gtp logo

Πληροφορίες τοπωνυμίου

Εμφανίζονται 100 (επί συνόλου 321) τίτλοι με αναζήτηση: Βιογραφίες  στην ευρύτερη περιοχή: "ΒΟΡΕΙΟ ΑΙΓΑΙΟ Περιφέρεια ΕΛΛΑΔΑ" .


Βιογραφίες (321)

Αγωνιστές του 1821

Λαχανάς Κωνσταντίνος

ΒΑΘΥ (Λιμάνι) ΣΑΜΟΣ
1789 - 1842
(Σάμος 1789 ­ Χαλκίδα 1842)
  Φιλικός και αγωνιστής του 1821, πρωτοστάτης στην εξέγερση της Σάμου. Από νέος ασχολήθηκε με τη ναυτιλία. Σε κάποιο ταξίδι του στη Μασσαλία κατατάχτηκε στο γαλλικό στρατό, πήρε μέρος στην εκστρατεία του Ναπολέοντα στην Αίγυπτο και διακρίθηκε στη ναυμαχία του Αμπουκίρ (1798). Όταν επέστρεψε στη γενέτειρά του συγκρούσθηκε με το αριστοκρατικό κόμμα των προκρίτων.

Το κείμενο παρατίθεται τον Σεπτέμβριο 2003 από την ακόλουθη ιστοσελίδα της Βουλής των Ελλήνων


