Amphipolis.gr | The largest toils of history that staged the Olympics;

of Stavrou Papantoniou

The unknown person- key who executed the design of Alexander's mother

The story doesn't always mentions those who pull the strings. Many times forget , forgets and leaves forever in oblivion details, but in their time were those that may have changed the course of the entire History.

While the impressive monument of Amphipolis begins gradually and breaks the silence of manifesting the well-hidden secrets of, the same is not true with the history of the era.

The almost nonexistent sources leave us in the dark about the What can followed the death of Alexander the great, a period identified chronologically with the monument, as we are around 320 p. X. The controversies and the battle between successors took rampant, After the death of Commander, the presence of a security section in the vast Kingdom of.

At this point deserves a highlight: O Alexander for most successors It wasn't until the "booty" for their own power. The dead as important and if it does not cease to be dead. On his own doings, others wanted to build their own little glory and others simply sought to pass as quickly as possible in oblivion, as what had been accomplished would far outweigh any new effort that would become in the following, After the conquests had already begun to dress with the veil of myth.

The only one that was really the death of Alexander and only interested in Macedonia is to return to her son, was the Olympiad. And apparently they did everything to return.

HISTORICAL FACTS TIS EPOHIS:

During that period take place a lot political events in the form of thunderstorms. For a strange reason era sources, cut, lost and confused and conflicting with each other. S.If someone wanted to "verify information" of the era and downstream to looking to find the sequence of events. It is no coincidence that the subject of burial of Alexander the great, is until today one of the biggest mysteries in the world, Since this is the first "kosmokratora".
Let's make a splash in time trying to compose some puzzle pieces with what our sources say few.

Ptolemy I SOTER dubbed, stealing bunch of Alexander the great, apparently wanting to gain time vs. Perdikka, who was the ' official ' power. The reason I did this was probably to prevent the Rwxanni to give birth and become heir to the throne Alexander d ', son of Alexander the great.

Its worth noting that Perdiccas was the Official Trustee of the Empire and had grown in the protagonist of the first phase of competition of successors. Something which is not liked at all in Antipatro (his father Kassandrou) that he was losing the "train" of succession. For this and drawn with the "rebel" Ptolemy the Savior, who held the bunch. It is also worth noting that Antipater was a confidant of Philip II , who used to say that ' I sleep quietly, Why is xagrypnos the Antipater ", While Alexander when he started the campaign , the commissioned the Viceroyalty of the Kingdom of Macedonia and the State "bailiff duties the Makedonian GF and laboring in Greek Antipatrw epitrepsas". In this post, the Antipater remained throughout the great Alexander's campaign in Asia. Them to understand the alliances of the time, but they haven't had anything else as an incentive, only the power left behind by Alexander the great.

ARISTONOYS: THE FACE – KLEIDI TIS AMFIPOLIS

Perdikka's campaign against Ptolemy with the purpose to recover the bunch of Alexander the great, fails miserably. Perdiccas himself was assassinated by his officers , who aytomoloyn on the side of Ptolemy. And the officers of the Perdikka have no better luck and killed.

But one survives. The name of the unknown in history. This is the Aristonoa the Pellaio . Minimum information we have for him, but we are perhaps the most important. That the Aristonoys the Pellaios the DIORISTIKE DIOIKITIS TIS AMFIPOLIS 321 p. X. , While he maintained excellent relations with the mother of Alexander the great , the Olympiad, which instructed all warfare against Kassandrou.

Of the few reports that reach us on Aristonoa is from Arriano (6 Book, 28 Chapter, 4 paragraph) and by Diodorus the Sikeliotis (19 Book, 50 Chapter) . On informs us that “the Aristonoys, one of the bodyguards of the Greek Commander, got under the control of the Amphipolis. The mother of Alexander the great, Olympiad, had commissioned the warfare against Kassandrou. He sent his army against Amphipolis under the leadership of General Krateya. The Macedonian General invaded Bisaltia. The Aristonoys, experienced strategist, initially taken aback by the troops of Kassandrou and in the final battle to Bedyndia of Visaltias, Krateya's Army disbanded. Krateyas himself fell in the battle»

The information is very important: We learn that at a time when it is very likely, According to the excavators have made the tomb of Amphipolis, i.e. the 321 p. X , It takes the reins of the city a former bodyguard of Alexander the great and his mother's confidence man Olympiad, who was to open against with cassander. The sources indicate the Aristonoa, as aristocratic descent and loyal in Macedonian customs. He was probably also the reason why he had gone to the side of the Perdikka and not of Ptolemy, as the latter was the "guerilla" with current conditions.

THE PLEKTANI OF OLYMPIADAS

The placement of the Aristonoa as administrator of Amphipolis should not at all random and is likely to have the seal of the Olympiad.When, however, can be taken this decision and why;

After the end of "echropraxiwn" between Perdikka – Ptolemy, the meeting in Triparadeiso, at that time, for which we do not know at all what it was decided, after missing the ancient sources. Apparently there was some agreement to "fall tones» , He shared in the Empire and pieces the minimum that we have been saved by Diodorus the Sikeliotis, We know that decided the return of the Kings in Macedonia.

The facts, however, have a sequence and a temporal link between them that allows us to do the following guess:

The meeting was the key demand of the Olympiad for return of the deceased Alexander in Macedonia. For the implementation of the given project was appointed commander of the Aristonoas, who had a close relationship with the mother of Alexander. In the same meeting it was decided to build the mound of Amphipolis with "enforceable" Ptolemy and designer Deinokrati. If the Loveth eventually moved to Amphipolis don't know. However, it is very likely that the mound was created for him.


WHY MAKING THE TYMBOS IN AMFIPOLI AND NO STIS G.O.A.T.;

The case may have a great base if you consider the placement of the Aristonoa , as Commander of Amphipolis and her desire to return Alexander Olympias in Macedonia, something I had as a goal in itself until you die.

The question that arises is why in Amphipolis and not at Aiges;

And here we can easy to answer if we take into account our POLICIES opsin developments.

Macedonia at the time I was single and talanizotan from great enmities. The Kingdom of goats the controlled Philip Aridaios who had come to an agreement with cassander (the agreement was with his wife Eurydice, as Philip the King movement was Aridaios as intellectually retarded) and became regent.

To understand even better the political balances of the era, so Philip Aridaios and his wife foneytikan mandate of the Olympiad 317 e.g., which had holed up until that time in the Kingdom of the molossians of Epirus and had gotten under the protection of both the Rwxanni and her grandson Alexander d '.

Hence the Aigai were totally foreign to the Olympiad, that if any Alexander returned to Macedonia would have to find another place to become the burial of. For this she appointed Governor a trusted her man , the Aristonoa, He had been honored by her son with the high rank of bodyguard, in order to perform the secret plan of burial of Alexander.

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It was the port and will not become perceived high deadweight and transfer will not cause new passions, as I was passing at all some funeral procession by land.
Amphipolis served another purpose:

Anyone who has visited Amphipolis today, I have found that the port is only minimally from the point that has made the tumulus.

To all this we must take into account another element: The Olympiad, It was a woman painter was always what I wanted. So is described from historical sources and has been linked to many intrigues, like the murder of her husband, the Philip of Aridaioy poisoning, He left and intellectual disability, While she was Priestess to the Cabeiri mysteries for which little things we know , as covered by intense mystery. Apparently to return Alexander in Macedonia would do everything , even such a high-level conspiracy.

WHY THE TAFI SECRETS;

The Olympiad was unaware that her son had already gotten huge reputation throughout the then known world. Obviously the more interested to return to Macedonia and to be buried as she wanted, Despite his tomb becoming pilgrimage through the centuries. Moreover the Exchange to transfer in Amphipolis, likely to be kept secret, as this boleye and their successors both in Macedonia and in Egypt. Don't forget that Ptolemy Soter was Ptolemy son of Filadelfo, who claimed that ruled Egypt with the power that give the body of Alexander the great , He was buried in Alexandria, According to the thryloymena. So we are talking about a perfect conspiracy , perfectly executed from the Olympiad with a single objective: To return Alexander in Macedonia.

A highlight worthy: When we say secret burial mean, not reflected in the sources, which apparently fell in “censorship” . Not explain otherwise that no source is not mentioned in the construction of the mound. The secret burial does not include backfilling as apparently in the first stage the Olympiad would want the monument to be visited, at least from the same. Another element that ties in perfectly with the speculations of the excavation team. That the monument was at the outset and not sand it later. However, dates coincide once more. As the Olympiad without any apparent reason suddenly returns 317 p. X in Macedonia. Let's look at the facts of the return of

THE RETURN OF OLYMPIADAS IN MACEDONIA

The specific scenario, bolstered by yet another fact. The Olympiad had returned to Macedonia, the 317 p. X after 13 years in “hers” Kingdom of the molossians of Epirus, which even had completely reorganize.
Why he returned to Macedonia in 317 BC and in which city went , After the Aigai were impossible to "accommodate"; Apparently he returned because he had completed the construction of the mound of Amphipolis , I received the dead son and she naturally went in Amphipolis, which was friendly to this, After he had commanded by Aristonoa.

The arrival of Macedonia strikes Olympics again the political passions and undertakes proactive kassandros, the who fears that will permanently lose the train of power (don't forget that he was the son of Antipater, of “absolute Regent” of Macedonia during Alexander's campaign), so addicted to power. Our sources illuminate historical happily at this point, confirming the theory.
Kassandros returns dynamically in the spotlight. Make an agreement with Aristonoa to deliver the Amphipolis and despite the fact that he had come to an agreement with him and had guaranteed his safety in Exchange for (Διοδ. 19.50.8), tricked him. The Aristonoys handed over the city, but eventually the Kassandros defaulted the agreement and killed the 315 e.g., reducing the risks to the power of. The relevant passage reads:

The 315 e.g.. and with the assistance of members of the family of Krateya, is murdered and the Aristonoys and Amphipolis finally passes under the control of Kassandrou.
It had preceded the murder of the Olympiad which was the biggest danger the arrival in Macedonia for some conspiracy. Kassandros the hunts (apparently out of Amphipolis ) and this resort in Pydna. There dies by stoning the 316 e.g..

The Rwxanni stays with Alexander d '. Their imprisoned kassandros in Amphipolis (Διοδ. 19.52.4) where it remained, up and killing them from the Glaykia (Διοδ. 19.105.1-2, Pays. 9.7.2) the 313 e.g..

Excluded based on POLITICAL developments and the hatred between Cassander and Olympiad, Alexander of Rwxannis and d ' the Tomb to be made in their honor on Basel Cassander.

The tymbos of Amphipolis was ALREADY FTIAChTEI BETWEEN 321 p. X and 317 e.g. , on Aristonoa, until you take action the Kassandros, who having finished consecutively with the whole family of Alexander the great, Finally got the power in his hands.

Not excluded however kassandros to buried inside the Tomb that was intended for Alexander the great and Olympias and Rwxanni and his son or any of those members of the Royal family. After they were placed in all dead, the tomb was located approximately 10 years after its construction to definitively pass in oblivion and Kassandros dominate Macedonia ,away from the irritating myth of Alexander the great and his family.

LOGIN HISTORY – ARCHAEOLOGY:

This theory is based on a combination of a few historical sources and logical sequencing of events , It seems to coincide with the archaeological Department of communications. The large marble door seems to have opened many times. This can be done either to placed above dead, either to enter the Interior of the tomb the Olympics to see the dead son. Also the backfilling seems to be later, something that can be justified by Cassander's desire to rid itself once and for all from the “annoying” Monument and along and by the King for whom he made: Alexander g’ Philip.

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Amphipolis.gr | Dorothy King: "I want the Elgin Marbles to Athens, like a middle finger raised to the Jihadists '


Talking about the chances of Greece for the return of Antiquities, the Alamoyntin and the sirloin with Venizelos
The dream of her life-at the present stage, at least- as the exhibits the same Dorothy King "has to do with various projects, the resulting in a resultant against fundamentalism and every kind of fanaticism. I would like all the experts admit the mistakes I have made in their estimates for Amphipolis, that is not Roman or anything else, It is clearly a Macedonian Tomb. Which, whatever was the use of, It's so big and so majestic that it could not have been made without the permission of Alexander the great.

I would especially like to see the Parthenon sculptures together in Greece, like a big middle finger raised to jihadists and all those who try to destroy the cultural heritage of humanity. I think the best answer to cultural genocide engaged the jihadists is to show how proud we are of our culture. And for’ This, among other reasons, I would like to see the sculptures of the Parthenon to return to Athens. Yes, OK, the British Museum the watch, one can study, but I would like to see in Athens, under a system of long-term borrowing. And, between us, I wouldn't mind at all if he was evolving into lending something permanent ".

But, at the same time she exposes the philhellenic vision, with the spirit that moves between contempt and envy, its critics call it the "archaeologist Dorothy King for Sex & the City», «bloggers ' etc mainly because the intensive presence in twitter and blog staff treated like ' gremlins ' kaina and intervention methods that are considered apadoyn of scientific seriousness. The supposed frivolity of the King stressed in addition to the fact that it is new, blonde, filareski and eternally smiling, ingredients of a recipe that is very difficult for combined with the interpretation of a Macedonian grave set like this of Amphipolis Mound Kasta.

In the texts the Dorothy King prefers to intersperse the scientific reason with touches of humor, to causes with scathing irony Skopje and their irrational, as she considers their claims in Macedonia, to compliment the Giani Baroyfaki or publicly is flouting the Director of the British Museum who ostentatiously she frowns upon the Greek demands for the return of the Parthenon marbles.

The sculptures of the Parthenon

Polypragmwn, cosmopolitan and congenital multicultural (born of American parents originating in London Polwnoebraϊkis, grew between Britain, France, Poland, The US and Morocco), the unconventional Dorothy King is not a common case of a public personality exposed.

The paradox is, de, that the more someone talks with her, the more it thickens the mystery that surrounds. The life of King is adventurous, the wandering the globe continued, the many and varied interests-even the views of switch, as happened with the sculptures of the Parthenon: Formerly he was convinced that "fine is in the British Museum", today doing everything,What can to press the British to trust the Greeks to have reciprocal borrowings Antiquities. Considers that the legal claim, as the mediation of UNESCO, It is an impossible choice: "To be honest, I'm not particularly optimistic that with the current Director of the British Museum, the Neil Mcgregor can be made, It is fixed on the views of. Make several leaks to newspapers instead to discuss the issue of borrowing. From this point of view I don't think I can do something. But I know that there are British parliamentarians who support the Greek side. And as it still says the British Museum, the sculptures of the Parthenon is not his own property, the ancient belong to the British people. Therefore, I believe that the Greek side must not lose its time with requests, etc., but to push political, to achieve possibly an act that would have Parliament's ratification, (private members bill), an amendment to a Bill etc..

As an individual, on my own, I can't do anything to help-and no one can. From the other, though, I know that there are some circles of people in London who like to discuss topics such as such as the Parthenon sculptures. You need to pass to the next stage and begin to act. An amendment, something done then in Britain, It will be the first step. But we also need a correct sentence, not, in my opinion,What concerns the legal branch, but offering benefits. I am not just saying I, the say and others, by borrowing from the Greece exhibits that could fill the empty space that would leave the Parthenon marbles. Nobody would say no’ in a report to the Breaniko Museum for the Olympics, let alone during an Olympic year. The same would be true for exhibits from Vergína. In this case you will gain both sides, It's win-win.

These objects will continue to act as ambassadors to Greece and Greek culture, just like the Elgin Marbles worked had just arrived from Greece. Why, currently the Neil Mcgregor panders too much to this ' cultural diplomacy ', something for which the British Foreign Ministry has no idea. For the accuracy, I know that the Ministry was outraged with the borrowing of ancient objects from the British Museum to the Hermitage in Russia, just because the Mcgregor is a friend to the Director of the Hermitage. The British Government was not, was at museums, between Mcgregor and his friends».

The mediation of UNESCO and Amal Alamoyntin

The British have officially rejected the appeal of the UNESCO for the favourable treatment of the Greek request concerning the return of the Parthenon marbles. According to Dorothy King this was originally expected: "The UNESCO has no power to enforce its role as mediator. Its people are bureaucrats, This is all, you just make incessant meetings and discuss what could be done. My view is that the right way is the long-term lending, setting aside the property issues. Is cultural property across Europe, Let's leave it there.

In place of the Greeks will not do anything, I'll let the Mcgregor to do what,What makes, why people who supported before 10-12 years, now just keep silent. I would say not to worry about 1-2 years, before his tenure runs out Mcgregor. And then, will testify publicly the proposal for mutual borrowing, because only so the British Museum will not be able to manipulate as it wants that.

I know that Amal Alamoyntin still works in case, but with private funding-and I think this is important, beyond the services of Amal: That there are Greeks abroad, possibly with financial standing, who would be willing to support an effort to mutual borrowing of the Parthenon marbles, proving in practice that it is possible. I think the public will enthoysiazotan with the idea of an exhibition of objects from the Parthenon. Why museums, Anyway, not based on the idea of ownership of their exhibits, but in the educational goal, the dissemination of culture ".

The sirloin with Evangelos Venizelos

As revealed in a given’ the whole matter interview, so there are question marks about what really is the Dorothy King. For example, the majority of the public is unaware that her relationship with Greece includes episodes much older than the "serials Amphipolis ' last summer. Already from the 2001 the Dorothy had conflict with the then Minister of culture,. Evangelos Venizelos for the schinias rowing schinias: "I was in a meeting with a Greek journalist, who happened to be talking with Venizelos in phone "recounts the same at Hollywood.com. "I passed the mobile to talk directly. I told him that the schinias rowing poorly planned to erected exactly in the spot where he had given the battle of Marathon.

The objections of the Minister told sounded kinda funny, but it remained incomprehensible to me how one year all the touristic guides reported the area as an important archaeological site and when this does not serve longer, the expelled. At that time I could not do anything more than to use whatever influence I also had to have a relevant article in the New York Times and to organize a piketoforia protest outside the hotel where he was staying in London Mr. Venizelos. It was little things, but not trivial. Why in fifty years from now can not remember the Athens Olympiad, but Marathon will always be the Marathon, the field of a historic battle».

In fashion show for Amphipolis

For the sake of Amphipolis and the frenzy around the excavation, the Dorothy King became suddenly famous in Greece-and not only, expressing opinions and interpretations which normally ekneyrizan the rest of the community of archaeologists. And it was weird, because the reviews of Dorothy, objective and as proved in hindsight by the archaeological research, It was much more aptly, rationalize and documented by many daring theories proposed by distinguished scientists who gnwmodotoysan on a daily basis for the monument. Probably what you annoyed the archaeological status quo is not the seriousness of the reasons, but the seeming lightness of approach: The Dorothy King speaks with equal ease to the ancient Greek sculpture, the Macedonian art-but also the rear of Kim Karntasian. The apinws excavations hunts worldwide via lootbusters.com mechanism which itself has created, while continuously monitors emerging trends in Haute Couture. And just because the staff of the "wrapper" as an archaeologist could not be further from the stereotype of dedicated therapainidos science which totally neglecting herself and her appearance, the «light» Dorothy found a few days ago in Athens, supposed to take part in a fashion show-and indeed as a VIP model, If the subject and the basic influence of this collection was Amphipolis and the excavation findings (Sphinxes, ' Caryatids ' k. o. k).

