Have you planned your vacation to Greece yet? If so, you might want to detour to the northern Greek island of Alonissos. Here lies a remarkable ancient shipwreck: the remains of a massive cargo ship that changed archaeologists' understanding of shipbuilding in antiquity. Now this spectacular find is to become the first ancient shipwreck to be made accessible to the public in Greece, including to recreational divers.


Greece's rich underwater heritage has long been hidden from view, off-limits to all but a select few, mainly archaeologists. Scuba diving was banned throughout the country except in a few specific locations until 2005, for fear that divers might loot the countless antiquities that still lie scattered on the country's seabed. Ancient shipwrecks and even many more recent ones are still off-limits. Now that seems to be gradually changing, with a new project to create underwater museums.

Divers will be able to tour certain shipwrecks and non-divers will experience the sites through virtual reality in information centers on land. The first of these sites is the Peristera shipwreck, named for the uninhabited Greek island opposite Alonissos where it was discovered in the early 1990s. The cargo ship was laden with thousands of amphoras, or vases, probably containing wine, when it sank in the late 5th century B.C. All that survives is the cargo, the exposed parts of the wooden ship having long since rotted away. But the sight is spectacular.

Thousands of ancient vases, the vast majority intact, lie in layers. Fish, sponges and other sea creatures have made the amphoras their home, adding color and life to the site. In some places, the cargo towers above divers as they pass along the perimeter of the wreck. Dimitris Kourkoumelis, the lead archaeologist on the project preparing the site for visitors, stated:


"It is very impressive. Even I, who have been working for years in underwater archaeology, the first time I dived on this wreck I was truly impressed. It's different to see amphoras ... individually in a museum and different to see them in such concentration."

The wreck still holds mysteries. Only a small part has been excavated, and experts have yet to determine how or why it sank, or what other treasures it might have carried beneath the estimated 4,000 amphoras in its hold. There are indications a fire had broken out on board, but it's unclear whether that contributed to its sinking. The Peristera wreck is the largest ship of its time to have been found and its discovery was of major significance to historians. Elpida Hadjidaki, the first archaeologist to excavate the site, stated:

"Up to then, we thought that large ships that were carrying 1,500 amphoras and were up to 70 tons, they were built by the Romans in the 1st century B.C.. Well, now we have a ship that was not built in the 1st century B.C., it was built in the 5th century B.C., it carried 4,000 amphoras and God knows what else and it's 126 tons. "It's fantastic [to open it to visitors]. Twenty-five years ago, I was the first person that proposed that and people were jumping at me, they thought I was crazy. Why should we keep it to ourselves? We have to give knowledge to people."

The first test for guided tours of the wreck, which lies at a depth of about 22-28 meters (72-92 feet), was carried out last weekend with small groups of recreational and professional divers. A thorough briefing, complete with historical information and the rules of the dive, preceded the short boat ride from the tiny harbor of Steni Valla on Alonissos to the site. On the wreck itself, explanatory signs have been suspended along the perimeter. The initial feedback has been positive.

Three other shipwrecks in the Pagasitic Gulf in central Greece are also included in the project, which is part of a European Commission-funded BlueMed program, which plans to expand the project to Italy and Croatia. More test dives will be held this summer and next year, with hopes of fully opening the sites to recreational diving in early 2021. Kourkoumelis, who noted it has taken a long time to get to the point of allowing visitors to access an ancient wreck, was thrilled.


"Accessible archaeological sites are one of the most interesting projects — not just a Greek project but a worldwide project. It took years. And that's logical, because underwater ancient sites and particularly ancient shipwrecks are exposed ... and fragile. All the conditions must be ensured so that these sites remain safe in the future and for future generations."
On Mounuchion 6, the Athenian festival of the Delphinia (Δελφίνια) starts in honor of Apollon and Artemis. To celebrate this festival, Elaion is hosting a PAT ritual at 10 am EDT on April 12. Will you be joining us?


The Delphinia is a festival to ask for the protection of all ships and sailors, to ask for guidance for young boys and girls transitioning into adulthood and--as a festival of purification--the Delphinia can be interpreted to be open to all who are going through a time of transition and/or struggle.

