Cyprus Island - History in the Mediterranean Sea

The third largest island in the heart of the pristine Mediterranean Sea, Cyprus, is full of rich history, splendors that dazzle the eye and incredible attractions making it one of the world's most prominent tourist attractions. With its easy access form all corners of the earth; there is no reason to skip out on this alluring island paradise.

Cyprus has a culture rich with Western Europe. Greek mythology calls the island the birthplace of Aphrodite, the Goddess of Love and Beauty. It's location being close to the shores of Africa and Asia it is riddled with touches of the East. Its rich, cultural tones, which creep throughout the island, are an excellent place to start your journey, immersing yourself in an ambience soaked in fascinating history.

The city of Limassol is the second largest city of Cyprus, which flourishes with ancient ruins and modern wonders. One of the first places to greet tourists like a stone monolith looming on the horizon is Kolossi Castle. The castle was said to be the marriage place of Richard the Lion Heart to Berengaria of Navarro after the returning form the Crusades. It was destroyed during the 15th century but was rebuilt on a smaller scale then left to ruin and eventually the British restored the castle in 1933.

Within the city limits of Limassol lies the ancient city of Kourion. Containing some of the most masterful ruins on Cyprus, this ancient city should not be overlooked. The ruins contain a Greco-Roman theatre, which is a breath-taking sight to behold. Other key attractions in Kourion are the House of Gladiators, the House of Achilles and several well-preserved mosaics. Another place of interest is the Cyprus Medieval Museum that is housed in the Limassol Castle. If able to do so, a whole day could easily be spent exploring what the past has to offer.

Nicosia, the capital of the island, is filled with museums and districts delivering information about the history, art, literature and culture have laid the foundation for the island's colorful culture. Among them is the famous Byzantine Museum that contains historical artifacts ranging between the 9th and 18th centuries. Laiki Yitonia is an area filled with pedestrians that boasts restaurants, art galleries, and shopping. The architecture of this area pays homage to a forgotten era in the history of Cyprus.

In the capital city lie the ruins of the Kingdom of Idalion. The Ancient city is still in the process of being excavated but here this is the location with roots deep in mythological lore. This is the place where her jealous husband, through use of a wild boar, killed Aphrodite's lover, Adonis. The ancient city can be seen on the outskirts of the village, Dhali.

Among the historical sights, Cyprus is also known for its glorious festivals that occur though out the year. In June, Kataklysmos, the Festival of the Flood, takes place in Limassol. On the Sunday after Pentecost and the Monday of the Holy Spirit, people gather on the near sea to douse each other in water from the sea in honor of Aphrodite and Adonis. Singing and dance contests last thought out the festival spreading jubilation to all who attend.

In late August and early September, tourists flock in great hordes to take part in the Limassol Wine Festival. It rivals the festivals held by the ancient Greeks honoring Dionysus, the God of Wine and Aphrodite. At this festival, the locals serve up mouth-watering dishes, a vast medley of wines and a heart-warming environment with local theatre, music and dancing. This festival is the perfect time to visit Cyprus and save money while doing it (the festival is free of charge).

Although it is hidden deep in the realm of the gorgeous blue Mediterranean, Cyprus offers quite the travel destination. With is fair climate year round, there isn't a poor time to visit and get lost in culture far different from your own.

Nick Nikolis is working in Atlantica Hotels and Resorts as It manager in Rhodos. Atlantica Hotels and Resorts is a Europe Hotels chain currently offering lodging services in Cyprus Greece and Egypt. Check here Greece Hotels and Cyprus Hotels.

Ancient Greek Art-Delos Island Museum - Hellenic Sculptures

This room contains many typical examples of late Hellenistic sculpture, from the heyday of Delos, in other words from 166 to 88. The majority of these works adorned private residences, while only a few were made for public buildings or sanctuaries. This era is characterized by an admiration for the sculpture of the Classical period, and even of the Archaic period, and as a consequence led many artists to a sterile imitation of earlier styles and trends, with dubious success. Nevertheless, there are some original works on display here, as well as copies of well-known works of the Classical period, but made by mediocre artists. Most of them date from the second half of the second century and the beginning of the first century.