But the flu kept Dorothy King closed in her hotel room, event that caused equally large d'Oro with the if appear normally on the catwalk of a Athens Xclusive Designers’ Week. The Dorothy explains that "I think it's wonderful that Amphipolis is a source of inspiration for so many different people. My absence had to do with the designer, Eleni Kyriakou which makes very nice clothes, is new and talented. Just I got sick, I had a fever and not got up from the bed, I fell into lethargy. Of Course, to be honest, I don't know if I was not sick if you way up on the catwalk, would rather not felt comfortable. I am a woman and I have mesiliki well with myself, but I think there was some misunderstanding, never really wanted to be on the catwalk, Finally I said ' not just bored, go and what,What do '. At the same time, though, I didn't understand that you stinotan a foremost media circus around the show. In Athens I was coming anyway, Firstly because I love the city, Secondly because I wanted to be with one of the my-heat sealed is an actor and plays on ' Ouzeri Tsitsanis '- and thirdly to chartografisw points of interest for an upcoming medical Conference. My goal is, those who come to Athens with the occasion of the Conference to like them as much as I like me and to come back with their families, their friends, etc..

Fashion and archaeology-just so am I, I'm not ' archaeologist-Sex & the City', no connection. Usually dress up very simply, but I love fashion, Watch. Fashion is a business and that we must not forget is that, because fashion is mainly aimed at women, We tend to underestimate. For men is considered normal to have expensive, fast cars, While women are supposed to be ' light’ and ' asobares’ When dealing with fashion».

A Renaissance woman

Dr. Dorothy Louise Victoria Lompel King permanently lives in London and deals mainly with the curbing of archaiokapilias, revealing that specific objects that are sold to collectors is actually stolen from museums, Collections etc.. The Dorothy King has a doctorate in archaeology, a field for the same is something much more than science. It has set up a data bank on the basis of which recognizes many of the moving archaiokapilias products in the global market. Offers its services for free, conditionally accepts sponsorships, the Organization but based on effort lootbusters.com an extensive volunteer network-with the first Dorothy King: "You need only goodwill, no money. We are trying to stop the illegal excavations making it impossible to sell the objects. I talk with collectors and not offended at all the moral issue, just tell them that, If you buy something that is lost on 10-15 years, I can prove that it is a product of archaiokapilias.

And if this is done, then you lose all the money they gave to acquire. I usually say ' e, I didn't think so '. And stop buying». The Dorothy King says that works with many government agencies around the world, even with the Turkey-but not with Greece: "The Greek Ministry of culture publishes information not, photos etc of objects stolen from the museums of the country. There are thousands of ancient Greek objects moving in the market, but official figures, No one knows that is stolen».

Before you embarked on this, kinda romantic-although effective- crusade against archaiokapilias, the Dorothy King had taken custody of the youngest brother and while she was just 18 years, participated as archaeologist in excavations in Sparta, then--and until you realize that she doesn't fit the routine of an Office- He worked briefly as a trainee in the auction house Sotheby's. Subsequently offered as a volunteer research services, updating and application of vaccine against AIDS, While about ten years ago he was a member of a Committee of expert advisors of the Government George Bush Jr. for the Antiquities "sensitive" countries in Asia and the Middle East: "Never enthoysiaze the policy" says Dorothy King "but I thought that instead of protesting, better to try to do something good. Recommended to activate the locals in Afghanistan to protect their heritage, focusing on the pre Taliban local history. In theory this was good, why Afghanistan has huge cultural heritage, but in practice the army did not offer the coverage you had and, Unfortunately, four archaeologists lost their lives ".

The book does not write

Somewhere in all the previous activities, the Dorothy King participated in archeological conferences, He gave numerous speeches in various parts of the world, attempted to make family-but it failed, Since her husband died and published a book about the Elgin Marbles whose positions today has renounced. And, not, No writes book about Amphipolis: "What I did was to spread the word that I write book-I've finished, even a chapter, on purpose- hoping that this will spread in the international publishing space and so will discourage others to write for Amphipolis. Because the only ones entitled to adopt a project about the monument, are the real heroes of the excavation, Mrs. Katerina Peristeri, the architect k. Michalis Lefantzis and civil engineer,. Dimitris Englishman along with their partners. They kept the Monument standing, Thanks to those revealed. For me the Amphipolis is more exciting than even the Vergina, why at Aigai had gold findings, It was obvious that this was a Royal Cemetery. In Amphipolis trying to decode what we see, the possible link with the Macedonian dynasty etc..

But first of all I would like to read a book written by the excavators, explaining to the public the individual of their work, not if he was buried there the Olympiad or Alexander the great-who could not be. I always say that the big names should be kept away from the analysis. Amphipolis is the most exciting event that has existed in Greece lately-except maybe the January elections. It was unfortunate that the excavation so baffled by the policy, but I think things will calm down. Maybe for excessive viewing to blame that today there is the Internet and social media that inflate everything. However, It is the first excavation I ever saw with constant press conferences, There was tremendous gluttony in Greece for news about the progress of archaeological work, There was the mystery, but ultimately it was something really wonderful people found interesting to archeology and the Macedonian History ".

In the view of Amphipolis, the Dorothy King owes, in any sense, a large part of its own view — though this aroused hatred of Skopianwn against: "Their demands are devoid of seriousness, the down-down just a little bit of that country was occupied by the Macedonians. But, the same had happened in Afghanistan and many other countries. There were some individual who wrote bad things about me in social media, as the one who called me ' whore ' Greek. I replied ' better Greek than Skopiani whore '».
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Amphipolis.gr | The Alexandrias of Alexander

The Alexandrias founded Alexander
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(A). The Total Alexandrias Referred

1 Alexandria in Thrace. According to Plutarch, built the 339 e.g., during the campaign, and the victory of Alexander on Maidwn (NB. about in today's County ΄Ebroy).

2 Alexandria Bay in Thrace in the black. Was built in 334 e.g., When despatched Alexander with the Army on their way to Asia.

3 Alexandria in Troas. Built on the beach of Dardania after victory in Graniko River ( NB. in today's Turkey across from the island of Samos).

4 Alexandria in Latmw of Caria. For this there are no other items. Has vanished is the city of Caria Alinda, they fled the Party Queen, that and handed it over to Alexander.

5 Alexandria at Issus-Cilicia. Was built in 333 e.g., After the victory at Issus (NB. Alexandretta in Turkey today across from Cyprus).

6 Alexandria in Egypt. The tradition of Egypt in December 332 e.g., Alexander chose the site to build the largest as the imagined Shopping Center in the Eastern Mediterranean. Plans for oikodomisitis megaloprepesteris from all of the Alexandrias commissioned leading architect of his time. the Deinokrati. Building began in 331 e.g. (NB. today's Alexandria, Egypt).

7 Alexandria in Cyprus. Founded in 331 e.g. in Western Cyprus, from the King of Solon Pasikrati, or his son, Nicocles.

8 Alexandria in Assyria – Boots/Gaygamila. Founded in 331 e.g. after victory in Gaygamila.

9 Alexandria at Parthyini or Alexandroypolis. Was built in 330 p. X, in a location near today's city Sachroynt. In which country..........

10 Alexandria In Areia / Areia. Was built in 320 e.g., 200 km southeast of Artakoana, where today located in the city of Herat in Western Afghanistan.

11 Alexandria in Gedrwsia. Founded in 330 e.g., When Alexander spent with the army in Gedrwsia.

12 Alexandria in Arachwsia. Founded in 330 e.g. after the subjugation of Arachwsias, in today's city Kandachar in East Pakistan.

13 Alexandria in the Caucasus / Parapamisades. Was built in 329/8 e.g. in the southern slope of Mount Paropamisoy, called the Indian Caucasus. Today's village of Mpegram Afghanistan, 40-50 miles northeast of the capital Kabul.

14 Alexandria in Bactria / Baktra. It is the Stone of Bactrian Aorno, that spring 329 e.g. made her base beyond their outings and rebuilt. Today is the city Karabolak, South on current region the Kunduz province, in Afghanistan.

15 Alexandria in Iaxarti / Tanaϊ. Was High and Alexandreschata. It was built within the limits of the Sogdian 329 e.g.

16 Alexandria in Makarini.

17 The first Alexandria on wxo.

18 The second Alexandria in ΄Wxo.

19 Alexandria in Margo.

20 Alexandria in Sogdia.

21 The Boykefalios Alexandria or Boykefalia.

(B). The Confident Alexandrias

1 Alexandria in Latmw of Caria (the year 334 e.g.)

2 Alexandria in Issus of Cilicia (the year 333 e.g.)

3 Alexandria in Egypt (the year 331 e.g.)

4 Alexandria in Assyria (the year 331 e.g.)

5 Alexandria in Areiois (the year 330 e.g.)

6 Alexandria in Arachwsia ( the year b.c.)

7 Alexandria in Caucasus or at Parapamisadais (the year 329 e.g.)

8 Alexandria in Baktra (the year 329 e.g.)

9 Alexandria in Iaxarti or otherwise the Capital (the year 329 e.g.)

10 The Alexandria of Margoy (the year 328 e.g.)

11 The Alexandria of Sogdwn (the year 327 e.g.)

12 Alexandria – Boykefaleia (the year 326 e.g.)

13 Alexandria in Akesini (the year 326 e.g.)

14 Alexandria in Indian, or the Alexandria Wpiani (the year 325 e.g.)

15 The Alexandria of Moysikanwn (the year 325 e.g.)

16 The Alexandria of Swrianwn or the Pattalini Alexandria (the year 325 e.g.)

17 Alexandria in Wreitais (the year 325 e.g.)

18 Alexandria in Soysiani (the year 324 e.g.)

19 Alexandria in Babylon in Euphrates River (the year 324 e.g.)

(C). The Controversial Alexandrias

The controversial Alexandrias is:

1 Alexandria in Sakastini

2 Alexandria in Wxiani

3 Alexandria in Sogdiana

4 Alexandria in Makarini

5 Alexandria in ΄Wrois

6 Alexandria in Carmania

7 Alexandria in Cyprus

8 Alexandria in Thraki in the black Bay (1)

References / Βιβλιογραφία:

(1) Holevas K. John : The economics of Alexander the great. Pages 116-121. Versions PELASGOS. Athens 1994.

http://safem.gr

Amphipolis.gr | The "Tomb of Olympias ', the great idea of Samara and secret funds

Secretive, block of the police authorities of the case, logical leaps and arbitrary conclusions about the origin of Antiquities, amateur mistakes in the handling of the case and 1,2 million. Euro, whose fate is ignored…
The 2009, American intelligence agencies gave the EII information that Ukrainian mafiosi were held ready for sale on the 30 Greek and Roman Antiquities. The EII immediately informed the head of the Greek police., the Culture Ministry and the competent Minister Antonis Samaras. The case took to handle on his secrets and his advisor, Chrysanthos Lazaridis, in collaboration with the archaeologist ' Katerina ', which was then appointed in the Office of a Minister and belonged to the archaeologists of the Ministry.

«Lazaridis with "Katerina" were installed in the attic of the building of Bouboulinas, isolated from other employees and nobody knew what exactly dealing. Archaeologists have labeled the attic "giafka", as it was away from prying eyes and there was great secrecy», said archaeologist with a long tenure at the Ministry's main building.

Αντώνης Σαμαράς

The environment of Samara, with the agreement of the Secretary-General Thodoris Dravilas, then decided to keep watertight case and to not update (as is the usual procedure) the Department of Archaiokapilias security Prosecution that had gained in recent years important experience from international cooperation and had made very significant successes in prosecuting cross-border crime of archaiokapilias, as-among many others- the case of the Getty Museum, the case "Shelby White» and of course the famous case of Shinoussa (that for unknown reasons never reached in the audience). The "giafka" chose to work only with the EII, as this would facilitate the tightness of the case.

Political developments and early elections are not allowed to proceed with the investigation. The Karamanlis government resigned, the elections in October 2009 highlighted winner George Papandreou and Culture Minister Pavlos Geroulanos took.

With intervention of Antonis Samaras, who relied on the case of Ukraine, remained in the "Bouboulina Katerina», as operator of the dossier, which was appointed the new Minister and consultant. At The Same Time, returned as General Secretary of the Ministry of the Lina Mendoni, a close collaborator of Evangelos Venizelos who had served on the ypoyrgias in the same location (1999-2004).

The 2010, the case of Ukraine was itself revived. The "Katerina" in cooperation with "Jacob", an informant from Thessaloniki, and with the assistance of Katehaki, plowed North Greece in search of the Tomb from which they could derive the Greek Antiquities arrived in the hands of the Ukrainian mafia. Bugs ' listening ' suspects, communicators were activated, organised missions in Macedonia and Thrace, but they showed anything usable.

A national affair

"We knew that the particular Minister's consultant did travel, under the secrecy in North Greece, but officially waved us in darkness. Archaeologist, Documentation that Address Executive cooperating with the "Katerina", project that "the Ministry did not have confidence in security" and that "not as" synergazomastan ", He said an experienced policeman who served then in the Prosecution of ATHENS GENERAL POLICE PRECINCT LEVEL Archaiokapilias.

Another officer added that "from the MINISTRY of CULTURE urged to learn every detail about police operations, something absolutely unusual. It was like they wanted to replace our role, to the Prosecution Department Archaiokapilias podigetisoyn, the Culture Ministry has full control. There was also an unexplained gap of confidence that was not understood ".

At the end of the year it was decided to be held in Ukraine and mission to make contact with the looters. Then selected a phenomenal process. Instead of scrolled strain of Greek authorities prosecuting, they are trained and authorised for these businesses, It was decided to appear as a candidate for acquiring Antiquities leilatimenwn archaeologist "Katerina" who travelled to Kiev and made contact with the Mafiosi. How allowed to travel in such a mission employee and not metaklitos COP; Who will have the responsibility, If something doesn't go well;

The "Katerina" met with two mafiosi in February 2011, It showed the Antiquities for sale. Their total value-as they said- was in the order of several tens of million. Euro. The Mafiosi did a whole ' unprofessional ' movement. Accepted to be photographed with uncovered faces in front of the ancient.

Information indicates that two Ukrainians (they used Greek aliases) They claimed that they have strong political connections with the environment of Prime Minister Yulia Tymoshenko and gave even the e-mail link, to advance trade negotiations.

The "Katerina" returned to Greece with two photos, but the Ministry of culture did not do the obvious. Send-i.e.- the evidence to Interpol and seek police cooperation for the arrest of archaiokapilwn and the repatriation of Greek-like thought- Antiquities.

To prove the Greek origins, territorial sense, not in terms of Greek art (that could be from the wider Greek world "' of the season, which is not far from the borders of the Greek State), I had to find the tomb of origin in Greek territory. This was necessary for repatriation, but not for catching archaiokapilwn and freezing of gold treasure, until you prove the location of lathranaskafis.

Photos of the contested CD (which has in its possession the "Eph. Plus.") We showed in the illustrious archaeologist of Macedonia. After long overview, ruled that "it is patchwork skythikwn, Maybe Thracian and Greek Antiquities |

The goal now was to find the tomb of origin, I started getting mythic proportions. Once again, the feasibility of the normal procedure prevailed. But, as delay identifying the Tomb as the danger grew to sell antiquities in the illegal international market. Meanwhile, the EII had made secret envelope 1,2 million. euros for the enterprise, which had characterized the "national importance".

The "Tomb of Olympias '

In June 2011, archaiokapilos approached the "Ira", archaiopwli of Athens, and gave the information that Ukrainian mafiosi sell Greek treasure with hundreds of gold objects of the Pharaohs and later gave her a CD with the "merchandise". The CD had 372 photos of Antiquities, some of which appeared in both original photos that had brought the "Katerina" from Kiev. But now the ancient was much more.

The "Ira" closed appointments by Lina Mendoni in her Office in Bouboulinas and gave the CD, presence of ' Katerina '. From the elements, the "Katerina" and those involved in the case are alleged to have drawn the conclusion that, to justify such a large set of gold objects of the Pharaohs, mainly jewellery, I had to come from a female Royal Tomb, and even of the Olympiad, the mother of Alexander the great.

The investigations intensified in northern Greece for the discovery of the tomb of Olympias ' without result and the 2012, with the now Prime Minister Samaras, thodoris Dravilas Governor of EII, Lina Mendoni firm in Ministry of culture and the "Katerina" to conduct new secret missions abroad (Switzerland and Liechtenstein) for data collection.

In papers of the era is now stated clearly that Athens connects Ukrainian ancient with grave in Greece from where they originate. It is a conviction that has never adequately substantiated, as there were indications that probably looked in the exact opposite direction: that something fishy was going on and how the ancient from the Ukraine, Neither Greece nor originated and was authentic, at least for the most part.

In January 2013 was meeting in the Office of Samara, with the participation of the Prime Minister, Lina Mendoni's, Lazaridis and Chrysanthos of ' Katerina ', who-in the meantime- was appointed Special Advisor at Maximou. There was the presentation of the case to the Prime Minister and the display of photographs of the CDs that had brought the "Ira".

Meeting-fiasco at Maximou

The meeting had been called and eminent archaeologist specializing the Antiquities of Macedonia, which first saw the photos of the alleged treasure tomb of Olympias '». The meeting ended in fiasco, as the archaeologist – according to information- featured treasure ' patchwork that doesn't come from Greece». Also questioned the authenticity of antiques.

Photos of the contested CD (which has in its possession the "Eph. Plus.") the also showed another illustrious archaeologist of Macedonia. After long overview, ruled that "going for patchwork, skythikwn, Maybe Thracian and Greek antiquities from the colonies of the region of Crimea and probably some fake, modern copies».

The photos are not sufficient for a scientific and sure estimation, but some solder gold objects it resembled those used in ancient time.

"The utter lack of ceramic or bronze objects from a set of hundreds of Antiquities allegedly found in a grave, It is also not something normal. Extra, many objects depicted in the pictures are copies from the Hermitage Museum, Greek or Scythian art from the region of Crimea, While other strongly reminiscent of antiquities that have been published in the classic book of Dyfri Williams and Jack Ogden, "Greek gold: jewelry of the classical world", a coincidence that moves us many suspicions ", as we said the archaeologist.

Another archaeologist, from the most experienced in miniature art, estimated that the vast majority of Antiquities of the contested CD ' is North, from the Crimea, with many and "barbarian" Scythian "animal tracks. Two gold, heavy necklaces and three jewelry might come from Macedonian 4th century laboratory, but again, This type of projects, travelling in the wider Hellenistic world and are answered in other regions, Apart from Macedonia [the gold necklace in the photos of the CD is almost identical to that set out in the Hermitage Museum].

Also, the thesaurus cannot be originated from a grave and why the objects were at least two and three centuries dating». The archaeologist stressed that AMA does not catch in the hands of the jewelry and if not studied with the convenience of time in situ and not from photos, can't decide on the authenticity. Furthermore, gold jewelry is easy to copy. Research with special machinery for control of the gold alloy is necessary.

Ambition and obsessions

The Prime Minister-in honor of- set then (fugitive) the ambition of his advisers and his entourage, who perhaps aspired to connect the name of Samara with a breakthrough in Macedonia, type of Andronikos-Karamanli. But some insisted. The "Parapolitika" were written months after, in reportage from the Conference of n. (d). in Halkidiki the 2014, Lazarides said that Katyn in Wells: "Wait and see. A discovery may change the history of Macedonia ".

The company has not ended, Despite the inglorious end of the meeting at Maximou. The obsession took hold of items. As does every experienced bureaucrat, When a proposal to ' up ' is rejected, back via another road.

