A news roundup today as I am incredibly pressed for time. this whole home renovation business is a full time job, as it turns out, but things are coming along nicely.

Ancient theatre of Larissa opens to public
One of the largest ancient theatres, the ancient theatre of Larissa dated back to the 3rd century BC, opens its doors to the public. According to Larissa Antiquities Ephorate decision, the ancient theatre has opened for visitors every day from 10.00-13.00 as of April 1 with free entrance. Visitors have access to the area of the orchestra and the stage, but the seats and the other areas of the theatre will not be accessible, since restoration works are still in progress. The ancient theatre of Larissa is one of the best preserved and larger theatres of the ancient world that could host about 12.000 spectators.

‘Gods and Mortals at Olympus’ exhibition at Onassis Cultural Centre in NY
New Yorkers currently have the chance to visit the Onassis Cultural Center NY where a major loan exhibition of objects from the archaeological site of Dion is hosted. The exhibition presents archaeological artifacts never before shown in USA, including stunning mosaics recently excavated from the foothills of Mount Olympus and unveiled for the very first time. The exhibition is curated by Dimitris Pandermalis, President of the Acropolis Museum and director of excavations at Dion on Mount Olympus. This unique exhibition runs from March 24 through June 18.

Visitors to the Onassis Cultural Center NY will have the opportunity, among other things, to:
- explore the sights and sounds of the landscape on Mount Olympos
- learn about the lives of the people who have dwelled on its slopes
- experience the responses of artists Maria Zervos and Kostas Ioannidis to this place steeped in history and myth - discuss the exhibition and the questions it raises for today with philosopher Simon Critchley.

Fishermen find ancient amphorae in waters near Limnos
The fishing boat 'Panagia M' recently found 21 ancient amphorae while fishing in waters northwest of Mourtzouflos cape on the Greek island of Limnos. The finds were of various sizes, ranging in height from 15 to 80 cm. The fishing boat’s captain handed the amphorae over to the Myrina harbour authority, where the fishing boat is registered. Along with one more amphora found by the captain of another fishing boat, 'P.G. Psarros', in the seas west of Limnos, the finds were handed over to the island’s cultural ministry services.
I am very happy to share with you Labrys' ritual for the Mounikhia. The Labrys Religious Community aims to preserve, promote and practice the Hellenic polytheistic religious tradition through public rituals, lectures, publications, theatrical and musical events, and other forms of action. Their vision is to restore the Hellenic religious tradition and by extension the Hellenic Kosmotheasis and lifestyle to its rightful place, as a respected, acknowledged and fully functional spiritual path.

The Mounikhia (Μουνιχιας), the festival after which the month was named, is celebrated on the sixteenth of Mounichion. On this day of the full moon, Artemis Mounikhia (Αρτεμις Μουνυχια) was honored at the hill of Munikhia, for granting the Hellenes victory in the Battle of Salamis (Ναυμαχία τῆς Σαλαμῖνος). Please click on the image below to get taken to the video. Enjoy!

As you all know, I recently moved! I'm still settling in, obviously, but one of the major benefits of moving is having friends come over to look at all your hard work and the home you're building for yourself. So, while I settle: somke words by Plutarch in his 'On Brotherly Love' on which he speaks of friendship--especially those friendships that should be fostered and how they should be approached. Enjoy!

"If the possessions of friends are common, then by all means the friends of friends should be common"; and one should urge this advice upon brothers with special emphasis. For associations and intimacies which are maintained separately and apart lead brothers away from each other and turn them toward others, since an immediate consequence of affection for others is to take pleasure in others, to emulate others, and to follow the lead of others.
For friendships shape character and there is no more important indication of a difference in character than the selection of different friends. For this reason neither eating and drinking together nor playing and spending the day together can so firmly cement concord between brothers as the sharing of friendships and enmities, taking pleasure in the company of the same persons, and loathing and avoiding the same. For friendships held in common do not tolerate either slanders or conflicts, but if any occasion for wrath or blame arises, it is dissipated by the mediation of friends, who take it upon themselves and disperse it, if they are but intimate with both parties and incline in their goodwill to both alike.
For as tin joins together broken bronze and solders it by being applied to both ends, since it is of a material sympathetic to both, so should the friend, well-suited as he is to both and being theirs in common, join still closer their mutual goodwill; but those who are uneven and will not blend, like false notes of a scale in music, create discord, not harmony.116 One may, then, be in doubt as to whether Hesiod117 was right or not in saying, 'Nor should one make a friend a brother's peer'.
The Daily Beast recently posted an interesting article about The Metropolitan Museum of Art's new exposition entitled 'Pergamon and the Hellenistic Kingdoms of the Ancient World' which brings together more than 265 exquisite objects that were created through the patronage of the royal courts of the Hellenistic kingdoms, with an emphasis on the ancient city of Pergamon. The emphasis of the article, however? 'How Alexander the Great changed the art world forever'.

