Introduction: Pre-exposure prophylaxis (PrEP) is a key HIV prevention technology, and is a pillar... more Introduction: Pre-exposure prophylaxis (PrEP) is a key HIV prevention technology, and is a pillar of a comprehensive HIV prevention approach for men who have sex with men (MSM). Because there have been no national data to characterize trends in the PrEP continuum in the United States, overall and for key demographic groups of MSM, we aimed to describe the extent to which PrEP awareness, willingness and use changed over time, overall and for specific groups of MSM critical for HIV prevention (e.g. Black and Hispanic MSM, younger MSM, MSM in rural areas and MSM without health coverage). Methods: The American Men's Internet Survey (AMIS) is an annual survey of US MSM conducted in the United States among MSM aged ≥15 years since 2013. We analysed data on trends in elements of the PrEP continuum (awareness, willingness and use of PrEP) in a sample of 37,476 HIV-negative/unknown status MSM from December 2013 through November 2017. We evaluated trends in continuum steps overall and among demographic subgroups using Poisson models with Generalized Estimating Equations. For 2017 data, we used logistic regression to compare the prevalence of PrEP use among demographic groups. Results: Overall, 51.4% (n = 19,244) of AMIS respondents were PrEP-eligible across study years. Between 2013 and 2017, PrEP awareness increased from 47.4% to 80.6% willingness to use PrEP increased from 43.9% to 59.5% and PrEP use in the past 12 months increased from 1.7% to 19.9%. In 2017, use of PrEP was lower for men who were younger, lived outside of urban areas, and lacked health insurance; PrEP use was not different among Black, Hispanic and white MSM. Conclusions: Our data show progress in use of PrEP among US MSM, but also reveal mismatches between PrEP use and epidemic need. We call for additional support of PrEP initiation, especially among young, non-urban and uninsured MSM. Black and Hispanic MSM report levels of PrEP use no different from white MSM, but given higher HIV incidence for Black and Hispanic MSM, parity in use is not sufficient for epidemic control or health equity.
Στη μνήμη των αγαπημένων φίλων και συναδέλφων Χρυσούλας και Σταύρου Μπαλτογιάννη In memory of our... more Στη μνήμη των αγαπημένων φίλων και συναδέλφων Χρυσούλας και Σταύρου Μπαλτογιάννη In memory of our beloved friends and colleagues Chrysoula and Stavros Baltoyiannis «Τίποτα δε χάνεται πραγματικά για εμάς όσο εμείς το θυμόμαστε» EL.M. MONTGOMERY, THE STORY GIRL
Η επιβίωση του μύθου του Ηρακλή στα έργα των καλλιτεχνών του 20ου αιώνα, στον κινηματογράφο, στην... more Η επιβίωση του μύθου του Ηρακλή στα έργα των καλλιτεχνών του 20ου αιώνα, στον κινηματογράφο, στην τηλεόραση και στα κόμικς. Ιδιαίτερη αναφορά στην εικαστική απόδοση των άθλων του Ηρακλή στα έργα του Παύλου Σάμιου.
Παρουσιάζεται η οικουμενικότητα της λατρείας του Ηρακλή από τις Ηράκλειες Στήλες μέχρι τα βάθη τη... more Παρουσιάζεται η οικουμενικότητα της λατρείας του Ηρακλή από τις Ηράκλειες Στήλες μέχρι τα βάθη της Άπω Ανατολής. Επίσης οι απεικονίσεις του ως Μελκάρτ στους χαρακτήρες των νομισμάτων της Κύπρου, της Καρχηδόνος, της Τύρου και της Αράδου.
Παρουσιάζονται οι ποικίλες απεικονίσεις του Ηρακλή, του ύπατου από γενιά θεού και ανθρώπου, στους... more Παρουσιάζονται οι ποικίλες απεικονίσεις του Ηρακλή, του ύπατου από γενιά θεού και ανθρώπου, στους χαρακτήρες των αρχαίων ελληνικών και ρωμαϊκών νομισμάτων.
Bu kitabın Türkçe yayın hakları kitabın hukuki yayımcısına ait olup her hakkı saklıdır. Hiçbir bö... more Bu kitabın Türkçe yayın hakları kitabın hukuki yayımcısına ait olup her hakkı saklıdır. Hiçbir bölümü ve paragrafı kısmen veya tamamen ya da özet halinde, fotokopi, faksimile veya başka herhangi bir biçimde çoğaltılamaz, dağıtılamaz yeniden elde edilmek üzere saklanamaz. Normal ölçüyü aşan iktibaslar yapılamaz ancak normal ve kanuni iktibaslarda kaynak gösterilmesi zorunludur.
George Kakavas, Witches of the stars and Sorceresses of the Hypati. Legends and Traditions.
In a... more George Kakavas, Witches of the stars and Sorceresses of the Hypati. Legends and Traditions.
In ancient times Thessaly was famous for its powerful witches and for its horses. Grandmothers of the area narrated tales, of which the main characters were not only beasts and demons, brave men and renowned lords, but also beautiful enchanted princesses to whom witches gave poisonous herbs to drink. Somewhere in Katavothra, nowadays called Oeta, as well as in Vardousia and Neraidospilia witches and fairies were gathered. The most famous of them were those of Hypati. They undertook love spells, filters that guided or forced into obedience, others that caused suffering. The Thettalides witches reached the peak of their glory. Their protector was the triple goddess Hecate.
