Exploring the Archaeological Museum of Thessaloniki

It is not common knowledge that many mighty Macedonian kingdom relics are kept at the Archaeological Museum of Thessaloniki. Grave goods from all over Macedonia and the many tombs discovered in the suburbs of Thessaloniki are on display.

Treasures ranging from delicate gold sheet ornaments found on funeral garments to numerous gold earrings, pendants, necklaces, rings, fibulae, bracelets, and coins await the unprepared visitor. The most remarkable artifacts are the exquisite gold wreaths of olive, ivy, myrtle, and oak leaves. Looking closely, we'll discover the tiny figure of Heracles or his typical knot. When a crowd of people walks around, these little flowers and leaves tend to tremble; imagine the effect they have when worn live! 

The wealthiest finds come from the so-called Derveni Tombs, some 10 km NW of Thessaloniki. One of these tombs yielded twenty silver vases, many alabaster and bronze vases, terracotta vessels, some of which were gilded, and iron weapons, including a pair of bronze greaves. But the pièce de résistance is the richly decorated bronze crater generally referred to as the Derveni Crater, which is worth exploring in detail.

The Derveni Crater stands 90 cm tall and weighs some 40 kg. It is not made of gold, as one would assume at first glance, but of a bronze alloy containing about 15% tin, which produces its unique golden sheen. Different metals were used for the figures and other decoration elements, and inlays of silver, copper, bronze, etc. The motives are a mere hymn to the god Dionysus, who sits naked next to Ariadne and familiarly rests his leg on his wife's thigh. Behind the newlywed couple stands a panther, the animal sacred to the god. Around the crater and surrounding the couple, we recognize satyrs and maenads in their orgiastic dance. Two more maenads, a resting Dionysus, and a sleeping satyr, are all sitting cozily on the shoulders of the vase. 

Vine and ivy branches, palm leaves, and acanthus in different metal colors among tame and wild animals are depicted on the bands above and under the relief of the godly couple. This crater dates from between 330 and 320 BC. It was made either by a sculptor from the Chalcidice trained in Athens or by a bronzesmith from the Royal Court of Alexander.

It is one of the pieces that truly stands for the wealth and beauty that existed at the Macedonian palaces and surrounding Alexander.

Some more vessels and jugs from these graves are labeled bronze, although they shine like gold. Such a high standard of art! An excellent iron pectoral from Pydna also has a thin gold sheet, unlike the Macedonian ones exhibited elsewhere.

This gold medallion represents Queen Olympias wearing a chiton and a light himation to cover her hair, and is worth the visit altogether. The medallion's reverse depicts a sea monster, half bull, half fish, with a nude woman sitting on its back. The figure could well be the Nereid Thetis, mother of Achilles – clearly inspired by Alexander's admiration for Homer's tales. It appeared during the games held in honor of Alexander at Beroea in 225-250 AD. This medallion is part of the hoard of twenty such pieces found in Abukir, near Alexandria, in 1902. 

Three other medallions are part of the Berlin Bode Museum collection. It is pure joy to admire these priceless portraits of Alexander, one with Nike and another with a diadem. Eleven of the other medallions went to the Calouste Gulbenkian Museum in Lisbon, Portugal; the one depicting Emperor Caracalla, a great admirer of Alexander, is at the Walters Art Museum in Baltimore, USA. It is the only existing picture of Olympias, although it is probably idealized.

Beyond this precious and unique collection of Macedonian gold, the Archaeological Museum of Thessaloniki holds another rare treasure: Europe's oldest surviving papyrus, also found at Derveni. Since the roll to which it belongs dates to around 340 BC, the papyrus is contemporary with Philip II and Alexander! The bits of papyrus belong to a philosophical treatise, a commentary on an Orphic poem concerning the birth of the gods, probably written in Attica around 420-410 BC. 

It certainly pays off to venture downstairs, where the Tomb of Agios Athanasios occupies a privileged room. However, that story has already been covered (see: The Macedonian Tomb of Agios Athanasios in Thessaloniki).

[Picture from Thessaloniki Travel]

There is, of course, far more to discover in the sections about the Kingdom of Macedonia and Thessaloniki, the Metropolis of Macedonia, that fit in the broader Alexander context. Most noticeable is, for instance, a lovely head of what could be young Alexander from the 2nd century AD. The inscription mentions "Thessalonica daughter of Philip, Queen" from 150-200 AD. It means Alexander's half-sister. Also, a fascinating relief dedicated to Hephaistion from Pella, 320-300 BC  (see: Another effigy of Hephaistion?). Besides, there is a wide assortment of sarcophagi, funerary steles, inscriptions, statues, mosaics, and architectural elements from all over Macedonia and from Thessaloniki, like the columns from the Temple of Aphrodite (see: Thessaloniki's Temple of Aphrodite).

Please, do include a visit to this magnificent museum next time you are in the area – or hop a plane if you happen to be in Athens, for instance. It is worth the extra mile!

[Click here for more pictures from the Archaeological Museum in Thessaloniki]

More illegal mosaics from Apamea

When I wrote my previous blog, The unique mosaic from Apamea, I was not aware that there was more of the kind to follow. There is a much larger mosaic estimated to cover at least 19 m2 that is also high on INTERPOL’s list of illegal digs at Apamea in Syria.