What is known about this festival is that virgin girls walked to the Delphinion (Δελφίνιον) atop the Acropolis in procession, carrying olive branches bound with wool (known as 'iketiria') and baked cakes known as Popana, made of soft cheese and flower. There is overwhelming evidence that the festival was held on the sixth of the month of Mounukhion, most notably from Plutarch, but the seventh of same month is also considered a possible date, quite possibly because the festivities could have taken place in the daylight hours of the sixth day, which is the same day as the start of the seventh of the month, as dusk rained in a new day.

Plutarch connects the sixth of the month Mounukhion to Apollon and Theseus--most importantly to Theseus' quest for the Minotaur--in his 'Life of Theseus'. Theseus vows to look over those the lots choose to be offered to the Minotaur in the maze on Krete. Roughly in the month of Mounukhion, the seafaring season started. It's therefor not odd that lots would have been cast about this time, for the youths--and everyone else with business across the sea--would set sail as soon as the weather allowed. The rising of the Pleiades, located in the constellation of Taurus, around late April, the beginning of May, was a signal for the boldest of sea-goers that the treacherous sea was at least moderately accessible. Still, it would be at least several months before the favoured seafaring season started, so anyone braving the sea, could probably use some protection. Somewhere shortly after the Delphinia would have been Theseus' first opportunity to sail to Krete, but it would place his return almost five months later; quite some time for a three day journey (one way) in favourable conditions.

During the Delphinia, young maidens presented Apollon Delphinion, and perhaps Artemis Delphinia, with the iketiria Theseus had presented them with as well, in the hopes of receiving for the Athenians the same guidance and protection at sea as the Kretan colonists, as well as Theseus and the youths, had gotten.

A connection can also be made with Theseus visiting the shrine of Apollon Delphinios as an opportunity for purification before his great quest, as the young supplicants who prepared for their personal collective journeys into adulthood would desire purification of their own, and Apollon in many of his epithets is a purifier. Also, in a little less than a month, the Thargelia took place in Delos, an event where the births of Artemis, and especially Apollon were celebrated. The rites at the Delphinia might have been part of the purification processes for those who were to go to Delos (with thanks to Daphne Lykeia for this interpretation).

As a festival of purification, the Delphinia can be interpreted to be open to all who are going through a time of transition and/or struggle. A divine purification of miasma might allow you to focus better on these issues, and receive guidance from the Theoi more easily--like Theseus, who purified himself at the Delphinion and prayed for the guidance of Aphrodite directly thereafter. Aphrodite made Ariadne fall for him, saving his life and those of the young men and women in the process.

One can celebrate this day by offering both Apollon and Artemis hymns, libations, and Popana cakes, and presenting Artemis with an iketiria, an olive branch wrapped with white wool, if you are a young female looking for aid. An iketiria was primarily used in rites of supplication.

The popana (or popanon) should be a flat cake with a single 'knob' in the center. We don't have a surviving recipe, but Cato's recipes for 'libum' seems to hold many of the same ingredients. It goes as follows:

"'Make libum by this method. Break up two pounds of cheese well in a mortar. When they will have been well broken up, put in a pound of wheat flour or, if you wish it to be more delicate, half a pound of fine flour and mix it well together with the cheese. Add one egg ...and mix together well. Then make into bread, places leaves beneath, and cook slowly on a hot hearth under an earthen pot."

That's a lot of Popana. Make this if you're with a large group, else the recipe would look something like this for something the size of a good loaf of bread or its equivalent in smaller portions:

- 14 ounces good ricotta or any fresh cheese, preferably unpasteurized (ricotta should always be drained overnight in a colander)
- 4 ounces (approx) flour, preferably farro
- 1 large egg
- a pinch of salt
- several bay leaves, preferably fresh
- olive oil, for the pan

Preheat the oven to 350°F/180°C.

You can either make large cakes or small ones. If you're making large ones, line a baking pan or sheet with bay leaves and brush them lightly with olive oil. If you don't have enough leaves to cover the surface, distribute the leaves as best you can. If you are going to make smaller cakes, brush one leaf with oil for each cake you are going to make.

