Daniel prophecy in his book in the bible predicts a particular nation (Greece) rising up with a particular leader (Alexander) that has his kingdom broken into 4 parts (Daniel 11:4). That is exactly what happened when Alexander died. His empire got divided among his 4 top generals. This is only a very small portion of prophecy fulfilled in Daniels prophecy about the image in King Nebuchadnezzar's dream.
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A full and colored representation of the portal of Karyatidon of Amphipolis presented Gerasimos Gerolymatos, who in recent months has unveiled entypsiaka designs inspired by the course of the excavations.
With the new representation presented in in his blog (peritexnisologos.blogspot.gr), notes that any longer and he completes his own course with this post.
Please note that the last quarter created by hand four line drawings of the Mound and three major reconstructions, a design and two color, dimensions 64Ch53.
He mentions on:
Intriguing enigmas continue to envelop the story of the Amphipolis tomb. What was the gender of the occupant? When was the tomb sealed? Who was the architect of the monument? What event of the paintings depict? This article unravels them all.
What was the gender of the occupant?
There is an excellent chance that this question will be answered conclusively some time in the coming months through the promised laboratory investigation of the skeleton. However, Katerina Peristeri, head of the excavation, confirmed at the Ministry of Culture presentations on 29th November that nobody currently has any idea of the skeleton's gender, because the bones were too fragmented for the archaeologists to be able to check the features that determine gender and because the remains were collected with the surrounding soil still partially encasing them in order best to preserve the evidence for the laboratory investigation. Nevertheless, ela repetiu sua opinião anterior de que o ocupante é mais provável um macho e um dos generais de Alexandre baseada no fato de que o leão Amphipolis que ficava no alto do monte é do sexo masculino e sua base foi decorado com escudos..
Esta idea não é nova,, but it has been the standard theory of scholars since the fragments the Lion Monument were rediscovered over a century ago.. Parts of the shields can be clearly seen in some of the blocks now stored near the Lion Monument rebuilt near Amphipolis (Figure 1).
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| Fig. 1. A block with part of a shield from the lion monument that once crowned the Kasta Mound |
But it is true that a monument with a male lion and shields necessarily celebrates a man?? In the period of the Tomb Amphipolis happened that two Royal women had a leading role in the war.. Firstly, Adea-Eurydike, who was the granddaughter of Alexander's father, Philip, became the queen in 321BC by marrying PhilipArrhidaeus, the mentally retarded half brother of Alexander, whom the troops had elected to the monarchy in Babylon on Alexander's death. In 317BC Adea tried to win precedence for her husband over the official joint-king, Alexander IV, Alexander the Great's 6-year-old son. This prompted Alexander IV's grandmother, Olympias, to lead her nephew Aeacides ' army across the mountains from Epirus into Macedonia to defend her grandsons rights. Athenaeus 560f describes the situation: "The first war waged between two women was that waged between Olympias and Adea-Eurydike, during which Olympias dressed rather like a Bacchant, to the accompaniment of tambourines, whereas Adea-Eurydike was armed from head to toe in Macedonian fashion, having been trained in military activities by Kini, the princess from Illyria [and a wife of Philip II]."Olympias was victorious and received the epithet Stratonike, which means "the army's victory goddess". A monument with shields would be entirely appropriate for either of these queens.
Olympias also had a claim to the lion as a personal badge as Plutarch, Life of Alexander 2.2 records: "After their marriage, Philip dreamt that he was putting a seal upon Olympias's womb, and the device of the seal, as he imagined, was the figure of a lion. The other seers were led to suspect that Philip needed to keep a closer watch upon his marriage relations; but Aristander of Telmessus said that the woman was pregnant, since a seal was not put on that which was empty, and pregnant with a son whose nature would be bold and lion-like. "
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| Fig. 2. A tetradrachm of Alexander's general Ptolemy minted in ~ 310BC with Athena bearing a shield and wielding a spear |
Coins minted by Macedonians at that time also bear witness to the new phenomenon of warrior women. In Egypt, Alexander's former general, Ptolemy, minted a series of silver tetradrachms with an image of the deified Alexander wearing an elephant scalp on the obverse and a representation of the goddess Athena bearing a shield and wielding a spear on its reverse (Figure 2). It is even possible that Ptolemy introduced this reverse to recognise the battle between the queens in his homeland of Macedon, because it first appeared within a year or two of that event. Though not properly a goddess like Athena, Olympias was the mother of a fully-fledged god at the time of her death: for example, the deified Alexander on the coins of Ptolemy was introduced in about 321BC. Furthermore, Alexander himself was recorded to have wished to make his mother the goddess after her death (Curtius 9.6.26-27). Finally, the epithet Olympias by which we know the queen was not her original name (that was probably Polyxena, Although she was also later called Myrtale), but an honorific title meaning "one of the goddesses from Mount Olympus" awarded to her by King Philip at about the time that she gave birth to Alexander.
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| Fig. 3. Warrior weapons in the antechamber of the tomb of Philip II presumed to be the property of the queen buried within the same room. |
Furthermore, one of Philip's wives, perhaps Meda, was buried in the antechamber of his tomb at Aegae-Vergina. Historians now believe that the arms found in the antechamber belonged to this queen rather than to Philip. They included a golden gorytus (arrow quiver) and greaves (lower leg armour) – see Figure 3.
It should also be emphasised that all the symbolic decorations within the actual tomb chambers at Amphipolis are unambiguously female in character: the sphinxes, the caryatids/klodones and the figure of Persephone in the mosaic.
For all these reasons, it would not be surprising for a Macedonian queen and Olympias in particular to be commemorated by the lion monument decorated with warrior shields atop the mound at Amphipolis. It is therefore especially interesting that we learnt from Katerina Peristeri at the presentations on Saturday 29th November that she had partly been inspired to dig the Kasta Mound by stories from the local people that it was the tomb of a famous queen. Sometimes such legends harbour a germ of truth.
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| Fig. 4. An empty sarcophagus kept next to the stones salvaged from the lion monument at Amphipolis |
There is also another tantalising possibility: that one of Alexander's generals actually was entombed within the lion monument itself in addition to the tomb beneath the mound. There is one obvious candidate. One of Alexander's eight somatophylakes, the kings most senior staff officers, a Macedonian named Aristonous, who was the commander of Olympias's army in her war with Cassander and was also the muchloved lord of Amphipolis. But Cassander arranged his murder at about the same time that he had Olympias killed. One intriguing observation is that a sarcophagus is kept amongst the group of stones salvaged from the lion monument stored next to the current partially reconstructed lion (Figure 4). I have no confirmation at present whether it is indeed itself from the monument, but it certainly merits future investigation.
When was the tomb sealed?
Compreender a história do túmulo em Amphipolis depends criticamente de determinar quando e por quem a operação de selagem intensivo foi realizado.. Selagem paredes de enormes, unmortared blocks seemingly taken from the peribolos wall were erected in front of both the caryatids and in front of the sphinxes and all three of the chambers within were sedulously filled with sand dredged from the bed of the nearby River Strymon. It was confirmed in the presentations of 29th November that the holes in the masonry near the level of the arched ceiling were used to carry sand into the interior after the sealing walls had been erected and were not made by looters.
However, the most intriguing statement made on 29th November was by architect Michael Lefantzis, who is reported to have said that the sealing walls were made and the backfilling was done in the Roman era, whilst also confirming that the sealing walls were manufactured from material removed from another part of the monument.
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| Fig- 5. Ancient paint on the capital of a pilaster in the façade beneath the sphinxes |
Os arqueólogos também disse que a tumba foi aberta aos visitantes durante algum tempo e uma vedação Roman pode ser levado a entender que as visitas ao túmulo teve lugar por pelo menos vários séculos.. However, the archaeologists and the Ministry of Culture have previously published some evidence, mainly photographic, that could suggest that the tomb was only open for a relatively short period before being closed up:
1) Ancient paint survives on the façade, for example on the capitals of the pilasters either side of the portal beneath the sphinxes (Figure 5). Preferential weathering of exterior paint should be expected and centuries of weathering would normally completely remove paint, but the paint on the façade is in worse condition than the paint within the first chamber.
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| Fig. 6. Blocks in the sealing wall erected in front of the portal of the sphinxes during their removal showing that the blocks were not mortared together |
2) A alvenaria nas paredes de vedação não foi argamassa,, but the stones were merely stacked on top of one another (Figure 6). This was normal in the Hellenistic period, but the Romans nearly always used mortar between the stones in their walls.
3) There are ancient steps in a couple of the released photos (e.g. Figure 7): although there is some chipping to the edges of these steps, they are nevertheless still sharp, crisp and flat in some central parts of their edges. Over centuries a smooth pattern of wear should be expected.