There is an interesting series of statues on the east side of the room associated with Dionysos: an actor dressed as Silenus holding young Dionysos in his arms; the god Pan shown holding his syrinx (Pan pipes) and with an animal hide thrown over the left shoulder; a Herm with the head of a Satyr; a god sitting upon a nice throne, perhaps Dionysos or Apollo, with a snake beside his left foot, found in the Sanctuary of Dionysos; two actors dressed as Sileni, wearing a goat-skin vest beneath their costumes and holding a wine-skin in the left hand and a tambourine in the right one, also found in the Sanctuary of Dionysos; a Satyr holding a wine-skin; a statuette of a Satyr with a frog. Two Herms with the head of Harpocrates, the first of which is holding the cornucopia, the symbol of abundance, in its right hand. Harpocrates is the Greek form of the Egyptian god Horns and was worshipped as protector of Statue of a Nymph, the house. The head of a goddess that a copy of an original work of the 4' century. It was found shows a Syrian influence. A Herm in the form of a in the House of Heroes.

Hermaphrodite, from the Theatre District. Another Herm, which was found in the House of Hermes and after which the house was named. This very fine head of Hermes, made in the archaic style and found in 1948, was inspired according to some scholars by Hermes Propylaios by Alkamenes, although some others see an influence from an original work by Kallimachos; notice the perfect styling of the hair and beard. Another Herm made of Pendelic marble, rather badly eroded today, comes from the Propylaia (Propylaios Hermes) and is perhaps a faithful copy of the Hermes Propylaios by Alkamenes from the Acropolis of Athens. A full-size copy of the well-known `Little Herculanean', a work by Praxiteles, discovered in the Agora of Theophrastos. The statue of a Nymph in very good condition from the House of Hermes; the fact that the left side was much better worked shows from which angle it was on view.

On the west side of the room there is a series of statues associated with the cult of Apollo and Artemis. The largest and most interesting one is the 1,44 m. high statue of Artemis the deer-slayer. The goddess is shown wearing her hunting outfit and holding in her left hand the antlers of a deer that she is about to slay with a spear that she was holding in her right hand, while her left knee holds the animal still. The work is in a very good condition, has movement and well rendered folds of the tunic on which traces of the original coloring remain. Notice the contrast between the violence involved in the act, the strong movement of the body and the expression of serenity on the face of the goddess. The statue of a Nymph, perhaps Amymone, a hand (perhaps Poseidon's) can be discerned on the right pulling away her garment to reveal her naked back and well-formed buttocks. The statue of a pensive Muse, maybe Polymnia (A 351), from the House of Dionysos; she is shown leaning on some kind of support, with her left hand to her chin. Notice the complexity of her garments and the fine way in which the folds have been worked. A statuette perhaps of Aphrodite, from the House of Hermes, with traces of the original coloring. Another statue of Aphrodite in the style of Praxiteles' Aphrodite. A headless statue of Apollo, very well preserved, from the House of the Masks. An Apollo from the Theater District, who was holding a guitar in his left hand; some coloring is still visible on his garments. An Artemis with an outstretched right arm, which probably held a bow; the folds of her peplos have been very well rendered, also from the Theater District. A statue probably of Leto from the Theater District. A statue perhaps of the goddess Tyche, who may have held the cornucopia, the symbol of abundance, in her right hand. A headless Artemis wearing a full-length chiton gathered at the waist, the left sleeve falling to the forearm to reveal her naked shoulder, and with a deerskin worn over it. In the southwest corner of the room there is an archaistic relief from the Hellenistic period with Hermes, Athena, Apollo and Artemis, from the House of the Lake. The bodies, hairstyles and garments of the three gods are done in the old archaic style, while the decoration with garlands and bullheads in the upper part of the work are typical of the Hellenistic period.