ΔΧΑΕ, Τόμος ΚΔ' (2003) • Σελ. 293-308, ΑΘΗΝΑ 2003
George Kakavas
ISSUES OF PATMIAN ICONOGRAPHY I... more ΔΧΑΕ, Τόμος ΚΔ' (2003) • Σελ. 293-308, ΑΘΗΝΑ 2003 George Kakavas ISSUES OF PATMIAN ICONOGRAPHY IN TWO CRETAN TRIPTYCHS IN THE BYZANTINE AND CHRISTIAN MUSEUM, ATHENS Two unpublished triptychs in the collection of the Byzantine and Christian Museum, whose art bears the stamp of the principles of Cretan painting but whose iconography refers to the holy island of Patmos as the possible place of their creation, are examined. 1. The central leaf of the first triptych (T 2857) is decorated by a gilded wood-carved frame, the apex of which is crowned by a large pinecone (Figs 1-3). Depicted in the upper zone are the Virgin Platytera enthroned, flanked by St John the Baptist and St John the Theologian in veneration, and in the lower zone the full-bodied figures of Three Hierarchs. The inside of the side leaves is divided into three registers. Shared between the upper register of both leaves is the scene of the Annunciation; in the middle register of the left leaf are the full-bodied figures of Sts Nicholas and Constantine, and in the lower Sts Panteleemon and Paraskevi; in the middle register of the corresponding right leaf are St Onouphrios and "Our Father Hosios Christodoulos" (OCIOC ΠΑΤΗΡ ΗΜΩΝ XPICTOΔΟΥΛOC), and in the lower Sts Barbara and Marina. When the triptych is closed, the lateral leaves are decorated above with the Holy Trinity and below with the Archangels Michael and Gabriel. The small triptych is of interest for the iconography and composition of its representations. The iconographie type of the enthroned Virgin is the established one in the art of fifteenth-century Cretan icons, the most probable model for which is the despotic icon painted by Andreas Ritzos for the katholikon of the monastery of St John the Theologian on Patmos. The representation of Hosios Christodolous of Latros, founder of the Patmos monastery, is copied to the minutest detail from the monumental figure of the hosios on the bema door in the parekklesion dedicated to him in Patmos, which is dated around 1600. The original composition of the main representation on the triptych can be considered as a singular schema of Deesis, in which the Precursor, left, in the usual position of the Virgin, and the Theologian, right, in the traditional place of the Baptist, intercede to the Christ Child, who now sits in his mother's embrace, instead of to Christ Pantocrator or Great High Priest. The choice of the two homonymous saints in the composition is perhaps not fortuitous but is connected with the name of the dedicator or copied from some disseminated variation of the Deesis. The iconography and style of the painting, together with the wood-carved frame, point to a Cretan workshop and date the triptych to the latter years of the sixteenth century. The iconographie relationship of the triptych with Patmos is obvious, both in the depiction of Hosios Christodoulos holding the church in his hands and that of the Virgin enthroned in a type that has been associated with Patmos. The presence of St John the Theologian, in the expanded central composition of the triptych, could also be considered an indication that the triptych was painted for Patmos. 2. On the central leaf of the second triptych (T 2851) with the integral wooden frame, arched and surrounded by intricately carved decoration, is depicted a variation of the subject of Christ Man of Sorrows (Figs 6, 7, and 10). The lifeless Christ, inside an open sarcophagus, is flanked by the Theotokos left and St John the Theologian right. Depicted on the inside of the left leaf is a winged St John the Baptist, and on the corresponding face of the right leaf, St James the Adelphotheos. When the leaves are closed, the author of the Book of Revelation, St John the Theologian, is shown fullbodied on the left, and Hosios Christodoulos, founder of the Patmos monastery, holding a model of the monastery's katholikon, on the right. Of particular interest is the integral, carved wooden frame of the central leaf, which has one of the most popular and established shapes of sixteenthcentury Cretan triptychs. The representation on the central leaf is an amalgamation of Passion themes, since to the solitary figure of Christ Man of Sorrows are added the figures of the Theotokos and St John, from the Deposition or the Lamentation. The representation of James, son of Joseph from his first marriage and thus "the brother of the Lord", as hierarch and not as apostle, renders visually an old tradition according to which Christ ordained him as first Bishop of Jerusalem. The model for the monumental figure of the Theologian on the outside of the triptych is encountered in fifteenth-century Cretan painting, such as on the bema door in Patmos, which is ascribed to Andreas Ritzos or his workshop. However, the depiction of the Theologian together with the founder of the monastery, Hosios Christodoulos, in the triptych, is close in iconography to the corresponding types of the two saints on the bema doors of the Patmian parekklesion of Hosios Christodoulos, which has been dated around 1600. The art of the triptych places it in the late sixteenth or the early seventeenth century. Iconographic and typological traits link it with Patmian works produced by Cretan artists. The presence of Hosios Christodoulos with the accurate model of the katholikon of the Patmos monastery, as well as of the Theologian himself twice, once on the central leaf as a young man and once on the outside of the side leaf as an old man, suggests that Patmos is the most likely place from which it was commissioned. The Patmian orientation in the choice of iconographic subjects is reinforced by the presence of St James the Less or Adelphotheos, Bishop of Jerusalem, who is constantly depicted in wall-paintings and icons on Patmos, as if belonging to the roll of saints (hagiologion) specifically associated with the island. The combination of these three Patmian themes indicates that triptych was commissioned by a Patmian. The strict choice of the specific saintly figures, hierarchs, ascetics and monks, as well as the meaning of the central representation of Christ Man of Sorrows, which can be paralleled with the humility of the spirit and the body, one of the greatest virtues of monachal life, also prescribe the status of its possessor as a monk or a priest.
Δελτίον XAE 20 (1998), Περίοδος Δ'. Στη μνήμη του Δημητρίου Ι. Πάλλα (1907-1995)• Σελ. 47-54,
G... more Δελτίον XAE 20 (1998), Περίοδος Δ'. Στη μνήμη του Δημητρίου Ι. Πάλλα (1907-1995)• Σελ. 47-54,
George Kakavas AN EARLY CHRISTIAN MOSAIC FLOOR IN THE CASTLE OF NESTORION IN THE REGION OF KASTORIA Ix. portion of a mosaic floor was discovered by chance at the site of Kastro to the east of Ano Nestorion in the region of Kastoria. The area was excavated in the fall of 1995 in order to determine the extent, position and significance of the surviving floor as well as to investigate the possible existence and use of other buildings in the vicinity. The following initial conclusions were reached at the completion of excavations, and further analysis of these conclusions will provide valuable information about the history and culture of the region. 1. This is the first time that a building decorated with a mosaic floor has been excavated in the region of Nestorion. 2. Although a precise chronology for the mosaic floor or the building which it decorated cannot be determined, both can be placed somewhere roughly between the end of the 4th and the middle of the 5th centuries AD, a period of intense construction and artistic activity in this region (Argos Orestikon). This general chronology is supported by the linearity of the mosaic's geometric designs and the absence of perspective, characteristic features of early Christian mosaic floors. 3. We cannot determine what the building was used for or whether it was a secular or a sacred building, i.e., a place of worship. Of course, the building's east-west orientation could indicate that the building had a religious use. 4. The name of the settlement to which the building with the mosaic floor belonged remains unknown. This settlement must have had direct access to the natural defensive position of the castle, commonly called Kailas, which provided defence from any kind of hostile attack as well as protection from the inundation of the Aliakmon River.