At 12 April 2013, the then Culture Minister Costas Tzavaras, send a confidential letter to the Ministry of citizen protection, Niko Dendia, Update on the progress of investigations into the Graves ' Firm ' and asks for the assistance of the. Among many others, States that objects (looted Greek Antiquities) "available to us for sale by Greeks inside in February-March 2013. The same objects are now available from the occupation and foreign trading circuit, in which we penetrate…».

Truth, the "us" being exactly what it means and what capacity were the faces behind the ' us '; And why didn't went immediately the case to the Prosecutor; Also, in the letter to Dendia Javara included attached photos-"evidence", mentioning-inter alia- and in non-Greek Antiquities, Maybe fake. The letter carries estimates even for the involvement of Milosevic son antiques market. It was "the dragon that was missing from the fairy tale»; If it wasn't a tragedy, rather it was hoax…

However, there are more questions than answers.

► It Panel of archaeologists has been ruled to the origin or authenticity of the ' evidence ';

► How much money given by the EII funding secrets for enterprise;

► Was an effort to research-cheiragwgimenis political fiasco that ended up a bit later also politically manipulative in Amphipolis; It was political criteria or there are other sides that are associated with the controversy services, personal ambitions, even other anexichniasta benefits;

► Finally Fell "group of graves ' (then devoid of representative) ingenious fraud victim;

► Though is so, There is a political or other liability;

But the tragedy of kwmiko-"tombs" has and then… coming soon.

*The names "Ira", "Jacob" and "Katerina" are aliases. Their real data are at the disposal of the newspaper, as well as the controversial photographic archives.

Tsipras Question – 2011

"Operation Tombs" in the House

In December 2011, the President of SYRIZA Alexis Tsipras tabled in the Parliament timely question concerning action of EII. In his reply, the then Minister of citizen protection, Christos Papoutsis, mentioned-inter alia- and the secrets of EII funds that were disbursed in 2010 (year of crisis…) for private expenditure, totaling 5,9 million. Euro.

Χρήστος Παπουτσής Christos Papoutsis, the former Ministry of. Protection of the citizen, in the House in December 2011. | GIANNIS PANAGOPOULOS/EUROKINISSI

"From the 5,9 millions, the amount of the 1,2 million. down to business, which is in progress, has not expended, has-there- transferred to the next year», stated in the House Mr. Papoutsis. The company-as shown by the evidence of "Eph. Plus."- the "Tomb of Olympias '. However, funds were disbursed later. How much does; Apparently the documents for the undisclosed costs of the era have-as is customary and required by law- damaged. But, "operation Tombs" should have left traces on Katechaki.

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journal editors

Amphipolis.gr | The "dollar" of Alexander the great

The coins found in the funerary monument of Amphipolis – coins with the head of Alexander the great, coins of the 2nd century BC. but also of the 3rd century a.d.- "illuminate" the other side of the multinational Empire of.

«Cut» Alexander lived as currency by the head of;
Because the currency was "hard currency" and "guaranteed title" on international markets;
What was the "revolution" to trade that brought in Central Asia;
What did the successors of;
We appealed to George Kakavas, Director of Epigrafikoy and Monetary Museum, former Director of the National Archaeological Museum.
"When the 333 e.g.. Alexander the great defeated at Issus, adopted the Athenian "monetary policy and the currencies, the famous Alexandria tetradrachms, dominate with their order in international markets. Even after the death of Commander, for two centuries, several Greek cities continue to mint coins in his name ".

The Alexandros in coins

"Alexander Iii or Grand is not depicted as never lived at cuts of currencies," explains Mr. Kakavas. "Many times identified or confused the depiction of the head of Hercules ageneioy bearing a lion's head on the front of the Drachma of debased tetradrachms had been one and with the inscription ALEXANDROU VASSILEOS ALEXANDROU while lived and posthumously, with the portrait of the ruler.
The first depictions of the reply to post-mortem cutting sequences of Commander. Alexander is depicted as theopoiimenos at cutting of Lysimachou with the horns of Zeus Ammwnos, at cutting of Ptolemy the first Redeemer with the horns of Zeus and Ammwnos elephant hide as cover head and finally the first cuts of the First Seleykou, where pictured with Leopard leather helmet and bull horns. The depiction is purely propaganda/ideological character and is aimed to display these and just as legitimate followers of his work».
1nomisma
Gold Stater m. Alexandrou 330-320 e.g.. Amphipolis Mint

Even the Celts

"The deified Alexander's portrait is also reflected in cuts of Macedonia in the 1st century. e.g., Once the area has been transformed into a Roman province and the economy is controlled solely and entirely by the Romans. The circulation of its currency has great scope (from the Middle East and the Black Sea to Asia minor and Egypt) so alive and posthumously establishing economic relations a "multi-ethnic" Empire. The recognition of the personality of Alexander the great is so great that his answers and currency in imitation of the Celts and Thracians ".

The dollar era

I.e., It was the dollar, the "hard currency" of the era;
"Just. The tetradrachm of Alexander is the international currency of the Hellenistic world. As in the present age, so and on the economies of the past there were strong – «international» currencies, like the dollar or euro nowadays. The creditworthy these currencies had a circulation of supra-local scope and become more widely accepted because of the constant internal value and the purity of their metal.
The factors that make a strong currency or "international" was the geopolitical area, the commercial domination and the financial soundness of the principle, that the issue (City, State, Kingdom, Empire). Also, decisive factors were the strict State control in production, cutting of IE., but the movement, the liquid metal and above all, guaranteed title and fixed weight».
2nomisma
Gold Stater m. Alexandrou 330-320 e.g.. Amphipolis Mint

On the scale of global economic sovereignty

"So, After the silver tetradrachm of Athens and gold dareiko of Persian Empire, the next strong-"international" currency will become the coin of Alexander, before and after his death, in the global market of the season until the middle of the 1st century. e.g..
Apart from the dominant role that it plays in the economy of the Hellenistic world, It is worth noting that is the currency that "teaches" the transaction mode to egchrimato folks who lived until then in full achrimatia (Central Asian peoples). On the scale of global economic sovereignty, the tetradrachm of Alexander's successor: the silver denarius of Rome, Gold Byzantine solidus, the silver dirhem of Arab world, the chrysoducato of the Serenissima in Venice, the Habsburg silver taliro, the 8 Reales-the silver that Spain-currency, the British Gold sovereign, the dollar and the euro».

The successors and the head of Hercules

"The head of Hercules, progenitor of the dynasty of the Temenids, that is engraved on the front of the tetradrachmwn of Alexander the great, He became so famous that was identified in the minds of downstream with the Macedonian King. The Successors, in order to achieve the consolidation of their authority and to appear as natural followers of the project and of the philosophy of Alexander, echoed the head of Hercules who was portrayed in the coins of Alexander monetary versions that are released in the countries that they have inherited.
Alexander outside in front of tetradrachms of Ptolemy First Redeemer (319-315 e.g.) marked as elefantos hide head cover, in remembrance of his campaign Commander in India, but around the neck the aegis of Zeus. The example followed in East Seleucus 1st, the main heir of Asian possessions, the dual gold dareikoys (305-301 e.g.). End, Alexander of outside in front of Lysimachou tetradrachms (early 3rd century. e.g.) with the addition of the Horn confirms the godlike status, as Pais Zeus, This he did recognize the Egyptian priesthood of ammonas Jupiter».
3nomisma
Silver tetradrachm m. Alexandrou 323-320 e.g.. Amphipolis Mint

Until when

"Philip Iii, half-brother of Alexander the great, continued cutting silver coins with the types of Alexander but with his own name now. During the reign of Kassandrou (316-297 e.g.), in Macedonia continued issuing debased tetradrachms had been one in Alexander's name. Also, the Demetrius Poliorkitis (306-293 e.g.), at the beginning of his reign he continued to mint coins with the types of Alexander, by varying only the inscription VASILEOS DIMITRIOU. Also, Antigonus Gonatas (277/6-239 e.g.) they cut with the types of Alexander and the inscription VASILEOS ANTIGEN. These are the latest versions of the Macedonian kings who use types of coins of Alexander the great.
In the Kingdom of Thrace, in the early coinage of King Lysimachou (360-281 e.g.) Join silver drachmas to the types and the name of Alexander, While very soon the name was replaced with that of LYSIMAChOY.
The attalid Kingdom, the Filetairos, on the 280 e.g.. they issued with the types of Alexander the great with the name ALEXANDER but also with the name SELEYKOY and in the Kingdom of Ptolemaic Dynasty, only Ptolemy I the Lagoy (367-282 e.g.) minted coins with the types of Alexander the great and the name ALEXANDROU.
Finally in the Seleucid Kingdom, Seleucus the 1st Nikatwr (358/3-281 e.g.) initially issued silver tetradrachms with types of Alexander the great and the inscription VASSILEOS SELEYKOY».
4nomisma
Silver tetradrachm m. Alexandrou 323-320 e.g.. Amphipolis Mint

Local mints Greek cities

"The same cities are mints of the Kingdom of the Hellenistic monarch".

Until the advent of the Romans

"The currency introduced by Alexander the great on his territory did not disappear after the death of Commander, but he continued to cut and circulating throughout the Hellenistic world until the advent of the Romans.
In ancient literary sources the coins are referred to as "alexanders". After the death of Alexander, in existing added dozens of new mints in Macedonia, on the continent, in Illyria, in Paeonia, in Central Greece, in Peloponnese, in Asia minor, in Cyprus, in Syria, in Phoenicia, in Egypt and Cyrene, in the East and in the Black Sea. The latest versions of "alexandrwn" were cut in the first quarter of the 1st century. e.g.. from the Greek cities of Odessa and the Black Sea» Midday.

The 2nd century BC. in Macedonia

"The 2nd century. e.g.. in Macedonia except cuts the last Antigonid Macedonian Kings (Antigonus Ii Gonatas, Philip and Perseus), move the stand-alone cuts with the inscription KOINON MAKEDONON, Silver tetradrachms of Athens, the so-called "new style", the tetrwbola Istiea, the so-called «pseydorodiakes» drachmas etc.»

First Roman years

"As regards to the imperial times (12nd-3rd century. a.d.) in Greece move sporadically dinars (silver coin of Rome), intended for payments of Roman soldiers but mostly domestic copper cutting, necessary for local domestic financial transactions. Especially in the cities of Greece issued coins with the portrait of the Emperor on the obverse side and deities and symbols of cities that give the cities a feeling pseydoaytonomias».

The 3rd century. a.d. in Macedonia

"The 3rd century. a.d. transactions are made as training mostly with copper cuts of cities of Macedonia, as of Thessaloniki, of Pella, of Amphipolis, of Dion, of Philippi as well as cuts to the public of the Macedonians with depictions of the head of the deified Alexander as well as episodes from his life (e.g. The Taming of the horse Bucephalus)».
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amphipolis.gr | Where is our ancient;

List of original works of art, Alexander Philip era, located in foreign countries under public or private ownership and are timelessly throughout the centuries, theft products.

Funny argument is the event of invocation, that these works are copies of ancient era and not the original works. These works belong to the Greeks and will look at international level, with all the legitimate ways, to be repatriated in their fatherland.

Museum of Napoli. tif

Napoli .tif

1. Horseback statue of Alexander Philip. ΄Ergo of

the Royal family sculptor Macedonian Argead dynasty, the famous Lysippus, that katigeto from Sicyon of Corinth. It was stolen by the Romans from the present archaeological site of Dion, Pieria, After the occupation of Greece by the Romans. It was revealed during the excavations of stoErkolano Italy. Today is under the illegal public possession of Italy, in the Archaeological Museum of Naples.

The project creation history, is the following. In the battle of the Granicus river in spring 334 e.g., Apollonia ίλη, with ilarcho Socrates and his commander Ptolemy Lagoy, had received the order of the first affixing – epelasews. Oiprwtoi 25 horsemen that efoneythisan at the first storming of the battle of the Granicus,etimithisan by Alexander I ordered the Lysippo, I painted these lads with 25 respective horseback statues, placed in our known Dion in Pieria. The 25 horseback statues accompanies and the statue of Alexander.

Museum of Napoli. jpg

horses of Lysippus. jpg

2. The 25 those on horseback statues were the following eventful

historical, typical example of looting and theft of Greek works of art. The 146 BC after the battle of pydna in Macedonia and the occupation of Greece by Rome, stolen from the Roman stinRwmi Kointo Metellus and transported, to formulate the eponymous Gallery of (Porticus Metelli). With the establishment of the Byzantine Empire, o Megas Constantine transferred some of these 25 horseback statues, that the Byzantine Hippodrome grace tisKwnstantinoypolis.

In later centuries and during the period of the Crusades, the 1204eklapisan anew by the Crusaders, from the site of the Byzantine Hippodrome in Istanbul and transferred for the second time in Italy, in the Basilica of San Marco in Venice. The 1799 Napoleon Bonaparte, the stole from the Cathedral of Venice, carried them in Paris and built in arch Carousel. After the fall of Napoleon 1815, the stolen Greek statues returned to Venice. Today rescued 4 – 5 bronze gilded horses, without their riders, in the Basilica of San Marco, tisItalias in Venice and relatively recently in the archaeological museum in the same city. Dion, Rome,Κωνσταντινούπολη, Venice, Paris, Venice, There has been over the centuries the tragic voyage of the theft of artworks of sculptor Alexander's staff, the famous Lysippus from Kiato (Fig trees) Korinthias. Debt of honor and kathikontosolwn of the Greeks, their repatriation to their fatherland, In Dion, Pieria, outside of Litochoro, the archaeological site. There are.

Pompei .jpg

3. Mosaic of Lysippus, dedicated to the battle of Issus. The

mosaic that was printed in the early Greek sale

1950. It was stolen by the Romans in Syria, where he was in possession of his successors Seleucus, King of the Hellenistic Kingdom of the region, General and bodyguard of Alexander. Moved to Pompeii and suffered partial damage from volcanic lava, during the eruption of Vesuvius, It destroyed the famous city. Today the amazing artwork of Lysippus, located in the Archaeological Museum of Naples in Italy. The University of Naples has researched thoroughly the style and colors of mosaic, discovering even more known, except Darius and Alexander, persons, with the use of laser technology and partial magnification on a computer, parts of the whole project.

4. Alexander's head. Found in Megara. Now located at moyseioGkety (J. Paul Getty), in California, u.s.a. It is so far unknown, the details of the illegal exit of Greece from the head and the legalization of the occupation of the Americas, otherwise the legal history of theft and the illegal occupation and misappropriation.

Berlin .tif

5. Bust of Alexander, head to the entire chest, of the year 300 e.g., tmimaapo marble statue. After the battle of the Granicus, the release of Miletus from the Persians, Alexander visited the Priene, an old Greek town, who suffered from the floods of the river Meander, and for this reason xanachtizotane in a slope of Mycale.

The Temple of Athena at the most prominent Knoll of Priinis, He met the generosity of Alexander, as testifies the votive inscription : King Alexander anethike the Athinaiii Poliadi Temple. Located in the Archaeological Museum of Berlin (Antikenmuseum) in Germany. Found during the excavations of Priinis. The leptomereiesparanomis occupation of ΄Agnwstes mind project, by the German authorities.

Alex + Darius .tif

Darius Alexand. tif

6. Amphora from Ruvo, 330- 320 e.g., depicting the battle of Darius to Alexander, in the central zone of the amphora, probably the battle of Issus. The horseback Alexander is depicted on horseback. Today is the National Archaeological Museum of Naples in Italy. ΄Agnwstes time to find details and illegal occupation of the vessel.

Egyptian medal. jpg

7. Gold Medal depicting the form of Alexander. Found in the Ampoykir of Egypt. Today is located in the Archaeological Museum of Berlin, in Germany. ΄Agnwstes time to find details and having in mind the medal.

Kopegchagi .tif

8. Marble bust of Alexander, head to the entire chest, found in Hock. Now located in the Museum of Copenhagen in Denmark. ΄Agnwstes find time and details of occupation, by the authorities of Denmark.

Tif Sardonychas Pyrgotelis Paris.

9. Engraving in sardonycha, depicting Alexander horned, and indicates allegorically Apollo Karneio, that was one of the most ancient deities of Macedonia. Work of 325 e.g. about. Amazing masterpiece by the hand of Pyrgoteli, leading engraver and personal friend of Alexander. Is currently in the Cabinet de Medailles, Raris, in France. ΄Agnwstes time to find details and illegal occupation, from the French authorities.

KameoAlexandros. Vienna..tif

10. Mineral Cameo with Alexander and Olympias, probably work of Pyrgoteli. Located at the Museum of art history in Vienna, in Austria (Kunsthistorisches Museum), 350-300 BC. Another similar is located in Saint Petersburg in Russia.

SCAN421.tif

11. Three (3) Winning Medals of Alexander. Amazing knick-knacks of Greek monetary art. Probably created by areas tisMakedonias, during the period of the Roman occupation of Greece, they had the right to organize sports competitions, as Veria, iPerinthos in Thessaloniki and Thrace. The sides depict Philip and Alexander, While the opisthotypes sides depict Alexander with the chariot of winged victory and in Lion hunting. Found the 1867, purchased by officers of Napoleon Iii and reimbursed at the current national library tisGallias. Find details missing and illegal market.

SCAN425.tif

12. A (1) Medal with obverse bearing Athena with helmet decorated with snake and Verso Alexander in Lion hunting. StisSerres was found by the Englishman Colonel Leake, and from the 1864 approximately located at Fitzwilliam Fund, at Cambridge, in England. ΄Agnwstes the details of illegal occupation and misappropriation.

Azara .jpg column

13. Bust of Alexander, work of Lysippus, known as bust of Azara. Found in Tivoli, in Italy and in possession of Azara, the Spanish Ambassador to Rome and subsequently in Paris. Through this the Lord, the bust of Alexander passed into the hands of Napoleon of Korsikanoy. Today brisketaiparanoma in France, the Louvre Museum in Paris. The place belongs to the Museum of Pella, they have probably stolen by the Romans.

SCAN412.tif

14. Alexander – Sun – Kosmokratwr. By Amiso of Pontus, of 350 – 300 b.c.. Today is located in Brussels, Belgium, Musee du Cinquantenaire in. Unknown details of illegal lathrokatochis from the Belgian authorities and the probable transaction.

SCAN413.tif

15. Miniature shield depicting Alexander – ΄Ilio. Found in the tomb of Love in Eretria Evia. Today lies in America, at the Museum of fine arts in Boston. Unknown details of illegal exit from Greece and illegal lathrokatochis, from the American authorities. The location of this project belongs to the Archaeological Museum of Chalkida.

Input capital palaces :  Complex Ionic capital from entering the palaces of goats (Vergína).  Is this an expatriate in the Louvre. It belongs to the archaeological site of Vergina, not in the Louvre. Claim in any legal manner and at international level the repatriation of, in the land where it belongs. There in the same place, where see Philip, Alexander, the Olympiad.

16. Input capital palaces : Complex Ionic capital from entering the palaces of goats (Vergína). Is this an expatriate in the Louvre. It belongs to the archaeological site of Vergina, not in the Louvre. Claim in any legal manner and at international level the repatriation of, in the land where it belongs. There in the same place, where see Philip, Alexander, the Olympiad.