Knead all the ingredients (except the bay leaves) until well blended. Add flour until the dough is no longer sticky. Shape the dough into a single, or several smaller cakes. Place either the large cake on top of the bay leaves, or put each little one on top of one. Then put it in a baking pan and into the oven.

Bake for about 30 minutes for a large cake, or (much) less long for smaller cakes. Just watch them until they are firm and light golden brown. Don't forget to enjoy it yourself!

The ritual for the event can be found here and you can join the community here.
I fell down a YouTube rabbit hole yesterday, namely that of homemade vacation videos of the Acropolis on Rhodes. Why? No clue! But, because I'm nice, you get to share in the experience a bit.

The Acropolis of Rhodes (Greek: Ακρόπολη της Ρόδου) is an acropolis dating from the Classical Greek period (5th–3rd century BC) located approximately 3 kilometers from the centre of the city of Rhodes, Rhodes. The partially reconstructed part of the site consists of the Temple of Apollo (also, as alternatives Athena Polias and Zeus Polieus) below which is a stadium and a small theatre.



The Herakleidai (Ἡρακλεῖδαι) are the descendants of Herakles. After the death of Herakles, his sons were pursued by Eurystheus. They claimed protection in Athens. The Athenians refused to surrender them and in the war that ensued Eurystheus' sons were killed. Eurystheus himself, who had fled in a chariot, was pursued and had his head cut off by Hyllos, son of Heracles. After the death of Eurystheus, the Herakleidai attacked the Peloponnesos and captured all the cities. When a plague ravaged the country the oracle of Delphi declared that this happened because the Herakleidai had returned before the proper time. So they retired and, after some unfortunate attempts to return, they made themselves masters of the Peloponnesus three generations later. In Erkhia, a yearly sacrifice was made to the sons (and hopefully the daughters) of Herakles and we will do the same on 10 April, at the usual 10 am EDT.


The Herakleidai claimed power in the Peloponnesos because they were descended, through Herakles, from Perseus, the founder of Mycenae. The current ruler op the Peloponnesos, Tisamenus, was a Pelopid, a descendant of Pelops. They also claimed that Tyndareus, ruler of Sparta, had been expelled by Hippokoon and argued that Herakles, having killed Hippokoon and his sons, had given the land in trust to Tyndareus. As such, they were the true rulers of both.

Hyllos, son of Herakles, sought to effect the return to power of the Herakleidai, so he went to Delphi and inquired how to go about this. The oracle declared that 'they should await the third crop before returning'. Hyllos supposed that the third crop signified a three year wait. He did, then returned with his army to Peloponnesos. He failed and was killed by Ekhemos. 

Aristomakhos, son of Kleodaeos, son of Hyllos, had been also killed in battle. His son Temenos blamed the oracle for the death of his father. He said that they had obeyed the oracle but the Oracle answered that they were themselves to blame, for they did not understand the prophecies, seeing that by 'the third crop' it was meant, not a crop of the earth, but a crop of a generation. 

So Temenos waited. He readied the army and built ships at Naupaktos. While the army was there, a soothsayer appeared. Karnos recited oracles but the Herakleidai took him for a magician sent by the Peloponnesians to be the ruin of the army. So Hippotes (son of Phylas, son of Antiochos, son of Herakles) threw a javelin at him and killed him. But Karnos was, indeed, a seer of Apollon and the one who established the cult of Apollo Karneos among the Dorians. Appollon destroyed the naval force and made the army suffer from famine. Eventually it had to disband.

After these two failed attempts, Temenos went back to the Oracle of Delphi to ask how he could stop the misfortune that had befallen them. The Oracle advised him to banish the Hippotes for ten years and to take for his guide 'the Three-Eyed One'. So the Herakleidai banished Hippotes and started searching for the Three-Eyed One.