ARTICLE IN THE: ΑΦΙΕΡΩΜΑ ΣΤΟΝ ΑΚΑΔΗΜΑΪΚΟ
ΠΑΝΑΓΙΩΤΗ Λ. ΒΟΚΟΤΟΠΟΥΛΟ, ΑΘΗΝΑ 2015, pp. 295-302, figs.... more ARTICLE IN THE: ΑΦΙΕΡΩΜΑ ΣΤΟΝ ΑΚΑΔΗΜΑΪΚΟ ΠΑΝΑΓΙΩΤΗ Λ. ΒΟΚΟΤΟΠΟΥΛΟ, ΑΘΗΝΑ 2015, pp. 295-302, figs. 1-22.
Introduction: Pre-exposure prophylaxis (PrEP) is a key HIV prevention technology, and is a pillar... more Introduction: Pre-exposure prophylaxis (PrEP) is a key HIV prevention technology, and is a pillar of a comprehensive HIV prevention approach for men who have sex with men (MSM). Because there have been no national data to characterize trends in the PrEP continuum in the United States, overall and for key demographic groups of MSM, we aimed to describe the extent to which PrEP awareness, willingness and use changed over time, overall and for specific groups of MSM critical for HIV prevention (e.g. Black and Hispanic MSM, younger MSM, MSM in rural areas and MSM without health coverage). Methods: The American Men's Internet Survey (AMIS) is an annual survey of US MSM conducted in the United States among MSM aged ≥15 years since 2013. We analysed data on trends in elements of the PrEP continuum (awareness, willingness and use of PrEP) in a sample of 37,476 HIV-negative/unknown status MSM from December 2013 through November 2017. We evaluated trends in continuum steps overall and among demographic subgroups using Poisson models with Generalized Estimating Equations. For 2017 data, we used logistic regression to compare the prevalence of PrEP use among demographic groups. Results: Overall, 51.4% (n = 19,244) of AMIS respondents were PrEP-eligible across study years. Between 2013 and 2017, PrEP awareness increased from 47.4% to 80.6% willingness to use PrEP increased from 43.9% to 59.5% and PrEP use in the past 12 months increased from 1.7% to 19.9%. In 2017, use of PrEP was lower for men who were younger, lived outside of urban areas, and lacked health insurance; PrEP use was not different among Black, Hispanic and white MSM. Conclusions: Our data show progress in use of PrEP among US MSM, but also reveal mismatches between PrEP use and epidemic need. We call for additional support of PrEP initiation, especially among young, non-urban and uninsured MSM. Black and Hispanic MSM report levels of PrEP use no different from white MSM, but given higher HIV incidence for Black and Hispanic MSM, parity in use is not sufficient for epidemic control or health equity.
Στη μνήμη των αγαπημένων φίλων και συναδέλφων Χρυσούλας και Σταύρου Μπαλτογιάννη In memory of our... more Στη μνήμη των αγαπημένων φίλων και συναδέλφων Χρυσούλας και Σταύρου Μπαλτογιάννη In memory of our beloved friends and colleagues Chrysoula and Stavros Baltoyiannis «Τίποτα δε χάνεται πραγματικά για εμάς όσο εμείς το θυμόμαστε» EL.M. MONTGOMERY, THE STORY GIRL
Η επιβίωση του μύθου του Ηρακλή στα έργα των καλλιτεχνών του 20ου αιώνα, στον κινηματογράφο, στην... more Η επιβίωση του μύθου του Ηρακλή στα έργα των καλλιτεχνών του 20ου αιώνα, στον κινηματογράφο, στην τηλεόραση και στα κόμικς. Ιδιαίτερη αναφορά στην εικαστική απόδοση των άθλων του Ηρακλή στα έργα του Παύλου Σάμιου.
Παρουσιάζεται η οικουμενικότητα της λατρείας του Ηρακλή από τις Ηράκλειες Στήλες μέχρι τα βάθη τη... more Παρουσιάζεται η οικουμενικότητα της λατρείας του Ηρακλή από τις Ηράκλειες Στήλες μέχρι τα βάθη της Άπω Ανατολής. Επίσης οι απεικονίσεις του ως Μελκάρτ στους χαρακτήρες των νομισμάτων της Κύπρου, της Καρχηδόνος, της Τύρου και της Αράδου.
Παρουσιάζονται οι ποικίλες απεικονίσεις του Ηρακλή, του ύπατου από γενιά θεού και ανθρώπου, στους... more Παρουσιάζονται οι ποικίλες απεικονίσεις του Ηρακλή, του ύπατου από γενιά θεού και ανθρώπου, στους χαρακτήρες των αρχαίων ελληνικών και ρωμαϊκών νομισμάτων.
Bu kitabın Türkçe yayın hakları kitabın hukuki yayımcısına ait olup her hakkı saklıdır. Hiçbir bö... more Bu kitabın Türkçe yayın hakları kitabın hukuki yayımcısına ait olup her hakkı saklıdır. Hiçbir bölümü ve paragrafı kısmen veya tamamen ya da özet halinde, fotokopi, faksimile veya başka herhangi bir biçimde çoğaltılamaz, dağıtılamaz yeniden elde edilmek üzere saklanamaz. Normal ölçüyü aşan iktibaslar yapılamaz ancak normal ve kanuni iktibaslarda kaynak gösterilmesi zorunludur.