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Amphipolis.gr | Greco-Buddhist art

Greco-Buddhist art is the artistic manifestation of Greco-Buddhism, a cultural syncretism between the Classical Greek culture and Buddhism, which developed over a period of close to 1000 years in Central Asia, between the conquests of Alexander the Great in the 4th century BC, and the Islamic conquests of the 7th century AD. Greco-Buddhist art is characterized by the strong idealistic realism and sensuous description of Hellenistic art and the first representations of the Buddha in human form, which have helped define the artistic (and particularly, sculptural) canon for Buddhist art throughout the Asian continent up to the present. It is also a strong example of cultural syncretism between eastern and western traditions.

The origins of Greco-Buddhist art are to be found in the Hellenistic Greco-Bactrian kingdom (250 BC- 130 BC), located in todays Afghanistan, from which Hellenistic culture radiated into the Indian subcontinent with the establishment of the Indo-Greek kingdom (180 BC-10 BC). Under the Indo-Greeks and then the Kushans, the interaction of Greek and Buddhist culture flourished in the area of Gandhara, in todays northern Pakistan, before spreading further into India, influencing the art of Mathura, and then the Hindu art of the Gupta empire, which was to extend to the rest of South-East Asia. The influence of Greco-Buddhist art also spread northward towards Central Asia, strongly affecting the art of the Tarim Basin, and ultimately the arts of China, Korea, and Japan.

Hellenistic art in southern Asia

Silver coin depicting the Greco-Bactrian king Demetrius I (200-180 BC) wearing an elephant scalp, symbol of his conquest of India. Back: Herakles, holding a lion skin and a club resting over the arm. The text reads: ΒΑΣΙΛΕΩΣ ΔΗΜΗΤΡΙΟΥ - BASILEŌS DĒMĒTRIOU "of King Demetrius".
Silver coin depicting the Greco-Bactrian king Demetrius I (200-180 BC) wearing an elephant scalp, symbol of his conquest of India. Back: Herakles, holding a lion skin and a club resting over the arm. The text reads: ΒΑΣΙΛΕΩΣ ΔΗΜΗΤΡΙΟΥ – BASILEŌS DĒMĒTRIOU “of King Demetrius”.

Powerful Hellenistic states were established in the areas of Bactria and Sogdiana, and later northern India for three centuries following the conquests of Alexander the Great around 330 BC, the Seleucid empire until 250 BC, followed by the Greco-Bactrian kingdom until 130 BC, and the Indo-Greek kingdom from 180 BC to around 10 BC.

The clearest examples of Hellenistic art are found in the coins of the Greco-Bactrian kings of the period, such as Demetrius I of Bactria. Many coins of the Greco-Bactrian kings have been unearthed, including the largest silver and gold coins ever minted in the Hellenistic world, ranking among the best in artistic and technical sophistication: they “show a degree of individuality never matched by the often more bland descriptions of their royal contemporaries further West”. (“Greece and the Hellenistic world”).

These Hellenistic kingdoms established cities on the Greek model, such as in Ai-Khanoum in Bactria, displaying purely Hellenistic architectural features, Hellenistic statuary, and remains of Aristotelician papyrus prints and coin hoards.

Wine-drinking and music (Detail from Chakhil-i-Ghoundi stupa, Hada, 1st-2nd century AD).
Wine-drinking and music (Detail from Chakhil-i-Ghoundi stupa, Hada, 1st-2nd century AD).

These Greek elements penetrated in northwestern India following the invasion of the Greco-Bactrians in 180 BC, when they established the Indo-Greek kingdom in India. Fortified Greek cities, such as Sirkap in northern Pakistan, were established. Architectural styles used Hellenistic decorative motifs such as fruit garland and scrolls. Stone palettes for aromatic oils representing purely Hellenistic themes such as a Nereid riding a Ketos sea monster are found.

In Hada, Hellenistic deities, such as Atlas are found. Wind gods are depicted, which will affect the representation of wind deities as far as Japan. Dionysiac scenes represent people in Classical style drinking wine from amphoras and playing instruments.

Interaction

As soon as the Greeks invaded India to form the Indo-Greek kingdom, a fusion of Hellenistic and Buddhist elements started to appear, encouraged by the benevolence of the Greek kings towards Buddhism. This artistic trend then developed for several centuries and seemed to flourish further during the Kushan Empire from the 1st century AD.

Artistic model

An Indo-Corinthian capital with the Buddha at its centre, 3-4th century, Gandhara.
An Indo-Corinthian capital with the Buddha at its centre, 3-4th century, Gandhara.

Greco-Buddhist art depicts the life of the Buddha in a visual manner, probably by incorporating the real-life models and concepts which were available to the artists of the period.

The Bodhisattvas are depicted as bare-chested and jewelled Indian princes, and the Buddhas as Greek kings wearing the light toga-like himation. The buildings in which they are depicted incorporate Greek style, with the ubiquitous Indo-Corinthian capitals and Greek decorative scrolls. Surrounding deities form a pantheon of Greek (Atlas, Herakles) and Indian gods (Indra).

Material

Stucco as well as stone was widely used by sculptors in Gandhara for the decoration of monastic and cult buildings. Stucco provided the artist with a medium of great plasticity, enabling a high degree of expressiveness to be given to the sculpture. Sculpting in stucco was popular wherever Buddhism spread from Gandhara – India, Afghanistan, Central Asia and China.

Stylistic evolution

Stylistically, Greco-Buddhist art started by being extremely fine and realistic, as apparent on the standing Buddhas, with “a realistic treatment of the folds and on some even a hint of modelled volume that characterizes the best Greek work” (Boardman). It then lost this sophisticated realism, becoming progressively more symbolic and decorative over the centuries.

Architecture

The presence of stupas at the Greek city of Sirkap, which was built by Demetrius around 180 BC, already indicates a strong syncretism between Hellenism and the Buddhist faith, together with other religions such as Hinduism and Zoroastrianism. The style is Greek, adorned with Corinthian columns in excellent Hellenistic execution.

The Titan Atlas, supporting a Buddhist monument, Hada.
The Titan Atlas, supporting a Buddhist monument, Hada.

Later in Hada, the Greek divinity Atlas is represented holding Buddhist monuments with decorated Greek columns. The motif was adopted extensively throughout the Indian sub-continent, Atlas being substituted for the Indian Yaksa in the monuments of the Sunga around the 2nd century BC.

Buddha

One of the first representations of the Buddha, 1st-2nd century AD, Gandhara, Pakistan: Standing Buddha (Tokyo National Museum).
One of the first representations of the Buddha, 1st-2nd century AD, Gandhara, Pakistan: Standing Buddha (Tokyo National Museum).

Sometime between the 2nd century BC and the 1st century AD, the first anthropomorphic representations of the Buddha were developed. These were absent from earlier strata of Buddhist art, which preferred to represent the Buddha with symbols such as the stupa, the Bodhi tree, the empty seat, the wheel, or the footprints. But the innovative anthropomorphic Buddha image immediately reached a very high level of sculptural sophistication, naturally inspired by the sculptural styles of Hellenistic Greece.

Many of the stylistic elements in the representations of the Buddha point to Greek influence: the Greek himation (a light toga-like wavy robe covering both shoulders: Buddhist characters are always represented with a dhoti loincloth before this innovation), the halo, the contrapposto stance of the upright figures, the stylized Mediterranean curly hair and top-knot apparently derived from the style of the Belvedere Apollo (330 BC), and the measured quality of the faces, all rendered with strong artistic realism (See: Greek art). Some of the standing Buddhas (as the one pictured) were sculpted using the specific Greek technique of making the hands and sometimes the feet in marble to increase the realistic effect, and the rest of the body in another material.

Foucher especially considered Hellenistic free-standing Buddhas as “the most beautiful, and probably the most ancient of the Buddhas”, assigning them to the 1st century BC, and making them the starting point of the anthropomorphic representations of the Buddha (“The Buddhist art of Gandhara”, Marshall, p101).

Development

The Bimaran casket, representing the Buddha, is dated to around 30-10 BC. British Museum.
The Bimaran casket, representing the Buddha, is dated to around 30-10 BC. British Museum.

There is some debate regarding the exact date for the development of the anthropomorphic representation of the Buddha, and this has a bearing on whether the innovation came directly from the Indo-Greeks, or was a later development by the Indo-Scythians, the Indo-Parthians or the Kushans under Hellenistic artistic influence. Most of the early images of the Buddha (especially those of the standing Buddha) are anepigraphic, which makes it difficult to have a definite dating. The earliest known image of the Buddha with approximate indications on date is the Bimaran casket, which has been found buried with coins of the Indo-Scythian king Azes II (or possibly Azes I), indicating a 30-10 BC date, although this date is not undisputed.

An Indo-Corinthian capital from the Butkara Stupa under which a coin of Azes II was found. Dated to 20 BC or earlier (Turin City Museum of Ancient Art).
An Indo-Corinthian capital from the Butkara Stupa under which a coin of Azes II was found. Dated to 20 BC or earlier (Turin City Museum of Ancient Art).

Such datation, as well as the general Hellenistic style and attitude of the Buddha on the Bimaran casket (himation dress, contrapposto attitude, general depiction) would made it a possible Indo-Greek work, used in dedications by Indo-Scythians soon after the end of Indo-Greek rule in the area of Gandhara. Since it already displays quite a sophisticated iconography (Brahma and Śakra as attendants, Bodhisattvas) in an advanced style, it would suggest much earlier representations of the Buddha were already current by that time, going back to the rule of the Indo-Greeks (Alfred A. Foucher and others).

The next Greco-Buddhist findings to be strictly datable are rather late, such as the c.AD 120 Kanishka casket and Kanishka' ss Buddhist coins. These works at least indicate though that the anthropomorphic representation of the Buddha was already extant in the 1st century AD.

Fresco describing Emperor Han Wudi (156-87 BC) worshipping two statues of the Buddha, Mogao Caves, Dunhuang, c. 8th century AD
Fresco describing Emperor Han Wudi (156-87 BC) worshipping two statues of the Buddha, Mogao Caves, Dunhuang, c. 8th century AD

From another direction, Chinese historical sources and mural paintings in the Tarim Basin city of Dunhuang accurately describe the travels of the explorer and ambassador Zhang Qian to Central Asia as far as Bactria around 130 BC, and the same murals describe the Emperor Han Wudi (156-87 BC) worshipping Buddhist statues, explaining them as “golden men brought in 120 BC by a great Han general in his campaigns against the nomads.” Although there is no other mention of Han Wudi worshiping the Buddha in Chinese historical literature, the murals would suggest that statues of the Buddha were already in existence during the 2nd century BC, connecting them directly to the time of the Indo-Greeks.

Later, the Chinese historical chronicle Hou Hanshu describes the enquiry about Buddhism made around AD 67 by the emperor Emperor Ming (AD 58-75). He sent an envoy to the Yuezhi in northwestern India, who brought back paintings and statues of the Buddha, confirming their existence before that date:

“The Emperor, to discover the true doctrine, sent an envoy to Tianzhu (天竺, Northwestern India) (Northwestern India) to inquire about the Buddha's doctrine, after which paintings and statues [of the Buddha] appeared in the Middle Kingdom.” (Hou Hanshu, trans. John Hill)

An Indo-Chinese tradition also explains that Nagasena, also known as Menander' ss Buddhist teacher, created in 43 BC in the city of Pataliputra a statue of the Buddha, the Emerald Buddha, which was later brought to Thailand.

Heracles depiction of Vajrapani as the protector of the Buddha, 2nd century Gandhara, British Museum.
Heracles depiction of Vajrapani as the protector of the Buddha, 2nd century Gandhara, British Museum.

In Gandharan art, the Buddha is often shown under the protection of the Greek god Herakles, standing with his club (and later a diamond rod) resting over his arm.[1] This unusual representation of Herakles is the same as the one on the back of Demetrius’ coins, and it is exclusively associated to him (and his son Euthydemus II), seen only on the back of his coins.

Soon, the figure of the Buddha was incorporated within architectural designs, such as Corinthian pillars and friezes. Scenes of the life of the Buddha are typically depicted in a Greek architectural environment, with protagonist wearing Greek clothes.

Gods and Bodhisattvas

The Bodhisattva Maitreya, 2nd century, Gandhara.
The Bodhisattva Maitreya, 2nd century, Gandhara.
The Buddhist gods Pancika (left) and cultivated (right), 3rd century, Takht-i Bahi, Gandhara, British Museum.
The Buddhist gods Pancika (left) and Hariti (right), 3rd century, Takht-i Bahi, Gandhara, British Museum.

Deities from the Greek mythological pantheon also tend to be incorporated in Buddhist representations, displaying a strong syncretism. In particular, Herakles (of the type of the Demetrius coins, with club resting on the arm) has been used abundantly as the representation of Vajrapani, the protector of the Buddha.[2] Other Greek deities abundantly used in Greco-Buddhist art are representation of Atlas, and the Greek wind god Boreas. Atlas in particular tends to be involved as a sustaining elements in Buddhist architectural elements. Boreas became the Japanese wind god Fujin through the Greco-Buddhist Wardo. The mother deity Hariti was inspired by Tyche.

Particularly under the Kushans, there are also numerous representations of richly adorned, princely Bodhisattvas all in a very realistic Greco-Buddhist style. The Bodhisattvas, characteristic of the Mahayana form of Buddhism, are represented under the traits of Kushan princes, completed with their canonical accessories.

  • Fragment of the wind god Boreas, Hada, Afghanistan.
    Fragment of the wind god Boreas, Hada, Afghanistan.
  • Gandharan Atalanta
    Gandharan Atalanta
  • Winged Atalante.
    Winged Atalante.
  • The Buddha, flanked by Herakles/ Vajrapani and Tyche/ Hariti.
    The Buddha, flanked by Herakles/ Vajrapani and Tyche/ Hariti.
  • "Laughing boy" from Hadda
    “Laughing boy” from Hadda
  • Cupids

    Winged Cupids holding a wreath over the Buddha (left:detail), Hada, 3rd century. Musée Guimet.
    Winged Cupids holding a wreath over the Buddha (left:detail), Hada, 3rd century. Musée Guimet.

    Winged cupids are another popular motif in Greco-Buddhist art. They usually fly in pair, holding a wreath, the Greek symbol of victory and kingship, over the Buddha.

    These figures, also known as “apsarases” were extensively adopted in Buddhist art, especially throughout Eastern Asia, in forms derivative to the Greco-Buddhist representation. The progressive evolution of the style can be seen in the art of Qizil and Dunhuang. It is unclear however if the concept of the flying cupids was brought to India from the West, of if it had an independent Indian origin, although Boardman considers it a Classical contribution: “Another Classical motif we found in India is the pair of hovering winged figures, generally called apsaras.” (Boardman)

    Cupids and garlands. Gandhara. 1st-2nd century. Musée Guimet.
    Cupids and garlands. Gandhara. 1st-2nd century. Musée Guimet.

    Scenes of cupids holding rich garlands, sometimes adorned with fruits, is another very popular Gandharan motif, directly inspired from Greek art. It is sometimes argued that the only concession to Indian art appears in the anklets worn by the cupids. These scenes had a very broad influence, as far as Amaravati on the eastern coast of India, where the cupids are replaced by yakṣas.

    Devotees

    Gandhara frieze with devotees, holding plantain leaves, in purely Hellenistic style, inside Corinthian columns, 1st-2nd century AD. Buner, Swat, Pakistan. Victoria and Albert Museum.
    Gandhara frieze with devotees, holding plantain leaves, in purely Hellenistic style, inside Corinthian columns, 1st-2nd century AD. Buner, Swat, Pakistan. Victoria and Albert Museum.

    Some Greco-Buddhist friezes represent groups of donors or devotees, giving interesting insights into the cultural identity of those who participated in the Buddhist cult.

    Some groups, often described as the “Buner reliefs,” usually dated to the 1st century AD, depict Greeks in perfect Hellenistic style, either in posture, rendering, or clothing (wearing the Greek chiton and himation). It is sometimes even difficult to perceive an actual religious message behind the scenes. (The devotee scene on the right might, with doubt, depict of the presentation of Prince Siddharta to his bride. It may also just be a festive scene.)

    About a century later, friezes also depict Kushan devotees, usually with the Buddha as the central figure.

    Fantastic animals

    An Ichthyo-Centaur, 2nd century Gandhara, Victoria and Albert Museum.
    An Ichthyo-Centaur, 2nd century Gandhara, Victoria and Albert Museum.

    Various fantastic animal deities of Hellenic origin were used as decorative elements in Buddhist temples, often triangular friezes in staircases or in front of Buddhist altars. The origin of these motifs can be found in Greece in the 5th century BC, and later in the designs of Greco-Bactrian perfume trays as those discovered in Sirkap. Among the most popular fantastic animals are tritons, ichthyo-centaurs and ketos sea-monsters. It should be noted that similar fantastic animals are found in ancient Egyptian reliefs, and might therefore have been passed on to Bactria and India independently of Greek imperialism.

    As fantastic animals of the sea, they were, in early Buddhism, supposed to safely bring the souls of dead people to Paradise beyond the waters. These motifs were later adopted in Indian art, where they influenced the depiction of the Indian monster makara, Varuna' s mount.

    Kushan contribution

    An early Mahayana Buddhist triad. From left to right, a Kushan devotee, the Bodhisattva Maitreya, the Buddha, the Bodhisattva Avalokitesvara, and a Buddhist monk. 2nd-3rd century AD, Gandhara.
    An early Mahayana Buddhist triad. From left to right, a Kushan devotee, the Bodhisattva Maitreya, the Buddha, the Bodhisattva Avalokitesvara, and a Buddhist monk. 2nd-3rd century AD, Gandhara.

    The later part of Greco-Buddhist art in northwestern India is usually associated with the Kushan Empire. The Kushans were nomadic people who started migrating from the Tarim Basin in Central Asia from around 170 BC and ended up founding an empire in northwestern India from the 2nd century BC, after having been rather Hellenized through their contacts with the Greco-Bactrians, and later the Indo-Greeks (they adopted the Greek script for writing).

    The Kushans, at the centre of the Silk Road enthusiastically gathered works of art from all the quarters of the ancient world, as suggested by the hoards found in their northern capital in the archeological site of Begram, Afghanistan.

    The Kushans sponsored Buddhism together with other Iranian and Hindu faiths, and probably contributed to the flourishing of Greco-Buddhist art. Their coins, however, suggest a lack of artistic sophistication: the representations of their kings, such as Kanishka, tend to be crude (lack of proportion, rough drawing), and the image of the Buddha is an assemblage of a Hellenistic Buddha statue with feet grossly represented and spread apart in the same fashion as the Kushan king. This tends to indicate the anteriority of the Hellenistic Greco-Buddhist statues, used as models, and a subsequent corruption by Kushan artists.

  • Maitreya, with Kushan devotee couple. 2nd century Gandhara.
    Maitreya, with Kushan devotee couple. 2nd century Gandhara.
  • Maitreya, with Kushan devotees, left and right. 2nd century Gandhara.
    Maitreya, with Kushan devotees, left and right. 2nd century Gandhara.
  • Maitreya, with Indian (left) and Kushan (right) devotees.
    Maitreya, with Indian (left) and Kushan (right) devotees.
  • Kushans worshipping the Buddha's bowl. 2nd century Gandhara.
    Kushans worshipping the Buddha's bowl. 2nd century Gandhara.
  • Kushan devotee couple, around the Buddha, Brahma and Indra.
    Kushan devotee couple, around the Buddha, Brahma and Indra.
  • The "Kanishka casket," with the Buddha surrounded by Brahma and Indra, and Kanishka on the lower part, AD 127.
    The “Kanishka casket,” with the Buddha surrounded by Brahma and Indra, and Kanishka on the lower part, AD 127.
  • Buddha triad and kneeling Kushan devotee couple. 3rd century.
    Buddha triad and kneeling Kushan devotee couple. 3rd century.
  • Southern influences

    Art of the Sunga

    Balustrade-holding Yaksa with Corinthian columns, Madhya Pradesh (?), Sunga period (2nd-1st century BC). Musee Guimet.
    Balustrade-holding Yaksa with Corinthian columns, Madhya Pradesh (?), Sunga period (2nd-1st century BC). Musee Guimet.
    Indian relief of probable Indo-Greek king, with Buddhist triratana symbol on his sword. Bharhut, 2nd century BC. Indian Museum, Calcutta (drawing).
    Indian relief of probable Indo-Greek king, with Buddhist triratana symbol on his sword. Bharhut, 2nd century BC. Indian Museum, Calcutta (drawing).