  Ένας από τους σημαντικότερους στρατιωτικούς αρχηγούς και ήρωες της σαμιακής επανάστασης του 1821. Το πραγματικό του επώνυμο ήταν Φώκος. Το «Λαχανάς» ήταν παρωνύμιο, αλλά επεκράτησε του πραγματικού επωνύμου. Ο Καπετάν Κωσταντής Λαχανάς γεννήθηκε στο Πάνω Βαθύ το 1769. Γονείς του ήταν ο Γεώργιος Φώκος και η Κυριακή. Μικρός υιοθετήθηκε από τον θείο του Γιακουμή.
  Σε νεαρή ηλικία ασχολήθηκε με τη θάλασσα και έγινε πλοίαρχος, ταξιδεύοντας αρχικά στα παράλια της Μικράς Ασίας. Αργότερα τα ταξίδια του έφτασαν μέχρι τη Συρία, τη Βόρειο Αφρική, τον Εύξεινο Πόντο και την Ιταλία.
  Το 1798 ενόσω βρισκόταν στην Αίγυπτο κατετάγη στην Ελληνική Λεγεώνα του Ναπολέοντα και έλαβε μέρος στις μάχες που δόθηκαν εκεί από γαλλικά στρατεύματα. Μετά την αναχώρηση του Ναπολέοντα από την Αίγυπτο ο Λαχανάς επανήλθε στη Σάμο και έλαβε μέρος στους αγώνες για την κατάκτηση της προυχοντικής εξουσίας, αφού τάχθηκε στο πλευρό της παράταξης των Καρμανιόλων, που επεδίωκαν την κατάργηση των παλαιών προεστών και τη διαφάνεια στη διαχείριση των δημόσιων οικονομικών του νησιού (1806-1812).
  Το 1812, όταν οι αντίπαλοι των Καρμανιόλων, οι Καλικάντζαροι, επικράτησαν στον Κοινό της Σάμου ο Κ. Λαχανάς καταδιώχθηκε και διέφυγε από το νησί για να σωθεί. Κατά τις περιπλανήσεις του έφτασε μέχρι Θεσσαλονίκη, συνδέθηκε δε με τον περιβόητο αρματωλό Νίκο Τζάρα, έγινε οπαδός του και πολέμησε μαζί του εναντίον των Τούρκων. Ο Νικοτζάρας αναγνωρίζοντας την ανδρεία του Λαχανά τον έκαμε πρωτοπαλίκαρό του. Μετά τον θάνατο του Νικοτζάρα ο τότε νομάρχης Θεσσαλονίκης Μπεκίρ πασάς που υπήρξε παλιότερα βοεβόδας Σάμου τον διόρισε κυβερνήτη του εκεί σταθμεύοντος αυτοκρατορικού πάρωνος. Μετά την απόλυση του Μπεκίρ πασά, παραιτήθηκε και ο Λαχανάς και επέστρεψε στη Σάμο ασχολούμενος με το αρχικό του επάγγελμα κυβερνώντας το ιδιόκτητο πλοίο του «Πυθαγόρας».
  Τον Φεβρουάριο του 1819 μυήθηκε από τον Γεράσιμο Σβορώνο στη Φιλική Εταιρεία. Όταν κηρύχτηκε η επανάσταση του 21, ο Καπετάν Κωνσταντής υπήρξε ο πρώτος που συνήγειρε τους οπαδούς του και στις 18 Απριλίου 1821 κήρυξε την επανάσταση υψώνοντας τη σημαία στη θέση Πηγαδάκι Ανω Βαθέος, καλώντας όλους τους κατοίκους του Βαθέος να αγωνισθούν υπέρ της Πατρίδος. Στα τέλη Απριλίου 1821 έφτασε στη Σάμο ο Λογοθέτης Λυκούργος και ανέλαβε τη γενική αρχηγία του αγώνα στο νησί θέτοντας σε εφαρμογή το τοπικό πολίτευμα, τον «Στρατοπολιτικό Διοργανισμό της νήσου Σάμου». Ο Λυκούργος οργάνωσε την άμυνα του νησιού συγκροτώντας τέσσερις χιλιαρχίες στη μία των οποίων διόρισε τον Λαχανά χιλίαρχο. Υπό την ιδιότητά του αυτή υπεράσπισε το νησί και στις τρεις μεγάλες επιθέσεις που επιχείρησε ο τουρκικός στόλος το 1821, 1824, 1826 εναντίον της Σάμου. Τον Ιούλιο του 1821 ο Λαχανάς εξασφάλισε την άμυνα των ανατολικών παραλίων και του λιμανιού του Βαθιού. Μετά την απόκρουση των Τούρκων επικεφαλής μικρού σώματος έβγαλε από τα βυθισμένα στη θάλασσα εχθρικά πλοία 33 τηλεβόλα, τα οποία μετέφερε στη Σάμο για την ενίσχυση της άμυνάς της. Στη συνέχεια εξεστράτευσε με άλλους 300 Σαμιώτες στη Μικρά Ασία όπου συνήψε μάχες και λαφυραγώγησε τουρκικές περιοχές απομακρύνοντας το ενδεχόμενο τουρκικής επίθεσης κατά της Σάμου. Το 1822 έλαβε μέρος στην εκστρατεία της Χίου. Μετά την αποτυχία αυτής της εκστρατείας και την καταστροφή της Χίου έλαβε μέρος σε ναυμαχία του ελληνικού στόλου κατά του τουρκικού έξω από τις Σπέτσες, όπου και ανδραγάθησε.