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| Fig. 7. Flooring of marble fragments in red cement without apparent wear and an ancient step with parts of its edge still sharp and unworn. |
4) Neither the paving in the first chamber (Figure 7) nor the mosaic in the second chamber (Figure 8) shows any sign of the differential wearing to the areas where visitors would predominantly have trodden (the damage to the centre of the mosaic must have been due to an event at the time of sealing or only just before, since it is reported that loose pieces were found still in place during the excavation.)
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| Fig. 8. The section of the Persephone mosaic adjoining the entrance to the second chamber exhibits little sign of wear |
There may be answers to some of these points: e.g. it has been suggested that the entrance might have had a roof over it (although that would have made the interior of chamber 2 very dark). However, collectively there is an implication from these points that the tomb chambers may not have been open to visitors for as long as centuries.
The other difficulty with a Roman era sealing is the question of motive. Terá sido caro e demorado para construir as paredes de vedação e de dragagem e transporte de milhares de toneladas de areia.. Also, since there were no grave goods left, the only thing of possible value inside the tomb was the bones themselves. Yet these bones were left scattered about in and out of the grave slot. If the sealer was concerned to protect the bones, why did he/she not tidy them up before sealing the tomb?
An easy way to remove doubt on the sealing date would be to announce Roman dating evidence found within the sealing wall erected in front of the sphinxes. In fact Katerina Peristeri said on November 29th that there were no potsherds or coins in the main chamber, but that the archaeologists found a lot in other areas: "In the main chamber we do not have any grave goods. They have been taken away or maybe they were somewhere else. The geo-survey that we are doing may give us more info about what there might be elsewhere, but in the other areas (χωροι) we have pottery and coins that are being cleaned and studied. We simply haven't shown them to you. The dating is in the last quarter of the fourth century BC in one phase and we have coins from the 2nd century BC, which is the era of the last Macedonians to protect their monument and from the Roman years from the 3rd century AD "Unfortunately, this remains ambiguous on the question of whether any of this evidence was found within the sealing wall erected in front of the sphinxes.
Consequently, the key question now is: what is the latest attributable date of anything datable found inside the sealing wall erected in front of the sphinxes? In general, the latest datable material is likely to be a good indication of when the tomb was finally sealed. If anything definitely Roman has been found inside that wall, then the final sealing was very probably Roman. In that case the parallel evidence that the tomb has only been lightly visited may imply that the sealing history is fairly complex, perhaps involving an early sealing, a later opening and a final re-sealing.
Who was the architect of the monument?
The archaeological team at the Amphipolis tomb have previously speculated about the identity of its architect and in their presentations on Saturday 29th November they confirmed that the whole monument was the work of a single architect with the exception of the cist grave and its slot, which is now confirmed to pre-date the rest of the monument. I am confident that the archaeologists are right on these points.
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| Fig. 9. The proposal of Deinocrates to Alexander to carve Mt Athos into his image |
The most interesting name that the archaeologists have put forward in connection with the identity of the tomb's designer is that of Alexander's architect, Deinocrates (literally the "Master of Marvels"). He is widely referenced in the ancient sources and is also called Cheirocrates ("Hand Master"), Stasicrates, Deinochares and even Diocles. It has been suggested that Stasicrates was his real name and that Deinocrates was a nickname. He was the proposer of the project to sculpt Mount Athos into a giant statue of Alexander, although this was rejected by the king (see Figure 9). He is specified to have restored the temple of Artemis at Ephesus and Plutarch (Alexander 72.3) writes that Alexander "longed for Stasicrates" for the design and construction of Hephaistion's pyre and monument. Most famously of all, Deinocrates was Alexander's architect for Alexandria in Egypt. In my book, The Quest for the Tomb of Alexander the Great, 2nd Edition, 2012, p. 160, I made a link between the masonry of the most ancient fragments of the walls of Alexandria and the Lion Tomb at Amphipolis (i.e. the blocks from the structure that supported the lion, which was all that was known at that time):
"The blocks of limestone in the oldest parts of this fragment [of the walls of ancient Alexandria, located in the modern Shallalat Gardens] are crammed with shell fossils and the largest stones are over a metre wide, although they vary in size and proportions. They have a distinctive band of drafting around their edges, but the remainder of the face of each was left rough-cut. The Tower of the Romans in Alexandria was faced with the same style of blocks, including the bands of drafting.
Such blocks are particularly to be found in the context of high status early-Hellenistic architecture. Pertinent examples elsewhere include the blocks lining the Lion Tomb at Knidos and the original base blocks of another Lion Tomb from Amphipolis in Macedonia. Both most probably date to around the end of the fourth century BC and are best associated with Alexander's immediate Successors. "
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| Fig. 10. Oldest remaining fragment of the walls of Alexandria (above) showing the same band of drafting around the edges of the blocks as the blocks in the peribolos wall of the Amphipolis mound (below). |
The blocks from the oldest surviving part of the walls of Alexandria are also comparable with the blocks in the peribolos wall now uncovered at Amphipolis. Both have the distinctive band of drafting around the block edges with the stones being left rough-cut in their central reservations (Figure 10).
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| Fig. 11. The map of ancient Alexandria based on excavations in 1865 by Mahmoud Bey. |
The archaeologists have put forward one slightly complicated argument in favour of Deinocrates having built the Amphipolis tomb based on a map of ancient Alexandria (Figure 11) drawn by Mahmoud Bey in 1866 following his extensive excavations across the site of the ancient city performed in 1865. Mahmoud reconstructed the street grid based on results at numerous dig sites. He inferred the size of a stade, the standard Greek measure of large distances, to have been 165m in Alexandria by noting that the separations of the roads in the street grid were fixed numbers of stades.
He also reconstructed the course of the ancient city walls on the basis of excavations on the eastern and southern sides, but in the west and to some extent on the northern side he had to guess their course in many places, due to modern developments having made the necessary excavation sites inaccessible. He came up with an overall perimeter for the walls of 96 Alexandrian stades or 15.84km (although Mahmoud himself actually wrote "around 15, 800m" in his book.)
The Amphipolis archaeologists noticed that the Alexandrian wall circuit of Mahmoud Bey, which they supposed to have been planned by Deinocrates, is almost exactly one hundred times the diameter of the Kasta Mound as defined by its circular peribolos wall, which they have measured at 158.4m. They have suggested that this coincidence suggests that Deinocrates was the architect for the Amphipolis tomb as well as for Alexandria.
However, There are a few difficulties with this hypothesis:
1) There are three ancient writers that give the perimeter of Alexandria's walls: Curtius at 80 stades, Pliny at 15 miles and Stephanus Byzantinus at 110 stades. All of these are significantly different to the modern 15.84 km value from Mahmoud Bey.
2) It is doubtful whether all of Mahmoud's wall line, especially in the west, can be accurate, since he did not actually find any definite traces of the wall over large stretches of his reconstructed perimeter.
3) It is doubtful whether the outer wall mapped by Mahmoud Bey was part of Deinocrates ' original plan for Alexandria. It is essentially the wall line of the city at its zenith around the time of Augustus. It is unlikely that Alexander founded the town to be 5km wide, so that it would have needed half a million inhabitants to fill it. The only fragment surviving now of early Ptolemaic wall is in the line of a much smaller circuit, near the middle of Mahmoud ' s city and encompassing its central crossroads. That is a better candidate for Deinocrates ' handiwork.
4) To compare the perimeter with a diameter is not comparing like with like. It is the unit of large-scale measurement, the stade, which should really be compared between Alexandria and the Kasta Mound of the Amphipolis tomb.
Usually in Greek cities the stade was defined as measuring 600 feet. So is, example, em Atenas uma stade era 185m.. However, Alexander the Great employed men called bematists (literally "pacers") to measure the distances between the towns and cities that he passed through on his campaigns. We still have some of the lists of towns and the distances between them as measured by Alexander's bematists (known as the stathmoi or "stages"). Since many of the places in these lists have known locations today it is possible to calculate from modern maps how long the stade used by Alexander's bematists must have been and the answer is 157m (see Fred Hoyle, Astronomy, Rathbone Books Limited, London 1962.) That would require a foot of only 26cm, which would be extraordinarily small and well below the normal range. But it would of course have been impractical for the bematists to measure distances of hundreds of km between cities by putting their feet down heel to toe repeatedly, so they must have used paces instead of feet to define their stade. In fact we know that a Roman mile was defined as 1000 paces and that is 1481m, so it is likely that Alexander's bematists were using a stade of 100 paces (of two steps per pace). Anyway, it is clear that the diameter of the Kasta Mound at Amphipolis is actually remarkably close to the stade used by Alexander's bematists. And actually the Alexandrian stade of 165m is closer to the bematists ' stade than to the 600-foot stade of other cities. The conclusion could be that the architect of Alexandria and the architect of the Amphipolis tomb both paced out their plans in a fashion similar to Alexander's bematists. So there is a slight link after all between Deinocrates, the known architect of Alexandria, and the architect of the Amphipolis tomb.