    Examples of the influence of Hellenistic or Greco-Buddhist art on the art of the Sunga empire (183-73 BC) are usually faint. The main religion, at least at the beginning, seems to have been Brahmanic Hinduism, although some late Buddhist realizations in Madhya Pradesh as also known, such as some architectural expansions that were done at the stupas of Sanchi and Bharhut, originally started under King Ashoka.

    This Sunga-period balustrate-holding Atalante[disambiguation needed] Yaksa from the Sunga period (left), adopts the Atalante[disambiguation needed] theme, usually fulfilled by Atlas, and elements of Corinthian capital and architecture typical of Greco-Buddhist friezes from the Northwest, although the content does not seem to be related to Buddhism. This work suggests that some of the Gandharan friezes, influential to this work, may have existed as early as the 2nd century or 1st century BC.

    Other Sunga works show the influence of floral scroll patterns, and Hellenistic elements in the rendering of the fold of dresses. The 2nd century BC depiction of an armed foreigner (right), probably a Greek king, with Buddhist symbolism (triratana symbol of the sword), also indicates some kind of cultural, religious, and artistic exchange at that point of time.

    Art of Mathura

    The Bodhisattva Maitreya, 2nd century, Mathura.
    The Bodhisattva Maitreya, 2nd century, Mathura.
    A Bodhisattva, 2nd century, Mathura
    A Bodhisattva, 2nd century, Mathura

    The representations of the Buddha in Mathura, in central northern India, are generally dated slightly later than those of Gandhara, although not without debate, and are also much less numerous. Up to that point, Indian Buddhist art had essentially been aniconic, avoiding representation of the Buddha, except for his symbols, such as the wheel or the Bodhi tree, although some archaic Mathuran sculptural representation of Yaksas (earth divinities) have been dated to the 1st century BC. Even these Yaksas indicate some Hellenistic influence, possibly dating back to the occupation of Mathura by the Indo-Greeks during the 2nd century BC.

    In terms of artistic predispositions for the first representations of the Buddha, Greek art provided a very natural and centuries-old background for an anthropomorphic representation of a divinity, whether on the contrary “there was nothing in earlier Indian statuary to suggest such a treatment of form or dress, and the Hindu pantheon provided no adequate model for an aristocratic and wholly human deity” (Boardman).

    Greek scroll supported by Indian Yaksas, Amaravati, 3rd century AD
    Greek scroll supported by Indian Yaksas, Amaravati, 3rd century AD

    The Mathura sculptures incorporate many Hellenistic elements, such as the general idealistic realism, and key design elements such as the curly hair, and folded garment. Specific Mathuran adaptations tend to reflect warmer climatic conditions, as they consist in a higher fluidity of the clothing, which progressively tend to cover only one shoulder instead of both. Also, facial types also tend to become more Indianized. Banerjee in “Hellenism in India” describes “the mixed character of the Mathura School in which we find on the one hand, a direct continuation of the old Indian art of Bharut and Sanchi and on the other hand, the classical influence derived from Gandhara”.

    The influence of Greek art can be felt beyond Mathura, as far as Amaravati on the East coast of India, as shown by the usage of Greek scrolls in combination with Indian deities. Other motifs such as Greek chariots pulled by four horses can also be found in the same area.

    Incidentally, Hindu art started to develop from the 1st to the 2nd century AD and found its first inspiration in the Buddhist art of Mathura. It progressively incorporated a profusion of original Hindu stylistic and symbolic elements however, in contrast with the general balance and simplicity of Buddhist art.

    The art of Mathura features frequent sexual imagery. Female images with bare breasts, nude below the waist, displaying labia and female genitalia are common. These images are more sexually explicit than those of earlier or later periods.

    Art of the Gupta

    Buddha of the Gupta period, 5th century, Mathura.
    Buddha of the Gupta period, 5th century, Mathura.
    Head of a Buddha, Gupta period, 6th century.
    Head of a Buddha, Gupta period, 6th century.

    The art of Mathura acquired progressively more Indian elements and reached a very high sophistication during the Gupta Empire, between the 4th and the 6th century AD. The art of the Gupta is considered as the pinnacle of Indian Buddhist art.

    Hellenistic elements are still clearly visible in the purity of the statuary and the folds of the clothing, but are improved upon with a very delicate rendering of the draping and a sort of radiance reinforced by the usage of pink sandstone.

    Artistic details tend to be less realistic, as seen in the symbolic shell-like curls used to render the hairstyle of the Buddha.

    Expansion in Central Asia

    Greco-Buddhist artistic influences naturally followed Buddhism in its expansion to Central and Eastern Asia from the 1st century BC.

    Bactria

    Statue from a Buddhist monastery 700 AD, Afghanistan
    Statue from a Buddhist monastery 700 AD, Afghanistan

    Bactria was under direct Greek control for more than two centuries from the conquests of Alexander the Great in 332 BC to the end of the Greco-Bactrian kingdom around 125 BC. The art of Bactria was almost perfectly Hellenistic as shown by the archaeological remains of Greco-Bactrian cities such as Alexandria on the Oxus (Ai-Khanoum), or the numismatic art of the Greco-Bactrian kings, often considered as the best of the Hellenistic world, and including the largest silver and gold coins ever minted by the Greeks.

    When Buddhism expanded in Central Asia from the 1st century AD, Bactria saw the results of the Greco-Buddhist syncretism arrive on its territory from India, and a new blend of sculptural representation remained until the Islamic invasions.

    The most striking of these realizations are the Buddhas of Bamyan. They tend to vary between the 5th and the 9th century AD. Their style is strongly inspired by Hellenistic culture.

    In another area of Bactria called Fondukistan, some Greco-Buddhist art survived until the 7th century in Buddhist monasteries, displaying a strong Hellenistic influence combined with Indian decorativeness and mannerism, and some influence by the Sassanid Persians.

    Most of the remaining art of Bactria was destroyed from the 5th century onward: the Buddhists were often blamed for idolatry and tended to be persecuted by the iconoclastic Muslims. Destructions continued during the Afghanistan War, and especially by the Taliban regime in 2001. The most famous case is that of the destruction of the Buddhas of Bamyan. Ironically, most of the remaining art from Afghanistan still extant was removed from the country during the Colonial period. In particular, a rich collection exists at the Musee Guimet in France.

    Tarim Basin

    "Heroic gesture of the Bodhisattva", 6th-7th century terracotta, Tumshuq (Xinjiang).
    “Heroic gesture of the Bodhisattva“, 6th-7th century terracotta, Tumshuq (Xinjiang).
    Head of a Bodhisattva, 6th-7th century terracotta, Tumshuq (Xinjiang).
    Head of a Bodhisattva, 6th-7th century terracotta, Tumshuq (Xinjiang).

    The art of the Tarim Basin, also called Serindian art, is the art that developed from the 2nd through the 11th century AD in Serindia or Xinjiang, the western region of China that forms part of Central Asia. It derives from the art of the Gandhara and clearly combines Indian traditions with Greek and Roman influences.

    Buddhist missionaries travelling on the Silk Road introduced this art, along with Buddhism itself, into Serindia, where it mixed with Chinese and Persian influences.

    Influences in Eastern Asia

    The arts of China, Korea and Japan adopted Greco-Buddhist artistic influences, but tended to add many local elements as well. What remains most readily identifiable from Greco-Buddhist art are:

    • The general idealistic realism of the figures reminiscent of Greek art.
    • Clothing elements with elaborate Greek-style folds.
    • The curly hairstyle characteristic of the Mediterranean.
    • In some Buddhist representations, hovering winged figures holding a wreath.
    • Greek sculptural elements such as vines and floral scrolls.

    China

    Northern Wei Buddha Maitreya, AD 443.
    Northern Wei Buddha Maitreya, AD 443.

    Greco-Buddhist artistic elements can be traced in Chinese Buddhist art, with several local and temporal variations depending on the character of the various dynasties that adopted the Buddhist faith. Some of the earliest known Buddhist artifacts found in China are small statues on “money trees”, dated circa AD 200, in typical Gandharan style (drawing): “That the imported images accompanying the newly arrived doctrine came from Gandhara is strongly suggested by such early Gandhara characteristics on this “money tree” Buddha as the high ushnisha, vertical arrangement of the hair, moustache, symmetrically looped robe and parallel incisions for the folds of the arms.” “Crossroads of Asia” p209

    Some Northern Wei statues can be quite reminiscent of Gandharan standing Buddha, although in a slightly more symbolic style. The general attitude and rendering of the dress however remain. Other, like Northern Qi Dynasty statues also maintain the general Greco-Buddhist style, but with less realism and stronger symbolic elements.

    Some Eastern Wei statues display Buddhas with elaborate Greek-style robe foldings, and surmounted by flying figures holding a wreath.

    Japan

    The Buddha, Asuka period, 7th century.
    The Buddha, Asuka period, 7th century.
    A Buddha in Kamakura (1252), reminiscent of Greco-Buddhist influences.
    A Buddha in Kamakura (1252), reminiscent of Greco-Buddhist influences.

    In Japan, Buddhist art started to develop as the country converted to Buddhism in AD 548. Some tiles from the Asuka period, the first period following the conversion of the country to Buddhism, display a strikingly classical style, with ample Hellenistic dress and realistically rendered body shape characteristic of Greco-Buddhist art.

    Other works of art incorporated a variety of Chinese and Korean influences, so that Japanese Buddhist became extremely varied in its expression. Many elements of Greco-Buddhist art remain to this day however, such as the Hercules inspiration behind the Nio guardian deities in front of Japanese Buddhist temples, or representations of the Buddha reminiscent of Greek art such as the Buddha in Kamakura.[3]

    Iconographical evolution of the Wind God.<br />
Left: Greek wind god from Hadda, 2nd century.<br />
Middle: wind god from Kizil, Tarim Basin, 7th century.<br />
Right: Japanese wind god Fujin, 17th century.
    Iconographical evolution of the Wind God.
    Left: Greek wind god from Hada, 2nd century.
    Middle: wind god from Kizil, Tarim Basin, 7th century.
    Right: Japanese wind god Fujin, 17th century.

    Various other Greco-Buddhist artistic influences can be found in the Japanese Buddhist pantheon, the most striking of which being that of the Japanese wind god Fujin. In consistency with Greek iconography for the wind god Boreas, the Japanese wind god holds above his head with his two hands a draping or “wind bag” in the same general attitude.[4] The abundance of hair have been kept in the Japanese rendering, as well as exaggerated facial features.

    Iconographical evolution from the Greek god Herakles to the Japanese god Shukongōshin. From left to right:<br />
1) Herakles (Louvre Museum).<br />
2) Herakles on coin of Greco-Bactrian king Demetrius I.<br />
3) Vajrapani, the protector of the Buddha, depicted as Herakles in the Greco-Buddhist art of Gandhara.<br />
4) Shukongōshin, manifestation of Vajrapani, as protector deity of Buddhist temples in Japan.
    Iconographical evolution from the Greek god Herakles to the Japanese god Shukongōshin. From left to right:
    1) Herakles (Louvre Museum).
    2) Herakles on coin of Greco-Bactrian king Demetrius I.
    3) Vajrapani, the protector of the Buddha, depicted as Herakles in the Greco-Buddhist art of Gandhara.
    4) Shukongōshin, manifestation of Vajrapani, as protector deity of Buddhist temples in Japan.

    Another Buddhist deity, named Shukongoshin, one of the wrath-filled protector deities of Buddhist temples in Japan, is also an interesting case of transmission of the image of the famous Greek god Herakles to the Far-East along the Silk Road. Herakles was used in Greco-Buddhist art to represent Vajrapani, the protector of the Buddha, and his representation was then used in China and Japan to depict the protector gods of Buddhist temples.[5]

    Temple tiles from Nara, 7th century.
    Temple tiles from Nara, 7th century.
    Vine and grape scrolls from Nara, 7th century.
    Vine and grape scrolls from Nara, 7th century.

    Finally, the artistic inspiration from Greek floral scrolls is found quite literally in the decoration of Japanese roof tiles, one of the only remaining elements of wooden architecture to have survived the centuries. The clearest ones are from 7th century Nara temple building tiles, some of them exactly depicting vines and grapes. These motifs have evolved towards more symbolic representations, but essentially remain to this day in many Japanese traditional buildings.[6]

    Influences on South-East Asian art

    Bodhisattva Lokesvara, Cambodia 12th century.
    Bodhisattva Lokesvara, Cambodia 12th century.
    Avalokiteshvara on the wall of Plaosan temple, Javanese Sailendran art, 9th century.
    Avalokiteshvara on the wall of Plaosan temple, Javanese Sailendran art, 9th century.

    The Indian civilization proved very influential on the cultures of South-East Asia. Most countries adopted Indian writing and culture, together with Hinduism and Mahayana and Theravada Buddhism.

    The influence of Greco-Buddhist art is still visible in most of the representation of the Buddha in South-East Asia, through their idealism, realism and details of dress, although they tend to intermix with Indian Hindu art, and they progressively acquire more local elements.

    Cultural significance

    Beyond stylistic elements which spread throughout Asia for close to a millennium, the main contribution of Greco-Buddhist art to the Buddhist faith may be in the Greek-inspired idealistic realism which helped describe in a visual and immediately understandable manner the state of personal bliss and enlightenment proposed by Buddhism. The communication of deeply human approach of the Buddhist faith, and its accessibility to all have probably benefited from the Greco-Buddhist artistic syncretism.

    Museums

    Major collections

    Small collections

    Private collections

    This page is based on a Wikipedia article

    Amphipolis.gr | «Buried gold "vein Amphipolis, Serres

    Μέσα στις επόμενες εβδομάδες θα εγκαινιαστεί η ακτοπλοϊκή σύνδεση Θεσσαλονίκης-Σμύρνης, He stressed the Marshal of Central Macedonia, Apostolos Tzitzikwstas, Speaking at the event "City Streets-cultural routes, organized by Region and the Regional Development Fund…

    At The Same Time, Mr. Tzitzikwstas spoke about reboot, in the next few days, Thessaloniki Tourism Organization, with another composition and flexibility in the operation of. Said, even, that the new NSRF will join the enhancement and restoration of the Western sea front of Thessaloniki.

    In that regard the tourist stream to the city, underlined that, as seen from the airport arrivals and overnights in hotels, a significant increase.

    As noted in the event, Central Macedonia has a lot to offer visitors who seek something more than the natural beauty and noted that Vergina, Mount Athos, Amphipolis, the Byzantine Monuments of Thessaloniki are a cultural treasure and “buried gold vein”, that might not be sufficiently exploited to attract tourists.

    The need for synergies, among the actors of culture and tourism, chrissa Zarkali pointed, museologist, contact the State Museum of Modern Art, hosting 1.277 Kostaki collection projects. He pointed out that cultural tourism can work for the benefit of all involved, However, as said, It is necessary a series of interventions on infrastructure, transport, the operating framework (e.g.. flexible hours) and competitive services.

    An attraction for many tourists is the Museum of Byzantine culture in Thessaloniki, He was awarded the 2005 as the Council of Europe's Museum. The head of the, archaeologist, 05 Tsilipakoy, He stressed that from the 2011 until the 2014 his traffic grew by 120% and White Tower, attached to the Museum at 135%.

    The journalist and writer, Christos Zafiris, He stressed that tourism is missing the strategic objective and the operators operate disjointed.

    Greeting at the event wrote, also, the Secretary General of Central Macedonia, John George, Voula Patoulidou and Sophia Mavridou, as well as the Chairman of the Macedonian Museum of contemporary art, Xanthippi Heupel.

    Source: ANA-MPA

    Amphipolis.gr | The modular structure of the monument on the Hill Kasta

    P9211254-0-

    THE TROPOS – THE CHRONOS – THE SIMEIOLOGIA-THE METRON-CONSTRUCTION OF THE MONUMENT:

    Dimitrios S. Dendrinos

    Emeritus Professor, Faculty of architecture and urban design, the University of Kansas, Lawrence, Kansas, United States of America. In residence, in the City of Ormond Beach, Florida, USA.

    Summary

    This work is considered an unexpected discovery, on the modular structure of the edifice that was revealed on the Hill Kasta in Amphipolis . Like all the big buildings of antiquity, shown here with the use of relatively simple algebraic relations, that this temple / Monument / Tomb was built with an underlying structure that connects the modular content (the entafiasmenoys) in the heavens, and specifically in the night sky ,where can become the (then) Earth observation

    Has been detected using a rule ,an astronomical constant, built into the design of the monument of this . This measure appears in both outside and in with marble cover the interior walls. This fact shows that the position of the entrance of the temple / Monument / Tomb identifies a specific day of the year and even more precise, a special, 6-a day at that particular day.

    Extra, the northeastern (BA) entrance to the South-West axis may demonstrate an astronomical alignment. From this point of view, This structure is a unique architectural creation. The modular design of the, the modular group, among the numerous other ,with the same principles found in this, the "golden section" rule seems to regulate the height at Caryatids and to their base.

    However, This unit of the temple / Monument / Tomb on the Hill Kasta , employed the experienced architect ,It was much more elaborate and complicated by a principle of symmetry according to a simple rule.

    Η εργασία αναρτάται εδώ αυτούσια στην Αγγλική γλώσσα στο τέλος μπορέιτε να την διαβάσετε σε μετάφραση.

    The modular structure of the tomb at Kasta Hill.

    Dimitrios S. Dendrinos

    Emeritus Professor, School of Architecture and Urban Design, The University of Kansas, Lawrence, Kansas, USA. In residence, at the City of Ormond Beach, Florida, USA.

    December 4, 2014

    Email address for comments: cbf-jf@earthlink.net

    Abstract
    In this paper an unexpected discovery is reported, regarding the modular structure of the edifice uncovered at Kasta Hill. Like all great buildings of antiquity, it is proved here by using relatively simple algebraic relationships, this temple/monument/tomb to was built with an underlying modular structure connecting it (and its occupant) to the Heavens, and the night sky. The use of an astronomical constant is detected, embedded in its design modulus. This modulus is shown on both the exterior and the interior walls ' marble coverage. It demonstrates that the location of the temple/monument/tomb's entrance identifies a particular day of the year and even more accurately, a particular 6-hour segment of that day. Moreover, the entrance North-East to South-West axis may point to an astronomical alignment. In this regard, this edifice is a unique architectonic creation. In its complex modular design, among the numerous modular principles found in it, a "golden section" rule is shown to govern the Karyatides height to their base. However, the module of Kasta Hills temple/monument/tomb which the skilled architect employed was far more elaborate and complicated than a simple rule based symmetry principle.

