of different contexts is addressed. First of all, the burial in question and the particularities of the other two
burials with oak wreaths from Vergina are examined, resulting in the articulation of a pattern. The next step comprises a general
sketch of the meaning of wreaths in antiquity both in life and in death, while a subsequent brief consideration of funerary
assemblages from the same period and region lays emphasis on the symbolic significance of these head ornaments in their
contexts. Attention is also drawn to the plant that the wreath imitates, which is connected to Zeus. In this framework the
oldest known oak wreath, that of ‘Philip II’, is evaluated mainly by examining politics as reflected on coinage. The power
of such symbols as applied to other members of the same family is put forward. Another level of approach, the evaluation of
the wider territorial context, offers insights into the decision to deposit the burial in the area of an intra muros sanctuary in
the old and venerated capital of the kingdom.
When the results of the study are combined, a working hypothesis emerges that would consider the burial containing the gold
wreath as connected to a member of the ruling family. Research turns to the literary evidence and from this it appears that there
is a possibility that the burial is that of the illegitimate murdered son of Alexander the Great.
The concluding section refers briefly to episodes in the cultural biography of the wreath. In the meantime, until further and
holistic study of the three burials and the construction where they were discovered is carried out, the gold oak wreath forms part of
exhibitions on various themes as a representative of the assemblages.
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The basic conclusions could be delineated as follows: the Sanctuary of Eukleia was an urban sanctuary, integral to the fabric of the city and incorporated into civic life in every way. Its inauguration was intimately related to political–civic structures and represented a new phase of reorganization in the city's life (on the assumption there had been an earlier palace and theatre elsewhere). Every approach to the sanctuary should take into account not only the commissioners of the buildings but also the target group, the community, which to a great extent brought about this commissioning. Forthcoming publications are expected to shed further light on the understanding of the site.
Μέσω των αντιγράφων η αρχαία τέχνη μετατρέπεται σε βιωματική εμπειρία για τους φοιτητές της Φιλοσοφικής Σχολής, τόσο σε εκείνα τα πρώτα χρόνια, όσο και στα επόμενα. Σήμερα, με περισσότερα από 900 γύψινα εκμαγεία έργων κομβικής σημασίας για τη μελέτη της αρχαίας γλυπτικής, 150 αντίγραφα έργων της Εποχής του Χαλκού, τα περισσότερα από τα οποία οφείλονται στους É. Gilliéron, πατέρα και γιο, καθώς και πρωτότυπα έργα, κυρίως κεραμικής και μικροτεχνίας, από δωρεές και συλλογές, συνιστά έναν πολύτιμο χώρο πρακτικής άσκησης για τους φοιτητές και εξοικείωσής τους με τον αρχαίο υλικό πολιτισμό.
Επιπλέον, το Μουσείο συμβάλλει δυναμικά στηνεξωστρέφειατουΙδρύματος. Δημιουργεί ένα σημείο αναφοράς για μαθητές και διδάσκοντες της Πρωτοβάθμιας και Δευτεροβάθμιας Εκπαίδευσηςκαι προσαρμόζεται στις εξελίξεις που συντελούνται στους αλληλένδετους τομείς της έρευνας και της εκπαίδευσης. Χαρακτηριστική είναι η περίπτωση του πρόσφατου εκπαιδευτικού προγράμματος για άτομα,παιδιά και ενήλικες, με ειδικές εκπαιδευτικές ανάγκες που εντάχθηκε στις δράσεις του «ΑΠΘ την Κυριακή» και θα έχει και συνέχεια ως διεπιστημονικό ερευνητικό πρόγραμμα όπου αλληλεπιδρούν η Νευρογλωσσολογία, η Ψυχολογία και η Αρχαιολογία.