Furthermore, Deinocrates is associated with projects that were intended to impress through extraordinary size, so that is another good reason to consider Deinocrates to be a candidate in the case of the Kasta Mound. Nós certamente podemos dizer que um arquiteto grego illustre projetou o Kasta Mound e seu túmulo Lion com um 100 diâmetro.
Deinocrates portanto, continua a ser um bom candidato para a identidade do arquiteto do leão túmulo Amphipolis.. However, the evidence is largely circumstantial and it relies in particular on the correctness of the dating of the tomb to the last quarter of the 4th century BC. I see no reason to doubt this dating and the archaeologists invoked the style and execution of the mosaic in their presentations on 29th November to bolster the case for their late 4th century BC date. However, We will need to see a bit more dating evidence to be absolutely confident in assigning the tomb to a narrow quarter century time slot.
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| Fig. 12. A man and a woman wearing red belts dancing either side of a bull in a painting from the burial chamber of the Amphipolis tomb |
What event of the paintings depict?
The Greek Ministry of Culture published photos of the paintings recently found decorating the architraves in the third (burial) Chamber of the tomb Amphipolis on 3rd December 2014. They depict a man and a woman wearing red belts or sashes around their waists dancing either side of a bull (Figure 12) and a winged woman between a tall urn and a cauldron or brazier on a tripod (Figure 13). The press release also mentions that the marble roof beams in the chamber were painted with rosettes.
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| Fig. 14. A winged woman between a large urn and a brazier on a tall tripod in a painting from the burial chamber of the Amphipolis tomb |
These scenes appear to be associated with some kind of cult activity and I will show that there are significant parallels with what we know of the activities at one particular cult site: the Sanctuary of the Great Gods on Samothrace, where the Mysteries of Samothrace were conducted. This island sanctuary was long patronised by the royal family of nearby Macedon and in the era of the Amphipolis tomb, the last quarter of the 4th century BC, that patronage is particularly linked to Queen Olympias. Notably Plutarch, Alexander 2.1 writes: "We are told that Philip, after being initiated into the mysteries at Samothrace at the same time as Olympias, he himself still being a youth
and she an orphan child, fell in love with her and betrothed himself to her at once with the consent of her brother, Arymbas. "
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| Fig. 14. Frieze with garland bulls ' heads and a rosette from the Arsinoe Rotunda in the Sanctuary of the Great Gods on Samothrace. |
The first connection with the mysteries of Samothrace is the combination of bull sacrifice with rosettes. There is a sculpted relief from the early 3rd century BC Arsinoe Rotunda at the sanctuary on Samothrace, which depicts two garland bulls ' heads either side of a large 8-petal rosette (Figure 14). It has been assumed that it alludes to bull sacrifices during the mysteries. In fact it is known that a section of the ceremonies involved animal sacrifices and it is certain that this included bull sacrifices in the Roman period. It is therefore quite striking that the newly discovered paintings depict a possible bull sacrifice in the context of a chamber also decorated with similar rosettes.
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| Fig. 15. The Victory of Samothrace from the Sanctuary of the Great Gods |
The second connection derives from the very strong association of the Sanctuary on Samothrace with Nike, the winged goddess of victory. Most famously, the wonderful "Victory of Samothrace", now in the Louvre (Figure 15), was discovered in pieces around one of the ruined temple buildings in the Sanctuary of the Great Gods by Charles Champoiseau in March 1863. Additionally there is a votive stele dedicated to the Great Gods of the Samothrace Sanctuary found at Larissa in Thessaly by the
Heuzey and Daumet expedition (Figure 16) and that too depicts the goddess Nike as a central part of its composition. A winged woman in Greek art of the early Hellenistic period is usually a depiction of Nike, so we can reasonably assume that the winged woman in the newly discovered paintings is also the goddess of victory.
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| Fig. 16. A stele found at Larissa dedicated to the Great Gods of Samothrace including a central depiction of the winged goddess Nike |
It is known as well that some of the ceremonies for the mysteries of Samothrace took place at night. A foundation was recovered at the Hieron within the Samothrace Sanctuary, which could have supported a giant torch, but maybe something like the tall brazier in the newly discovered paintings could have fulfilled the function of illuminating nocturnal ceremonies. More generally, the discovery of payees lamps and torch supports throughout the Sanctuary of the Great Gods confirms the nocturnal nature of the initiation rites. Furthermore, suspeita-se que inicia a Samotrácia foi prometida uma vida após a morte feliz,, como também foi o caso nos mistérios realizados em Eleusis, perto de Atenas.. Isto faria cenas de os mistérios da Samotrácia um excelente tema para a decoração de um túmulo de iniciar..
Finally, and perhaps most strikingly of all, we know from ancient reports (e.g. Varro's Divine Antiquities) that a particular feature of the mysteries at Samothrace was that initiates wore red sashes around their waists. It is therefore rather noteworthy to see just such red sashes around the waists of the man and woman dancing either side of the bull in the newly discovered paintings from the burial chamber at Amphipolis.
If these associations between the burial chamber paintings and the mysteries at Samothrace are true, then this provides another strong indication that the occupant of the tomb could be Amphipolis Olympias, the mother of Alexander the Great.
Author
Andrew Chugg
Ένα πραγματικό ”παλάτι” evoking even in the Royal family of Macedonia was the second Chamber of the funerary monument in Kasta Hill of Amphipolis.
New shocking facts revealed by investigations into pieces from the epistyle of the Hall. Although blemished from over the years, the performances indicate that the thalamus that led to the dead was an impressive Hall, full of frills.
Distinguished archaeologists estimate that the performances of an epistyle depicted sports competitions, mythological themes and the activity of hunting, in antiquity was proof of fortitude. Point at the same time that such images have been found in Royal Tombs of Vergina.
”These performances were meant to favor affluent people with axioms, who belonged to the top layers of nobility even in the Royal family” the Professor of Archaeology at the Aristotle University of Thessaloniki Eleni Minakidoy and continues: ”Those who belonged to the so-called aristrokratia of the era they had in their graves frescoes from matches, hunting and symposia. Such artistic representations are also found in the so-called Prince's Tomb in Vergina”
In the last two photos rotors forms which, According to archaeologists, referring to the goddess Victory. ”The images that we suggest that perhaps has to do with athletic event. In addition to the forms that allude to the goddess there and Win a prize, a vase and an amphora with three-legged stand” Ms. Minakidoy.
The disclosure of the five shapes and other elements of an epistyle is just the first phase of research on the marble sections while you follow and special laser processing. But academics already indicate that the representation is of great artistic value.
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The philologist Helena Garantoydi.
To paggaio mountain is well-known from the mythological years. Gold made the tragedy of Euripides ' Rhesus "to the name" condition with gold volumes, whose land hides Silver ". For centuries the rich mines of provided in great abundance of gold and silver and were an attraction for many peoples and tribes in around pageOn region.
Apart from the gold of, pangeo connects with a "treasure trove" myths concerning two important aspects of the ancient world, the Dionysian religion and Orphism.
The Thraki, in the mythical perception was an area much wider than the known geographical area. (The THRACIANS, We were the people that already from the archaic years constituted the bulk of the population in General and of Elevation between the Strymon and Nestos country). For the Greeks of the South was the site of’ where was the brash Boreas with his children, Boreades and Chioni them, and the ferocious war God Mars. But it was also the place of Orpheus, of Moysaioy, of thamyri and Eymolpoy, I had teach people the divine mysteries and music.
Thrace was the place where he was born and lived one of the Twelve gods, ARIS. Savage and aimoboros, like was he God, He left offspring like Tirea, Lycurgus and Diomedes, they stayed in the memory of people like Kings of Thrace, full of cruelty and barbarism. According to mythology the name of pageOn got by Pangeo, the son of Ares and Kritoboylis, who because he could not endure the pangs of conscience about incest that unknowingly committed with his daughter, He committed suicide on the condition that, as for all this informs us the Geography of Thrace of Meletiou.
Pliny mentions the tradition that first discovered the precious metals of the Punic origin Paggaio Cadmus who once arrived with his own in Thrace, where the locals were friendly and offered hosting. Along with Cadmus had started from Phoenicia and someone Thassos, son of Poseidon when they arrived in Thrace, passed in’ a nearby island and built city. Since then the island got its name and is called Thassos. In Thrace kadmos learned people to make gold through the mountain Pangeo to make with this various knick-knacks. Taught them and other arts that he knew from his hometown. According to this tradition the name of pageOn took from the Phoenician Word paga, that meant meeting.