One day they met Oxylos who was sitting on a one-eyed horse. So, guessing he was the man described by the Oracle, they made him their guide. Oxylos had fled from Aetolia to Elis on account of the accidental murder of Thermios (or Alcidokos, depending on the account). So, with Oxylos as a guide, the Herakleidai invaded the Peloponnesos again and finally defeated them. They slew Tisamenos, the last of the Pelopides to rule the Peloponnesos, and claimed it in its entirety. 

The return of the Herakleidai took place three generations after the end of the Trojan War and the death of Nestor after his return home. When the Herakleidai conquered the Peloponnesos, they cast lots for the cities. Argos was allotted to Temenos. The twin sons of Aristodemos, Prokles and Eurysthenes, got Lacedaemon and Sparta. Messenia was allotted to Kresphontes, who drove the descendants of Nestor from Messenia. Oxylos, for his help, became king of Elis after the victory of the Herakleidai.

What follows is a (probably incomplete) list of those who were called 'Herakleidai' at the time described.

The first generation:
Alcaeos, son of Herakles and Omphale. Father of Belos.
Antiochos, son of Herakles and Meda. Father of Phylas.
Hyllos, son of Herakles and Deianira or Melite. Father of Iole of Kleodaeos and Evaekhme.
Ktesippos, son of Herakles and Astydamia or Deianira. Father of Thrasyanor.
Phaestos, son of Herakles and an unknown mother. Father of Rhopalos.

The second generation:
Belos, son of Alcaeos.
Kleodaeos, son of Hyllos. Father of Aristomachos and Lanassa.
Phylas, son of Antiochos. Father of Hippotes and Thero.
Rhopalos, son of Phaestos. Father of Hippolytos.
Thrasyanor, son of Ktessipos. Father of Agamedidas and Antimachos.

The third generation:
Agamedidas, son of Thrasyanor. Father of Thersander.
Anaxandra, daughter of Thersander. Mother by Eurysthenes of King Agis of Sparta.
Antimakhos, son of Thrasyanor. Father of Deiphontes.
Aristomachos, son of Kleodaeus. Father of Temenos, Kresphontes and Aristodemos.
Eurysthenes, son of Aristodemos. Father of King Agis.
Hippotes, son of Phylas. Father of Aletes.
Hippolytos, son of Rhopalos. Father of Lacestades.
Lathria, daughter of Thersander. Mother by Prokles of King Sous of Sparta.
Prokles, son of Aristodemos. Father by Lathria of Sous and Eurypon.

The fourth generation:
Aristodemos, son of Aristomachos. Father of Eurysthenes and Prokles.
Aletes, son of Hippotes.
Deiphontes, son of Antimakhos. Father of Antimenes, Xanthippos, Argeos, and Orsobia.
Kresphontes, son of Aristomachos. Father of Aepytos.
Lakestades, son of Hippolytos.
Temenos, son of Aristomachos. Father of Agelaos, Eurypylos, Kallias and Hyrnetho (or Kisos, Kerynes, Phalkes, Agraeos, Isthmios and Hyrnetho).
Thersander, son of Agamedidas. Father of Lathria and Anaxandra.

The fifth generation:
Agelaus, son of Temenos.
Agraeus, son of Temenos.
Aepytos, son of Kresphontes.
Eurypylus, son of Temenos.
Hyrnetho, daughter of Temenos.
Isthmios. Son of Temenos.
Kallias, son of Temenos.
Kerynes, son of Temenos.
Kisos, son of Temenos. Father of Phlias and Medon.
Phalkes, son of Temenos.

The ritual for the event can be found here and you can join the community page here.
On the day of the Hene kai Nea, or sometimes a day later like this month, I post a monthly update about things that happened on the blog and in projects and organizations related to it. I will also announce Elaion's coming PAT rituals.

Statistics:
PAT rituals for Mounikhion:
  • 4/10 - Mounikhion 4 - Sacrifice to the Herakleidai at Erkhia
  • 4/12 - Mounikhion 6 - Delphinia - in honor of Artemis, and perhaps Apollon and Theseus
  • 4/21 - Mounikhion 16 - Mounikhia - festival in honor of Artemis as the moon Goddess and Mistress of the animals
  • 4/25 - Mounikhion 19 - Olympieia - festival in honor of Olympian Zeus
  • 4/26 - Mounikhion 20 - Sacrifice to Leukaspis at Erkhia
  • 4/27 - Mounikhion 21 - Sacrifice to Tritopatores at Erkhia

Anything else?
Are you looking for an online shop to buy incenses and other Hellenistic basics from? Try The Hellenic Handmaid on Etsy.