The large mosaic which covers the entire north wall of the room was found in a house in the Islet of Jewels and was transferred to the museum in 1968 due to its delicate condition. In the center of the mosaic there are three figures: Athena on the left, holding a spear and an owl, Hermes on the right, holding a caduceus, and between them a seated female figure too damaged to be identified. It may have represented Hermes bringing the young Dionysos to the Nymphs. A border with floral motifs, comic masks and bullheads in the four corners, frames the scene. There is also a non-identified portrait in the upper part of the border.

Since you will probably visit Delos from Mykonos it would be a good idea to have a look at Mykonos Travel Guide to learn more about Mykonos Beaches and Hotels in Mykonos.

Ancient Greece Delos Island Museum

Certain exhibitions are temporary, while others are in the process of being assembled. Exhibits may change location. All information given in this book was accurate at the time of going to print. All dates should be read as B.C. (Before Christ), unless stated otherwise.

The Museum of Delos is of considerable significance as it houses a variety of very interesting collections, covering an enormous period of time, from the Early Cycladic Period right up to the Roman times. The visitor is thus able to follow the development of sculpture, ceramic, painting, the art of mosaic, etc, from the workshops of Naxos, Paros, Rhodes, Corinth, Euboia, Crete and Attica, among others. It includes a room with finds related to the everyday life on Delos in the second century B.C., unique in its kind, but also an interesting collection of wall paintings of the same period. Finally, the museum has a special room for temporary exhibitions.

In the entrance lobby there is a very helpful model of the ancient town, a replica of the statue of Diadumenos, which was found in the house of the same name (the original of which is in the National Archaeological Museum in Athens), and a wonderful Ionic corner capital, which probably came from the Porinos Naos.

First room of archaic sculpture

This room houses works of sculpture from the Archaic period (seventh and sixth centuries), mainly Kouroi and Kores, the works of Naxian and Parian artists, which together with those of Athens, Samos and Delphi are the most characteristic of the art of this period, the dawn in other words of monumental Greek sculpture. The Kouroi are statues of young men in their prime, represented nude with long hair falling to the back, arms alongside the torso and with the left leg forward of the other. The Kores or maidens are statues of young, graceful women, shown dressed, with long hair and with one hand outstretched in a gesture of offering. Both, Kouroi and Kores, follow Egyptian prototypes such as the large size, the stiffness in the pose, the left leg forward, and the stylized hair. Both types are characterized by an enigmatic smile and were offerings to male and female deities respectively. The artists of Naxos consciously preferred a harmonious stylization to the more natural representation of the body, and their love of a well-worked curve is apparent. Their kouroi are virtually flat chested, with narrow waists and a slightly protruding abdomen. The artists of Paros, on the other side, showed their preference for more athletic builds, with arms and shoulders slightly drawn back so as to emphasize the strong chest. Both schools, however, conform to the common forms of archaic island sculpture.

