New analysis of the Antikythera Mechanism suggests the astronomical device is older than archaeologists assumed. Archaeologists and historians aren't entirely sure when the machine was constructed, or by whom, though its design may have been influenced by the scientific teachings of Archimedes, Hipparchus, or Posidonius. But as the New York Times reports, a new analysis of the dial used to predict eclipses (which is set on the back of the device) is offering some important new clues:

The Antikythera mechanism is an ancient analog computer designed to predict astronomical positions and eclipses. The computer's construction has been attributed to the Hellenes and was originally dated to the early 1st century BC. Technological artefacts approaching its complexity and workmanship did not appear again until the 14th century, when mechanical astronomical clocks began to be built in Western Europe.

Pretty pictures and a genealogy lesson today, courtesy of Marco Bove. This artist is based in Milano. After attending Art School he graduated in Interior Design at Politecnico di Milano in 2010. Passionate about illustrations since his university studies, he came up with hybrid techniques that combine free-hand traditional tools and computer graphics, on which he based his graduation thesis. Convinced that the two media can not exist separate, he conceives and develops different types of images and visualizations: editorial illustrations, figurative or abstract drawings, portraits, perspective views of spaces, moodboards, infographics. He is also an avid Hellenic mythology lover, it seems, because her has not only created beautiful art pieces of the Theoi, but he's combined them into a family tree piece that will blow your mind.
[click for larger]

His work is based on the cosmology by Hesiod, in his 'Theogonies'. A lot of sketches for this piece, as well as the individual images can be found on his website. If you want to keep up with his work, also try his Facebook or Twitter.

Ekathimerini reports that an interactive campaign launched last week Wednesday at Athens International Airport (AIA) asks travellers to say whether they believe the Parthenon Marbles, currently on display at the British Museum in London, should be returned to Greece. On the initiative’s launch day, of the 129 who participated, 125 voted in favour and four against.

The airport has set up four interactive screens – three in the departures area and one at arrivals – which pose the question: 'Are you in favour of the Marbles being returned to the Parthenon: yes or no?'. Those backing the return must restore the West Metope of the Parthenon and return the sixth Caryatid to the Erechtheion on the screen.

This action is part of a high-profile campaign which includes Amal Alamuddin Clooney who is offering her legal support to Greece in order to win back the sculptures that were shipped to London by Lord Elgin in 1803. The initiative at Athens International Airport was taken by the Greek government. Ioanna Papadopoulou, head of Communications and Marketing at Athens International Airport stated:

“We believe that the airport, as a crossroad of cultures, is the ideal place to reflect Athens’ tourists view on an issue that concerns our international cultural heritage. This initiative adds an important link to the systemic actions chain that the airport is undertaking for our city, which has already rebounded as a major tourist destination.”
"Hello, I absolutely love your blog! I was hoping I could ask you a question. I have been having some trouble coming up with altar/shrine ideas, because I would like to have basic Hellenic components. What are the usual pieces included on these altars? Are there any types of containers or tools that I should have on there? Thanks for reading!"


Basic necessities for an altar; in ancient Hellas a sacrificial altar (called a 'bômos' (βωμός)) was outside, and either square or round, sometimes with an indentation on the top for a fire. An altar for libations or blood sacrifice could have a drain for the liquid. The indentation--or even the hole--could be used to steady an epipuron ((ἐπίπυρον), a brazier, often with either one or three feet). The materials used were often limestone or marble, stones not very resistant to heat, and thus, an epipuron was used to protect the bômos below. The epipuron was usually made of precious metals which could withstand the heat of a fire or the coals used to burn incense. Seeing as most of us don't have an altar like this, you need something to burn sacrifices in--either through a wood burning fire or denatured alcohol. So this is the first (and really only) thing you need: an offering bowl. If you burn wood, incense--a standard offering--can be tossed straight into the flames, if you burn your offerings another way, use an incense burner. That's it. That is all you need on your altar.

There are a few more basics: khernips in a vessel, barley groats in a vessel, and wine in a vessel. You also need some way to light a fire, perhaps a vessel to store the remnants of your sacrifice until the Deipnon, and of course you need something to sacrifice, including incense.