When Alexander conquered Persia, six thousand tons of gold were taken from the treasuries of Persepolis and Susa alone. Those fabulous riches combined with Greek skill meant a dawning of a new era in terms of cultural supremacy. While his empire was split into a number of kingdoms (the Ptolemaic perhaps being the most famous due to its library and Cleopatra), the art and architecture originating in Hellenic city-states exploded.
The exhibition notes that the wealth also changed Hellenic culture. Tossed out were the strictures and disapproval from city-states like Athens and Sparta against ostentations displays of private wealth. The result was a period of art that changed cultures across the ancient world. That influence is perhaps most palpable in ancient Rome, where the craze for copies of famous Hellenic works are often all we have left of Hellenic art.

The core of the exhibition—one-third of the statues on view—is comprised of works from the Pergamon Museum in Berlin, many of which have never been to the U.S. before. The Pergamon was excavated in the late 19th century by German archaeologists who brought many of its treasures back to Germany. The Pergamon Museum is now undergoing a renovation, presenting a ripe opportunity for the Met.

One of those pieces here for the first time, which could perhaps be considered one of the exhibition’s centerpieces is the Athena from the Pergamon Altar. Weighing more than three tons, it was shipped in three pieces, Picón said. Even with its magnitude, the most stupefying thing about the towering work is that it is just one-third the size of the original carved by Phidias that stood in the Parthenon.
The Athena is surrounded by other monumental works, including the captivating Fragmentary colossal head of a youth from the 2nd century BC. There is also the impressive marble head and arm of Zeus from Aigeira from circa 150 BC on loan from the National Archaeology Museum of Greece.

Against another wall can be found the earliest known text of Homer’s The Odyssey from 285-250 BC, preserved because the papyrus it was on was reused for a mummy and buried in hot sand.

Each room in the exhibition has one signature piece. In one it is the Athena, in another the model replica of the Altar of Pergamon. In the final chamber, which focuses on Hellenistic art in the Roman period, stands the Borghese Krater. Standing nearly two meters high, the vase was made in Athens in the 1st century BC, shipped to Rome and discovered in the 16th century in a Roman garden. Purchased by Napoleon from the Borghese family in 1808, it has only left the Louvre twice.

The exhibition will run from April 18 to July 17, 2016, at The Met.
Yesterday, I officially moved into the new house I will share with my girlfriend. This move was preceded by two grueling weeks of non-stop renovations. Every day from eight am to eleven pm, or midnigt, or one am and then back to the old place on my bike to do it again the next morning. I am not sure if I have ever felt exhaustion this profound, but also a feeling of accomplishment this profound. It's our new home! And our blood, sweat and tears are in it! These images were from one am last night when we finally tidied everything. As you can see, we are far from settled, but it is am amazing start.

As I'll be making build-in blosets, (book)shelves, windowsills and a built in corner bench myself from wood that has yet to be delivered, most of our stuff upstairs is still on the ground in piles.
Thiat is my current view, for example.
As soon as everything has been put away and built, I'll write and perform a rite to Hestia and the household Gods, which I will share with you all, of course, to invite Them into this house. But until then, I am sure They know They are already very, very welcome! For now, it's time to rest.
Back in My 2015, Greek authorities announced the arrest of four people in Iraklio, Crete on charges of attempting to sell a priceless 3,500-year-old statuette of a young man, dated to the mid-Minoan era. Now, the statue has been valued and the number is astronomical.