George Kakavas, Witches of the stars and Sorceresses of the Hypati. Legends and Traditions.
In a... more George Kakavas, Witches of the stars and Sorceresses of the Hypati. Legends and Traditions.
In ancient times Thessaly was famous for its powerful witches and for its horses. Grandmothers of the area narrated tales, of which the main characters were not only beasts and demons, brave men and renowned lords, but also beautiful enchanted princesses to whom witches gave poisonous herbs to drink. Somewhere in Katavothra, nowadays called Oeta, as well as in Vardousia and Neraidospilia witches and fairies were gathered. The most famous of them were those of Hypati. They undertook love spells, filters that guided or forced into obedience, others that caused suffering. The Thettalides witches reached the peak of their glory. Their protector was the triple goddess Hecate.
ΔΧΑΕ, Τόμος ΚΔ' (2003) • Σελ. 293-308, ΑΘΗΝΑ 2003
George Kakavas
ISSUES OF PATMIAN ICONOGRAPHY I... more ΔΧΑΕ, Τόμος ΚΔ' (2003) • Σελ. 293-308, ΑΘΗΝΑ 2003 George Kakavas ISSUES OF PATMIAN ICONOGRAPHY IN TWO CRETAN TRIPTYCHS IN THE BYZANTINE AND CHRISTIAN MUSEUM, ATHENS Two unpublished triptychs in the collection of the Byzantine and Christian Museum, whose art bears the stamp of the principles of Cretan painting but whose iconography refers to the holy island of Patmos as the possible place of their creation, are examined. 1. The central leaf of the first triptych (T 2857) is decorated by a gilded wood-carved frame, the apex of which is crowned by a large pinecone (Figs 1-3). Depicted in the upper zone are the Virgin Platytera enthroned, flanked by St John the Baptist and St John the Theologian in veneration, and in the lower zone the full-bodied figures of Three Hierarchs. The inside of the side leaves is divided into three registers. Shared between the upper register of both leaves is the scene of the Annunciation; in the middle register of the left leaf are the full-bodied figures of Sts Nicholas and Constantine, and in the lower Sts Panteleemon and Paraskevi; in the middle register of the corresponding right leaf are St Onouphrios and "Our Father Hosios Christodoulos" (OCIOC ΠΑΤΗΡ ΗΜΩΝ XPICTOΔΟΥΛOC), and in the lower Sts Barbara and Marina. When the triptych is closed, the lateral leaves are decorated above with the Holy Trinity and below with the Archangels Michael and Gabriel. The small triptych is of interest for the iconography and composition of its representations. The iconographie type of the enthroned Virgin is the established one in the art of fifteenth-century Cretan icons, the most probable model for which is the despotic icon painted by Andreas Ritzos for the katholikon of the monastery of St John the Theologian on Patmos. The representation of Hosios Christodolous of Latros, founder of the Patmos monastery, is copied to the minutest detail from the monumental figure of the hosios on the bema door in the parekklesion dedicated to him in Patmos, which is dated around 1600. The original composition of the main representation on the triptych can be considered as a singular schema of Deesis, in which the Precursor, left, in the usual position of the Virgin, and the Theologian, right, in the traditional place of the Baptist, intercede to the Christ Child, who now sits in his mother's embrace, instead of to Christ Pantocrator or Great High Priest. The choice of the two homonymous saints in the composition is perhaps not fortuitous but is connected with the name of the dedicator or copied from some disseminated variation of the Deesis. The iconography and style of the painting, together with the wood-carved frame, point to a Cretan workshop and date the triptych to the latter years of the sixteenth century. The iconographie relationship of the triptych with Patmos is obvious, both in the depiction of Hosios Christodoulos holding the church in his hands and that of the Virgin enthroned in a type that has been associated with Patmos. The presence of St John the Theologian, in the expanded central composition of the triptych, could also be considered an indication that the triptych was painted for Patmos. 2. On the central leaf of the second triptych (T 2851) with the integral wooden frame, arched and surrounded by intricately carved decoration, is depicted a variation of the subject of Christ Man of Sorrows (Figs 6, 7, and 10). The lifeless Christ, inside an open sarcophagus, is flanked by the Theotokos left and St John the Theologian right. Depicted on the inside of the left leaf is a winged St John the Baptist, and on the corresponding face of the right leaf, St James the Adelphotheos. When the leaves are closed, the author of the Book of Revelation, St John the Theologian, is shown fullbodied on the left, and Hosios Christodoulos, founder of the Patmos monastery, holding a model of the monastery's katholikon, on the right. Of particular interest is the integral, carved wooden frame of the central leaf, which has one of the most popular and established shapes of sixteenthcentury Cretan triptychs. The representation on the central leaf is an amalgamation of Passion themes, since to the solitary figure of Christ Man of Sorrows are added the figures of the Theotokos and St John, from the Deposition or the Lamentation. The representation of James, son of Joseph from his first marriage and thus "the brother of the Lord", as hierarch and not as apostle, renders visually an old tradition according to which Christ ordained him as first Bishop of Jerusalem. The model for the monumental figure of the Theologian on the outside of the triptych is encountered in fifteenth-century Cretan painting, such as on the bema door in Patmos, which is ascribed to Andreas Ritzos or his workshop. However, the depiction of the Theologian together with the founder of the monastery, Hosios Christodoulos, in the triptych, is close in iconography to the corresponding types of the two saints on the bema doors of the Patmian parekklesion of Hosios Christodoulos, which has been dated around 1600. The art of the triptych places it in the late sixteenth or the early seventeenth century. Iconographic and typological traits link it with Patmian works produced by Cretan artists. The presence of Hosios Christodoulos with the accurate model of the katholikon of the Patmos monastery, as well as of the Theologian himself twice, once on the central leaf as a young man and once on the outside of the side leaf as an old man, suggests that Patmos is the most likely place from which it was commissioned. The Patmian orientation in the choice of iconographic subjects is reinforced by the presence of St James the Less or Adelphotheos, Bishop of Jerusalem, who is constantly depicted in wall-paintings and icons on Patmos, as if belonging to the roll of saints (hagiologion) specifically associated with the island. The combination of these three Patmian themes indicates that triptych was commissioned by a Patmian. The strict choice of the specific saintly figures, hierarchs, ascetics and monks, as well as the meaning of the central representation of Christ Man of Sorrows, which can be paralleled with the humility of the spirit and the body, one of the greatest virtues of monachal life, also prescribe the status of its possessor as a monk or a priest.