  Τον Μάρτιο του 1823 επικεφαλής 600 ανδρών επέδραμε και πάλι κατά της Μικράς Ασίας λεηλατώντας τα παράλια από τη περιοχή του Τσαγίου μέχρι την Αλικαρνασσό. Στη Σάμο είχε έλθει σε αντίθεση με τον έπαρχο Κυριάκο Μώραλη ό οποίος τον συνέλαβε κατά προτροπή των πολιτικών του αντιπάλων και τον φυλάκισε, αλλά κατόρθωσε να δραπετεύσει και να σωθεί. Το 1824 αντίπαλοι του Λαχανά, φυγάδες από τη Σάμο μαζί με άλλους Ψαριανούς αποβιβάσθηκαν κρυφά στη Σάμο με σκοπό να εξοντώσουν τον ίδιο και τους οπαδούς του. Πολιόρκησαν το σπίτι του στο Πάνω Βαθύ και το κατέστρεψαν, αλλά ο ίδιος κατάφερε να διαφύγει και να αποκρούσει με επιτυχία την επιδρομή των φυγάδων.
  Στην μεγάλη εκστρατεία του τουρκικού στόλου κατά της Σάμου το 1824 ο Λαχανάς είχε διορισθεί από την Γενική Συνέλευση Γενικός Καπετάνιος του εν Σάμω Ελληνικού Στρατού και υπεράσπισε το νησί από τις περιοχές Μεσοκάμπου - Μολαϊμβραήμ, απ' όπου κανονιοβολούσε με επιτυχία τον τουρκικό στόλο που πολιορκούσε στενά τη Σάμο. Το 1825 επιχείρησε νέα επιδρομή κατά της Μικράς Ασίας. Την αυτή γενναιότητα έδειξε και το 1826 κατά εκστρατεία των Τούρκων εναντίον της Σάμου.
  Το 1828, όταν στη Σάμο έφτασε ο Ιωάννης Κωλέττης ως Έκτακτος Επίτροπος Ανατολικών Σποράδων και καθ' όλη τη διάρκεια της καποδιστριακής περιόδου ο Λαχανάς διετέλεσε αρχηγός της Εκτελεστική Δυνάμεως. Στη διάρκεια της Ελευθέρας Πολιτείας Σάμου (1830-1834) διορίστηκε από τον Λογοθέτη Λυκούργο στρατιωτικός αρχηγός. Στο τετραετές αυτό διάστημα οι Σαμιώτες επεδίωκαν την ένωσή τους με την Ελλάδα. Αφού αυτό δεν είχε αίσιο τέλος και στη Σάμο επιβλήθηκε το ηγεμονικό καθεστώς ο Λαχανάς μαζί με τους υπόλοιπους αρχηγούς της σαμιακής επανάστασης και πλήθος Σαμίων επέλεξε την αυτοεξορία από το νησί κι έτσι το καλοκαίρι του 1834 μετανάστευσε στην ελεύθερη Ελλάδα. Μαζί του αναχώρησε και η οικογένειά του. Από το Καρλόβασι μετέβησαν στη Μύκονο και από εκεί στο Ναύπλιο. Για τους Σαμιώτες μετανάστες η ελληνική κυβέρνηση παραχώρησε μια περιοχή στην Χαλκίδα για να εγκατασταθούν.
  Η ελληνική κυβέρνηση αναγνωρίζοντας τους αγώνες του καπετάν Κωνσταντή Λαχανά τον διόρισε ταγματάρχη της Εθνοφυλακής με το ΒΔ 20/1834 και τον ετίμησε με τον Αργυρό Σταυρό του Αγώνος και το Χρυσό Σταυρό του Σωτήρος.
  Ο Καπετάν Λαχανάς πέθανε στην Χαλκίδα στις 19 Δεκεμβρίου 1842. Η γενέτειρά του τιμώντας τον έχει τοποθετήσει στη θέση Πηγαδάκι την προτομή του.
Βασική πηγή για το βιογραφικό του σημείωμα το βιβλίο Βιογραφία του Σαμίου οπλαρχηγού Κωνσταντίνου Λαχανά υπό Ν. Σταματιάδου, Εν Σάμω 1906.