numerous tombs, some are characterised by impressive architectural design and grave goods of great artistry. Despite
the existence of the large necropolis, three burials were discovered in the area of the sanctuary of Eukleia, in
the public sector of the ancient city, a few years ago. Although there were no built features to denote the spot of the
burials, the individual components associated with them certainly match elite burials in Macedonia, namely metal
urns, purple cloths, gold wreaths, and decorative gold attachments. This paper investigates the two metal vessels
of one of the three burials that belonged to a male adolescent and is dated to the late 4th century BCE: a cylindrical
bronze cist and a gold pyxis. The pyxis was contained in the larger cist. The bronze vessel is plainly decorated on
the lid, the handles, and the base, whereas the gold pyxis bears no decoration at all. The aim of the study is to trace
the affinities of these two artefacts with metal vases discovered elsewhere in Macedonia and other regions and to
detect networks of actors involved in their production and use. The examination of the two vessels builds on the
publication of the gold oak tree wreath that crowned the cremated bones and advances the approach to the burial.
Furthermore, it is expected to shed more light on issues of ideology and mortuary practices addressed by the finds.
The "Stenomakri Toumba" is an oblong burial tumulus that covered three elite burials dated approximately in the middle or early third quarter of the 4th century BC. The most prominent component of the assemblage, apart from the mound itself, would be the rectangular monument (10.80 x 2.75 m) made of poros and limestone. The foundation and two courses of the krepis are preserved, plainly decorated with recessed bands. The discovery of an one meter high marble volute krater deposited inside the foundation after the mid-2nd century BC destruction in the years of the Roman conquest, in combination with a marble lion paw found in the fill of the tumulus furnishes valuable indication about the decoration of the funerary monument.
In order to integrate this monument in the tombscape, not only of Aegae, but also of Macedonia in general, it is methodologically essential to seek similar structures. The so called Herron in the Great Tumulus in Vergina as well as monuments in Pella, Rachona and Tragilos are deemed to be the closest parallels –although each one is characterised by distinct particularities. The study should also include the monuments in the royal necropolis at Aiani, while there are interesting similarities with funerary constructions of commemoration in Thrace and Western Greece.
The concluding paragraph incorporates the funerary monument of Stenomakri Toumba in the setting of the necropolis and the cityscape of ancient Aegae. Its dating coincides with the emergence of the Macedonian type of graves and the ambitious building program of the palace, the theatre and the sanctuary of Eukleia. Taking all this into account we gain insights in the society of the period; for instance, we become aware of the mechanisms of collective memory, perception of the landscape and personal promotion.
Chronological and interpretive approaches.
“Temple I” at the Sanctuary of Eukleia at Vergina is situated on the terrace with pronounced religious character in the western public area of the ancient city of Aegae that formed part of the agora. Its orientation is North – South and its dimensions are 8x3. It is consisted of pronaos and cella and there are details that indicate refurbishment in the frame of a second building phase.
Among the ceramics, which come mainly from the destruction layer of the building, potsherds possibly related to an earlier floor are spotted. Despite the rather fragmentary picture of the pottery meticulous study could produce some conclusions. Lamps, relief bowls and cups sustain a date around the mid 2nd c. BC for the destruction of the temple. Vessels of the 3rd c. are also recognized, as well as a few 4th c. potsherds that correspond to the deeper layers of the building. Correlation to the excavation data could possibly result in the understanding of the earlier phase of the temple. Commentary on the vase types and shapes of the assemblage will prove to be very useful for the study of a cult place. For example it is really interesting that three chytrai in quite good preservation state are included.
In 2008-2009 three burials in valuable vessels were discovered in the fill of a construction that had stopped being used in the end of the 4th c. B.C. The fill was sealed by the clay floor of the next building phase. One of the receptacles was a silver panathenaic amphora with gilded parts and incised decoration. It contained the cremated remains of a child aged 3-7, the gold olive wreath and other gold ornaments.
The wreath had been affected by the fire during the cremation and additionally it had been bent in order to be placed in the vessel. Even though it was recovered fragmented, its fine artistry and the quality of material and construction are noteworthy. It weighs approximately 300-350 grams; its hoop is composed of two tubular stems from which grow branches, leaves and olives in absolute symmetry and harmony. It lies in the tradition of 4th c. BC gold wreaths produced in Central Macedonia.