Δελτίον XAE 20 (1998), Περίοδος Δ'. Στη μνήμη του Δημητρίου Ι. Πάλλα (1907-1995)• Σελ. 47-54,
G... more Δελτίον XAE 20 (1998), Περίοδος Δ'. Στη μνήμη του Δημητρίου Ι. Πάλλα (1907-1995)• Σελ. 47-54,
George Kakavas AN EARLY CHRISTIAN MOSAIC FLOOR IN THE CASTLE OF NESTORION IN THE REGION OF KASTORIA Ix. portion of a mosaic floor was discovered by chance at the site of Kastro to the east of Ano Nestorion in the region of Kastoria. The area was excavated in the fall of 1995 in order to determine the extent, position and significance of the surviving floor as well as to investigate the possible existence and use of other buildings in the vicinity. The following initial conclusions were reached at the completion of excavations, and further analysis of these conclusions will provide valuable information about the history and culture of the region. 1. This is the first time that a building decorated with a mosaic floor has been excavated in the region of Nestorion. 2. Although a precise chronology for the mosaic floor or the building which it decorated cannot be determined, both can be placed somewhere roughly between the end of the 4th and the middle of the 5th centuries AD, a period of intense construction and artistic activity in this region (Argos Orestikon). This general chronology is supported by the linearity of the mosaic's geometric designs and the absence of perspective, characteristic features of early Christian mosaic floors. 3. We cannot determine what the building was used for or whether it was a secular or a sacred building, i.e., a place of worship. Of course, the building's east-west orientation could indicate that the building had a religious use. 4. The name of the settlement to which the building with the mosaic floor belonged remains unknown. This settlement must have had direct access to the natural defensive position of the castle, commonly called Kailas, which provided defence from any kind of hostile attack as well as protection from the inundation of the Aliakmon River.
ARTICLE IN THE: ΑΦΙΕΡΩΜΑ ΣΤΟΝ ΑΚΑΔΗΜΑΪΚΟ
ΠΑΝΑΓΙΩΤΗ Λ. ΒΟΚΟΤΟΠΟΥΛΟ, ΑΘΗΝΑ 2015, pp. 295-302, figs.... more ARTICLE IN THE: ΑΦΙΕΡΩΜΑ ΣΤΟΝ ΑΚΑΔΗΜΑΪΚΟ ΠΑΝΑΓΙΩΤΗ Λ. ΒΟΚΟΤΟΠΟΥΛΟ, ΑΘΗΝΑ 2015, pp. 295-302, figs. 1-22.
This article summarizes the site and finds from excavations by the Cornell Halai and East Lokris ... more This article summarizes the site and finds from excavations by the Cornell Halai and East Lokris Project at the ancient Greek archaeological site of Halai in East Lokris. It is divided into two parts: Part 1, by John E. Coleman, summarizes the history and finds from the earlier periods at the site (pp. 108-126); Part 2, by George Kakavas, summarizes the finds from the Late Roman, Early Christian and Middle Byzantine periods and compares them with other sites in East Lokris (pp. 127-141).
The international Colloquium "Memory and impression: A walk-through in the Peloponnese" took plac... more The international Colloquium "Memory and impression: A walk-through in the Peloponnese" took place at Tegea on December 12–13, 2019.
The event was set to function as a herald of the temporary exhibition "Memory and impression: A walk-through in the Peloponnese using ancient coins as a guide" (to open in 2021 at the Archaeological Museum of Tegea).
The contributions to the Colloquium included perspectives by historians, numismatists, archaeologists, art historians, and so on, broadening the spectrum of the approaches employed.
Organisers: KIKPE – Stassinopoulos-Viohalco Foundation – Ephorate of Antiquities of Arkadia
Coordination: Yannis Stoyas (KIKPE Numismatic Collection) and Anna Vasiliki Karapanagiotou (Ephorate of Antiquities of Arkadia).
Η Σαλαμίνα, το μεγαλύτερο νησί του Σαρωνικού Κόλπου, βρίσκεται νοτιοδυτικά του νομού Αττικής. Από... more Η Σαλαμίνα, το μεγαλύτερο νησί του Σαρωνικού Κόλπου, βρίσκεται νοτιοδυτικά του νομού Αττικής. Από τα πρώτα χριστιανικά χρόνια το νησί δεν έπαυσε ποτέ να κατοικείται από ντόπιους, από τους γείτονες Αθηναίους και γύρω στα 1400 και εξής από Αλβανούς εποικιστές, ακολουθώντας την τύχη της γειτονικής Αττικής. Οι κάτοικοι της Σαλαμίνας από τα παλιά χρόνια μέχρι και σήμερα διακρίνονται για τη βαθιά τους πίστη και το έντονο θρησκευτικό τους συναίσθημα, γεγονός που αντικατοπτρίζεται στα πολλά ξωκλήσια, τα μοναστήρια, αλλά κυρίως στους πολυπληθείς ναούς που ανήγειραν και κόσμησαν με τοιχογραφίες, φορητές εικόνες και γλυπτά. Στην παρούσα εισήγηση καταγράφονται και εξετάζονται τα εκκλησιαστικά μνημεία που ανεγερθήκαν στις πόλεις και στην ύπαιθρο του νησιού, από τη σύσταση του Νεοελληνικού κράτους μέχρι το ξέσπασμα του Β΄ Παγκοσμίου Πολέμου, αλλά και όσων από τους παλαιότερους ναούς επεκτάθηκαν, τοιχογραφήθηκαν ή κοσμήθηκαν με εικόνες και γλυπτά την περίοδο αυτή, μια περίοδο πλούσια σε γεγονότα και εξελίξεις μιας χώρας που αναδημιουργούσε την πολιτιστική της ταυτότητα μέσα από αντίξοες, αμφίσημες και συχνά αμφιλεγόμενες συνθήκες. Η παρουσίαση των μνημείων γίνεται κατά περιοχή και σχολιάζονται συνοπτικά η αρχιτεκτονική, η ζωγραφική και η γλυπτική τους, ενώ η εξαγωγή των πρώτων συμπερασμάτων αν και ενδεικτική φωτίζει την εκκλησιαστική τέχνης της Σαλαμίνας από το 1830 έως το 1940.