A French documentary has revealed a forgotten national hero who help protect some of the country’s most valued art pieces from Nazi looters. The documentary is called 'Illustre et Inconnu' (Illustrious Yet Unknown). It was released last month and highlights the heroic work of Jacques Jaujard, the deputy head of the Louvre museum in Paris during World War II, the Times reports.

Jacques Jaujard, the deputy head of the Louvre in Paris during World War II.

Mixing archive footage with animation, and narrated by French actor Mathieu Amalric, creators Jean-Pierre Devillers and Pierre Pochart tell the story of a top-secret operation that started ten days before World War II: Jaujard, with the help of hundreds of loyal employees from across France, on his own initiative, hid all the museum’s artistic treasures without receiving orders from the French government. His impressive act was based on intuition. Jaujard, a committed art lover, hid all of the world-renowned museum’s contents, including Leonardo da Vinci’s famed Mona Lisa, The Venus de Milo and the Winged Victory of Samothrace.

Jaujard’s team managed to hide the artworks in castles and abbeys in central and southern France. They were catalogued according to their importance, then put in crates to ship away. According to the documentary, the artworks were put in 1,862 wooden crates and a total of 203 vehicles such as cars, taxis, trucks and ambulances were used to carry the priceless cargo to their hiding places. The Winged Victory of Samothrace was the last masterpiece to be taken away. The operation was completed the day the Nazis invaded Poland, starting World War II.

On 25 August 1939, Jaujard closed the Louvre for three days, officially for repair work. For three days and nights, hundreds of staff, art students and employees of the Grands Magasins du Louvre department store carefully placed treasures in white wooden cases. Luckily, The Wedding at Cana by Veronese could be rolled around a cylinder. However, Géricault’s vast The Raft of the Medusa had to be hauled on to an open truck and covered by a giant blanket.

Masterpieces were categorised in order of importance: a yellow circle for very valuable art pieces, green for major works and red for world treasures. The white case containing the Mona Lisa was marked with three red circles.

Private cars, ambulances, trucks, delivery vans and taxis were requisitioned. A convoy of 203 vehicles transporting 1,862 wooden cases set out one August morning to hundreds of inconspicuous castles in France where they could lie, anonymous and secure. The 11ft-high Winged Victory of Samothrace was the last piece to go into hiding, on the day Germany invaded Poland.

Rose Valland, one of Jaujard’s employees, secretly recorded every single painting looted by the Nazis from private collections during the war, and helped to repatriate 45,000 of them after 1945. The French were reminded of her role when she was portrayed by Cate Blanchett in George Clooney’s film The Monuments Men. However, few had heard of Jaujard, so when Illustre et Inconnu was broadcast on the TV channel France 3, the nation’s jaws dropped in disbelief.
Members of Pandora's Kharis have come together to raise $110,- for the Albert Kennedy Trust. Since 1989, Albert Kennedy Trust has supported Lesbian, Gay, Bisexual and Trans (LGBT) young people (up to 25 year old) who are homeless or living in a hostile environment in London, Manchester and Newcastle. Their services include supported lodgings, mentoring, training and advice & guidance. The cause was suggested by community member Ana Perez, who is currently holding a fundraiser for it, to which Pandora's Kharis has donated.

From this moment on, the Pandora's Kharis Facebook page is open to pitches. If you do not have Facebook, feel free to pitch your cause in the comments. I will relay the message to the community.

Previously on Atlantis, Ariadne became Queen, Pasiphaê became fully evil, Jason got himself shot and locked in a cave with a Cyclops along with Hercules and Pythagoras, and Atlantis was about to fall because a religious icon, the palladium, was stolen from within the palace walls by Medea, who is working for Pasiphaê. Welcome back to the war for Atlantis.

The war has begun. With catapults and arrows, Pasiphaê's army unleashes the first volley, then she has her men storm the walls with long ladders and sharp swords. From their encampment, Pasiphaê and Medea look on. Medea questions the folly of fighting; Atlantis should have surrendered while they had the chance. Pasiphaê blames Ariadne's youth and says she'll come around soon enough.

The fight is bloody and lethal, and Dion is earning his keep defending the wall. He needs more men, though, because they are dropping like flies. Ariadne gives him the palace guards, because if Atlantis falls, she will fall with it anyway. Ariadne's evil uncle/her father's former counsellor Sarpedon is not amused. I think he wants Atlantis to fall, but not for Ariadne to get killed. Well, dude, should have thought of that before you arranged affairs so that the palladium could get stolen.