    Introduction.
    This paper reports a discovery involving an astronomical connection built into the modular structure of a recently uncovered tomb-monument at Amphipolis, in the Northern Region of Macedonia, Greece. The monument at Kasta Hill has a symmetry in it, far more complex than a simple "golden rule" principle. Its built-in structural code is very complex, and this paper is a first attempt to decode it. By even simple analysis of its modular structure, many topics emerge in need of further study. They all point out the level of mathematical and engineering sophistication characterizing the architect who built this tomb. He must have possessed advanced knowledge of algebra, engineering skills, imaginative architectonic principles and astronomical knowledge. Such skillful amalgamation of conceptual design and engineering technique is rarely encountered in monumental Architecture.

    The complex module used by the architect of the monument, both inside and outside this marvel of architecture and engineering needs careful analysis, and some of its embedded relationships are still to be discovered. This paper examines and identifies exactly only certain components of the complex three-dimensional module, the KANABOS (or grid) used by the architect: the module ' length and its width but not its height completely – due to lack of data. Thus the findings will need further verification as more data become available. The undoubtedly significant symbolic aspects of the entire module are not addressed at any length here, but are left to the interested reader.
    A few notes must be made at the onset. The monument has a complex modular (grid) structure. The module's length is the key in identifying the three-dimensional structure of both the module and the building. It permits us to penetrate into the architect's approach and objectives in the design of this edifice. We do have enough data from the archeological team at present to accurately define the length of the module, enough data to approximate its width, but not enough to compute its exact application for all heights inside the monument, with material that has been made public. It's apparent now, as a result of this study, that the module's length is used both inside the tomb as well as outside, and it acts as the cornerstone in the monument's construction. Accurately estimating the grid's length allows us to appreciate the architect's aesthetics, potential symbolism, as well as his overall construction objectives.
    A persistent question, since the tomb's discovery, has been why the architect built such a huge tomb-mound with a 497 meter perimeter, only to house an edifice just 4.5 meters wide and about 25 meters long? It becomes apparent by this study that the architect's main objective was not so much to achieve grandeur by building such a gigantic by any account monument. Instead his aim was to design a structure that would replicate the annual cycle and within it pinpoint a specific calendar date and time of the day, possibly related to a significant event in time for the person this monument-tomb was intended. Most likely, the ritual element of an annually repeated right was the architect's key objective. There is an impressive symmetry both inside and outside the monument. However, symmetry was not the ultimate aim of the architect in building this structure. It was something quite far more complex and elaborate than symmetry. It was an attempt to establish a forum for an annual observance of an event, by gazing at specific point into the Heavens at a particular date and time.
    Discussion


    The Outside Modulus.
    The approximation. We are told by the archeological team conducting the excavation at Kasta Hill that the circular (in floor plan, elliptical in actuality) tomb's perimeter is 497 meters long. The estimated perimeter length should have been made available with at least two decimal digits approximation – an accuracy demanded by the edifice's modular structure. However, even without this required level of accuracy, we can fruitfully work with this "497 meters length" rough approximation. For details, see the archeological teams photographic evidence in

    The ground's slope. There is a North-South ground slope in the Hills surface area taken up by the tomb's perimeter wall. The precise slope, ψ, has not been made public. Casual look at some photos of the perimeter's marble wall covering (clad – ORTHOMARMAROSH) made available lead to the conclusion that this ground slope isn't significant relative to the perimeter's length. Obviously, on a natural Hill, one cannot expect a smooth and leveled surface. Equally unlikely is the fact that all contour curves of a particular elevation (this Hills floor stands approximately 85 meters, on the average, above sea level at present) would form perfect circles or ellipses. Nature doesn't offer us such luxury. Engineers have to use creative means in order to obtain appropriately leveled-bottom ditches to achieve smooth contour curves to their liking. On top of this difficulty, the architect needs to provide escape routes with appropriate slopes to channel water runoff, capable to handle waterfall conditions prevailing in the area. The manner in which this complex undertaking is accomplished, indicates the level of sophistication characterizing construction and its architect and engineers ability to handle and place a large in scale building in its natural sites setting.

    The perimeter wall. Six parallel layers of masonry compose the exterior wall's structure, comprising six rings, resting on a ground ditch dug by the edifice's engineer. The wall follows the ground's slope. In ground ring A is composed of limestone. Overlaying rings B, C, D, E and F are marble clads, covering layers of limestone, and defining the visible section of the exterior perimeter wall. Rings B, C, D are made out of the marble stone type most extensively used in the monument's internal and external structure and of central importance to this analysis: a marble stone with dimensions, length (L) 1.36 meters, height (H) .19 m, and width (W) .72 m lies either transversely against the limestone or face up. Rings B and D's marble stones are anchored inside the limestone slabs behind them, exposing their length and height to the wall's surface (that is a surface 1.36x. 19), lying flat on their width (.72). Ring C exposes its length and width to the wall (surface 1.36x. 72), lying on its height (.19). Above ring D lies ring E which has a length of 1.36 (and an undefined height) as well. Above it lies ring F, the wall's cornice, also of an undefined height; however, the oscillating pattern of the cornice top indicates a frequency of half the 1.36 modular length (.68 m). Rings B, D, F are aligned, and so are rings C and E, at midpoint of the stones above and below. The archeological team has said that the exterior wall has a total height of approximately three meters; however, this approximation doesn't allow precise estimate of the rings ' E and F height. Ring B (the visible "base" of the marble clad) has no relief. Rings C, D and E have a relief with an approximate 3 cm margin in all four of their visible sides.
    All five of the visible exterior wall's rings, B, C, D, E, and F have identical lengths. It is concluded that this length size must be the cornerstone of the building module. This length is encountered inside the edifice as well (see section below). In fact, not only the stones ' length is repeated inside but also the cornice pattern as well at the EPISTYLIO above the Karyatides (or Klodones, or Kores, or Mainades – what these figures exactly represent isn't a topic of interest here) in chamber #1. Continuation of the length-wise as well as thematic patterns from the outside into the tomb's interior punctuates the continuous flow in motion the architect intended to ascribe to the monument, demonstrated by the ubiquitous presence of the module at the inside and outside spaces.

    Before we take a look inside the edifice, a remark is needed: through visual inspection of photos, one recognizes that the outside marble covered wall shows a slight incline towards the Hilltop. It does so obviously to provide more support for avoidance of soil erosion (at the artificially shaped mound), and for statics related reasons so that it can better withstand pressure from the land mass behind and enclosing it. Let's indicate this inward towards the vertical line incline by the angle Oh. We shall mention it again, in reference to another angle of concern here, the ground's slope ψ.
    Further, a note must be made regarding the entrance to the tomb and its connection to the outside wall. At the current state of the tomb, theres a staircase leading to the entrance, where the diaphragmatic wall with the two Sphinxes on top is located. The staircase starts at the very top level of the perimeter wall. This indicates that at some point the perimeter wall was buried, and the staircase made out of limestone was added. Since no architect would build such a staircase (leaving unprotected the entrance from the weather conditions like rain, snow, flash flooding, etc., and from unwanted visitors), it must be concluded that at some point well after the perimeter wall and the interior marble clad were added to the tomb (the tomb itself possibly made at some even prior time period) and for some reason which is not the subject of this paper, a decision by some entity was made to bury the perimeter wall and build the staircase. For this paper, the fact of interest is that the perimeter wall's base and the entrance to the tomb are at about the same level (possibly counting a slight incline towards the entrance for drainage purposes). It also is of import here, that when the marble clad was completed, it was done inside and outside at the same time period, and both are in a spatial continuum. More details on this part of the tomb's construction are forthcoming in a paper by the author.

    The Inside Modulus.
    The Karyatides base. When the two Karyatides were revealed to us by the excavating team, we were told that their rectangular prism base was iii. 36 meters in length, 1.40 meters in height, and .72 meters in width

    In that reference other measures and photographic evidence released to the public is also shown. Of particular importance here is the LENGTH, the 1.36 meters measurement. It should be noted, however, that all these are measurements given to us from the archeological team. We don't know how accurate they are, and if they have a significant digit at the third decimal level. In any case, there will be used here AS IF they are accurate. The base of these two Karyatides is the grounds on which this analysis is itself fundamentally based. It provides very clear evidence to set up the module used by the monument's architect.

    The Karyatides base. First of all, even a casual look at the above photo from the Karyatides ' base reveals that the architect of the monument did NOT use the "golden section" rule and its ratio ϕ, as a rule to design this base. It was certainly not done due to ignorance of the "golden section" proportions. In fact, we know he must have known the golden rule quite well, since he used it, as we will see a bit later. It will be claimed that the architect did not intend to use it here at this base, because the architect wanted a more complex modular structure for his edifice.
    Let's take a close look at this base the two Karyatides stand on. Symmetry issues regarding the overall arrangement inside the tomb will be explored very synoptically later, as the emphasis here in this paper is the derivation of the module and not aspects of symmetry in the structure.

    Each Karyatida's base consists of four distinct layers. We will designate from the floor up these layers as, Layer A, B, C and D. Layer A is made of a single marble stone, layer B consists of two marble stones, layer C from a single marble piece, and as is also finally D's quite thin layer on which the Karyatides feet rest.

    The exact derivation of each layer and stones three-dimensional measures requires that from the totals offered to the public, the various sections ' measurements be derived.

    From analysis of photographic evidence in the above reference, it is obtained that the following proportional relations hold as far as the four layers ' height is concerned: let h be the unit of measure for height, associated with the height of layer A; then it is observed that 2h is the height measure for layer B, h/2 is the corresponding measure for layer C, and h/6 that of layer D. Since we know that the total height is 1.40 meters, it follows that

    h + 2h + h/2 + h/6 = 1.40 (1)

    From the above we obtain that h =. 38 meters. Thus, layer A has dimensions length (L) 1.40 meters, height (H) .38 m, width (depth) (W) .72 m. Theres a recess of about 4 centimeters where layer B rests on A. Layer B's height is tox. 38 =. 76 meters. The height of layer C, lying directly on top of layer B, is .19 m; whereas finally layer D's height is .06 m. We thus identify h is the HEIGHT of the INTERIOR MODULE. All heights in the base are multiples of this measure h. We don't have a complete view of the interior clad, so whether this measure (h =. 38 m) is the base for all interior heights needs to be further checked once more evidence becomes available.
    The Karyatides height (2.27 m) is a multiple of the height element of the internal module (.38), since 2.27/. 38 = 6.

    Now, we turn our attention to the frontal length component (given to us by the archeological team and estimated at exactly 1.36 meters) of the three dimensional grid found in the monument. Estimating the frontal lengths L of these layers is straight forward as far as layers A, C and D are concerned (1.40, 1.36, and 1.33 m correspondingly). Estimation of the two stones ' length in layer B requires finding their proportional relationship; by visual inspection, and if we designate as x the frontal length of the stone to the right and by y that on the left, and z as their sum, it is derived that:

    x + y = 1.36 (2)

    and / (x + and) = .68 (3)
    From the above system of two algebraic equations we derive the dimensions of the two marble stones of layer B, as:

    x* = .44 m and y * = .92 m (4)
    Clearly, these frontal lengths for the two marble stones of layer B do not obey a "golden section" rule. The right hand side stone is slightly less than half in length than the one on the left – thus clearly not obeying this particular rule. The reason why these two particular lengths were picked by the designer of this edifice will be shown in a bit, below.
    Golden section. It is recalled that the "golden rule" or "golden ratio" or "golden section" is such that if length A and length B are such that: (A B)/A = A/B = ϕ = 1.6180339887... where ϕ is an irrational number, then A and B are said to be linked by a "golden rule". Such a link has attracted much attention in both mathematics and the arts and Architecture in particular. The question though is, does it apply to this particular monument? And if so, what is the key length "module" or "base" (for either A or B) here in this tomb? Furthermore, how accurately an architect replicates this ratio is an indication of the architect's both mathematical and construction sophistication. In this case, the architect achieved this approximation at a remarkable for his era level. Although the two rectangles at the basics layer B do not obey this particular rule, the Karyatides ' height (2.27 meters) to the total base height (1.40 meters) does obey the golden section rule 2.27/1.40 = 1.6214 with an approximation of 3/10 's of one percent. Thus we know the architect was very familiar with this rule. If the architect of the monument wanted to use the golden rule at the Karyatides ' base, then the right rectangle's base length (x) would be .53 m, whereas the left rectangle's base (and) would be y = 1.36-. 53 =. 83 m. But such clearly isn't the case. Instead, another relationship was in the designer's mind when picking these two lengths, x* and y * as we will see momentarily.

    The MODULUS. To complete the size estimation of all marble stones of the Karyatides ' bases we now have: layer A single stone (H: .38 m, L: 1.40 m, W: .72 m); layer B stone to the right (H: .76 m, L: .44 m, W: .68 m) and stone to the left (H: .76 m, L: .92 m, W: .68 m); layer Cc's single stone (H: .19 m, L: 1.36 m, W: .68 m); finally, layer D's thin stone dimensions are (H .06 m, L: 1.33 m, W: .68). Stones in layers B and C, on their exposed surfaces have a relief with a frame of about 3 cm.

    The real workhorse of the building, in terms of marble coverage is the stone of layer C. This stone has been used extensively both on the interior, but most importantly the exterior wall's clad. It is the stone which links the interior with the exterior, as the building flows from the inside onto the outside. The archeological team reported that the interior clad extends onto the exterior. This can also be verified by the photographic material made public, and available in the above given reference.

    Let's call z * the sum of x* and y * (z * = x * y * = 1.36 meters) of the layer B's stones frontal length; it is the frontal length as well of the stone at layer C. Length z * is thus the modular frontal length basis, with its depth wise (or width) length being about half of it (.68 m). Consequently, THIS z * IS THE INTERIOR LENGTH MODULUS IN TWO DIMENSIONS.

    Now, the question as to why did the architect decide to have these two particular length sizes (.44 m and .92 m) so prominently visible at the Karyatides ' base becomes apparent. The engineer inside of the man probably dictated this split given the weight of these stones. But theres also the architect side of this man that offered the answer, since these two lengths exactly depict the two sizes of the module. It is recalled that z * = x * y * =. 44 . 92 = 1.36 meters; and their difference y *-x * =. 92-. 44 =. 38 meters = h *. Thus, their sum depicts the frontal horizontal module, z *, whereas their difference depicts the height of the module, h *. In these two relationships the architect's genius is shown.

    One might be motivated to study the connection of the modulus length (1.36), width (.68) and height (.38) to actual measures used back then. It is left for future research. Left to future research is any connection of this modular structure to the double-leaf marble door and the mosaic floor of chamber #2. When more accurate measurements become available from the archeological team, this measure will need to be also more closely checked. Let's now go back to the outside of the tomb.
    Back outside the tomb: the astronomical linkage.
    The circle and the ellipse of the perimeter wall. We now know that the outside perimeter is an actual ellipse; but on vertical projection (that is as a floor plan, or KATOPSH) it is a "perfect circle" (according to the archeological team, that has not made available any accurate, digitally obtained site plans, floor plans or anything equivalent to inform the public). Thus we will use the "perfect circle with a 497 meters perimeter wall "phrase as a flat plane (perpendicular to its axis) cutting a right circular cylinder with a radius, R, of 79.14 meters or with a diameter, (2R), of 158.8 meters (assuming that is, thats what they meant, when they said the tomb is a perfect circle with a perimeter of 497 meters). We will designate as P the actual elliptical perimeter length, so that obviously: P *

    P * ≈ P. The angle to the horizontal plane (that is, a plane perpendicular to the cylinder's axis) this particular slope has is designated as ψ. Obviously, P is a function of both P * and ψ. The actual perimeter length of an ellipse P is obtained by a complicated function, based on ψ, and are, which isn't needed here for the purposes of this paper.
    As discussed already, all marble slabs visible on the surface of the wall have an equal length, and this length must be equal to z * (that is exactly 1.36 meters.) This z * is in effect the tomb's EXTERIOR HORIZONTAL MODULUS. This module is directly linked to the length of the Karyatides ' base and thus the interior horizontal modulus.
    The Major finding. Since the monument is encircled in all its (circular projected perimeter P * = 497 meters) by marble slabs of this length, then the perimeter's length (projected as a circle by a flat plane perpendicular to the cylinder's axis) must be (exactly) divided by this outside modulus. And indeed, it is; and with a big surprise in store.

    If one divides the total length of this perimeter P * by the length of the exterior modulus z * one obtains the total number of marble slabs needed to cover the total perimeter wall in each row of slabs N *:

    N * = P * / z * = 497 / 1.36 = 365.44 (5)
    In effect, this number N * is off the grid by a length of .5984 meters (.44×1.36=. 5984 about 60 centimeters in an almost half a kilometer long perimeter). It could be that this is the difference between the actual elliptical perimeter of the tomb P, and the projected circular perimeter P * plus any space needed to attach and seal the slabs. However, theres far more to this length than simply that slack.
    N * is a remarkable number with an astronomical connection. We now know from precise astronomical measurements that there are 365.22 days in a year. The architect approximated with N * through his module an astronomical number. The days-in-a-year number produced by the monument's architect is six hundredths of one percent (0.0006) different than the actual astronomically derived number. One may comfortably say, it's an exact estimate. This astronomical link is quite informative, and in effect stunning, given the age of the monument. Humans have constructed monumental structures obeying the daily cycle, the lunar cycle and this monument was built obeying one significant element of the annual cycle, the whole calendar year. Here, in effect, each marble stone on the periphery wall corresponds to about one degree, in an approximate 360 degree circle.
    Since this finding points directly towards a link involving an astronomical number of significant import; and since the architect designed his module so that he was fully aware of this connection (the chances that this N * is a random event are next to zero); one needs to ask whether there is more to this finding. Obviously, it is now time to explore its significance and symbolism further in reference to this particular monument. For example, is the location of the entrance significant, given that the place it occupies corresponds to particular days of the year, if one assumes that some point on the perimeter (say, the Northern most point) corresponds to the first day of the year, if the years flow follows a clockwise motion? This interpretation would point to an entrance at the June-July period, depending where exactly the entrance is. It would point to a late May early June date if the flow is counterclockwise. This may offer some additional clues as to the intent of the tomb's architect, the purpose of the monument, and possibly some extraordinary date in the life of its occupant. However, this symbolic aspect of the tomb's external structure will not be done here. The need to evaluate more the accuracy of this extraordinary finding requires that we take a closer look as to the sizes of the circle and the ellipse at hand, and their material differences.
    The circle and the ellipse examined closely. A number of points must be kept in mind; first, the above equation (5) is a calculation based on a vertical projection of a right circular cylinder on a flat surface and its perimeter P *. It is not the actual perimeter P of the actual elliptical shape surface, obtained by a flat plane cutting the axis of a right circular cylinder at an angle ψ. So, the question is raised as to whether this difference is immaterial to our finding, that is in other words, whether the finding about N * applies to ppp as well. In short, the answer is yes.
    Of course, P is a function of the angle ψ, and put more formally:

    P = f[ψ,R] (6)
    Where, P is the length of the ellipse, and R is the cylinder's radius; F[ ] stands for the algebraic expression "function of". As already mentioned, P * and P are about the same for all practical purposes. This claim though should and can be demonstrated quite easily. Since the elliptical plane (that is, the plane which contains the ellipse) intersects the cylinder it follows that the diameter of the ellipse's short axis is identical to the circle's diameter. On the other hand, the ellipse's long axis is greater than the circle's diameter (but by not much in this case). To prove this, let's designate by ϵ the difference between (P * – P). By the Pythagoras ' theorem, the ellipse's longest axis must be the positive square root of the square of the circle's diameter plus the square of ϵ. Given that the square of the 158.28 (the length of the circle's diameter) is 25,052.36; to obtain an order of magnitude in the length of P equal to one meter (keeping in mind that each stone is 1.36 m in length) one would need an ϵ of 17.8 meters. Such is clearly not the case, as the height differential between the northernmost point of the tomb's exterior wall and the southernmost point is far less than that. Thus, the elliptic surface still remains extremely close to a circle, and a circle for all practical purposes. This can be verified by a casual look at Kasta Hills google earth map.
    The archeological team hasn't produced for us the angle ψ, the North to South slope they announced on November 29th, 2014; thus no exact calculations of the actual length P in equation (3) can be obtained). One however inevitably wonders if theres a connection between the angle Oh discussed earlier and the angle ψ. A hint is that they are identical, another speculative statement, a conjecture one might say, which needs research. Thus, conjecture (c. 1) is:
    Ψ = ω ? (7)

    The slab's seamless attachment. The seal between the slabs (both horizontally and vertically) is so thin (due to the excellent work done on smoothing the surfaces of the marble slabs) it's almost invisible. However, it's there and does take some space, of course. Over a set of 365 stones, it becomes of some import. Let's call this total slits ' length ᴧ, involving N * slits, each slit obviously extending for a length of λ = ᴧ/N *. At this point one must remark at the masons ' precision in crafting each stones side, with an appropriate depth-wise angle by almost half of a degree on each side of every slab, thus fitting 365 slabs into 360 degrees ' circle (a precision which robots accomplish these days). By this construction, the architect of the monument accomplished a unique feat; each of the stones in all Rings of the perimeter wall correspond both (in a set of stunning approximations) to a day (of a year) and a degree (in the 360-degree approximate) circle. In attaining this dual function for each stone we can detect the desire of the architect to build such a huge perimeter to the tomb/temple/monument, not in seeking grandeur due to size.
    The total length taken up by the slits between slabs must have been insignificant given the perimeter's length (about 497 meters using 365 slabs) but not zero. How its likely magnitude affected the tomb's exterior design will be addressed a bit more in the next section. Although extra length is required to be covered due to the actual elliptical shape of the perimeter, the area required to attach and seal all of the 365 slabs must have been compensated enough by the leverage the ellipse offered for all four rows-rings that are circling the perimeter wall. More precisely, the actual difference between P and P * must not have been such that the calculation in equation (5) was materially affected given a relatively small (l) in sealing and attachment length between slabs. However, an exact estimation of ψ would allow someone to verify this conjecture. Thus conjecture (c. 2) is:
    N *[z * * + (l)] -> N *[z *] ? (8)
    It implies that the N * is materially unaffected by the horizontal slit size among the clad of 365 marble stones. The magnitude = 365(l) offers an estimate of the total length taken up to seal adjacent marble stones in each Ring.

    The entrance
    The modular size of the entrance. We are told that the net (or clear) width inside the monument/tomb, that is the distance between the two parallel marble coverings of the side walls (internal clad, or ORTHOMARMAROSH), is approximately 4.50 meters. The tomb doesn't narrow or widen as one moves inside it, the width remaining constant in all three chambers. This width implies that the monument's entrance, leaves a perimeter length equal to 497-4.50 = 492.5 meters. This is an opening corresponding to three stone lengths plus a quarter of a stone. In daily counts, it represents three days and six hours.

    The margin of error. By looking at it from a slightly different angle, the opening between the two Karyatides ' marble covered rectangular prisms (their two bases) is 4.50-2×1.38= 1.74 meters. This represents a distance of one slab (1.36 meters) plus .38 meters. The extra 38 centimeters correspond to about a quarter of a slab's length and a length approaching the x* base of the internal modulus, off only by about a few centimeters. Given that the 4.5 meters width is an approximate size given to the public by the archeological team, it is safe to argue that indeed the width of the tomb inside obeys the interior length modular size z * as well. Moreover, the extra centimeters not accounted for may provide an upper bound to the quantity mentioned earlier. Adjusting for this quantity per marble stone, the entrance would obey exactly the three days and six hours space, as discussed.

    The astronomical linkage expanded. The entrance of the monument is located at a point slightly towards the SW; the exact location has not been announced. It is not known where exactly North was pointing back then, but astronomical research reveals that the North Pole (the axis of Earths rotation) has been wobbling over the centuries. For sure, 23 centuries ago the North Pole was at a slightly different position than todays northern most direction. Precisely computing the North back then, would more accurately identify the specific days of the year this entrance meant to depict, assuming that North was the beginning of the year, depicting January 1st.

    Of course, different interpretations might exist, if for instance East (or West or South) were taken as the annual commencement or anchor day. Moreover, one could consider that any of the points corresponding to the ancients ' ritualistic observances (Winter and Summer Solstice, or the Spring and Fall Equinox) were the corresponding by the marble slabs starting or anchor points for the 365 days string of marble stones. So the orientation of the entrance on the current NE-SW axis could correspond to such astronomical alignment. Finally, the entrance of the monument could point towards specific Constellations or high in magnitude and brightness stars of particular import to the religious customs of the space-time under consideration, as they appear on the sky at particular dates of the year. The topic of astronomical alignments in major monuments of antiquity is a major subject of research, particularly for the Egyptian Pyramids of the Giza Plateau, see for example Anthony Fairall's treatise: http://www.antiquityofman.com/Fairall_Orion_precession.html
    However a more complete treatment of this topic is left for further research. Such research must combine this entrance alignment with other symbolic components found inside the tomb, like for example the motion by the chariot in the mosaic of chamber #2. One might be motivated to imagine pivoting specific stones on the outside wall, or specific points in the cornice ' oscillatory pattern, the architect planned to erect statues corresponding to specific persons/deities of import at those particular days of the year. A public calendar of sorts.
    The date and time depicted. Assuming a clockwise motion and the current North as the beginning of the calendar depicted by the 365 marble stones of the exterior wall (something which seems to be the most likely case and the simplest scenario here), the entrance does depict three days and the first six hours of that day in late June and early July. These days and hours may had been connected to some religious observances 23 centuries ago, or to the time of the year the occupant of the tomb died (or was born, or something of significance happened to his/her life). Such symbolic interpretations however, are left to the interested reader.
    Conclusions.
    A first and preliminary effort was undertaken to de-code this very sophisticated monumental structure. First, a modulus was produced for the tomb, which replicates precisely both the interior and the exterior marble clad of the tomb's walls. This three-dimensional modulus was shown to be 1.36 meters in length, .70 meters in depth, and .38 meters in height (although the last measure is in need of further confirmation). The grid is found to apply in both the interior's four layers of stone found in the Karyatides ' bases, and the exterior wall's six Rings of parallel and overlaying stone coverage.

    Second, it was found that the Karyatides's height (2.27 meters) relative to their base ' height (1.40 meters) obeys the "golden section" rule.

    Third, the central finding of this research, was the discovery that the architect of the tomb had devised an overall tomb modulus which embeds in it an astronomical constant. Through its exterior lengthwise modular manifestation the architect links the monument to the annual cycle. Specifically, four Rings of marble stone on the monument's exterior wall, each containing exactly 365 stones of marble connect this monument to the Earths heliocentric motion. This connection is achieved with an extraordinary approximation. Specifically, the architect's estimate (365.44 days) differs from the actual (365.22) by a stunning for the era in question miniscule variance. Whereas, the exterior module shown on the monument's marble clad wall was found to depict days, the interior module (through the monument's entrance) was found to depict a quarter of a day (that is, a six-hour interval). The associated symbolism in combination with the entrance orientation must be further explored.

    Finally, the paper produced a conjecture (c. 2): is there is a connection between the leaning of the exterior wall by an angle Oh and the slope of the ground picked up by angle ψ? It is suggested that such connection does exist; when more data become available, it is expected that the conjecture will hold. As the tomb is positioned at an angle to the radius at the entry point, ρ, one further wonders about the connection of that angle to the two angles, Oh and ψ. The papers third and final conjecture (c. 3) is:

    ρ = ω + ψ ? (9)

    This monument is a treasure trove of researchable topics, like all great works of Art and Architecture. Its sheer size should not be what must attract attention to it. Rather, it was shown here, it is its sophistication that ought to matter when analyzing it. Within a broader framework, this 4th century BC monument at Amphipolis should rank high in the Worlds hierarchy of monumental Architecture. Complexity in its underlying design structure is unparalleled in the history of temples, monuments, or tombs, as this edifice seems to combine all three categories ' functions through a complex structural code: its module.

    Acknowledgments. The author wishes to thank Panagiotis Petropoulos and Effie Tsilibari for translating parts of this paper into Greek and for very helpful comments.

    Latest revision: 7:15 PM US EST, December 12, 2014

    This paper was written during the month of November 2014. It is based on information made public as of November 29th 2014.

    TO FOLLOW ARE THE WORK METAFRASMENI IN ENGLISH TRANSLATION WITH THE HELP DIADIKTYAKIS AND RELATIVE EKFRASTIKI CORRECTION

    TOPOTHETITHIKAN PHOTOS BY ARCHAIOGNWMWNA-THE TRANSLATION MAY BE EKFRASTIKA CONTAIN ERRORS AND TECHNICAL ASAFEIES BY WAY OF DIADIKTYAKIS TRANSLATION- FOR ACCURATE UNDERSTANDING OF TERMS YOU CAN THE READ IN ENGLISH IN ANWTHEN TEXT

    Introduction.
    This document mentions a discovery based on one Astronomical connection built in modular structure of apokalyfthentos Tomb-Monument recently in Amphipolis, in the northern part of Macedonia, in Greece. The monument on the Hill Kasta has a symmetry in this, much more complicated than, What a simple beginning with the "golden rule". Built-in structural constructions ,the "password" of the monument is very complicated, and this work is a first attempt to decode.

    With even simple analysis of modular structure of, several themes emerge and require further study. All indicate the level of mathematics and engineering sophistication that characterises the architect who built this grave. You must possess advanced knowledge of algebra, engineering skills, imaginative architecture principles and astronomical knowledge. Such a skillful merger of conception and the technical mechanics rarely encountered in monumental architecture.
    The section on complex used by the architect of the monument, both inside and outside this, the miracle of architecture and engineering needs careful analysis, and some of the built-in components and their relationships are something that must be discovered . This paper examines and identifies exactly only certain components of three-dimensional cluster of unit, the KANABOS (or grid) mathematical and not only relationships used by the architect, IE module ' length – width of, but not the height of (completely) – due to lack of information. So, the conclusions will need further verification when more data is available.
    The unquestionable important symbolic aspects of all of the unit (the Metron ) not directed at only one specific meaning here, but left to the interested reader.

    Some notes that need to be done at the beginning.

    The monument has a complex modular (network) structure. The concept of "unit" is the key for determining the three-dimensional structure of both the unit itself but also of building . Allows us to penetrate someone to approach to the objectives of the architect in designing this edifice.

    We have enough evidence from the archaeological team at the moment who can fix someone with precisely the unit length , enough data to reach the width of, but not enough to calculate the accurate implementation of all heights within the monument, with the material that has been made public. It is obvious now, as a result of this study, that the unit of length used both inside and outside of the Tomb, and acts as the cornerstone in the construction of the monument. Accurate estimation of the length of the network allows us to appreciate the aesthetic of architect, the potential symbolism, and construction of objectives.
    A persistent question, Since the discovery of the Tomb, It was because the architect built a huge burial mound with perimeter 497 measures, only to House an edifice once 4,5 meters wide and about 25 measures; It becomes apparent from this study that the main objective of the architect was not so much to achieve greatness by building with such a giant in every sense monument. Instead his goal was to design a structure that will replicate the annual cycle and within it to identify a specific calendar date and time of day , likely to be associated with a major event in time ,for the person who constructed the tomb and monument-this was intended. The most likely, the ritual item of a repeated annually as a rite was the main objective of the architect.

    There is a striking element is the symmetry both inside and outside the monument. However, symmetry was not the ultimate goal of the architect for the building of this structure. It was something much more complex and sophisticated than a symmetry. It was an attempt to create a forum for the annual observance of an event, looking at a specific point in the sky at a specific date and time.
    The Outside ' Measure '
    The approach . We are told by the archaeological team conducting the dig at Hill Kasta that perimeter of the circular (in top view, elliptical in fact) the Tomb has a length of 497 measures. Estimated perimeter length had to be placed with at least two decimal digits to access – an precision required by the construction of modular structure. However, even without the required level of accuracy, We can work constructively with this “497 measures of length” rough approximation.

    Slope . There is a gradient North-South soil on the surface of the Hill taken by the perimeter wall of the Tomb. The exact slope, ψ , has not been made public. -Simple look at some photos of the marble walls of the perimeter (clad – ORTHOMARMAROSH) available leads to the conclusion that this slope is not significant in relation to the length of the perimeter.

    Apparently, in a natural Hill, one cannot expect a smooth and flat surface. Equally unlikely is the fact that all the curves in the contour of a particular level in elevation (floor standing around this Hill 85 measures, on average, above sea level at present) will form perfect circles or ellipses. Nature offers us no such luxury. Engineers must have used creative means, in order to take appropriate leveled ground and ditches to achieve smooth curves ,the outline of their choice.

    On top of this difficulty, the architect must provide escape routes with suitable slopes to channel water runoff, able to handle waterfall with the conditions prevailing in the rain. The manner in which this complicated operation, indicates the level of complexity that characterises the construction and architect and engineer's ability to handle and mounting a large-scale building, with such arrangement, in physical space.

    The perimeter wall . Six parallel layers of masonry compose the structure of external wall, which includes six rings , resting in a ditch in the ground dug by mechanical construction. The wall follows the inclination of the soil. The ring (a) from the territory consists of limestone. The yperthesi rings (b), C, D, E and F are marble clads, covering layers of limestone, and it's all the setting in the visible part of the external perimeter wall.
    The Rings (B), C, D made out of marble, which is widely used in internal and external structure of the monument and is central to this analysis: a marble slab with dimensions, in length (L) 1,36 measures, height (THE) 0,19 m, and the width (W)0,72 m the level either transverse ,during the time of limestone or vertically . The rings of marble stones b and D's end in limestone slabs behind them, exposing the length and height of the surface of the wall (i.e. a surface 1.36 x 0.19), width-width , their width (0.72). the ring C exposes the length and the width of the wall (surface 1.36 x. 72), located at the height of the (0 .19). The Upper ring formed by rings D and e , have a length of 1,36 as well as an unspecified amount and), . Above this is the ring F, as the wall molding, also,in an unspecified amount.- However, the oscillating model of the upper cornice shows a frequency by half the 1,36 modular- length (0,68 m). The rings (b), D, F is aligned and so the rings C and e, in the middle of the upper and lower surface . The archaeological team has said that the outer wall has a total height of about three meters.- However, This approach does not allow accurate assessment of the rings r and height F. The Ring (B) (ξ visible “basis” of invested marble) has no relief. The Ring C, D and e have an embossed with approximate room 3 cm at four visible sides.

    All the five rings of the visible exterior wall i.e. b, (C), (D), E and F have the same length. The conclusion is that-this size this length i.e. , must be the the cornerstone of the building's section . This length is found inside the building as well as (see below).

    In fact, the length, not only in the stones is repeated inside, but the pattern in cornice, and in EPISTYLIO over the caryatids (or Klodones, or Daughters, or Maenads – (What exactly represent these elements is not an issue that concerns us here)- in the booth # 1. The elongated space here and thematic motifs from the outside to the inside of the Tomb show streaming punctuates the movement and the architect the intended to attach to the monument, as evidenced by the presence everywhere of this section, the inner and outer space.

    Before you take a look at the Interior of the edifice, an observation needs: by Visual inspection of photos, recognises that the outer marble wall coverage shows a slight inclination towards the top of the Hill. Doing so obviously to provide greater support to prevent soil erosion (in an artificial mound), and for reasons relating to the static, so it can better withstand the pressure from the mass of the Earth that surrounds. Show this to the vertical shear from the corner bar Oh . I have to mention it again, in relation to another corner here, This soil slope ψ .
    Further, the report must be made on the entrance of the tomb and its connection with the exterior wall. In the current state of the Tomb, There is a staircase leading to the entrance, where the phrenic wall with two Sphinxes in is top . The ladder starts at the upper level of the perimeter wall. This shows that at some point the perimeter wall buried, and the ladder made of limestone when added.

    Since the architect wouldn't build such a ladder (leaving unprotected the entrance from the weather, as rain, snow, Flash floods, k. l. p., and by unwanted visitors), We must conclude that at some point and then the perimeter wall and the Interior marble coated added to the grave (the Tomb may have been made in some time to even earlier time) and for some reason that is not the subject of this document, the decision by some entity was to bury the perimeter wall and the ladder.

    About this work , the interesting fact is that the base of the perimeter wall and the entrance of the tomb is roughly at the same level (probably counting a slight slope to the entrance for sanitation purposes). It is also understood that when the lining of marble was completed, was in and out during the same period, both are in a spatial continuity. More details about this part of the construction of the Tomb to be published in a paper by the author.
    The Interior Measure.

    The base at "Caryatids" . When the two "Caryatids" had been revealed to us by the team excavating, They told us that their base was light rectangle i. 36 meters in length, 1,40 meters in height and 0,72 meters wide:

    This report measures and other photographic evidence accessible to the public also occurs . Of particular importance here is the length, the measurement 1,36 m.. It should be noted, However, that all these are measurements that we were given by the archaeological group. We don't know how accurate it is, and if you have a significant digit in the third decimal level. In any case, I used here like to be exact. The basis of these two Karyatidon are the reasons why based essentially this same analysis . Provides very clear indications for the establishment (measure) used by the architect of the monument.
    The base at "Caryatids" . First and foremost, even a casual glance at the above photo from the base at "Caryatids" reveals that the architect of the monument did not use the rule "golden section" and his word f, as a rule for the design of base in question. He was sure it was because of ignorance of the «chrysistomis» In fact, We know that we must know the golden rule quite well, Since he is the one who used, as we will see shortly afterwards. They claim that the architect does not intends to use here on this basis, because the architect wanted a more complex modular structure for the construction of.
    Let's take a closer look on this basis where the two Caryatids have stand. Symmetry in issues concerning a comprehensive settlement in the Interior of the Tomb, will be explored very briefly later, Since the focus here in this document is the production of the unit (the whole monument ) rather than aspects of symmetry in the structure.

    To calculate that each Caryatid consists of four distinct layers . I nominate from the floor well until these layers, όπως, a levels, (B), C and d levels.
    (A) is made by a single marble slab, the mattress (b) consists of two marble stones, Layer (c) from a single piece of marble, and as it is also, end, a fairly thin layer d, where are the legs of Karyatidon.
    The exact origins of each layer and the three dimensions in meters of stone requires from the sets that are offered to the public, to derive measurements of the various parts».
    From the analysis of photographic evidence in the above reference, taken that the following analog relationships hold as regards the height of four layers»: Let's assume that h is the unit of measure for the height, associated with the height of the layer (a)- then there is that 2h is the height measure for the mattress (b), h / 2 is the equivalent measure for the layer c and h / 6 that is the layer d. Because we know that the total height is 1,40 m, It follows that

    h + 2 h + h / 2 + h / 6 = 1.40 (1)

    From the above we get that h = 0.38 measures. So, layer a has dimensions length (L) 1,40 measures, height (THE) 0.38 m, width (depth) (W) 0.72 m. There is a recess of about 4 cm where layer (b) is based on the height of a Layer b is 2×0.38 = 0.76 measures. The height of layer C, located just above the layer (b) is 0,19 m- While the mattress is finally in D's 0.06 m. So we find that h is the height of the internal unity . All heights are based on multiples of this measure h. We don't have a full picture of the Interior veneered, so if this measure (h = 0.38 m) It is the basis pumping for all internal structures and should be scrutinized further once more when available.