Over at Pageo and starring the great God of Thracian, Dionysus or Bakcho, played the tragic myth of Ember King Lycurgus. Lykourgos, He reigned in Idwnoys, near the Struma, opposed to the worship of Dionysus, attacked the Bacchae sequence and threatened the life of God himself. Little Dionysus himself from the fear of dived in the sea, where Thetis the accepted shaky on her lap. Then the wrath of Zeus fell on Lycurgus who was blinded and not long to die, locked up in a cavern of Paggaio by Dionysus. According to another version of the myth of Dionysus himself rocked the brakes and put him to massacre the same child, thinking how to prune a grapevine, and that after this the Edoni, to restore the fertility of their land that was lost, the tied up in their mountain pangeo, where wild horses the devoured. Over at Pageo still say that a native, the Charops, helped Dionysus to beat and kill the Lycurgus, how he, getting the power according to the will of God winner, spread the worship of and how he taught his son Oiagro the Dionysian rituals, later his son Oiagroy, the Orpheus formed and systematized, so that became widely known as Orphic Mysteries.
Orpheus is a strange mythical figure, without clear hero traits, God or semi-God. Characterized as a "charmer music from AMA and divination", but it was also rapporteur of certain secret ceremonies, religious poet, Prophet and priest. Additionally honored in his grave with sacrifices as a God and not enagismata like the heroes. Descended from Thrace and acted either in the region of Pieria, where there was the tomb of, whether in the area of Mt. Paggeo and eastwards to the River Ebro.
Orpheus was famed for his performance in music, in chant and in kitharwdia. The length of the hoist into a symbol of kitharwdias, unsurpassed by later masters of the kind. Emblem of s.’ all visual depictions was the lyre that sometimes the clutching the knees over the chords and singing and sometimes in hand as simple emblem.
Orpheus after the descent into Hades, Re’ where failed to restore the Eurydice, He returned to the upper World pained, and seven days roamed unspoken without food or mourned on the banks of a river. By then he was indifferent to every woman and tapeinwne as the approaching. Some say that he didn't want to live alone and committed suicide. When the Orpheus but death of their Prophet was their God as her horrible Zagrea. In the most authentic version DIONYSOS who recently had passed with the sequence of play "Bacchae" by Asia minor in Thrace find the perifroniti of the mysteries of Orpheus and put the Bacchae, known in Thrace as "Bassares" or "Bassarides" to the "break" flying here and there the members of. The muses gathered its members and buried.
Others say that he was executed by the Orpheus of the Thracian women who ekdikithikan either because the excluded from the sacraments he founded, either because the estranged from their men to enter the children's love in Thrace. According to another view, Venus had revolutionized women's Thracian to dismember, while others say that Zeus with Thunderbolt killed Orpheus because in the mysteries he founded reveal people occult truths about the afterlife.
The new Dionysian mysteries, as the formed Orpheus, both had significant differences from the mysteries of ecstatic Dionysian worship, so the orfikoi considered themselves followers of a different religion (If again Dionysian). In the Centre of the teaching he entered the so-called ascribed to Dionysus Zagreas, son, in the "sacred ground" of the Orphic, of Zeus and goddess of the underworld Persephone. The Titans, the kakoyrges divine beings who were defeated by Zeus in the Titanomachy, they found opportunity to avenge the slaying his son Jupiter who was still an infant. Zagrea Dionysus dismembered and ate raw flesh of, Apart from his heart that managed to save Athena. The Titans after their katakeraynwthikan the felony by Zeus, and their ashes were created by people. The orfikoi say that people had in them the divine element (because the Titans had faei Dionysus Zagrea) but had the beastly or villain "Titanic nature" (because they were created to be out of the ashes of the Titans). The Orphic life (with fasting or abstinence from animal foods and with religious katharmoys) had the purpose to reinforce in them the divine element (the soul) and to bind or to deaden the Titanic nature (animal or bodily desires).
According to this faith, the actual nature of man, that divine exists within the, the has with the soul, that after death there is sinking like a fleeting – shadow on moldy Hades, only need to give account for its actions and required to pass a series of births, you bring or back in her homeland, or divine eternal damnation. This move he wanted to lead the man to the catharsis of his soul, to release from the physicality and in constant Union with divinity.
Unlike fans of Dionysian worship orgiastikis believed in the value of the wmofagioy: The Maenads, kyrieymenes from the Dionysian fury, diamelizan an animal that was the incarnation of the God Dionysus. Anyone eating raw a little of the meat of this animal "was bringing in of God", and it was believed that anakainize man exeygenize his life and. These two sects of Dionysian worship coexisted in historic times, but relations of fans has always been hostile.
Dionysus is, as we all know, God of wine and fertility and vegetation. The orgies of the God be celebrated every two years in early December on Parnassus. The word means projects sacred Orgies, religious ceremonies. Only women organized in troupes, they were taking part in’ These. Were the maenads or Bacchae or thyiades, holding in one hand a lit torch and in the other the thyrsos a stick decorated with vine leaves and Ivy and m’ a pinecone on the edge – and performed Orgies, who would say that were falling into religious hysteria. Rose running in the darkness and cold of winter night on wooded slopes and peaks of the mountain, While the drums and the flute came with their dances their Loco, until exhausted in swriastoyne soil. In their frenzy seen to gush from the earth rivers of honey and milk and wine. Even with faith that Dionysus had reincarnate in animal, in their desire to commune with him, whichever agrimi found been and headed towards, the xeskizan with hands and ate his raw flesh. With similar orgiastic rites were celebrating Dionysus women and in many other parts of Greece and Asia Minor, especially in Macedonia, that geitoneye with Thrace, from where they had launched the Dionysiac Orgies.
The "fad" that brings the God Dionysus, the change in IE. the consciousness of the atom, connects first course – first with wine and ecstasy and drunkenness that brings. But the frenzy that is vivid sign that someone was "entheos", i.e. God "came" to someone, is not necessarily tied to the wine after it occurs and regardless of’ This. The "fad" is related to the word "fierceness" which means the power of the mind, the soul and spirit of man. Fury is not a loss, "one loses the sense of", but a strengthening, a stimulating sensation that has everyone for his spiritual strength. Experiencing this but can't get hold of while staying alone in meditation. Is a mass phenomenon that becomes contagious. This expresses the myth about "troupe" of Dionysus. But anyone who is given to God
Dionysus, You must renounce and eliminates the "middle" of existence and become "berserk", get out of the constraints of the city. This is an experience of the divine that yet brings salvation to man.
That, well, featuring the Dionysian religion is Ecstasy, the one coming from himself, aided not only by wine, but also by the paraforo dance. Homer, who is preacher of the Olympic religion and doesn't like the mystical sermons, pretty much ignores the Dionysus. In simple but the people spreading the worship was great. For’ that Dionysus was the Lysios, God that lytrwne people from the cares and troubles of everyday life.
J. P. VERNANT in his book "MYTH and THOUGHT in ANCIENT GREECE" writes about the topic: "The Dionysian religion is, well, first of’ all above’ all women's affair. Women as women are excluded from political life. The religious property that makes them able to play, as Bacchae, sovereign role in Dionysian religion, is the inverse of this inferiority that the marks on a political level and that forbids them to participate – equally with men – in the governance of the city. But slaves also find a place in the Dionysian cults, a position that normally may not have elsewhere (…). The religious, well stream of Dionysian religion offered in an old age, a concentration on those who were under the margin of the recognised social class. Some devotional epithets of Dionysus, as Promiscuous and Lysios, witness this interweaving of social and religious element and the same aspiration for freedom and redemption. Indeed this offered the Dionysian religion believers – and when still controlled by the State, as it happens the classical era-is a religious experience the opposite of formal worship. It is no longer the ieropoiisi a class, where one must join, but for the redemption of this class and the release from compulsions arising in some respects. So we search for a radically different experience, away from everyday life, common occupations, statutory compulsions, and effort to repeal all limits, fall all barriers that determine an organized world barriers between man and God, the natural and the supernatural, between the human, in animal and vegetable, social barriers, boundaries of the ego ".
On another page of the book we read that "troupes, clubs and mysteries opening their doors to people, You can now experience the sacred truths – privilege, sometimes certain hereditary genera – without any limitation as to their social status and origin. The creation of religious sects, such as "orfikes", the establishment of mystiriakwn religions, the establishment of an Association of "wise men", as was the Pythagorikos, reveal in different conditions and in different circles, the same great social movement enlargement and proliferation of a sacred aristocratic tradition "
The orphism is a religious movement that, like ALBIN LESKY observes in the HISTORY of ANCIENT GREEK LITERATURE, the importance of the was overpriced too in some seasons, to renounce following almost totally with radical skepticism. Whether this move has developed from purely Greek startups, whether it was related to the teaching of the Orient for the wandering of souls, are problems that their solution is not easy. But it is not foreign drop inside the Greek blood, but synanikei the image of the Greek world.