Back in the cave of one eyed wonders, Jason is all but passed out and Hercules and Pythagoras are pretty much pissing their pants because whatever is growling in the tunnels behind them--they don't know about the Cyclops yet--is getting closer. things are not looking good.

In Atlantis, the outer doors are breached and the fight is on for real. Dion is a good fighter, a strong fighter, but even he struggles against Pasiphaê' hordes. He gets jabbed in the arm and nearly killed, but a young man saves him and takes him to a field hospital to bandage his wounds. Dion tries to recruit him, but the boy says he's a coward. His name is Critias (Thomas Coombes), by the way, and we already saw him last week when he beat Hercules in a dice game--by cheating.

Back in the cave, Jason is slowly getting worse and the boys run into a dead end. The growling is getting closer. They head back--they have to, they still have the palladium and Atlantis needs it. Once they track back to the nearest crossroads with their delightfully ever burning torches, there is a moment of suspense as they wait to see if the monster found them--it did, but Hercules beats it over the head with his torch and it stumbles and falls, momentarily distracted by the lump forming on its head. Ouch.

The boys run, but eventually Hercules realizes he has to head back because the Cyclops is tracking them. Pythagoras stays behind in the dark, with Jason, and the Cyclops nearly finds them because Jason decides to wake up enough to moan at that exact moment. Hercules calls out, draws it away, and this time, it's the Cyclops who hits him over the head. The two fight and Hercules manages to jab a dagger into its one eye before knocking it over. He makes a break for it, very proud of himself. They soon discover, however, that there is more than one, and that is a definite problem.

Back in the city, the fighting has reached Dion and Critias. Dion tells him to flee, but Critias says he won't. This is his city, too, and he will fight for it. He grabs a sword and jumps into the fray. This dude is greener than Pythagoras in season one, though, so I can't see this ending well.

In the cave, Jason wakes up enough to question why he's being hauled about like a sack of flour. The boys don't have time to explain: they have reached a cavern with a rather unfortunate chasm in the middle of it. They will have to jump into the water below, but it's a height that could easily kill them. Hercules doesn't really worry about little things like the lives of his friends and pushes Pythagoras off of the cliff. Nice move, asshole. Please don't resort to your infuriating season one ways or I will have to start skipping your scenes again.

Pythagoras is fine, by the way, but that is besides the point. Jackass. Now Hercules knows it's safe, he pushes Jason in as well, and then jumps after them. Ugh, I cannot with this guy.

Back in the palace, Ariadne is operating on no sleep at all, bandaging wounded soldiers while Sarpedon looks on. He tries to get her to rest but Dion returns, and Ariadne is wide awake again. Dion informs her that the barricades are holding and that Pasiphaê's army has retreated for the time being. Ariadne is relieved, but the death toll, the number of injured, and the number of deserters eats at her conscience. Besides, she knows that tonight, the army will come back stronger than ever--and there are too few of them left. Dion ask is she wants some caught deserters made an example of, but he already knows the answer (and agrees with it): Ariadne will not become a tyrant. The deserters are free to go and the dead on the side of the enemy armies will be returned to Pasiphaê. I really, really like Dion, by the way. I hope he survives.

Pasiphaê rides into the outer ring of the city, the part under her control. Atlantis is a mess. Her right hand Goran informs her that they will only attack by nightfall after they can regroup. Pasiphaê barely hears him; on the street lies a young man who looks strikingly similar to Jason from the back, and for a moment, Pasiphaê is terrified she has killed her son. It's not Jason, but she does come clean with Medea, who watches her mentor's odd behaviour with heaps of confusion. It's pretty obvious Medea had no idea she has a son.

Back outside of the cave, our heroes wade out of the water and collapse onto the bank. Jason tries to get up--he looks remarkably better--but collapses right away. His wound and the long swim have exhausted him--and the other boys as well.

In the palace, Sarpedon visits the temple of Poseidon so the show can fulfil its contract to Juliet Stevenson when they made her a series regular. The Oracle obviously knew Sarpedon before he was banished, and she carefully asks him what he has come to do. He's there to pray for the city, he says. She's not buying it for a second. "Not even the Gods can spare us from our own conscience," she warns him, and he just nods. "Minos misjudged you", she continues. "But don't let his mistake poison your heart." He says it's too late. She promises him that in the eyes of the Gods, it is never too late. Sarpedon leaves with an even heavier heart than he had when he arrived.