In order to approach the artefact beyond the first stage of description an attempt is made to highlight episodes in its life history by designating some of the intersecting clusters connected to it. The commissioner, the maker and the bearer are the basic actors whereas the funeral is the last episode where all networks meet.
The assessment of the three burials based on crucial criteria is vital for gaining insights on the special features of the assemblages. It is concluded that the child burial is exceptional in its own way: because of the unique panathenaic amphora and the wreath.
Apart from the networks and interrelations outlined above, an extremely important parameter for all three assemblages is the location. The three burials were not deposited in an organized cemetery. No grave or tombstone marked their location. The choice for a burial in a sacred and public place in the last quarter of the 4th c. BC is absolutely indicative of the social rank of the dead, but the lack of monumental structures or even some sort of grave marking must be attributed to special historical circumstances. We cannot define them, but at least try to approach objects and agents involved.
Macedonian kingdom, Aegae. In the surroundings of a sanctuary three burials were discovered with outstanding
components. One of them, a gold oak wreath, constitutes the object of investigation. At the outset of the study the
excavation site and the data of the discovery of the burials are outlined. Then the wreath is analytically presented in terms
of typology, technology, craftsmanship and style. In order to incorporate it in a network of precious artefacts, the other four
oak wreaths found in Macedonia and dated to the fourth century BC are described and all of them are compared in the
search for similarities or differences. Through this procedure three of them, all from Vergina, emerge as belonging to the
same artistic tradition and possibly the same place of production.
Then the issue of different contexts is addressed. First of all, the burial in question and the particularities of the other two
burials with oak wreaths from Vergina are examined, resulting in the articulation of a pattern. The next step comprises a general
sketch of the meaning of wreaths in antiquity both in life and in death, while a subsequent brief consideration of funerary
assemblages from the same period and region lays emphasis on the symbolic significance of these head ornaments in their
contexts. Attention is also drawn to the plant that the wreath imitates, which is connected to Zeus. In this framework the
oldest known oak wreath, that of ‘Philip II’, is evaluated mainly by examining politics as reflected on coinage. The power
of such symbols as applied to other members of the same family is put forward. Another level of approach, the evaluation of
the wider territorial context, offers insights into the decision to deposit the burial in the area of an intra muros sanctuary in
the old and venerated capital of the kingdom.
When the results of the study are combined, a working hypothesis emerges that would consider the burial containing the gold
wreath as connected to a member of the ruling family. Research turns to the literary evidence and from this it appears that there
is a possibility that the burial is that of the illegitimate murdered son of Alexander the Great.
The concluding section refers briefly to episodes in the cultural biography of the wreath. In the meantime, until further and
holistic study of the three burials and the construction where they were discovered is carried out, the gold oak wreath forms part of
exhibitions on various themes as a representative of the assemblages.
The basic conclusions could be delineated as follows: the Sanctuary of Eukleia was an urban sanctuary, integral to the fabric of the city and incorporated into civic life in every way. Its inauguration was intimately related to political–civic structures and represented a new phase of reorganization in the city's life (on the assumption there had been an earlier palace and theatre elsewhere). Every approach to the sanctuary should take into account not only the commissioners of the buildings but also the target group, the community, which to a great extent brought about this commissioning. Forthcoming publications are expected to shed further light on the understanding of the site.
Μέσω των αντιγράφων η αρχαία τέχνη μετατρέπεται σε βιωματική εμπειρία για τους φοιτητές της Φιλοσοφικής Σχολής, τόσο σε εκείνα τα πρώτα χρόνια, όσο και στα επόμενα. Σήμερα, με περισσότερα από 900 γύψινα εκμαγεία έργων κομβικής σημασίας για τη μελέτη της αρχαίας γλυπτικής, 150 αντίγραφα έργων της Εποχής του Χαλκού, τα περισσότερα από τα οποία οφείλονται στους É. Gilliéron, πατέρα και γιο, καθώς και πρωτότυπα έργα, κυρίως κεραμικής και μικροτεχνίας, από δωρεές και συλλογές, συνιστά έναν πολύτιμο χώρο πρακτικής άσκησης για τους φοιτητές και εξοικείωσής τους με τον αρχαίο υλικό πολιτισμό.