Pangeo well, associated with myths, religions and cults, that worked "revolutionary", bringing major innovations, changing the lives of people who followed.
AEC KAVALAS
Katerina Peristeri first calls Maria Vlazaki, General Director of Antiquities and cultural heritage. As it is located on mission of Ministry and currently cannot answer, the next phone call that made the Director of the Inspectorate of Antiquities Serron, at 5 Friday afternoon, is the General Secretary Lina Mendoni.
Informs that during the course of the excavations, they had up to then reveal 80 measures of the enclosure in perfect condition, they arrived in front of the revelation that hinted at what followed: The two Sphinxes akefales.
Lina Mendoni hurries to the Office of the Minister, where shall I quote what was Jamie's Peristeri, and Costas Tasoylas instructs the Secretary-General to go Sunday to Amphipolis to establish itself and what it is about.
Reaching notes the importance of finding and remains in the region in order to move the procedures for setting up the construction site and processes to seamlessly work inside the Tomb, in an excavation that was not systemic but rescue (still hasn't done the procedure, Since it hasn't gone yet the dossier of the excavation in the Central Archaeological Council).
Constantly informs the Minister of culture, who communicates with the Public Ministry and the local police department, asking for increased police protection. At the same time continuously informs the Prime Minister. Five days later, the Prime Minister himself visited the excavation and thus the word Amphipolis becomes internationally viral and scenarios and stories on Megalou Alexandrou suddenly find fertile ground to flourish.
This historic recounted the same General Secretary on the sidelines of Marathon presentation of "Trek" anaskafikoy of Amphipolis, based on the report by Mrs Peristeri in guards with guns around the excavation. Indeed, the Minister watched agreeing with this narrative, but finding and a chance to remember yet another Constantine Cavafy poem, that is obviously the favourite poet: "She's A ygoystoy-A ygoystos was;- the evening… Once I remember anymore the eyes· were, I, mabia…».
Read the history of excavation then, as published in iefimerida.gr
At 20 August were made public the photos and with the two Sphinxes, After you have removed 11 stones from the wall of the entrance of the mound stamping Kasta. Impressive sentinels of the Tomb in all their glory… Along with their heads, their height reached two meters.
By removing five stones from the wall sealing the Tomb ithre the basis of Sphinxes and the upper section of the marble thyrwmatos. Covered with fresco fragment in imitation of ionic. Bear decorating with red, Blue and black color. Immediately, below the Ionic architrave, uncovered two Ionic capitals of the Antis of port, also overlapped with fresco and epizwgrafismena with the same colors.
By removing 10 even sealing stones from the wall of the Tomb revealed the continued input of the monument's facade, with decoration, similar to that of side walls, But beneath the capitals, marble pilasters of thyrwmatos, which overlap, also, from white fresco.
A pokalyfthike almost the whole facade funerary monument, While the removal of soils, inside of the antechamber, appeared under the marble Ionic architrave, nested marble lining, from uprights, Prof’ the entire length of the lateral walls. At a distance 6 m. from the opening of the entrance was revealed the top marble septal wall.
With the removal of soils behind the Pebble flooring revealed Sphinxes, consisting of rectangular and square shapes, surrounded by black-and-white diamonds.. In the lower part of the facade appears in the movie matrix, color blue, which goes on and on the side walls.
With the removal of soil from the vestibule, in the space behind the wall of Sphinxes, marmarothetimenoy flooring Department revealed, with white, small irregular pieces of marble, on a red background, surviving in extremely good condition.
At a distance of approximately 2 the dome and measures 4,5 measures, about, from the floor of the cabin revealed first marble slab rectangles, length 4,2 m., width 1 m. and thickness 0,21 m., in excellent condition, While the removal of sandy soils, the area in front of the second septal wall, uncovered beneath the marble architrave, among the, also, marble pilasters, two magnificent art Caryatids, by thassian marble.
With the removal of sealing wall in front of the caryatids was revealed that the daughters are monobloc. The Caryatids that seem slightly the tunic also raise the, with the corresponding hand.
After removal of soil in the second Chamber of the Tomb, behind the caryatids discovered the third wall of phrenic mound and the upper section of the yperthyroy that leads to the third Chamber of the Tomb.
To light the first photos from the inside of the second Chamber, behind the caryatids, with red marbles.
With the further removal of soil from the first Chamber of the Tomb revealed astonishing details of the caryatids. Specific, It was revealed that bear kothornoys, who is decorated with red and yellow, While the fingertip of their feet have been attributed with fine detail.
With the removal of the last wall sealing structures, in front of the second septal wall, revealed in their entirety marble pedestals, on which pull the Caryatids. total height pedestal and statue is 3,67 m.
With the removal of soils revealed sections of marble doorway, the standard format of the Macedonian tombs. E is constructed from Aliki Thassos marble-like is made and all the funerary complex- with lentigines, which mimic the nail head, as is customary on wooden doors. Also, during excavation found, in front of the port, behind the caryatids, Bronze and Iron nails.
M e the removal of soils by the second Chamber of the Tomb, the excavators found in front of a new surprise. An astonishing art mosaic. The Hermes psychopompos to lead, two white horses, and a dafnostefanwmenos man.
With the removal of all soil from the second Chamber of the Tomb revealed the entire mosaic which, as found, It depicts the abduction of Persephone. Redhead Persephone enchants…
K c suddenly excavators last week were faced with a new surprise. While they removed the soils from the third Chamber of the tomb and in their attempt to reach the fourth septal wall of the tomb and to see what hides the input of 0,96 the measures have found in him, found buried in soils of Eastern Sphinx head…
By Andrew Chugg * Intriguing enigmas continue to envelop the story of the Amphipolis tomb, Greece . What was the gender of the occupant? When was the tomb sealed? Who was the architect of the monument? This article unravels them all. What was the gender of the occupant? There is an excellent chance that this question will be answered conclusively some time in the coming months through the promised laboratory investigation of the skeleton. However, Katerina Peristeri, head of the excavation, confirmed at the Ministry of Culture presentations on 29th November that nobody currently has any idea of the skeleton's gender, because the bones were too fragmented for the archaeologists to be able to check the features that determine gender and because the remains were collected with the surrounding soil still partially encasing them in order best to preserve the evidence for the laboratory investigation. Nevertheless, ela repetiu sua opinião anterior de que o ocupante é mais provável um macho e um dos generais de Alexandre baseada no fato de que o leão Amphipolis que ficava no alto do monte é do sexo masculino e sua base foi decorado com escudos.. Esta idea não é nova,, but it has been the standard theory of scholars since the fragments the Lion Monument were rediscovered over a century ago.. Parts of the shields can be clearly seen in some of the blocks now stored near the Lion Monument rebuilt near Amphipolis (Figure 1). But it is true that a monument with a male lion and shields necessarily celebrates a man?? In the period of the Tomb Amphipolis happened that two Royal women had a leading role in the war.. Firstly, Adea-Eurydike, who was the granddaughter of Alexander's father, Philip, became the queen in 321BC by marrying Philip- Arrhidaeus, the mentally retarded half brother of Alexander, whom the troops had elected to the monarchy in Babylon on Alexander's death. In 317BC Adea tried to win precedence for her husband over the official joint-king, Alexander IV, Alexander the Great's 6-year-old son. This prompted Alexander IV's grandmother, Olympias, to lead her nephew Aeacides ' army across the mountains from Epirus into Macedonia to defend her grandsons rights. Athenaeus 560f describes the situation: "The first war waged between two women was that waged between Olympias and Adea-Eurydike, during which Olympias dressed rather like a Bacchant, to the accompaniment of tambourines, whereas Adea-Eurydike was armed from head to toe in Macedonian fashion, having been trained in military activities by Kini, the princess from Illyria [and a wife of Philip II]."Olympias was victorious and received the epithet Stratonike, which means "the army's victory goddess". A monument with shields would be entirely appropriate for either of these queens. Olympias also had a claim to the lion as a personal badge as Plutarch, Life of Alexander 2.2 records: "After their marriage, Philip dreamt that he was putting a seal upon Olympias's womb, and the device of the seal, as he imagined, was the figure of a lion. The other seers were led to suspect that Philip needed to keep a closer watch upon his marriage relations; but Aristander of Telmessus said that the woman was pregnant, since a seal was not put on that which was empty, and pregnant with a son whose nature would be bold and lion-like. " Coins minted by Macedonians at that time also bear witness to the new phenomenon of warrior women. In Egypt, Alexander's former general, Ptolemy, minted a series of silver tetradrachms with an image of the deified Alexander wearing an elephant scalp on the obverse and a representation of the goddess Athena bearing a shield and wielding a spear on its reverse (Figure 2). It is even possible that Ptolemy introduced this reverse to recognise the battle between the queens in