Outside of the cave, Jason is getting patched up again. He thanks the boys for not leaving him behind in the cave, and they say that saving him so he can save all of Atlantis has become their job. Neither seems to mind much. Jason walks off again, wobbly but determined. The boys give him a hand, carrying him so he can fulfil his destiny. It's very touching, and Jason is very grateful. Completely unrelated, where are these 'woods'? I must have seen them in at least six episodes now--this exact same bit of it.

Ariadne, Dion, and Sarpedon attend the greatly deminished war counsel. The news is not good--most of Atlantis is lost to Pasiphaê or burned to the ground. She asks Dion if she should surrender, then asks Sarpedon. Neither is willing to offer an opinion. She tells the men she has faith in Jason and to fight on. Dion follows her order proudly. Even Sarpedon is proud of the girl he knew when she was so very young. She breaks down when they are alone, though, and Sarpedon can't take it anymore: he comes clean. Pasiphaê came to him while he was bitter and in exile, and told him he could bring down the city. He took the opportunity.

Ariadne goes from shock to sorrow to anger in the span of a few second and good Gods, Aiysha Hart is growing by leaps and bounds as an actress. I am so happy they gave her some real material to work with this season. Ariadne orders Sarpedon to be captured, and nearly drowns in the pain of the betrayal of the man she once trusted. Because of him, Atlantis may fall, thousands are dead, and she welcomed him into the city with open arms. The guilt is weighing heavily upon her.

Garon asks Pasiphaê what he is supposed to do with the royal court once they invade the palace. Pasiphaê tells him that anyone who surrenders will be spared but that Ariadne is to be killed while 'deserting'. Garon isn't a fan of the plan; Ariadne is a servant of Poseidon and he's not about to make a God mad at him. Pasiphaê threatens him into cooperating, but he isn't happy about it.

In the forest, the boys move as fast as they can and they come upon a village that was entirely ransacked. It is the army's way, Pythagoras explains, to leave no survivors of these raids. The boys hurry a bit more.

In the palace, Sarpedon asks for an audience with Ariadne. She grants it to him. Sarpedon tells her he knows how to shatter the enemy's army's moral: kill Pasiphaê. He offers to do it for her; Pasiphaê will let him come close. Ariadne ponders the request, unsure if she can trust a traitor.

Back in the forest, the boys find themselves surrounded by archers all of a sudden. They drop their weapons and a group of Atlantian deserters comes forth. They say they refused to give their lives without hope of victory, but once Jason shows them the palladium, their loyalties realign to the side of good. Miras (Steven Cree), leader of the deserters vows to return with them to Atlantis to fight after Jason gives them a hero's speech.

Sarpedon is sent out with four guards and a note. Pasiphaê believes he is a messenger for Ariadne's surrender. Pasiphaê takes him to her tent and takes the scroll from him while Medea looks on. Pasiphaê asks him how it feels to be back in Atlantis, and how Ariadne is doing, but he remains silent for the most part. Medea realizes something is up when Serpedon suddenly reaches for a sword. In a magical feat born out of pure emotion, she tosses Sarpedon through the air. He lands head first on a heavy trunk and lies dizzily on the ground. Pasiphaê plants a dagger into his chest for his betrayal.

Dion tells Ariadne that Sarpedon has failed and that the army gathers. She tells them she can't order them to fight to the death, but Dion tells her every man under his command volunteers. They will fight until the last man falls. She vows to fall alongside him.

Our heroes watch the armies trade the dead so they may be properly buried. It seems they have finally made it to Atlantis, but getting in is going to be one hell of a chore. The exchange of the dead gives Pythagoras an idea: they will 'die' so they will be taken into the city by wagon. It works, although they are nearly coup de grace'd for their trouble.

Jason finally--finally--makes it to Ariadne, who is suffering terribly under the burdon of her reign. She falls into his arms with a gasp, crumbling now hope has returned to Atlantis. Despite her earlier promise that they will never be together, she kisses him, so relieved to see him alive.