Επιπλέον, το Μουσείο συμβάλλει δυναμικά στηνεξωστρέφειατουΙδρύματος. Δημιουργεί ένα σημείο αναφοράς για μαθητές και διδάσκοντες της Πρωτοβάθμιας και Δευτεροβάθμιας Εκπαίδευσηςκαι προσαρμόζεται στις εξελίξεις που συντελούνται στους αλληλένδετους τομείς της έρευνας και της εκπαίδευσης. Χαρακτηριστική είναι η περίπτωση του πρόσφατου εκπαιδευτικού προγράμματος για άτομα,παιδιά και ενήλικες, με ειδικές εκπαιδευτικές ανάγκες που εντάχθηκε στις δράσεις του «ΑΠΘ την Κυριακή» και θα έχει και συνέχεια ως διεπιστημονικό ερευνητικό πρόγραμμα όπου αλληλεπιδρούν η Νευρογλωσσολογία, η Ψυχολογία και η Αρχαιολογία.
numerous tombs, some are characterised by impressive architectural design and grave goods of great artistry. Despite
the existence of the large necropolis, three burials were discovered in the area of the sanctuary of Eukleia, in
the public sector of the ancient city, a few years ago. Although there were no built features to denote the spot of the
burials, the individual components associated with them certainly match elite burials in Macedonia, namely metal
urns, purple cloths, gold wreaths, and decorative gold attachments. This paper investigates the two metal vessels
of one of the three burials that belonged to a male adolescent and is dated to the late 4th century BCE: a cylindrical
bronze cist and a gold pyxis. The pyxis was contained in the larger cist. The bronze vessel is plainly decorated on
the lid, the handles, and the base, whereas the gold pyxis bears no decoration at all. The aim of the study is to trace
the affinities of these two artefacts with metal vases discovered elsewhere in Macedonia and other regions and to
detect networks of actors involved in their production and use. The examination of the two vessels builds on the
publication of the gold oak tree wreath that crowned the cremated bones and advances the approach to the burial.
Furthermore, it is expected to shed more light on issues of ideology and mortuary practices addressed by the finds.
The "Stenomakri Toumba" is an oblong burial tumulus that covered three elite burials dated approximately in the middle or early third quarter of the 4th century BC. The most prominent component of the assemblage, apart from the mound itself, would be the rectangular monument (10.80 x 2.75 m) made of poros and limestone. The foundation and two courses of the krepis are preserved, plainly decorated with recessed bands. The discovery of an one meter high marble volute krater deposited inside the foundation after the mid-2nd century BC destruction in the years of the Roman conquest, in combination with a marble lion paw found in the fill of the tumulus furnishes valuable indication about the decoration of the funerary monument.
In order to integrate this monument in the tombscape, not only of Aegae, but also of Macedonia in general, it is methodologically essential to seek similar structures. The so called Herron in the Great Tumulus in Vergina as well as monuments in Pella, Rachona and Tragilos are deemed to be the closest parallels –although each one is characterised by distinct particularities. The study should also include the monuments in the royal necropolis at Aiani, while there are interesting similarities with funerary constructions of commemoration in Thrace and Western Greece.
The concluding paragraph incorporates the funerary monument of Stenomakri Toumba in the setting of the necropolis and the cityscape of ancient Aegae. Its dating coincides with the emergence of the Macedonian type of graves and the ambitious building program of the palace, the theatre and the sanctuary of Eukleia. Taking all this into account we gain insights in the society of the period; for instance, we become aware of the mechanisms of collective memory, perception of the landscape and personal promotion.
Chronological and interpretive approaches.
“Temple I” at the Sanctuary of Eukleia at Vergina is situated on the terrace with pronounced religious character in the western public area of the ancient city of Aegae that formed part of the agora. Its orientation is North – South and its dimensions are 8x3. It is consisted of pronaos and cella and there are details that indicate refurbishment in the frame of a second building phase.