    The height of Caryatids (2,27 m) is a multiple of the amount of internal unit (0,38), from 2,27 / 0,38 = 6 .

    Now, We can turn our attention to the frontal time length the ingredient (given to us by the archaeological team and is estimated at just 1,36 measures) from the three-dimensional grid found on the monument. The assessment of frontal length L of these layers is straight forward as regards interested layers (a), (C) and (d) (1,40, 1,36, and 1,33 m respectively). Estimate the length of two stone surfaces» in layer b, need to find a similar relationship- by Visual inspection, and if we have defined as x frontal length of stone to right and y to the left, and (g) as the sum of the, it comes that:

    x + and = 1,36 (2)

    and / (x + and) = 68 (3)

    By the above system of two equations to derive the dimensions of two marble surfaces from the mattress (b), as follows:

    x * = 0,44 m and (c) * = 0,92 m (4)

    Apparently, These frontal lengths for the two marble stones from the mattress (b) does not comply with the rule "golden section". The stone on the right side is slightly less than half the length of the other on the left – so it is clear that do not obey this rule. The reason why these two particular lengths were collected by the designer of this edifice will appear at one point below.
    Golden mean . It is recalled that the "golden rule" or "golden ratio" or "golden mean" is such that, If the length and length b such that: ((A) + (B)) / A = A / B = f = 1,6180339887 … where f is an irrational number, then a and b are said to be associated with a "golden rule".

    Such a link has attracted a lot of attention in both the math and the arts and Architecture in particular. But the question is, Why doesn't apply to this particular monument; And if yes, What is the length of the key “Unit” ή “the basis” (for a or b) here in this tomb; Extra, exactly how an architect plays the ratio and an indication both of mathematics and of construction and think of the architect. In this case, the architect can be achieved with approximate this at a high level for the time of.

    Although both orthogonal to the bases of the mattress (b) does not comply in this particular rule, the height at Caryatids " (2,27 measures) with the total height base (1,40 measures) not obeying the rule of the golden section 2,27 / 1,40 = 1,6214 with the approach of 3 ​​/ 10 of one percent. So we know that the architect was very familiar with this rule.

    If the architect of the monument wanted to use the golden rule at the headquarters at Caryatids ", then the base length of right rectangular (x) will be 0,53 m, While the base of the left rectangle (and) will be y = 1,36 – 0,53 = 0,83 m. But such is clearly not the case here . Instead, another relative was in the mind of the designer when picking these two lengths, x * and y *, as we shall see immediately

    The measure . To complete the estimate of the size of the total on marble slabs of "Karyatidon» now: a marble surface-layer (H: .38 m, L: 1,40 m, width: 0,72 m) – Layer (b)- the surface of marble to the right (H: 0,76 m, L: .44 m, width: 0,68 m) and marble surface to the left (H: 0,76 m, L: 0,92 m, width: 0,68 m)- a stone layer (c) (H: .19 m, L: 1,36 m, width: 0,68 m)-End, marble surface with dimensions of mattress ((D)) D's are (THE .06 M, L: 1,33 m, width: 0,68). Marble surfaces in (layers) (B) and (c), in their exposed surfaces have an embossed with a frame around 3 cm.

    The real driving force behind the construction of the building, in terms of coverage of marble, is the marble surface (c) . This dimension of the marble has been used extensively both within, but the most important ,padded on the exterior wall of. It is the stone which connects the Interior with the exterior, as the building flows from inside over abroad. The archaeological team said that the Interior is dressed the grave/Memorial and extends over abroad. This can also be controlled from the photographic material shall be made public and are available ,in the above Datum.
    Let's call it z * the sum of x and c * * ((g) * = x + (c) * = 1,36 measures) stones of the mattress (b) frontal frontal length is the length and of the stone in layer c z Length * so is the modular base length of frontal, with the depth scale (or width) the length, It's about half of what (.68 m). Consequently, AUTO z * is the internal meter in length in two dimensions .

    Now, the question of why the architect decides to be these two specific sizes length (0.44 m and 0,92 m) so distinctly visible on the base of «Karyatidon "becomes evident. The engineer in the human mind probably dictated the split this, given the weight of these stones. But there is also the side that the architect ,This offered the answer, Since these two lengths just depict the two sizes of unit.

    It is recalled that z * = x + and * = 44 + 0,92 = 1,36 m.? and their difference and * -X * =. 92 – 0,44 = 0,38 m = h *. So, their sum depicts the frontal horizontal section, (g) *, While the dispute illustrates the height of the unit, h *. In these two relations shows his genius architect.
    It could motivate someone to study the link length coefficient (1,36), the width (0,68) and height (0,38) with the actual measures used then, back in time . It is something that remains for future research. Also in future research is any link of this modular structure with marble door and the mosaic floor of the Chamber # 2. When precise measurements are made available by the archaeological group, This measure should also undergo more scrutiny. Let us return now to the exterior of the Tomb.

    Back out from the grave: The Astronomical Association .

    The circle and the ellipse on the perimeter wall . We now know that the outer perimeter is a real lack of- but in portrait view (i.e. as floorplan, ) is a “perfect circle " (According to the archaeological group, that has not been made available to the public the exact, digital take on projects from the website, with floor plans or something equivalent for public information ). So we will use the “perfect circle with 497 Wall perimeter measures” phrase as a flat surface (perpendicular to the axis of the) cutting right circular cylinder with RADIUS, R, of 79,14 measures or with a diameter, (2R), of 158,8 measures (provided that is and what, what they meant it, When told that the tomb is a perfect circle with perimeter 497 measures). Will set as P the real perimeter length of elliptical, so obviously: P * < P. It is noted that, the ground level represents a cross section of a cylinder far enough from being parallel to the axis of the cylinder, It is good to consider the shape of the cross-section as a "lack".

    It should also be made clear that, as dimensions of the Hill, R * and p is very close to reality, and for all practical purposes, It is safe to assume that P * ≈ P . The angle to the horizontal plane (i.e., a plane perpendicular to the axis of the cylinder) This particular slope has arises ψ . Apparently, r is a function of both the p * and ψ . The actual length of the perimeter of an ellipse r is obtained by a complex function, on the basis of ψ , and the R, which is not needed here for the purposes of this document.
    As has already been discussed, all the marble plaques visible on the surface of the wall have an equal length and this length must be equal to z * (that is exactly 1,36 m.) This z * his tomb is in effect the EXTERNAL FACTOR ORIZONTIOS . This section is directly related to the length of the base of the Caryatids ' and so the inside horizontal measure.

    The most important finding . Since the monument are encircled around length (the circular provides perimeter p * = 497 measures) with marble slabs of this length, then the length of the perimeter (viewed as a circle with a flat surface perpendicular to the axis of the cylinder) must be (just) divided by this measure from outside. And indeed, This is with a big surprise.

    If one divides the total length of this perimeter P * from the length of the external factor of z * pairnome the total number of marble plaques that are required for the total perimeter coverage toichwmatos in each slab n series *:
    N * = P * / z * = 497 / 1,36 = 365,44 (5)
    In fact, This number n * is outside the grid with length 0.5984 measures (.44×1.36 = 0.5984 about 60 inches in almost half a kilometer long perimeter). Could it be that this is the difference between the actual perimeter of the elliptical grave r, and the projected circular perimeter p * plus any space required for connecting and sealing of plates. However, There is much more to this length from this simple laxity.
    N * It's a considerable number with an astronomical Association. We now know from accurate astronomical measurements that are 365,22 days in a year. The architect approached with n * through unity in an astronomical number of. The number of days-in-a-time produced by the architect of the monument are six hundredths of a percent (0,0006) different from the actual astronomical pot comes from the number. One can comfortably say , is an accurate estimate.

    This sidereal link is quite informative, and in fact something amazing, given the age of the monument. People have constructed monumental structures obeying the daily circle, the lunar cycle and the monument built obeying an important element, This annual cycle, in a full calendar year. Here, in fact, each marble stone in the wall region corresponds to about one extent, at an approximate a circle 360 degrees.
    Since the points made this observation function directly to a link that includes an astronomical number of substantial imports and by the architect has designed the unit so that it was fully aware of this connection (the chances that this N * It's a random event is next to zero) one must ask if there is something more to this finding.

    Apparently, It is now time to explore the meaning and symbolism of the , further in relation to this particular monument. For example, is the location of the input material, Since the position that occupies corresponding to specific days of the year, If someone assumes that sometime on the perimeter (Let's say, the North point) corresponds to the first day of the year , If the flow of the year follows a clockwise motion ... This interpretation would like in an entrance located in the period June-July, Depending on where exactly is the entrance. Recalls in a post-late May early June, If the flow is towards the left.

    This can provide some additional clues as to the intent of the architect of the Tomb, What is the purpose of the monument, and, possibly, some occasional dates in life of "occupants" of the. However, This symbolic dimension of the external structure of the Tomb will not be done here. The need to evaluate the accuracy of this astonishing finding requires you to take a closer look as to the sizes of the circle and ellipse, and their essential.

    The circle and the ellipse carefully examined . In some places, We must bear in mind- Firstly, the above equation (5) It is a calculation based on vertical projection of right circular cylinder on a flat surface and perimeter P of *. It's not the actual perimeter p of the actual surface of the elliptical shape, obtained from a flat cutting surface of the shaft of a circular cylinder in a right angle ψ . So, the question arises as to whether this difference is irrelevant to our finding, in other words, If the finding about n * apply for P and. In a nutshell, the answer is Yes.

    Of Course, r is a function of the angle ψ and the most typical:

    P = f[ψ,R] (6)

    Where, r is the length of the ellipse and R is the radius of the cylinder- F [] It symbolizes the algebraic expression ” the operation of the”. As already mentioned, R * and p is approximately the same for all practical purposes. This claim, however, and can prove quite easily. Since the elliptical plane (i.e., the layer containing the lack) intersects the cylinder indicates that the diameter of the small axis of the ellipse is identical with the diameter of the circle. From the other side, along the axis of the ellipse is greater than the diameter of a circle (but not so in this case). To prove this, Let's define by (e) the difference between (P * – R). With the theorem of Pythagoras, longer axis of the ellipse should be the positive square root of the square of the diameter of the circle and the square of the (e) . Since the square of 158.28 (the length of the diameter of the circle) is 25,052.36? take a class size of p in length equal to one meter (Bearing in mind that each stone is 1,36 m in length) you will need a (e) 17,8 measures.

    This is clearly not the case, as the height difference between the northernmost point of the outer wall of the tomb and the southernmost point is much less than this. So, the elliptical surface still remains extremely close to a circle, and a circle for all practical purposes. This can be checked from a casual look on the Hill map Kasta in Google Earth.

    The archaeological team has not given information to be produced for us the corner ψ , the North-South gradient announced on 29 November 2014, so can not take no accurate estimation of the actual length of P in equation (3)). One wonders though inevitably, If there is a relationship between the angle Oh discussed earlier and the angle ψ . A hint is that it is identical, Another specific purpose statement, or with a guess one could say, who needs research. So, We conjecture (C. 1):

    Ψ = ω ? (7)

    Smooth annexation of plaque . The sealing between the plates (horizontally and vertically) It's so thin (Thanks to very good job for smoothing of surfaces of marble slabs) It is almost invisible . However, is there and we see , of course. However, with a total of over 365 stones, but it must be done with some significance. Let's call this set with slits ' length , that includes n * slits, Each slot apparently span length λ = / N *. At this point I should point out in Masons ' accuracy in processing side of each stone, with a suitable depth-wise corner almost half of a grade on each side of each plate, So fitting 365 plates in a circle 360 degrees» (an precision robots can accomplish these days).

    With the construction of this, the architect of the monument will be accomplished a unique feat, each of the stones on all perimeter wall corresponding rings of two (in a series of stunning approaches) in a day (one year) in (in 360 approximate degrees) circle. In achieving this dual function for each stone is something that can detect the architect's desire to build such a huge girth of the Tomb / Temple / Monument, not in search of greatness because of size.

    The total length of which is occupied by the fissures between the plates must have been insignificant given length (about 497 measures using 365 plates) from the perimeter, but not zero. How affected likely size of the exterior design of the Tomb will be addressed a little further in the next section. If additional length is required to be covered because of the elliptical shape of the perimeter, the area that needs to connect and seal all the 365 plates must be compensated fairly by leveraging the lack is offered for all four series rings located in orbit around the perimeter wall.

    More specifically, the real difference between P and P * There should be such that the calculation of the equation (5) was significantly affected a relatively small (l) seal and append length between the plates. However, accurate estimation of w would allow someone to check this conjecture. So guess (C. 2) is:
    N*[z** + (l)] -> N*[z*] ? (8)

    This means that the n * It is essentially unaffected by the horizontal slit between the capital size of 365 marble slabs. The size = 365 (l) provide an estimate of the total length to seal beside marble plaques on each ring.

    The entrance

    The modular input size . We are told that the net (or clear) width inside of the monument / Tomb, that is the distance between the two parallel in marble covers of side walls (internal lining or ORTHOMARMAROSH), It is approximately 4,50 measures. The Tomb does not limit or expand as it moves within this, the width remains constant in all three Chambers. This means that the width at the entrance of the monument, leaves a perimeter length equal to 497 – 4,50 = 492.5 measures. This is an opening that corresponds to three lengths of stone and a quarter of a stone. In the daily, represents three days and six hours.

    The margin of error . By looking at this from a slightly different angle, the opening between the two marble Caryatids ' covers rectangular prisms (two bases) is 4.50-2×1.38 = 1,74 measures. This represents a distance of a plaque (1.36 measures) plus 0,38 measures. The extra 38 cm correspond to about one-quarter the length of a plaque and approaching the length x * basis of the Interior measure, Apart from only about a few inches. Since the meters wide 4.5 is an approximate size given publicly by the archaeological group, is it safe to argue that actually the width of the Tomb obey in the inside length of modular size z *, as well as. Extra, the extra inches are not represented can provide an upper bound on the amount of previously mentioned. Setting for this quantity per marble slab, admission will obey exactly three days and six hours in space, as discussed.

    The astronomical link expanded The entrance of the monument is located at a point slightly to the SOUTHWEST- the exact location has not been announced. It is not known exactly where the shaft in relation to the North seemed then, but the astronomical survey reveals that the North Pole (the rotation axis of the Earth) has sway over the centuries. Definitely, before 23 centuries the North Pole was in a slightly different location than, What today's most northerly direction. Just calculate the North then, will more accurately identify the specific days of the year entry is intended to reflect, assuming that the North (side) It was the beginning of the year, reflecting on 1 January. Of Course, There may be different interpretations, If, for example, East (or West or South), taken as the annual commencement or ending of the day. Extra, one could consider some of the points that correspond to ritual ceremonies of ancient (Winter and summer solstice, or the spring and autumn the Equinox) It was the same with the marble slabs that starts for 365 days designated on marble slabs. So the input orientation in the current NE-SW axis could correspond to such astronomical alignment.

    End, the entrance of the monument could be directed towards specific constellations or high in size and brightness stars special introduction to the religious rites of space-time under examination, as they appear in the sky on certain dates of the year. The topic of astronomical alignments to major monuments of antiquity is a major topic of research, especially for the Egyptian pyramids of Giza Plateau, see for example Anthony Fairall's treatise: http://www.antiquityofman.com/Fairall_Orion_precession.html

    However, a fuller treatment of this topic is left for further research. This research should combine this alignment with other symbolic components found inside the Tomb, for example, the movement of the chariot in the mosaic of the Chamber # 2. One could motivate to imagine turning specific stones on the exterior wall, or in specific parts of the cornice "standard variance, the architect plans to erect statues that correspond to particular persons / deities of admission to these specific days of the year. A common calendar type.

    Pictured the date and time. Assuming a clockwise motion and the stream of Cannon as the beginning of the calendar year ,portrayed by the 365 marble stones of the outer wall (something that seems to be the most likely scenario and the simplest script here), the entrance (position) It depicts three days and six hours of that day in late June and early July. These days and hours may have been connected with certain religious observances before 23 centuries, or with the time of year that the occupant of the Tomb died (or was born, or something important happened in his life / of). Such symbolic interpretations however, left to the interested reader.

    Conclusions.

    A first and preliminary effort paid to decode this very sophisticated monumental edifice. Firstly, a measure was produced for the grave, which accurately reproduces both the Interior and the exterior marble ,What is overlaid on the walls of the Tomb. This tri-dimensional measure is deichthike 1,36 meters in length, 0,70 meters in depth, and 0,38 meters in height (Although the latter measure has a need for further confirmation). The grid was applied both indoors in four layers of stone found at bases of Karyatidon», six Rings and the outer wall of the parallel and overlay of coverage of stone .

    Secondly, It was found that the height of Karyatidon (2,27 measures) in relation to the basic "their height (1,40 measures) obey the rule «golden ratio».

    Thirdly, the main conclusion of this survey, It was the discovery that the architect of the Tomb had devised a comprehensive measure to the grave that integrates into this relationship an astronomical constant. Through the external along vertebrates the event of that the architect connects the monument for the annual cycle. Specific, four rings of the marble plaque on the outside wall of the monument, each containing just 365 marble stones connects this monument with the heliocentric movement of the Earth. This connection is achieved with an excellent approach. Specific, the estimate of architect (365,44 days) differ from the actual (365,22) with an astonishing season tiny variation. That, the external drives stones that appear in from marble clad wall of the monument was found to depict days, the indoor unit (inside the entrance of the monument) found to represent a quarter of the day (i.e., a six-hour interval). The symbolism inherent in conjunction with input orientation should be further explored.

    End, Here it produced is a guess (C. 2): This is that there is a link between the inclination of the outer wall of a corner Oh and slope that took her out of the corner ψ ; It is suggested that there is no such link, but when more data is available, It is expected that this possible guess proved As the tomb is placed at an angle to the RADIUS at the point of entry, ρ , one more exquisite vision about connecting those corners to the two corners, Oh and ψ . The third and last this guess work here (C3) is:
    ρ = ω + ψ ? (9)

    This monument is a treasure trove of research , like all great works of art and architecture. Its size should not be one that will attract attention to this monument . Instead, shown here, is the sophistication ,that should have been, meaning when accurate analysis. In a wider context, This of 4 th eg. century monument in Amphipolis should occupy a high position in the hierarchy of the world of monumental architecture. Complexity in the underlying structure of the design is unparalleled in the history of the temples, the monuments, τάφους, as this edifice seems to combine functions and the three research categories through complex structural codes to each of these categories

    Last revision: 19:15 USA EST, 12 Dec 2014

    This document was written during the month of November 2014. Based on information disclosed by the 29 Nov th 2014.

    Dimitrios S. Dendrinos

    Emeritus Professor, Faculty of architecture and urban design, the University of Kansas, Lawrence, Kansas, United States of America. In residence, in the City of Ormond Beach, Florida, USA.

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    http://ellinondiktyo.blogspot.gr