The 30cm-high bronze statuette is of a young man in worship, his hands folded across his chest, making it a unique find of its type throughout the island of Crete. The figure has long hair, a gold-plated belt and remains of gold leaf on its calves and left knee. At the base is a peg indicating that it was probably set on a pedestal in an area of worship. Archaeologists at the Lasithi Antiquities Ephorate have dated the statuette to the 16-15 century B.C.

The case was cracked as a result of a coordinated Hellenic Police (ELAS) operation that culminated in the arrests of four men, two aged 35 and two aged 41 years old. Police initially stopped one of the 35-year-olds driving a car, in which they found an ancient bronze artifact. The other three men were following behind in two private trucks and also arrested. The police inquiry revealed that the suspects had illegal possession of the statuette and that two of them had shown this to unknown prospective buyers, while the other two were acting as lookouts along the route. The statuette was handed over the antiquities ephorate and the car confiscated as evidence, while police are continuing the inquiry. The four suspects were led to the Lasithi misdemeanors' court prosecutor.

From that point on, a commission set up by the ministry carried out an evaluation of the statue to determine the value. They came to a sum of 1.3 million euros. The commission arrived at this price estimate based on the figurine’s age, material and structural features but mostly on its unusual size, noting that it was the largest of its kind ever found.

I announced two days ago that we'd have a PAT ritual to the the hero Leukaspis on the 28th of April. A day later, the sacrificial calendar of Erkhia dictates a sacrifice to the Tritopatores (Τριτοπατορες). Suidas describes the Tritopateres as follows:

"Tritopatores : Demon in the Atthis says that the Tritopatores are winds (anemoi), Philochoros [Greek poet C4th B.C.] that the Tritopatores were born first of all. For the men of that time, he says, understood as their parents the earth (gê) and the sun (hêlios), whom then they called Apollon. Phanodemos [C4th B.C.] in [book] 6 maintains that only [the] Athenians both sacrifice to them and pray to them, when they are about to marry, for the conception of children. In the Physikos of Orpheus the Tritopatores are named Amalkeides and Protokles and Protokleon, being doorkeepers and guardians of the winds (anemoi). But the author of Explanation claims that they are [the offspring] of Ouranos (Heaven) and (Earth), and that their names are Kottos, Briareos and Gyges."

Which version(s) of the Tritopateres were worshipped at Erkhia is unclear. The latter in Suidas are often seen as the Hekatonkheires: Kottos (Κοττος, 'Grudge', 'Rancour'), Gyês (Γυης, 'Of the Land'), Briareôs (Βριαρεως, 'Strong', 'Stout'), Obriareôs (Οβριαρεως, 'Strong', 'Stout'), and Aigaiôn (Αιγαιων, 'Goatish', or 'Stormy'). As the Anemoi, the Tritopateres are: Amalkeidês (Αμαλκειδης, 'Bound to That Place'), Prôtoklês (Πρωτοκλης, 'First Locked Away), and Prôtokleôn (Πρωτοκλεων, 'First Confined').
Which version(s) of the Tritopateres were worshipped at Erkhia is unclear, but we find favour with the theory that they are connected to the wind-Gods. According to the Greater Demarkhia, the sacrifice to the Tritopatores was a ram, along with a 'libation not of wine'. In modern times, a libation of milk, honey, and/or water will most certainly do.

The ritual for the Tritopatores may seem rather strange (at least different) but it is based on elaborate and specific instructions from the inscription from the Selinus tablet and we think it is in the spirit of ancient sacrifice. The arrangement and sequence is crucial. Robert will conduct the sacrifice for the foul Tritopatores as that had to be done by a specific priestly group and as the senior member of Elaion, and with the facilities to conduct this sacred rite, he should be the one to do this. We have marked in the ritual which parts of the rite you should perform and which you should not.

You can find the ritual for the PAT ritual for the sacrifice to Tritopatores here and join the community page here. The sacrifice to Tritopatores will take place on April 29 at the standard 10 AM EDT. We hope you will join us!