Unique among its kind is a triangular base with the left foot of a kouros (A 728). On its three corners are sculptured the head of a ram, the head of a Medusa and the head of a lion. On the left side of the base and between the ram's head and the lion's head there is an inscription written in the Naxian alphabet, which reads: "Eutychartides the Naxian made me and dedicated me" in the bustrophedon writing, that is, beginning from left to right and continuing from right to left in the second line and so on. This is possibly the oldest signature of a sculptor in Greece, and dates back to the second half of the seventh century. The waist and thigh of a kouros (A 333), among the finest of this period, a Naxian work from around the end of the seventh century in gray-blue marble, the surface of which has been marvelously preserved. It wears an elegant belt around the waist (a characteristic of the early kouroi), the muscles are represented in a naturalistic way, and the male member was attached to the statue with a lead link. The testicles are rendered in a realistic way. The left leg was slightly forward and the arms were parallel to the body and attached to the sides, while the hips are reminiscent of those of the Colossus of the Naxians. The hips and thighs of a kouros with the wrist of the left hand (A 4052); the surface in front is damaged as it had been used as building material, but the rear is in very good condition. The buttocks are elegant if rather slim in relation to the rest of the body; a Naxian work of the early sixth century. The wrist of a colossal statue (A 4094), which has been identified by some with the Colossus of the Naxians; however, due to the fact that different material was used and that the wrist was attached to a thigh, in contrast to that of the Colossus of the Naxians, this cannot be true. Moreover, it is known that there was more than one statue of such dimensions on Delos. A kouros (A 4085), the breast of which is similar to that of the Colossus of the Naxians; a Naxian work of the mid 7th century. Another kouros of gray-blue marble (A 4048) with very good rendering of the waist, upper arms and thighs; Naxian workshop, between 560550. Part of a kouros from the shoulders to the knees (A 1742); compare the narrow waist in relation to the breadth of the shoulders. The hair fell in a thin layer down the back; Naxian work of the mid 6th century. The torso of a kouros (A 4083) with a thicker waist than usual; Naxos, mid 6th century. A kouros with a rather thick waist and heavy characteristics (A 4045); Parian work, approx. 580. The upper part of a kouros (A 334), badly worn, with hair drawn back, wearing a belt round the waist, which imitates one of metal; Naxian work, last quarter of the seventh century. A kore (A 4062) wearing a peplos ("mantle") with a meander-like band in the middle of it. Half of her hair fell down her back and half to her chest; Paros, between 580 and 570. A small kouros (A 4051) from shoulders to knees; Naxos, mid 6th century. The statue of a Sphinx (A 583), which was a mythological hybrid creature that had a lion's body, a woman's head and wings (missing). The Sphinx is depicted sitting on her hind legs atop an Ionic capital, once colored. At first sight it is reminiscent of the Sphinx of the Naxians, in Delphi. However, it is the work of an artist from Paros, in Parian marble. Notice the rounded face, the archaic smile, and the hair falling along the back of the neck; from the mid 6th century. Monuments of sphinxes standing on tall Ionic columns were common in the sixth century.

A kore wearing a peplos, with beautiful plaits down the chest (A 4067); Parian work, approx. 520. A statue possibly of a goddess (A 4066), from the end of the sixth century. Four small statues of an enthroned Hera from the Heraion (A 3991 to A 3994); end of the sixth century. A series of statues, representing some of the twelve gods of Mt Olympus: Athena (A 4197), Artemis (A 4077), Apollo (A 4092), Hera enthroned (A 4069) and Zeus (A 4054). Judging from the style and technique, they are obviously from the same set of deities and moreover, they were all found near the Dodecatheon. The fact that their rear side is less finely worked seems to indicate that they were originally positioned in front of a wall; Paros, end of the sixth or early fifth century. On the southwest side of the room there are some marble acroteria with the head of Medusa (A 7677 to A 7682), which come from the roof of the Oikos of the Naxians.

Learn more about Delos island and take a look at Pictures of Mykonos and Delos in order to admire their beauty and since there are no hotels in Delos you should probably have a list of Hotels in Mykonos.

Greek Island Carnival - Skyros

The most famous of the traditional Carnival celebrations is held on the island of Skyros. By far the most important and striking of the Carnival figures which make their appearance there is the yeros, or "old man".

The costume of the yeros is very elaborate. Basically it is the traditional dress of an island shepherd: wooden clogs, the black woolen shepherds' jacket with a hood, with the inside, or furry side, out; long, white, baggy, woolen trousers; white leggings fastened with black garters, and laced shepherds' sandals. However, under his jacket at the back the yeros stuffs a pillow, to provide the appearance of a hump. His belt is joined at the front by means of a handkerchief.

Over his face, the yeros wears a mask with two eyeholes cut into it, made from the skin of a kid, either one still-born, or too weak to survive. The skin is tied by its back legs behind the wearer's head, and the head of the animal dangles over his face and chest. Holes are cut for the eyes, but not for the nose or mouth. Since the skins are likely to have a very strong smell, they are frequently sprinkled with ouzo.