Hercules breaks them up with a cough and the palladium. Ariadne fears it's too late, even with the palladium, but Jason tells her it will be alright: the soldiers just need hope. Ariadne gives them that hope, appearing in public, palladium raised high, and the soldiers cheer. Regular men volunteer to fight en mass.  Hercules spots Cretias and forgives him for cheating at dice. Ariadne and Jason say goodbye with pain in their hearts.

At the front, Jason, Hercules and Pythagoras wait for Pasiphaê's army to attack already. The wait is killing Hercules, who resorts to teasing Jason about his kiss with ariadne to pass the time. Jason tells him to shut up so instead Hercules focusses on Miras and the deserters. Where are they? Jason says he's optimistic they will come while Pythagoras crunches the numbers and tells them they are all going to die. Hercules is not amused.

Finally the battle cries rise up and Pasiphaê's army attacks. It's a massacre; arrows and spears fly, then swords swing, and both sides take heavy casualties. Pythagoras is getting really deathly with a bow, Jason and Dion stand strong with swords, and Hercules and Critias do anything they can to fight off the army. It's not enough, though: the deserters haven't showed up and the army will soon take the palace. Dion sends Jason to convince Ariadne to leave.

Needless to say, she won't go. Or, more accurately, she will only leave if Jason does. He can't abandon the city however, and so she won't either. Jason hates it, but he understands. He vows to protect her as long as he can and Ariadne goes back to bandaging the wounded.

The battle rages on in the streets of Atlantis, and Jason kills many. Critias is also doing a really good job staying alive but there are so many of Pasiphaê's soldiers, the battle is hopelessly lost--and then the deserters return. There are so many of them that they swarm the square in front of the palace and suddenly the odds even out. Pasiphaê--who has thrown herself into the heat of the battle, expecting victory--spots Jason and is frozen to the spot. One of her archers takes aim at her son but she can't let him kill Jason. She shoves a dagger into his back before he can loosen his arrow. Medea looks on in shocked disbelief--and so does Hercules, who has seen it all and doesn't understand what has just happened.

One of Pasiphaê's luitenants, Alastor (Sam Redford), tells her the battle is lost and she has to leave. She hisses at him that they will fight to the last man. She realizes that he is right, though, and lets him escort her out of the city while Jason asks Hercules why he looks so grim. He doesn't tell Jason what he saw.

The day is won, but Ariadne mourns the dead. She looks down at the bodies of the fallen and wounded on the square below her window and asks Jason if it was worth it. They died for what they believed in, he says. In her, their queen. She thanks him for all he has done and says she will be forever in his debt. He says there is no debt to repay. None at all.

Ariadne tells Jason that before his death, Minos told her she would have to sacrifice all she holds dearest. It's only now that she understands what he meant, and she isn't just talking about the lives of the people of Atlantis, nor her fading innocence in the face of life or death decissions--she is talking about Jason, and it is killing her that they can't be together. Once more, she reminds Jason that he is not of royal blood and that because of that they can never be. I want to bang my head into a wall because we all know that Jason is Pasiphaê's son, and that his dad was special in some way as well, so this is all bullshit and ughhhh... just get together already, guys! I'm rooting for you two!

Ariadne knows that the nobles will turn against her if she weds someone not of royal blood, and so they can't be together. They vow that they will be united in the protection of Atlantis, if nothing else, and Jason leaves while Ariadne cries and tells him she is sorry. Obviously, this is killing her as much as it is Jason, and my poor heart can't take scenes like this too often.

In the temple of Poseidon, it seems another chicken is about to bite the dust, but Hercules interrupts the Oracle's rituals. He questions her about Pasiphaê's odd behaviour and the Oracle realizes she has to tread very carefully here. She lies through her teeth and tells him she doesn't know what's going on in Pasiphaê's mind. Hercules doesn't buy it, however. "I cannot help you," she says, and Hercules threatens to ask Jason why Pasiphaê--his sworn enemy--would stop one of her soldiers from killing him. The Oracle gets up and tells him to stops. Hercules--who is proving to have a fair bit of intelligence after all--asks who Pasiphaê is to Jason and the Oracle falters a moment. "She is his mother," she finally confesses and tells him that he must have known already; Jason is not like other men, after all. He is touched by the Gods. Hercules guesses correctly that Jason does not know and the Oracle confirms it. He asks after the Oracle's prophecy. Is that true? Yes, she says. It is. Only Jason can save them--and the Gods chose Hercules to protect Jason. The Oracle makes Hercules swear never to tell him, because if Jason learns the truth, his heart will blacken. He will be consumed by hatred and lost to them forever.