his homeland of Macedon, because it first appeared within a year or two of that event. Though not properly a goddess like Athena, Olympias was the mother of a fully-fledged god at the time of her death: for example, the deified Alexander on the coins of Ptolemy was introduced in about 321BC. Furthermore, Alexander himself was recorded to have wished to make his mother the goddess after her death (Curtius 9.6.26-27). Finally, the epithet Olympias by which we know the queen was not her original name (that was probably Polyxena, Although she was also later called Myrtale), but an honorific title meaning "one of the goddesses from Mount Olympus" awarded to her by King Philip at about the time that she gave birth to Alexander. Furthermore, one of Philip's wives, perhaps Meda, was buried in the antechamber of his tomb at Aegae-Vergina. Historians now believe that the arms found in the antechamber belonged to this queen rather than to Philip. They included a golden gorytus (arrow quiver) and greaves (lower leg armour) – see Figure 3. It should also be emphasised that all the symbolic decorations within the actual tomb chambers at Amphipolis are unambiguously female in character: the sphinxes, the caryatids/klodones and the figure of Persephone in the mosaic. For all these reasons, it would not be surprising for a Macedonian queen and Olympias in particular to be commemorated by the lion monument decorated with warrior shields atop the mound at Amphipolis. It is therefore especially interesting that we learnt from Katerina Peristeri at the presentations on Saturday 29th November that she had partly been inspired to dig the Kasta Mound by stories from the local people that it was the tomb of a famous queen. Sometimes such legends harbour a germ of truth. There is also another tantalising possibility: that one of Alexander's generals actually was entombed within the lion monument itself in addition to the tomb beneath the mound. There is one obvious candidate. One of Alexander's eight somatophylakes, the kings most senior staff officers, a Macedonian named Aristonous, who was the commander of Olympias's army in her war with Cassander and was also the muchloved lord of Amphipolis. But Cassander arranged his murder at about the same time that he had Olympias killed. One intriguing observation is that a sarcophagus is kept amongst the group of stones salvaged from the lion monument stored next to the current partially reconstructed lion (Figure 4). I have no confirmation at present whether it is indeed itself from the monument, but it certainly merits future investigation. When was the tomb sealed? Compreender a história do túmulo em Amphipolis depends criticamente de determinar quando e por quem a operação de selagem intensivo foi realizado.. Selagem paredes de enormes, unmortared blocks seemingly taken from the peribolos wall were erected in front of both the caryatids and in front of the sphinxes and all three of the chambers within were sedulously filled with sand dredged from the bed of the nearby River Strymon. It was confirmed in the presentations of 29th November that the holes in the masonry near the level of the arched ceiling were used to carry sand into the interior after the sealing walls had been erected and were not made by looters. However, the most intriguing statement made on 29th November was by architect Michael Lefantzis, who is reported to have said that the sealing walls were made and the backfilling was done in the Roman era, whilst also confirming that the sealing walls were manufactured from material removed from another part of the monument. Os arqueólogos também disse que a tumba foi aberta aos visitantes durante algum tempo e uma vedação Roman pode ser levado a entender que as visitas ao túmulo teve lugar por pelo menos vários séculos.. However, the archaeologists and the Ministry of Culture have previously published some evidence, mainly photographic, that could suggest that the tomb was only open for a relatively short period before being closed up: 1) Ancient paint survives on the façade, for example on the capitals of the pilasters either side of the portal beneath the sphinxes (Figure 5). Preferential weathering of exterior paint should be expected and centuries of weathering would normally completely remove paint, but the paint on the façade is in worse condition than the paint within the first chamber. 2) A alvenaria nas paredes de vedação não foi argamassa,, but the stones were merely stacked on top of one another (Figure 6). This was normal in the Hellenistic period, but the Romans nearly always used mortar between the stones in their walls. 3) There are ancient steps in a couple of the released photos (e.g. Figure 7): although there is some chipping to the edges of these steps, they are nevertheless still sharp, crisp and flat in some central parts of their edges. Over centuries a smooth pattern of wear should be expected. 4) Neither the paving in the first chamber (Figure 7) nor the mosaic in the second chamber (Figure 8) shows any sign of the differential wearing to the areas where visitors would predominantly have trodden (the damage to the centre of the mosaic must have been due to an event at the time of sealing or only just before, since it is reported that loose pieces were found still in place during the excavation.) There may be answers to some of these points: e.g. it has been suggested that the entrance might have had a roof over it (although that would have made the interior of chamber 2 very dark). However, collectively there is an implication from these points that the tomb chambers may not have been open to visitors for as long as centuries. The other difficulty with a Roman era sealing is the question of motive. Terá sido caro e demorado para construir as paredes de vedação e de dragagem e transporte de milhares de toneladas de areia.. Also, since there were no grave goods left, the only thing of possible value inside the tomb was the bones themselves. Yet these bones were left scattered about in and out of the grave slot. If the sealer was concerned to protect the bones, why did he/she not tidy them up before sealing the tomb? An easy way to remove doubt on the sealing date would be to announce Roman dating evidence found within the sealing wall erected in front of the sphinxes. In fact Katerina Peristeri said on November 29th that there were no potsherds or coins in the main chamber, but that the archaeologists found a lot in other areas: "In the main chamber we do not have any grave goods. They have been taken away or maybe they were somewhere else. The geo-survey that we are doing may give us more info about what there might be elsewhere, but in the other areas (χωροι) we have pottery and coins that are being cleaned and studied. We simply haven't shown them to you. The dating is in the last quarter of the fourth century BC in one phase and we have coins from the 2nd century BC, which is the era of the last Macedonians to protect their monument and from the Roman years from the 3rd century AD "Unfortunately, this remains ambiguous on the question of whether any of this evidence was found within the sealing wall erected in front of the sphinxes. Consequently, the key question now is: what is the latest attributable date of anything datable found inside the sealing wall erected in front of the sphinxes? In general, the latest datable material is likely to be a good indication of when the tomb was finally sealed. If anything definitely Roman has been found inside that wall, then the final sealing was very probably Roman. In that case the parallel evidence that the tomb has only been lightly visited may imply that the sealing history is fairly complex, perhaps involving an early sealing, a later opening and a final re-sealing. Who was the architect of the monument? The archaeological team at the Amphipolis tomb have previously speculated about the identity of its architect and in their presentations on Saturday 29th November they confirmed that the whole monument was the work of a single architect with the exception of the cist grave and its slot, which is now confirmed to pre-date the rest of the monument. I am confident that the archaeologists are right on these points. The most interesting name that the archaeologists have put forward in connection with the identity of the tomb's designer is that of Alexander's architect, Deinocrates (literally the "Master of Marvels"). He is widely referenced in the ancient sources and is also called Cheirocrates ("Hand Master"), Stasicrates, Deinochares and even Diocles. It has been suggested that Stasicrates was his real name and that Deinocrates was a nickname. He was the proposer of the project to sculpt Mount Athos into a giant statue of Alexander, although this was rejected by the king (see Figure 9). He is specified to have restored the temple of Artemis at Ephesus and Plutarch (Alexander 72.3) writes that Alexander "longed for Stasicrates" for the design and construction of Hephaistion's pyre and monument. Most famously of all, Deinocrates was Alexander's architect for Alexandria in Egypt. In my book, The Quest for the Tomb of Alexander the Great, 2nd Edition, 2012, p. 160, I made a link between the masonry of the most ancient fragments of the walls of Alexandria and the Lion Tomb at Amphipolis (i.e. the blocks from the structure that supported the lion, which was all that was known at that time): "The blocks of limestone in the oldest parts of this fragment [of the walls of ancient Alexandria, located in the modern Shallalat Gardens] are crammed with shell fossils and the largest stones are over a metre wide, although they vary in size and proportions. They have a distinctive band of drafting around their edges, but the remainder of the face of each was left rough-cut. The Tower of the Romans in Alexandria was faced with the same style of blocks, including the bands of drafting. Such blocks are particularly to be found in the context of high status early-Hellenistic architecture. Pertinent examples elsewhere include the blocks lining the Lion Tomb at Knidos and the original base blocks of another Lion Tomb from Amphipolis in Macedonia. Both most probably date to around the end of the fourth century BC and are best associated with Alexander's