Long white goats-hair ropes, knotted at the back are crossed over the shoulders. Hanging from these are the goat bells. These are of three distinct types, each of which has its own range of sounds. Although each bell is unique, a shepherd could recognise his goats individually by the sound of the bells they wore, and it is said that out of the cacophony made by a herd on the move, he could detect a single missing bell. The hooped wooden collars of the bells are threaded onto the ropes and fastened with looped knots at a suitable distance from each other. These are placed in two series, with the larger at the back. The arrangement of the bells is made very carefully with two considerations in mind. The first is that they will not injure the wearer as they swing, and the second is determined by the different sounds produced by different arrangements of bells.

If the wearer is strong, he may carry as many as seventy or eighty bells, depending upon his strength and stamina; although thirty to forty, perhaps weighing forty or fifty kilos, is more usual. To steady himself, and also to tease and provoke onlookers, he carries a shepherd's crook. Freshly cut wild flowers decorating the hood, breast and crook complete his remarkable outfit.
Not surprisingly, it is very difficult to move at all in this strange costume, and the first few steps he takes will determine whether or not he will have to be completely redressed. Traditionally, six "gaits" are recognised, by which the yeros makes his way about the town. Some seem to be designed to allow for mobility, and others to help him create the greatest possible cacophony with his bells. Thus a yeros will occasionally stop, either alone or in a group, stand with his legs firmly planted apart, and his staff stuck in the ground in front to steady him. He then bends over backwards and forwards from the waist, while at the same time shaking his shoulders. The result is an incredible din.

The bells on the yeros are like a local dance. Can everyone dance well? The yeros must be a ... craftsman or expert, his steps must be ... jumpy or springy; he must calculate in order to make the sound ... have the right beat, and to ... thunder or boom correctly... Exceptional yeri are famous across the island. One such, yeri were supposed to be anonymous, the occasion frequently would be taken to settle old scores over stolen animals, or animals thought to have been stolen, pasture rights, the disputed results of card games, and women. The most deadly insult which could be offered to a yeros was to cut the ropes holding his bells. Outbreaks of fighting, sometimes between large crowds of yeroi and their supporters, were a common occurrence.

During the twentieth century the atmosphere mellowed. With the decline of shepherding and large-scale emigration from the island, there are fewer yeroi. Such is the strength and stamina required to be a yeros, it had already long been the practice for strong men to adopt the role, whatever their occupation, and to borrow the bells of shepherds unable to act as yeroi themselves. Hundreds of yeroi would once appear in town on the last two Sundays of Apokreas, whereas now they are numbered only in tens. Yet every year men still return to their home island from Athens to take part in these festivities. But, as Joy Coulentianou points out, these townsmen are neither so rude, nor so tough, as their ancestors.

Today the ubiquitous plastic masks are also worn by revellers, and the children dress up in fancy dress, as elsewhere in Greece. The younger boys, aspiring yeroi, walk the streets with goat bells tied around their waists. Women today sometimes take the part of the korella, or even, occasionally, as a yeros.

A curious and singularly unconvincing story is told by the islanders to explain the strange appearance of the "goat dancers". It is said that many years go there was a particularly cold winter, and snow lay thick on the ground for several weeks. When a goatherd went out to retrieve his animals following the thaw, he found every one of them dead. Afterwards he entered the town, accompanied by his raggedly-dressed wife, with all his valuable sheep and goat bells tied around his waist. On that day during the next year, someone re-enacted the scene, and the practice grew in popularity.

Clearly however, the goat-dancers of Skyros are a local version of the carnival figures found throughout the north. In any case, there are many tantalising traces of a close connection between this rite and the cult of Dionysos. In ancient times, the goats of Skyros were proverbial for their productivity, being lauded for it in the odes of Pindar, so that a particularly productive person was known as a "Skyros goat". King Aegeus, from whom the Aegean took its name, (the name is said to mean 'goatish',) was believed to have thrown himself to his death into the sea which took his name from the cliffs of Cape Sounion. His son Theseus, was believed to have suffered a similar, but involuntary, fate on Skyros, by being pushed by a treacherous host, from a cliff.