In the hills, Pasiphaê and what remains of her army flee. Dion informs Ariadne. She tells Dion to hunt her down; there will be no hiding place for her. She must be killed to protect Atlantis from her forever. As always, Dion simply bows and leaves. On her throne, Ariadne sucks in a deep breath and lets the hatred consume her. She is now queen, and she must be as ruthless as Pasiphaê or Atlantis will fall. That can never happen. Not ever. She has given up too much already.

Next on Atlantis: there is a suitor for Ariadne and Jason is not happy about it. Ariadne, however, seems to be fairly into the handsome fellow with the excellent swordsmanship. Uh-oh... Saturday on BBC One, recap on Monday.

Changes to the blog:
  • The Google festival calendar has been updated until the end of the Hellenic year, so until 16 July. Sorry that took a while!
  • Atlantis is back, and so are the recaps!
Anything else?
Pandora's Kharis, a charity circle for and by Hellenistic Polytheists is currently collecting for the Albert Kennedy Trust. If you want to donate, you have until tomorrow! Join us on Facebook if you would like to pitch a cause for next month!


The Labrys Religious Community aims to preserve, promote and practice the Hellenic polytheistic religious tradition through public rituals, lectures, publications, theatrical and musical events, and other forms of action. Their vision is to restore the Hellenic religious tradition and by extension the Hellenic Kosmotheasis and lifestyle to its rightful place, as a respected, acknowledged and fully functional spiritual path. To bring this goal closer, they have released a new book, previously only published in Greek: 'Hellenic Polytheism: Household Worship'. To quote:

"A long awaited effort to make available for the first time abroad, the realities of Hellenic worship as practiced in the birth place of our religion. Our hope is that with this publication newer but also older followers of Hellenismos will find all the basic information to practice household worship in a traditional manner.
Within this publication, the reader is presented with explanations for the central concepts and basic guidelines to the ceremonies that form a part of Hellenic Household Worship as has been established and is currently practiced by the LABRYS Polytheistic Community in Hellas (Greece).
It serves as a useful introductory manual for the newcomer to contemporary Hellenic Polytheism as they take the first steps on their journey to worship the Hellenic Gods in a traditional manner."

The book is available on Amazon store (both US and UK) but purchasing directly through our CreateSpace online store will be appreciated since that will give the LABRYS Polytheistic community a higher portion of the royalties (without changing the price for you) which in return will help them fund our second publication that is currently in research/writing stage concerning the public aspects of worship with all the major city/community celebrations.
I am posting a lot of pictures this week, I realize. What can I say? There are lots of pretty things in the world right now, and I could use some. it's a long week. Anyway, let me share something else that is very pretty: archaeologists at the ancient Hellenic City of Zeugma in Turkey have revealed stunning mosaics that went straight to my heart when I first saw them.

The ancient city of Zeugma was originally founded as a Greek settlement by Seleucus I Nicator, one of the generals of Alexander the Great, in 300 BC. The population of the city at its peak was approximately 80,000 inhabitants. Zeugma is 80 percent underwater, after it was flooded with the waters of a nearby artificial lake. The mosaics, which were recovered in excellent condition, belong to the 2nd century B.C.

The first mosaic depicts the nine Muses in portraits. This mosaic was originally in a large room of a house that archaeologists have named 'House of Muses'. In the center of the mosaic is Muse Calliope and she is surrounded by her sisters.


I was unable to locate an image of the third mosaic, but it depicts an unidentified young man. It was also revealed to be in very good condition.

Zeugma was founded by Seleucus Nicator I, one of Alexander the Great’s commanding generals. It is situated at one of the easiest fording places on the Euphrates. Hence its name, ‘Zeugma’, which means ‘bridgehead’ or ‘crossing place’. Thanks to its strategic situation on an east-west axis, it quickly grew and developed, becoming one of the four major cities of the Commagene Kingdom founded in the 1st century B.C. in the post-Hellenistic period.