immediate Successors. " The blocks from the oldest surviving part of the walls of Alexandria are also comparable with the blocks in the peribolos wall now uncovered at Amphipolis. Both have the distinctive band of drafting around the block edges with the stones being left rough-cut in their central reservations (Figure 10). The archaeologists have put forward one slightly complicated argument in favour of Deinocrates having built the Amphipolis tomb based on a map of ancient Alexandria (Figure 11) drawn by Mahmoud Bey in 1866 following his extensive excavations across the site of the ancient city performed in 1865. Mahmoud reconstructed the street grid based on results at numerous dig sites. He inferred the size of a stade, the standard Greek measure of large distances, to have been 165m in Alexandria by noting that the separations of the roads in the street grid were fixed numbers of stades. He also reconstructed the course of the ancient city walls on the basis of excavations on the eastern and southern sides, but in the west and to some extent on the northern side he had to guess their course in many places, due to modern developments having made the necessary excavation sites inaccessible. He came up with an overall perimeter for the walls of 96 Alexandrian stades or 15.84km (although Mahmoud himself actually wrote "around 15, 800m" in his book.) The Amphipolis archaeologists noticed that the Alexandrian wall circuit of Mahmoud Bey, which they supposed to have been planned by Deinocrates, is almost exactly one hundred times the diameter of the Kasta Mound as defined by its circular peribolos wall, which they have measured at 158.4m. They have suggested that this coincidence suggests that Deinocrates was the architect for the Amphipolis tomb as well as for Alexandria. However, There are a few difficulties with this hypothesis: 1) There are three ancient writers that give the perimeter of Alexandria's walls: Curtius at 80 stades, Pliny at 15 miles and Stephanus Byzantinus at 110 stades. All of these are significantly different to the modern 15.84 km value from Mahmoud Bey. 2) It is doubtful whether all of Mahmoud's wall line, especially in the west, can be accurate, since he did not actually find any definite traces of the wall over large stretches of his reconstructed perimeter. 3) It is doubtful whether the outer wall mapped by Mahmoud Bey was part of Deinocrates ' original plan for Alexandria. It is essentially the wall line of the city at its zenith around the time of Augustus. It is unlikely that Alexander founded the town to be 5km wide, so that it would have needed half a million inhabitants to fill it. The only fragment surviving now of early Ptolemaic wall is in the line of a much smaller circuit, near the middle of Mahmoud ' s city and encompassing its central crossroads. That is a better candidate for Deinocrates ' handiwork. 4) To compare the perimeter with a diameter is not comparing like with like. It is the unit of large-scale measurement, the stade, which should really be compared between Alexandria and the Kasta Mound of the Amphipolis tomb. Usually in Greek cities the stade was defined as measuring 600 feet. So is, example, em Atenas uma stade era 185m.. However, Alexander the Great employed men called bematists (literally "pacers") to measure the distances between the towns and cities that he passed through on his campaigns. We still have some of the lists of towns and the distances between them as measured by Alexander's bematists (known as the stathmoi or "stages"). Since many of the places in these lists have known locations today it is possible to calculate from modern maps how long the stade used by Alexander's bematists must have been and the answer is 157m (see Fred Hoyle, Astronomy, Rathbone Books Limited, London 1962.) That would require a foot of only 26cm, which would be extraordinarily small and well below the normal range. But it would of course have been impractical for the bematists to measure distances of hundreds of km between cities by putting their feet down heel to toe repeatedly, so they must have used paces instead of feet to define their stade. In fact we know that a Roman mile was defined as 1000 paces and that is 1481m, so it is likely that Alexander's bematists were using a stade of 100 paces (of two steps per pace). Anyway, it is clear that the diameter of the Kasta Mound at Amphipolis is actually remarkably close to the stade used by Alexander's bematists. And actually the Alexandrian stade of 165m is closer to the bematists ' stade than to the 600-foot stade of other cities. The conclusion could be that the architect of Alexandria and the architect of the Amphipolis tomb both paced out their plans in a fashion similar to Alexander's bematists. So there is a slight link after all between Deinocrates, the known architect of Alexandria, and the architect of the Amphipolis tomb. Furthermore, Deinocrates is associated with projects that were intended to impress through extraordinary size, so that is another good reason to consider Deinocrates to be a candidate in the case of the Kasta Mound. Nós certamente podemos dizer que um arquiteto grego illustre projetou o Kasta Mound e seu túmulo Lion com um 100 diâmetro. Deinocrates portanto, continua a ser um bom candidato para a identidade do arquiteto do leão túmulo Amphipolis.. However, the evidence is largely circumstantial and it relies in particular on the correctness of the dating of the tomb to the last quarter of the 4th century BC. I see no reason to doubt this dating and the archaeologists invoked the style and execution of the mosaic in their presentations on 29th November to bolster the case for their late 4th century BC date. However, We will need to see a bit more dating evidence to be absolutely confident in assigning the tomb to a narrow quarter century time slot. What event of the paintings depict? The Greek Ministry of Culture published photos of the paintings recently found decorating the architraves in the third (burial) Chamber of the tomb Amphipolis on 3rd December 2014. They depict a man and a woman wearing red belts or sashes around their waists dancing either side of a bull (Figure 12) and a winged woman between a tall urn and a cauldron or brazier on a tripod (Figure 13). The press release also mentions that the marble roof beams in the chamber were painted with rosettes. These scenes appear to be associated with some kind of cult activity and I will show that there are significant parallels with what we know of the activities at one particular cult site: the Sanctuary of the Great Gods on Samothrace, where the Mysteries of Samothrace were conducted. This island sanctuary was long patronised by the royal family of nearby Macedon and in the era of the Amphipolis tomb, the last quarter of the 4th century BC, that patronage is particularly linked to Queen Olympias. Notably Plutarch, Alexander 2.1 writes: "We are told that Philip, after being initiated into the mysteries at Samothrace at the same time as Olympias, he himself still being a youth and she an orphan child, fell in love with her and betrothed himself to her at once with the consent of her brother, Arymbas. " The first connection with the mysteries of Samothrace is the combination of bull sacrifice with rosettes. There is a sculpted relief from the early 3rd century BC Arsinoe Rotunda at the sanctuary on Samothrace, which depicts two garland bulls ' heads either side of a large 8-petal rosette (Figure 14). It has been assumed that it alludes to bull sacrifices during the mysteries. In fact it is known that a section of the ceremonies involved animal sacrifices and it is certain that this included bull sacrifices in the Roman period. It is therefore quite striking that the newly discovered paintings depict a possible bull sacrifice in the context of a chamber also decorated with similar rosettes. The second connection derives from the very strong association of the Sanctuary on Samothrace with Nike, the winged goddess of victory. Most famously, the wonderful "Victory of Samothrace", now in the Louvre (Figure 15), was discovered in pieces around one of the ruined temple buildings in the Sanctuary of the Great Gods by Charles Champoiseau in March 1863. Additionally there is a votive stele dedicated to the Great Gods of the Samothrace Sanctuary found at Larissa in Thessaly by the Heuzey and Daumet expedition (Figure 16) and that too depicts the goddess Nike as a central part of its composition. A winged woman in Greek art of the early Hellenistic period is usually a depiction of Nike, so we can reasonably assume that the winged woman in the newly discovered paintings is also the goddess of victory. It is known as well that some of the ceremonies for the mysteries of Samothrace took place at night. A foundation was recovered at the Hieron within the Samothrace Sanctuary, which could have supported a giant torch, but maybe something like the tall brazier in the newly discovered paintings could have fulfilled the function of illuminating nocturnal ceremonies. More generally, the discovery of payees lamps and torch supports throughout the Sanctuary of the Great Gods confirms the nocturnal nature of the initiation rites. Furthermore, suspeita-se que inicia a Samotrácia foi prometida uma vida após a morte feliz,, como também foi o caso nos mistérios realizados em Eleusis, perto de Atenas.. Isto faria cenas de os mistérios da Samotrácia um excelente tema para a decoração de um túmulo de iniciar.. Finally, and perhaps most strikingly of all, we know from ancient reports (e.g. Varro's Divine Antiquities) that a particular feature of the mysteries at Samothrace was that initiates wore red sashes around their waists. It is therefore rather noteworthy to see just such red sashes around the waists of the man and woman dancing either side of the bull in the newly discovered paintings from the burial chamber at Amphipolis. If these associations between the burial chamber paintings and the mysteries at Samothrace are true, then this provides another strong indication that the occupant of the tomb could be Amphipolis Olympias, the mother of Alexander the Great. *Andrew Chugg is the author of The Quest for the Tomb of Alexander the Great and several academic papers on Alexander's tomb.