Would you like to support me? Buy me a coffee.



Two perfumes of antiquity recreated by Korres from ancient sources and a unique statue of Venus that has been brought out of storage and put on display for the first time are the latest additions to the National Archaeological Museum’s ongoing exhibition “Countless aspects of Beauty” that will run until December 31, 2019. The new additions were presented to the press by the museum’s director Maria Lagogiannis on Thursday. Important information should you be able to make it out to Athens this year!

(Photo by Eurokinissi/Lydia Siori)

The two new “ancient” perfumes – Sage and Coriander – will be on display alongside the first ancient perfume developed by Korres for the purposes of the exhibition. Lagogianni also walked journalists through the history of the statue – an attempt to reconstruct the famous ‘Aphrodite of Knidos’ carved by the ancient sculptor Praxiteles – that will be on display beside the new scents.

The statue was was acquired by the museum from the Alexandros Iola collection in 1988 and is unique in that it is actually a “collage” of fragments taken from original but different ancient sculptures of antiquity that have been “glued together” to make a complete sculpture, depicting Aphrodite in the nude. Resurrected from the museum store rooms two years ago, it was cleaned and underwent conservation – including a series of x-rays to reveal the manner in which it was put together.

"The torso and head are from Roman-era statues while there were later additions with different types of marble to create a statue type that appeared important to the collector of the time…a sculpture that ‘dreams’ of a very famous statue, the most important work showing a female nude in antiquity, Praxiteles’ Aphrodite of Knidos."

The specific version, she explained, was a very distant descendant of Praxiteles’ original work and is based on a version of the original made about 50 years later by Praxiteles’ son, Cephisodotus the Younger, which ultimately led to another statue type, the Capitoline Venus. Even more interesting, according to Lagogianni, is the fact that the later marble additions and conjoining of the ancient fragments occurred much later, possibly in the 18th, 19th or even 20th century.

"A Roman copier is impressed by a Hellenistic or Classical era sculpture and, because the trade in ancient works of art in Roman times demands it, produces a stream of sculptures that attempt to simulate the specific beloved and popular statue type. In our era, archaeologists are called on to confront the Roman artist and understand which original is being copied, when this original dates from and how many types and variants have spread in order to understand the identity of the work. It is one of the most difficult and demanding jobs of classical archaeology."

In this case, the work was even more demanding since the fragments dated from different periods and different statue types, she added. This attempt to restore ancient sculpture from fragments was particularly frequent after the Renaissance, when classical antiquity became a fashion and the courts of Europe were filled with ancient Greek statues while the rulers and collectors of the time could not accept a headless torso or body without arms.

"For this reason, they assigned to great sculptors the work of completing these statues to bring them to a form that they considered pleasing and beautiful. This is what we wanted to demonstrate in terms of the exhibition, beauty ‘another way'."

The methods used to unlock the sculpture’s secrets during conservation, she noted, included specialised photography to uncover traces of pigments, a digital microcope to examine the marble crystals, ultraviolet light to check the results of cleaning and x-rays to examine the internal joins within the sculpture, in cooperation with a private firm. This was necessary, Lagogiannis explained so that the sculpture could be moved to the gallery “because we didn’t know what to expect.” Among the new exhibits at the exhibition is a video that shows this internal structure, which is invisible to the naked eye.

On the two new perfumes, the head of the project for their development, Lena Korre, noted that, along with the ‘Aphrodite Rose’ scent on display since the start of the exhibition, these were the first attempts to recreate ancient perfumes worldwide and were based on clues gleaned from Linear B tablets but also recipes and information from the works of Dioscorides and Theophrastus, as well as later research into the raw materials and methods used by the ancients to produce aromatic oils.