When the region came under Roman hegemony, one of the empire’s thirty legions was stationed here, the 4th Scythian. Its presence fuelled trade, trade in turn brought wealth, and when that wealth attracted artists, Zeugma became a metropolis of 70.000 people. On the banks of the Euphrates merchants built villas with a perfect view of the sunset. In the courtyards of those villas they added refreshing, mosaic-paved pools. With their mosaics depicting Poseidon, Okeanos, Tethys and the river gods, these villas on the banks of the Euphrates transformed Zeugma into a virtual fine arts museum. Swelling shortly to twice the size of London and three times that of Pompeii, the city rivalled the Athens of its day.

Many beautiful mosaics have been discovered at Zeugma, and many of those can be viewed online and in person at the Zeugma Mosaic Museum. The museum is located in the town of Gaziantep, Turkey, and it is the biggest mosaic museum on the world, containing 1700m2 of mosaics. You can see a slideshow of some of them here.
In other news today, I have updated the Google calendar I use to keep up with all the Hellenic festivals. It can be added to your phone calendar like I always do, making it easy to see day by day whose sacred day it is and if anything else special is going on. I have (finally, sorry about that) updated the calendar until the end of the Hellenic year--that is until 16 July.


I have ten minutes to get something together today, which is not a lot, so I hope you will forgive me for poetry blogging. I will leave you all with John Keats, one of my favourite poets.

Standing aloof in giant ignorance,
Of thee I hear and of the Cyclades,
As one who sits ashore and longs perchance
To visit dolphin-coral in deep seas.
For Jove uncurtain'd Heaven to let thee live,
And Neptune made for thee a spumy tent,
And Pan made sing for thee his forest-hive;
Aye on the shores of darkness there is light,
And precipices show untrodden green,
There is a budding morrow in midnight,
 There is a triple sight in blindness keen;
Such seeing hadst thou, as it once befel
Okay, so I know this news is a little older but since I have many readers who enjoy the male form, how can I not share this news (and these pictures)? Men dressed as Spartan warriors invaded the London Underground on October 2. They were actors, part of the cast of '300: Rise of the Empire', the sequel to the movie '300', and it was a publicity stunt. The Greek Reporter reports that:

"Dressed as the famous Spartan warriors of ancient Greek history, the muscled gentlemen boarded underground trains, rushed up and down the escalators and ran through the streets of London in a bid to advertise the DVD release of '300: Rise of the Empire'."

The sequel focuses on the battle of Salamis and the Athenian general Themistocles, the man who attempted to unite all Greeks against the Persian forces.

And now: image evidence, because please do not take my word for it! Are you looking forward to giving this movie (another) watch, yet?






































Oh brother... it seems Neil MacGregor, Director of the British Museum in London, has said that 'the efforts of the Greek government to claim the return of the Elgin marbles is not going to bear any fruitful results'. Any follower of this blog is obviously well aware that I keep a close eye on recent developments surrounding the Parthenon Marbles. As such, this firm refusal had me grit my teeth.

British Museum director says "No" to return of Parthenon Sculptures
Part of the Parthenon Marbles [Credit: TOC]
Just under a third of the marble reliefs that once adorned the Parthenon temple and other buildings on the Acropolis in Athens are in London while about the same number remain in Greece. MacGregor stresses that the works are officially owned not by the British government but the British Museum trustees who are charged with a legal duty that they give benefit to the public. Recently, MacGregor reiterated to British media that there is absolutely no intention from the British side to return the Parthenon marbles to Greece:

"Quite a lot of them no longer exist. So there's no possibility of recovering an artistic entity and even less of putting them back in the ruined building from which they came. Yet the museum is coming under the most sustained attack for decades from the Greek government whose call for the works to be repatriated is now being fought by a team including the lawyers Geoffrey Robertson and Amal Clooney. And Unesco, the United Nations' cultural arm, has called on the British Museum to take part in 'a mediation procedure' to resolve the dispute."
But MacGregor told The Times that his trustees have always been ready for any discussions, but that the Greek government would not recognise its them as the legal owners. As a result, the sculptures could not be lent while the Greeks laid legal claim. According to MacGregor:

"[T]he Greek government was not interested in borrowing them anyway. That's sad because these sculptures do belong to everyone. Letting them be seen in different places is important."