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Scientists place great importance on the teeth that can be present in the skull. "It is a matter of weeks to see if there is a relationship of the skeleton with Philip», stresses with meaning to Anthony Sroiter Chris Giapitzakis, Geneticist – Assistant Professor Neyrogenetikis, While noting that "depends on the quality of the ancient DNA and DNA polymorphisms by how many we'll see, to compare if there is a family relationship or not. We can learn whether father or son. We could learn if there is affinity paternal origin, If it is uncle to nephew. There is a y chromosome that is inherited from father to son. Is the so-called male inheritance. It would seem because half the genes of Alexander would be Philip. I was pleasantly, but the unlikely event! If you are female you will not see affinity. If it was though, woman, congenital with Philip, I was looking at some parent type inheritance genes in mitochondrial DNA that we inherit from our mother. All Europeans come from 7 women and 10 men. So in some of these families would be. You could say that resembles the modern inhabitants of the Peloponnese or of Crete».
Tonight, at 23:45, Antonis Sroiter through the frequency of ALPHA makes "Autoplay" the findings of the excavations of Amphipolis trying to shed light on the mystery of "inhabitant" of the Tomb.
In the sheet 30/9/2014 Kavala ChRONOMETRO newspaper, as well as in electronic version, in the context of the publication of a series of my articles titled "GODS, IMITHEOI AND BASILIADES IN THE MYTHOLOGY OF THE AREA MOUNT PAGGAIO PERI ", I referred extensively to the mythical King of the Thracian pangeo, the Riso, saying, already in the prologue of my articles, I quote the following: "Most very impressed with the fact that the monument every day it reveals archaeologists did not known until today form of the Macedonian tombs, but it seems like n ' copies some devotional cave pangeo, like the one in which Euripides placed the mythical King of the Thracian pangeo, the Riso, in the eponymous tragedy........... My reflections, well, does under the great tumulus of Amphipolis, with the Sphinxes that foretell the coming events, Apart from the grave of a epifanestatoy man, hiding and some Premier, spilaiiki worship, leads me to wade in ancient these myths and legends of Paggaio.... "
And although the Riso for referring to what in my related article I wrote, which you can see in the following link: http://www.xronometro.com/risos-paggaio/
The Occasion, though, to return to the ancient hero of Pageos, This new publication, It was the fact that, shortly after the publication of my article above for Riso, in the majestic tomb of the Hill "Kasta" of Amphipolis found, beneath the floor of the third Chamber, a tomb with the disturbed bones of a dead, to which, According to an announcement of the Ministry of culture, assigned hero cults. Who, though, could be the afirwismenos dead, the hero worshiped beneath the majestic monument which revealed the archaeological hoe;
In principle, I do not intend (and I can't) n ' go against the special scientists excavate the Tomb, getting, though, given the above as an announcement of the Ministry of culture, accepting, i.e., I do that in the majestic tomb of Amphipolis hero values ascribed to some dead, (even if he's not found buried beneath the third Chamber), dare, based on my knowledge of scarce, (knowledge of a simple filistoros), Add me too a case, in many cases they see everyday light, trying, though, to substantiate my case this becomes more effective.
As I mentioned in my article for the Riso, When the Athenians wanted to put their foot in rich, metalloforo area of Paggaio and decided, the 437 e.g., to send a group of settlers in the city of Nine streets of Struma, with settler in Agnwna, had to legalize their presence there. So, during the 3rd year of the 85th Olympiados...;. Let's leave, though, the Polyaino, in the 6th book of his ' Stratigimatwn ', to narrate the continuity:
Your quote above, in free translation:
"The Agnwn began to establish new York colony, wanting to colonize the so-called Nine Streets, on the Struma ' Existed but the following Oracle to the Athenians:
You're nothing willing, sons of the Athenians, to forcibly build in polypodaro place; It will be difficult for you, without the will of the gods. Why is not meant (to accomplish), before you find and bring by Troy the relic of Risos and hide it with brilliance in paternal of Earth. Only then could you to obtain glory. After God gave him the Oracle, General Agnwn sent men in Troy, that night they opened the tomb of Risos and took the bones. And after they placed the bones in a red mantle, bring on the Struma. But the barbarians who occupied the place that, the hold back to cross the river. Then the Agnwn concluded three days of libations with the barbarians and thus the night passed away and after the Struma, along with his characteristically, the hand bones of the Risos buried beside the river, Since it destroyed the ditch, built wall beneath the Moon. The day did not work and the entire project was executed in three nights. Once the barbarians, After three days, they came and saw the wall, reproaching the Agnonas, that violated the libations. He, though, He said that he did nothing wrong, because the libations spoke for three days, not for three nights. In this way the apoikise nine Agnwn Streets and the city named Amphipolis».
Next, well, the river Struma, well the Agnwn buried the remains of the ancient King of the Thracian, the Risos, According to the Polyaino, While the historian Marsyas of Philippi, at Macedonian stories, It is even clearer, After stating that the colonists buried the remains of his son Struma, the Risos, on top of a hill, They rained the Struma, While just across the street from the monument erected for the hero, built an altar, He dedicated to his mother, the Muse Clio. («Church of Clio in Ochi Amfipolei, the Risos founded across the monument, on the Hill, thereby».
Odysseus and Diomedes steal his horses Risos
So the cult of the ancient King of the Thracian pangeo, the Risos, that existed since centuries among the Thracians, was one of the official cults of the new city. The irwopoiimenos, ancient King continued to be worshipped in Amphipolis and after its foundation, as I continued to be worshipped by all the Thracians, and not only of them inhabiting around the Pangeo. We Know, Indeed, that even up to the 3rd century a.d.. the Rhesus worshipped by the Thracian tribe of Bisswn Rhodope Mountains like God, with most known qualities of the Hunter and of the therapist, which is strongly reminiscent of another God of Thracian people of all ancient Thrace, the Main hero or Ember Knight, also God the healer and Hunter and for "what many authors consider that under the two names is the same great goddess of Thracian, the highly revered in "them, This Sabazioy Dionysus or Bacchus, whose relations with our hero confirms the epilogue of "RISOS" tragedy of Euripides, According to which, Rhesus o, genomenos anthrwpodaimwn of Dionysian procession, IE genomenos from man demigod, will forever be Prophet of Bacchus, hidden in the caves of the Earth of Paggaio hides silver, where, not only will the introduction of coming events, but will send himself the divine guidance to the prophets of the, for whom will be revered God. (Lyrics 967 subs. «..th γάρ s tayton pote, t ' opsetai demas eisin nor mother, kryptos d ' ypargyroy in antrois of chthonos, keisetai Gazer faos anthrwpodaimwn, Bacchus Prophet so Paggaio toisin eidosin wkise modest rock God»).
Believing, well, that the Hill "Kasta", where excavated the great, funerary tumulus, that the Kingdom of the Struma, until the 1960s drainage works 1930, fits perfectly in the descriptions of the ancient historians who quoted and has numerous chances, It was he who hosted the relics of Risos brought the Athenian colonists from Troy, resume:
There is the remarkable, devotional set, (This three cubicles, they were excavated in a tomb of Amphipolis), which was open and visited and used, Perhaps for centuries, for the price of one performance (or more;;) irwopoiimenoys dead, (in accordance, always, What we conclude from the communications of the Ministry of Culture and anaskafews). I Think, also, given the dating of worship set, at the end of the 4th BC. century. The Rhesus, though, He was buried on a hill, beside the river Struma, the 5th b.c.. century. This seeming contradiction leads me to make the following two assumptions:
If proved, by carbon method, how the dead found beneath the third Chamber of the cult series (as well as this very burial) build-time pre-dates the cult all, (as I believe), then I also believe that this devotional set was constructed over the tomb of the hero, just because the space was already sacred, because the Thracians and the Athenian colonists of Amphipolis worshiped there irwopoiimeno mortal (anthrwpodaimona, When Euripides) Riso and so, a member of the Macedonian, the royal dynasty, (Why not himself Alexander the great;) He chose to build the magnificent, burial Tomb over the place of ancient worship of the beloved hero – semi-God of Thracians, just in order to accept this, by residents of the famous city, cults and the values that fit in a hero like the mythical King of Pageos, for whom she had spoken to Homer and had dedicated an eponymous tragedy of the Evripides. Because it raises the legitimate question as to whether the bones are those of three thousand years, a possible answer is that because the Athenians said they brought is that bones of Risos, so you need to be; Could well find some other bones to the wrapped in purple mantle and presented with a view like the Risos, in order to fulfill the Oracle!
If, again, proven, always by carbon method, that the deceased was found is a contemporary of construction time of worship set, then you need to keep looking for, on the same hill and the cavernous gaps that, of course, he hides, the hero of Amphipolis, the Riso, but that again the Member of Macedonian, the royal dynasty, who built the funerary monument of the same site, to legalise the hero and price performance in his own person! In both cases, the tumulus of Amphipolis I'm sure will do countless generations of Greeks proud for the ancients our ancestors, the wonderful myths and the brilliant culture.
THODOROS LYMPERAKIS DIMOSTHENOUS STR.
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