Besides the panel discussed previously showing the foundation of Apamea by Seleucos I with his son Antiochus I, there are three more panels coming from the same source. Because of their size and magnificence, this entire mosaic is assumed to belong to a large room from a wealthy Roman residence. The top one depicts the foundation of Pella (as Apamea was called previously) by the legendary Archippos. The bottom panels illustrate the construction of a fortification wall around the city that holds monumental public buildings.

Based on the clandestine photographs of this floor, it seems that the very lower part and half of the central zone are missing. What remains is, however, of the highest quality and has been compared to the paintings from the tomb of Agios Athanasios (see: The Macedonian Tomb of Agios Athanasios in Thessaloniki) – not without ground.

The top mosaic portraying the religious foundation of Pella shows five Macedonian cavalrymen with their horses, shields, and spears on the right-hand side and five figures making cult offerings in the left corner. Three of these men have been identified as their names are inscribed in Greek. We read Archippos as the legendary founder of the city sacrificing a bull, flanked by Antipater and his son Cassander – all richly dressed in their best tunic and cloak and wearing a diadem.

The central part of the mosaic depicts the key moment of the foundation of Apamea, where Seleucos holds the ktistes, an architectural measuring instrument symbolizing him as being the founder. Around a large table filled with silver and gold coins, we find once again Archippos and Antiochus I, together with Antipater and Cassander, and most importantly, Seleucos’ wife Apame, who contributed lavishly to the construction of the city. All these figures are dressed in the same sumptuous outfits as mentioned above.

I fail, however, to understand the presence of old Antipater in the company of his not-so-beloved son Cassander. We will remember that Antipater named Polyperchon as his successor and not Cassander, so why would he have dragged his son along to Pella/Apamea? And for what reason would they both be present in Pella/Apamea in the first place? The article published in Popular Archaeology seems to place the entire scene around 321-319 BC when Antipater was regent and Cassander was the commander of the Macedonian cavalry in Pella/Apamea. Still, I wonder what their contribution was to the foundation of Apamea. The Roman vision of history in the 4^th century AD, some seven centuries after the facts, appears to be shrouded in mystery.

The background of this mosaic is, however, as exciting as the figures in the foreground, to say the least. We see huge defense walls encircling the city. Inside those walls, there is a large roofed temple with a high pediment supported by five columns. This temple is flanked by several other smaller and roofed buildings. Also recognizable is the large hippodrome or Roman circus, not unlike the one that has been unearthed in nearby Gerasa (which was founded about the same time) with a central spina delimited by little turrets. The figures on the left bottom part of that section are less obvious. They seem to be men working on the fortification wall, and a large ox is pulling something heavy.

The very bottom of the mosaic depicts a more idyllic suburban scene with, on the right-hand side, a lovely Roman Bath. Two distinct entrances can be seen, one probably leading to the cloakroom used by two women with small children and the other opening up above a ramp from which children are sliding down into the pool below. Very important, however, is the large noria (waterwheel) depicted on the left of this section. Until now, it was generally accepted that the oldest norias dated from the 5^th century AD, but this picture confirms that they were used already one full century earlier! Norias are still standing along the Orontes River in Hama (see: Hama and its norias), where in the 5^th century, some one hundred of them were still functioning. This makes you wonder how many of them were aligned along that same river here in Apamea!

All in all, these mosaic scenes are very revealing while, at the same time, they rise many new questions. It is not surprising to find them among the most valuable objects wanted by INTERPOL. It would be great if these masterpieces could be recovered someday, enabling professionals to examine them more closely.

[Pictures of the mosaics from Popular Archaeology]

The Macedonian Tomb of Agios Athanasios in Thessaloniki

The name “Agios Athanasios” may not say much except to those who visited the Archaeological Museum of Thessaloniki, where it occupies a very privileged room of its own – and rightfully so!

Macedonia is rich in tombs with painted decorations on the inside and outside walls and even on the sarcophagi, but this grave site has very well-preserved frescos. The Tomb of Agios Athanasios is located under an enormous tumulus in the area of Thessaloniki, yet only 15 kilometers away from Pella (click here to watch a wonderfully well-done reconstruction). It has been looted, but the small single chamber offers a unique example of richly decorated walls in surprisingly fresh colors. It dates from the last quarter of the fourth century BC, the Alexander era. Reason enough to stop here for a moment.

As customary, the front of the tomb was entirely painted with golden-winged griffons in the pediment trimmed by alternating dark blue triglyphs and white metopes. Underneath runs the frieze that depicts a symposium, a meeting for men only. This is a rare colored version of the feast where we see the participants comfortably stretched on their couches, enjoying their food and wine, while young women play the guitar and the flute. Further down the frieze is a cortege of young men on foot and on horseback making their way to the event while they are being watched by Macedonian soldiers leaning on their spears and shields. The doorway is guarded by two grieving young men wearing a chlamys. Such a richly decorated tomb supposedly belonged to a renowned Macedonian military, more so since remains of his armor were found inside the nearly destroyed burial chamber.

The Archaeological Museum of Thessaloniki has put these friezes in the limelight, reworking the panels digitally in order to make them available for everyone on a touch-screen. Using the sliding frame of the reference bar underneath, selections of this fresco can be studied in detail. There is also a large-looking glass that enables the curious visitor to magnify every single corner of the painting. Another program allows the visitor to touch specific personages or details which reverse to their original condition as the scenes were before their wear and tear over time got a hold – they look as colorful as on the day they were painted.

Thanks to the wonders of modern technology, we are able to see in detail how the guests behaved, how they were catered with food and wine, and what they wore for such a symposium; that also applies to the military equipment of the infantry standing around.