The goat was the animal most commonly associated with Dionysos, who is frequently depicted in art with satyrs, or goatmen, as his attendants. According to myth, the god was disguised in infancy as a kid and nurtured by nymphs to escape from the wrath of Hera, and reared in disguise as a girl. In a similar manner, Achilles was sent by his mother, Thetis, to Skyros, to be brought up as a girl, in a vain attempt to prevent him from going off to his doom in the Trojan war. The korella shows that cross-dressing plays an important role in the Skyrian carnival. Although part of the general pattern observed across northern Greece, this is evidence of an ancient cult of Dionysos as a goat-god on Skyros, traces of the ritual of which have survived until today.

Skyros is one of the most beautiful Greek Islands worth visiting for many reasons including its wonderful Beaches.

Corfu Island, A Greek Island In Greece

Image : http://www.flickr.com

The Greek god of the sea, Poseidon, fell in love with
the beautiful nymph, Korkyra. As gods often did, he
simply kidnapped a bride, and whisked her off to an
unnamed island where they enjoyed a time of marital
bliss. Poseidon was so enamored of his lovely wife;
he offered to name the island for her - Korkyra, which
is now better known as Corfu Island Greece.

And this is Corfu island - a romance between beauty and
power, intimately tied to the water. The island's
position between the mainland of Greece and Western
Europe has made it a perfect geographic stepping
stone, as well as a target for the Persians,
Sicilians, Romans, Venetians, Turks, French, and
British. In 1864, Corfu Island was finally ceded to Greece,
in accordance with the Corfiots most ardent wishes.
The history of ongoing battles and conquests can still
be deciphered today. It is seen in the two castles
enclosing the main city of Corfu Greece, still called Kerkyra Greece
by the Greeks.

The more commonly known name, Corfu, comes from the
Italian corruption of the word koryphai, which means
crests. Again, this refers to the site of the two fortresses.

Corfu Greece is an Ionian Island, a 60 km long sickle shaped
formation with its hollowed side looking toward
Albania. The island is separated from Albania by
straits varying from 3 to 23 km across. This
protected side, on the inside of the curve, is home to
the town and harbor of Corfu. The Ionian University in Greece
is also located here.

Two high, well defined mountain ranges divide this Greek
island into three parts. In the north it is
mountainous. The less-steep central portion rolls
into the third area, the low lying southlands. The
interior has traditionally been quiet with not much
tourism. These are the agricultural lands, away from
the rocky coasts, the salt water and the pirates.
Corfu boats 217 km of coastline.

This island is steeped in history. Homer mentioned
it, naming the fruits grown here - olive, oil olive,
pear, pomegranate, apple, fig and vine (grapes).
Although pears and apples are not grown here much any
more, all the other fruits prized by Homer still
thrive on Corfu island.

Corfu Greece has long been an important port of call, the
source for olive oil. The island's port city terminates in a
Venetian citadel, cut off from the rest of the city by
a natural gully that functions much like a marina.
The old city, with the fortifications, offers a
labyrinth of narrow, cobbled streets, many too narrow
for any kind of vehicular traffic. Modern residents
keep these streets bright and sparkling.

In World War II, Corfu Greece was bombed by German aircraft,
destroying most of the buildings on the island of Corfu. Visitors can still find remains of a temple built to honor Poseidon,
numerous monasteries, and a German palace.

But Corfu island, protected by St. Spyridon survives. St.
Spyridon expelled the plague in medieval times. St.
Spyridon appeared to Turks besieging Corfu, causing a
panic and saving the city. Corfu island survives and
thrives, and every August 11 they celebrate their
patron saint's feast day.

Here are also a couple of more travel tips which can help you out while visiting Greece