He repeated the museum's long-held position that the acquisition of the famous sculptures by Lord Elgin at the start of the 19th century was legal and that there was 'maximum public benefit' in them remaining in London where they were seen in the context of world culture. Ne reaction yet from British government officials or Greece.
Tonight, BBC's 'Atlantis' returns for its second season premiere, and while I am starting to feel they should start paying me for how much I push this show on my blog, I wanted to prepare you guys for the show and the recap on Monday by taking a look at the road so far. Join me, as we travel back to Ancient Hellas, where Hercules is chubby, fruit matters, and the royal house is getting an overhaul.

Hercules, Jason, and Pythagoras

Meet Jason, a strapping young man who travelled to the bottom of the ocean in a one person submarine to look for his father, who took the same journey when Jason was still a child, and never returned to the surface. Jason does return to the surface, but in Atlantis, an ancient kingdom, ruled by King Minos, his second wife Pasiphaê, and his daughter Ariadne.

Pasiphaê, Minos, and Ariadne
As we will learn quickly, Jason is the type to get in trouble. His first bout of bad luck has him end up in the house of Hercules and Pythagoras, with whom he becomes instant friends. He also ends up volunteering to be sacrificed to the Minotaur in order to save his new friends. The Minotaur turns out to be a man, cursed by the Gods as punishment for doing 'a great wrong' that 'betrayed his [Jason's] father', and was told that one day a kid named Jason would come along to lift the curse. It's the second time he's heard he's special--the Oracle of Poseidon has told him so before as well, along with the fact that he was actually born here, in Atlantis.
The Oracle
This brings us to love! Ariadne and Jason share an instant attraction, something Queen Pasiphaê very much disagrees with. They will spent the rest of the season searching each other out like moths a flame, and it will be a dangerous game for the both of them. Another person whose love life could use a boost is Hercules, who falls head over heels for the strong and independent Medusa while on a rescue mission of a neophyte of Dionysos. They aren't able to save the girl, but Medusa becomes an instant addition to the team--but not before she gets cursed by a priestess of Dionysos...
Anyway, a series of adventures follows: Jason, Hercules, and Pythagoras get arrested and must bull-leap for their lives; they find a baby in the woods, who turns out to be royalty; Jason and Ariadne get closer while Ariadne runs away from the palace with her brother; Hercules nearly kills Medusa in order to get her to love him; Pythagoras' younger brother shows up and nearly gets them all killed in the desert; the boys visit the Underworld; and Jason spends a brief amount of time going through life as a werewolf.
In the overarching plot, two stories are important to follow up with: Medusa and Ariadne, and the boys' love for them. Hercules is crazy in love with Medusa, but for a long time, she doesn't notice him. He goes to Circe to magic Medusa into loving him--which nearly kills her--then Medusa gets kidnapped because Hercules can't hold up his end of a bargain he made. This eventually leads to Medusa's destruction: Medusa opens Pandora's box and it curses her with the snake-y hairdo we know so well from legend. Medusa flees to a cave while Hercules vows to find a way to break the curse.
Love also isn't kind for Jason. Ariadne is engaged to the powerful Heptarian, who hates Jason's guts on principle and because he is Queen Pasiphaê's ally. While Queen Pasiphaê tries to poison her husband to death, Heptarian does everything in his power to kill Jason and win Ariadne's hand. He fails, of course, and ends up dead at the hands of Jason.
In a surprising--for everyone but Jason's father--turn of events, Jason's father is still alive. He lives in a cave with lepers. In another surprising--to everyone but Jason's father--turn of events, it turns out that Queen Pasiphaê is Jason's mother. This latter fact is something Queen Pasiphaê is now aware of--and the Oracle knew already--but Jason is still clueless about.
BBC spoilers the following about the second season: "[A]s season two begins it’s clear that Pasiphae’s desire to reign has not abated and rivalry with step daughter Ariadne has taken her to new depths. Jason’s personal involvement with Ariadne is surely a complication for Pasiphae, but will the knowledge that Jason is her flesh and blood weaken her resolve? As the battle for the throne intensifies loyalties are tested to the limit and the responsibilities of duty become increasingly unforgiving. These difficult times require hard choices for all as secrets and lies become the currency of choice and no one is immune to betrayal. As the kingdom is threatened with destruction, the time has come for Jason to fulfil his destiny – or Atlantis will be lost beneath the waves forever."
Are you ready for season two? Tonight on BBC One (8/9C), recap on Monday.