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In ancient times Thessaly was famous for its powerful witches and for its horses. Grandmothers of the area narrated tales, of which the main characters were not only beasts and demons, brave men and renowned
lords, but also beautiful enchanted princesses to whom witches gave poisonous herbs to drink. Somewhere in Katavothra, nowadays called Oeta, as well as in Vardousia and Neraidospilia witches and fairies were
gathered. The most famous of them were those of Hypati. They undertook love spells, filters that guided or forced into obedience, others that caused suffering. The Thettalides witches reached the peak of their glory. Their protector was the triple goddess Hecate.
George Kakavas
ISSUES OF PATMIAN ICONOGRAPHY IN TWO CRETAN TRIPTYCHS
IN THE BYZANTINE AND CHRISTIAN MUSEUM, ATHENS
Two unpublished triptychs in the collection of the Byzantine and Christian Museum, whose art bears the stamp of the principles of Cretan painting but whose iconography refers to the holy island of Patmos as the possible place of their creation, are examined.
1. The central leaf of the first triptych (T 2857) is decorated by a gilded wood-carved frame, the apex of which is crowned by a large pinecone (Figs 1-3). Depicted in the upper zone are the Virgin Platytera enthroned, flanked by St John the Baptist and St John the Theologian in veneration, and in the lower zone the full-bodied figures of Three Hierarchs. The inside of the side leaves is divided into three registers. Shared between the upper register of both leaves is the scene of the Annunciation; in the middle register of the left leaf are the full-bodied figures of Sts Nicholas and Constantine, and in the lower Sts Panteleemon and Paraskevi; in the middle register of the corresponding right leaf are St Onouphrios and "Our Father Hosios Christodoulos" (OCIOC ΠΑΤΗΡ ΗΜΩΝ XPICTOΔΟΥΛOC), and in the lower Sts Barbara and Marina. When the triptych is closed, the lateral leaves are decorated above with the Holy Trinity and below with the Archangels Michael and Gabriel.
The small triptych is of interest for the iconography and composition of its representations. The iconographie type of the enthroned Virgin is the established one in the art of fifteenth-century Cretan icons, the most probable model for which is the despotic icon painted by Andreas Ritzos for the katholikon of the monastery of St John the Theologian on Patmos. The representation of Hosios Christodolous of Latros, founder of the Patmos monastery, is copied to the minutest detail from the monumental figure of the hosios on the bema door in the parekklesion dedicated to him in Patmos, which is dated around 1600. The original composition of the main representation on the triptych can be considered as a singular schema of Deesis, in which the Precursor, left, in the usual position of the Virgin, and the Theologian, right, in the traditional place of the Baptist, intercede to the Christ Child, who now sits in his mother's embrace, instead of to Christ Pantocrator or Great High Priest. The choice of the two homonymous saints in the composition is perhaps not fortuitous but is connected with the name of the dedicator or copied from some disseminated variation of the
Deesis.
The iconography and style of the painting, together with the wood-carved frame, point to a Cretan workshop and date the triptych to the latter years of the sixteenth century. The iconographie relationship of the triptych with Patmos is obvious, both in the depiction of Hosios Christodoulos holding the church in his hands and that of the Virgin enthroned in a type that has been associated with Patmos. The presence of St John the Theologian, in the expanded central composition of the triptych, could also be considered an indication that the triptych was painted for Patmos.
2. On the central leaf of the second triptych (T 2851) with the integral wooden frame, arched and surrounded by intricately carved decoration, is depicted a variation of the
subject of Christ Man of Sorrows (Figs 6, 7, and 10). The lifeless Christ, inside an open sarcophagus, is flanked by the Theotokos left and St John the Theologian right. Depicted on the inside of the left leaf is a winged St John the Baptist, and on the corresponding face of the right leaf, St James the Adelphotheos. When the leaves are closed, the author of the Book of Revelation, St John the Theologian, is shown fullbodied on the left, and Hosios Christodoulos, founder of the Patmos monastery, holding a model of the monastery's katholikon, on the right. Of particular interest is the integral, carved wooden frame of the central leaf, which has one of the most popular and established shapes of sixteenthcentury Cretan triptychs.
The representation on the central leaf is an amalgamation of Passion themes, since to the solitary figure of Christ Man of Sorrows are added the figures of the Theotokos and St John, from the Deposition or the Lamentation. The representation of James, son of Joseph from his first marriage and thus "the brother of the Lord", as hierarch and not as apostle, renders visually an old tradition according to which Christ ordained him as first Bishop of Jerusalem. The model for the monumental figure of the Theologian on the outside of the triptych is encountered in fifteenth-century Cretan painting, such as on the bema door in Patmos, which is ascribed to Andreas Ritzos or his workshop. However, the depiction of the Theologian together with the founder of the monastery, Hosios Christodoulos, in the triptych, is close in iconography to the corresponding types of the two saints on the bema doors of the Patmian parekklesion of Hosios Christodoulos, which has been dated around 1600.