Among the ceramics, which come mainly from the destruction layer of the building, potsherds possibly related to an earlier floor are spotted. Despite the rather fragmentary picture of the pottery meticulous study could produce some conclusions. Lamps, relief bowls and cups sustain a date around the mid 2nd c. BC for the destruction of the temple. Vessels of the 3rd c. are also recognized, as well as a few 4th c. potsherds that correspond to the deeper layers of the building. Correlation to the excavation data could possibly result in the understanding of the earlier phase of the temple. Commentary on the vase types and shapes of the assemblage will prove to be very useful for the study of a cult place. For example it is really interesting that three chytrai in quite good preservation state are included.
In 2008-2009 three burials in valuable vessels were discovered in the fill of a construction that had stopped being used in the end of the 4th c. B.C. The fill was sealed by the clay floor of the next building phase. One of the receptacles was a silver panathenaic amphora with gilded parts and incised decoration. It contained the cremated remains of a child aged 3-7, the gold olive wreath and other gold ornaments.
The wreath had been affected by the fire during the cremation and additionally it had been bent in order to be placed in the vessel. Even though it was recovered fragmented, its fine artistry and the quality of material and construction are noteworthy. It weighs approximately 300-350 grams; its hoop is composed of two tubular stems from which grow branches, leaves and olives in absolute symmetry and harmony. It lies in the tradition of 4th c. BC gold wreaths produced in Central Macedonia.
In order to approach the artefact beyond the first stage of description an attempt is made to highlight episodes in its life history by designating some of the intersecting clusters connected to it. The commissioner, the maker and the bearer are the basic actors whereas the funeral is the last episode where all networks meet.
The assessment of the three burials based on crucial criteria is vital for gaining insights on the special features of the assemblages. It is concluded that the child burial is exceptional in its own way: because of the unique panathenaic amphora and the wreath.
Apart from the networks and interrelations outlined above, an extremely important parameter for all three assemblages is the location. The three burials were not deposited in an organized cemetery. No grave or tombstone marked their location. The choice for a burial in a sacred and public place in the last quarter of the 4th c. BC is absolutely indicative of the social rank of the dead, but the lack of monumental structures or even some sort of grave marking must be attributed to special historical circumstances. We cannot define them, but at least try to approach objects and agents involved.
Macedonian kingdom, Aegae. In the surroundings of a sanctuary three burials were discovered with outstanding
components. One of them, a gold oak wreath, constitutes the object of investigation. At the outset of the study the
excavation site and the data of the discovery of the burials are outlined. Then the wreath is analytically presented in terms
of typology, technology, craftsmanship and style. In order to incorporate it in a network of precious artefacts, the other four
oak wreaths found in Macedonia and dated to the fourth century BC are described and all of them are compared in the
search for similarities or differences. Through this procedure three of them, all from Vergina, emerge as belonging to the
same artistic tradition and possibly the same place of production.
Then the issue of different contexts is addressed. First of all, the burial in question and the particularities of the other two
burials with oak wreaths from Vergina are examined, resulting in the articulation of a pattern. The next step comprises a general
sketch of the meaning of wreaths in antiquity both in life and in death, while a subsequent brief consideration of funerary
assemblages from the same period and region lays emphasis on the symbolic significance of these head ornaments in their
contexts. Attention is also drawn to the plant that the wreath imitates, which is connected to Zeus. In this framework the
oldest known oak wreath, that of ‘Philip II’, is evaluated mainly by examining politics as reflected on coinage. The power
of such symbols as applied to other members of the same family is put forward. Another level of approach, the evaluation of
the wider territorial context, offers insights into the decision to deposit the burial in the area of an intra muros sanctuary in
the old and venerated capital of the kingdom.
When the results of the study are combined, a working hypothesis emerges that would consider the burial containing the gold
wreath as connected to a member of the ruling family. Research turns to the literary evidence and from this it appears that there
is a possibility that the burial is that of the illegitimate murdered son of Alexander the Great.
The concluding section refers briefly to episodes in the cultural biography of the wreath. In the meantime, until further and
holistic study of the three burials and the construction where they were discovered is carried out, the gold oak wreath forms part of
exhibitions on various themes as a representative of the assemblages.