The art of the triptych places it in the late sixteenth or the early seventeenth century. Iconographic and typological traits link it with Patmian works produced by Cretan artists. The presence of Hosios Christodoulos with the accurate model of the katholikon of the Patmos monastery, as well as of the Theologian himself twice, once on the central leaf as a young man and once on the outside of the side leaf as an old man, suggests that Patmos is the most likely place from which it was commissioned. The Patmian orientation in the choice of iconographic subjects is reinforced by the presence of St James the Less or Adelphotheos, Bishop of Jerusalem, who is constantly depicted in wall-paintings and icons on Patmos, as if belonging to the roll of saints (hagiologion) specifically associated with the island. The combination of these three Patmian themes indicates that triptych was commissioned by a Patmian. The strict choice of the specific saintly figures, hierarchs, ascetics and monks, as well as the meaning of the central representation of Christ Man of Sorrows, which can be paralleled with the humility of the spirit and the body, one of the greatest virtues of monachal life, also prescribe the status of its possessor as a monk or a priest.
George Kakavas
AN EARLY CHRISTIAN MOSAIC FLOOR IN THE CASTLE
OF NESTORION IN THE REGION OF KASTORIA
Ix. portion of a mosaic floor was discovered by chance at
the site of Kastro to the east of Ano Nestorion in the region
of Kastoria. The area was excavated in the fall of 1995 in
order to determine the extent, position and significance of
the surviving floor as well as to investigate the possible existence
and use of other buildings in the vicinity. The following
initial conclusions were reached at the completion of
excavations, and further analysis of these conclusions will
provide valuable information about the history and culture
of the region.
1. This is the first time that a building decorated with a mosaic
floor has been excavated in the region of Nestorion.
2. Although a precise chronology for the mosaic floor or the
building which it decorated cannot be determined, both can
be placed somewhere roughly between the end of the 4th
and the middle of the 5th centuries AD, a period of intense
construction and artistic activity in this region (Argos
Orestikon). This general chronology is supported by the
linearity of the mosaic's geometric designs and the absence
of perspective, characteristic features of early Christian
mosaic floors.
3. We cannot determine what the building was used for or
whether it was a secular or a sacred building, i.e., a place of
worship. Of course, the building's east-west orientation could
indicate that the building had a religious use.
4. The name of the settlement to which the building with the
mosaic floor belonged remains unknown. This settlement
must have had direct access to the natural defensive position
of the castle, commonly called Kailas, which provided
defence from any kind of hostile attack as well as protection
from the inundation of the Aliakmon River.
ΠΑΝΑΓΙΩΤΗ Λ. ΒΟΚΟΤΟΠΟΥΛΟ, ΑΘΗΝΑ 2015, pp. 295-302, figs. 1-22.
In ancient times Thessaly was famous for its powerful witches and for its horses. Grandmothers of the area narrated tales, of which the main characters were not only beasts and demons, brave men and renowned
lords, but also beautiful enchanted princesses to whom witches gave poisonous herbs to drink. Somewhere in Katavothra, nowadays called Oeta, as well as in Vardousia and Neraidospilia witches and fairies were
gathered. The most famous of them were those of Hypati. They undertook love spells, filters that guided or forced into obedience, others that caused suffering. The Thettalides witches reached the peak of their glory. Their protector was the triple goddess Hecate.
George Kakavas
ISSUES OF PATMIAN ICONOGRAPHY IN TWO CRETAN TRIPTYCHS
IN THE BYZANTINE AND CHRISTIAN MUSEUM, ATHENS
Two unpublished triptychs in the collection of the Byzantine and Christian Museum, whose art bears the stamp of the principles of Cretan painting but whose iconography refers to the holy island of Patmos as the possible place of their creation, are examined.
1. The central leaf of the first triptych (T 2857) is decorated by a gilded wood-carved frame, the apex of which is crowned by a large pinecone (Figs 1-3). Depicted in the upper zone are the Virgin Platytera enthroned, flanked by St John the Baptist and St John the Theologian in veneration, and in the lower zone the full-bodied figures of Three Hierarchs. The inside of the side leaves is divided into three registers. Shared between the upper register of both leaves is the scene of the Annunciation; in the middle register of the left leaf are the full-bodied figures of Sts Nicholas and Constantine, and in the lower Sts Panteleemon and Paraskevi; in the middle register of the corresponding right leaf are St Onouphrios and "Our Father Hosios Christodoulos" (OCIOC ΠΑΤΗΡ ΗΜΩΝ XPICTOΔΟΥΛOC), and in the lower Sts Barbara and Marina. When the triptych is closed, the lateral leaves are decorated above with the Holy Trinity and below with the Archangels Michael and Gabriel.
The small triptych is of interest for the iconography and composition of its representations. The iconographie type of the enthroned Virgin is the established one in the art of fifteenth-century Cretan icons, the most probable model for which is the despotic icon painted by Andreas Ritzos for the katholikon of the monastery of St John the Theologian on Patmos. The representation of Hosios Christodolous of Latros, founder of the Patmos monastery, is copied to the minutest detail from the monumental figure of the hosios on the bema door in the parekklesion dedicated to him in Patmos, which is dated around 1600. The original composition of the main representation on the triptych can be considered as a singular schema of Deesis, in which the Precursor, left, in the usual position of the Virgin, and the Theologian, right, in the traditional place of the Baptist, intercede to the Christ Child, who now sits in his mother's embrace, instead of to Christ Pantocrator or Great High Priest. The choice of the two homonymous saints in the composition is perhaps not fortuitous but is connected with the name of the dedicator or copied from some disseminated variation of the
Deesis.
The iconography and style of the painting, together with the wood-carved frame, point to a Cretan workshop and date the triptych to the latter years of the sixteenth century. The iconographie relationship of the triptych with Patmos is obvious, both in the depiction of Hosios Christodoulos holding the church in his hands and that of the Virgin enthroned in a type that has been associated with Patmos. The presence of St John the Theologian, in the expanded central composition of the triptych, could also be considered an indication that the triptych was painted for Patmos.
2. On the central leaf of the second triptych (T 2851) with the integral wooden frame, arched and surrounded by intricately carved decoration, is depicted a variation of the
subject of Christ Man of Sorrows (Figs 6, 7, and 10). The lifeless Christ, inside an open sarcophagus, is flanked by the Theotokos left and St John the Theologian right. Depicted on the inside of the left leaf is a winged St John the Baptist, and on the corresponding face of the right leaf, St James the Adelphotheos. When the leaves are closed, the author of the Book of Revelation, St John the Theologian, is shown fullbodied on the left, and Hosios Christodoulos, founder of the Patmos monastery, holding a model of the monastery's katholikon, on the right. Of particular interest is the integral, carved wooden frame of the central leaf, which has one of the most popular and established shapes of sixteenthcentury Cretan triptychs.
The representation on the central leaf is an amalgamation of Passion themes, since to the solitary figure of Christ Man of Sorrows are added the figures of the Theotokos and St John, from the Deposition or the Lamentation. The representation of James, son of Joseph from his first marriage and thus "the brother of the Lord", as hierarch and not as apostle, renders visually an old tradition according to which Christ ordained him as first Bishop of Jerusalem. The model for the monumental figure of the Theologian on the outside of the triptych is encountered in fifteenth-century Cretan painting, such as on the bema door in Patmos, which is ascribed to Andreas Ritzos or his workshop. However, the depiction of the Theologian together with the founder of the monastery, Hosios Christodoulos, in the triptych, is close in iconography to the corresponding types of the two saints on the bema doors of the Patmian parekklesion of Hosios Christodoulos, which has been dated around 1600.
The art of the triptych places it in the late sixteenth or the early seventeenth century. Iconographic and typological traits link it with Patmian works produced by Cretan artists. The presence of Hosios Christodoulos with the accurate model of the katholikon of the Patmos monastery, as well as of the Theologian himself twice, once on the central leaf as a young man and once on the outside of the side leaf as an old man, suggests that Patmos is the most likely place from which it was commissioned. The Patmian orientation in the choice of iconographic subjects is reinforced by the presence of St James the Less or Adelphotheos, Bishop of Jerusalem, who is constantly depicted in wall-paintings and icons on Patmos, as if belonging to the roll of saints (hagiologion) specifically associated with the island. The combination of these three Patmian themes indicates that triptych was commissioned by a Patmian. The strict choice of the specific saintly figures, hierarchs, ascetics and monks, as well as the meaning of the central representation of Christ Man of Sorrows, which can be paralleled with the humility of the spirit and the body, one of the greatest virtues of monachal life, also prescribe the status of its possessor as a monk or a priest.
George Kakavas
AN EARLY CHRISTIAN MOSAIC FLOOR IN THE CASTLE
OF NESTORION IN THE REGION OF KASTORIA
Ix. portion of a mosaic floor was discovered by chance at
the site of Kastro to the east of Ano Nestorion in the region
of Kastoria. The area was excavated in the fall of 1995 in
order to determine the extent, position and significance of
the surviving floor as well as to investigate the possible existence
and use of other buildings in the vicinity. The following
initial conclusions were reached at the completion of
excavations, and further analysis of these conclusions will
provide valuable information about the history and culture
of the region.
1. This is the first time that a building decorated with a mosaic
floor has been excavated in the region of Nestorion.
2. Although a precise chronology for the mosaic floor or the
building which it decorated cannot be determined, both can
be placed somewhere roughly between the end of the 4th
and the middle of the 5th centuries AD, a period of intense
construction and artistic activity in this region (Argos
Orestikon). This general chronology is supported by the
linearity of the mosaic's geometric designs and the absence
of perspective, characteristic features of early Christian
mosaic floors.
3. We cannot determine what the building was used for or
whether it was a secular or a sacred building, i.e., a place of
worship. Of course, the building's east-west orientation could
indicate that the building had a religious use.
4. The name of the settlement to which the building with the
mosaic floor belonged remains unknown. This settlement
must have had direct access to the natural defensive position
of the castle, commonly called Kailas, which provided
defence from any kind of hostile attack as well as protection
from the inundation of the Aliakmon River.
ΠΑΝΑΓΙΩΤΗ Λ. ΒΟΚΟΤΟΠΟΥΛΟ, ΑΘΗΝΑ 2015, pp. 295-302, figs. 1-22.
The event was set to function as a herald of the temporary exhibition "Memory and impression: A walk-through in the Peloponnese using ancient coins as a guide" (to open in 2021 at the Archaeological Museum of Tegea).
The contributions to the Colloquium included perspectives by historians, numismatists, archaeologists, art historians, and so on, broadening the spectrum of the approaches employed.
Organisers: KIKPE – Stassinopoulos-Viohalco Foundation – Ephorate of Antiquities of Arkadia
Coordination: Yannis Stoyas (KIKPE Numismatic Collection) and Anna Vasiliki Karapanagiotou (Ephorate of Antiquities of Arkadia).
Στην παρούσα εισήγηση καταγράφονται και εξετάζονται τα εκκλησιαστικά μνημεία που ανεγερθήκαν στις πόλεις και στην ύπαιθρο του νησιού, από τη σύσταση του Νεοελληνικού κράτους μέχρι το ξέσπασμα του Β΄ Παγκοσμίου Πολέμου, αλλά και όσων από τους παλαιότερους ναούς επεκτάθηκαν, τοιχογραφήθηκαν ή κοσμήθηκαν με εικόνες και γλυπτά την περίοδο αυτή, μια περίοδο πλούσια σε γεγονότα και εξελίξεις μιας χώρας που αναδημιουργούσε την πολιτιστική της ταυτότητα μέσα από αντίξοες, αμφίσημες και συχνά αμφιλεγόμενες συνθήκες.
Η παρουσίαση των μνημείων γίνεται κατά περιοχή και σχολιάζονται συνοπτικά η αρχιτεκτονική, η ζωγραφική και η γλυπτική τους, ενώ η εξαγωγή των πρώτων συμπερασμάτων αν και ενδεικτική φωτίζει την εκκλησιαστική τέχνης της Σαλαμίνας από το 1830 έως το 1940.