Επιμέλεια κειμένου: Χ.Ν. Λάνδρος, Φιλόλογος, ΓΑΚ Σάμου
Το κείμενο παρατίθεται τον Σεπτέμβριο 2003 από την ακόλουθη ιστοσελίδα, με φωτογραφία, του Δήμου Βαθέος


Κανάρης Κωνσταντίνος

ΨΑΡΑ (Νησί) ΒΟΡΕΙΟ ΑΙΓΑΙΟ
1790 - 1877
(Ψαρά περίπου 1790 ­ Αθήνα 1877)
  Αγωνιστής, πολιτικός, από τις ηρωικότερες μορφές της Επανάστασης. Η καταγωγή του και ο τόπος γέννησής του δεν είναι απόλυτα εξακριβωμένα από τους ιστορικούς, το βέβαιο είναι ότι η οικογένειά του κατοικούσε στα Ψαρά γύρω στα 1770. Με την κήρυξη της Επανάστασης εγκατέλειψε τα εμπορικά πλοία, εντάχθηκε στο ψαριανό στόλο και ειδικεύτηκε στα πυρπολικά. Τη νύχτα της 6ης προς την 7η Ιουνίου 1822 έκανε το πρώτο του κατόρθωμα πυρπολώντας την τουρκική ναυαρχίδα στη Χίο. Ο ´Aγγλος ιστορικός της Επανάστασης Τόμας Γκόρντον γράφει ότι η πράξη αυτή ήταν ένα «από τα πιο καταπληκτικά στρατιωτικά κατορθώματα που αναφέρει η ιστορία». Τον Οκτώβριο του 1822, στην Τένεδο αυτή τη φορά, πυρπόλησε ένα τεράστιο τουρκικό δίκροτο προκαλώντας το θαυμασμό όλων. Ακολούθησαν κι άλλες ηρωικές επιχειρήσεις στη Σάμο και τη Μυτιλήνη με αποκορύφωμα τη δράση του Κανάρη κατά του αιγυπτιακού στόλου στο λιμάνι της Αλεξάνδρειας. Mετά την απελευθέρωση ο Καποδίστριας του ανέθεσε την αρχηγία του στολίσκου των πυρπολικών τιμώντας τη δράση και τον ηρωισμό του. Μετά τη δολοφονία του κυβερνήτη ο Κανάρης αποσύρθηκε στη Σύρο και επανήλθε στο δημόσιο βίο την περίοδο του Όθωνα με το βαθμό του ναυάρχου που του απένειμε ο βασιλιάς. Μετά την Επανάσταση της 3ης Σεπτεμβρίου 1843 ανέλαβε δύο φορές το Υπουργείο Ναυτικών και στην Εθνοσυνέλευση που ψήφισε το Σύνταγμα του 1864 υπήρξε ηγέτης των «Ορεινών». Έγινε τρεις φορές πρωθυπουργός σε κρίσιμες για τη χώρα στιγμές και πέθανε ως πρωθυπουργός στις 2 Σεπτεμβρίου του 1877.

Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα, με φωτογραφία, της Βουλής των Ελλήνων


Νικόδημος, Κωνσταντίνος

1795 - 1879
(Ψαρά, 1795/6 - Αθήνα, 1879)
  Πυρπολητής και απομνημονευματογράφος του ναυτικού Αγώνα του 1821. Πήρε μέρος στις ναυτικές επιχειρήσεις από τους πρώτους μήνες της Επανάστασης και σε όλη τη διάρκειά της διαδραμάτισε, ως κυβερνήτης πυρπολικού, πρωταγωνιστικό ρόλο σε επικίνδυνες αποστολές (ναυμαχία στο Τρίκκερι, εκστρατεία για την ανάκτηση των Ψαρών, ενίσχυση πολιορκημένων στο Μεσολόγγι). Μετά την απελευθέρωση υπήρξε βασικό στέλεχος του Ναυτικού και κατέβαλε ιδιαίτερες προσπάθειες για την αναδιοργάνωσή του. Το 1826 δημοσίευσε το «Υπόμνημα περί της Νήσου Ψαρών» που είναι πολύτιμο για τα έγγραφα που περιέχει και γιατί αποτελεί προσωπική μαρτυρία ενός πυρπολητή.

Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα της Βουλής των Ελλήνων


Παπανικολής Δημήτριος

1790 - 1855
(Ψαρά 1790 - Αθήνα 1855)
  Θαρραλέος μπουρλοτιέρης, με πολλά ναυτικά ανδραγαθήματα σε όλη τη διάρκεια του απελευθερωτικού Αγώνα. Στις 27 Μαΐου 1821, στην Ερεσσό της Μυτιλήνης, ανατίναξε τουρκικό δίκροτο που κατευθυνόταν στην Πελοπόννησο. Ο Δ. Παπανικολής πήρε μέρος σε πολλές ναυμαχίες, όπως εκείνη του Γέροντα τον Αύγουστο του 1824. Επίσης έδρασε στα παράλια της Μ. Ασίας και της Αττικής. Μετά την απελευθέρωση εκλέχτηκε πληρεξούσιος των Ψαριανών στην Εθνοσυνέλευση της 3ης Σεπτεμβρίου 1843. Επίσης διορίστηκε πρόεδρος του Ναυτοδικείου το 1846, θέση που διατήρησε ως το θάνατό του. Το 1927 το ελληνικό κράτος προμηθεύτηκε από τη Γαλλία υποβρύχιο που ονομάστηκε «Παπανικολής».

Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα της Βουλής των Ελλήνων


Αποστόλης Νικολής

1770 - 1827
(Ψαρά 1770 ­ Αίγινα 1827)
  Ναυμάχος από τα Ψαρά, αγωνίστηκε με τον Λάμπρο Κατσώνη. Μυήθηκε το 1818 στη Φιλική Εταιρεία από τον Χρυσοσπάθη και το 1820 διορίσθηκε «έφορός» της στα Ψαρά. Τον Απρίλιο του 1821 είκοσι ψαριανά πλοία ήταν έτοιμα για τον Αγώνα και ο Αποστόλης ως διοικητής αυτής της ναυτικής μοίρας συνέβαλε αποφασιστικά τόσο στον αποκλεισμό των Δαρδανελίων, όσο και στην παρεμπόδιση του τουρκικού στόλου για αποστολή δυνάμεων στην Πελοπόννησο. Το 1824 μετά την καταστροφή των Ψαρών συνέχισε τον Αγώνα στο Αιγαίο. Βοήθησε, στη διάρκεια του αποκλεισμού, το Μεσολόγγι και διέθεσε όλη του την περιουσία για τον Αγώνα. Υπήρξε από τους πιο ανιδιοτελείς αγωνιστές.

Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα της Βουλής των Ελλήνων


Αθλητές

Αίγλης

ΣΑΜΟΣ (Αρχαία πόλη) ΣΑΜΟΣ
A Samian wrestler who had been born dumb. Seeing some unlawful measures pursued in a contest, which would deprive him of the prize, his indignation gave him on a sudden the powers of utterance, which had hitherto been denied him, and from this time he spoke with ease.

Αρχαιολόγοι

Κοντολέων Νικόλαος

ΦΥΤΑ (Χωριό) ΧΙΟΣ
1910 - 1975

Αστρονόμοι

Σταμάτης Μ. Κριμιζής

ΒΡΟΝΤΑΔΟΣ (Κωμόπολη) ΧΙΟΣ
  Ο Δρ Σταμάτιος Μ. Κριμιζής έχει στο ενεργητικό του μια μακροχρόνια και διακεκριμένη καριέρα σαν εκπαιδευτικός και πρωτοπόρος ερευνητής με πειράματα στα σπουδαιότερα διαστημικά προγράμματα των Η.Π.Α. καθώς και της διεθνούς επιστημονικής κοινότητας. Είναι διευθυντής του Τμήματος Διαστημικής Φυσικής του Εργαστηρίου Εφαρμοσμένης Φυσικής του Πανεπιστημίου Τζωνς Χώπκινκς των Η.Π.Α. (JHU/ALP). Από αυτή τη θέση διευθύνει τις δραστηριότητες 600 περίπου επιστημόνων, μηχανικών και τεχνικού και βοηθητικού προσωπικού.
  Στις βασικές δραστηριότητες του τμήματος Διαστημικής Φυσικής που διευθύνει, περιλαμβάνεται ο σχεδιασμός, η κατασκευή, ο τεχνικός έλεγχος και η αποστολή στο διάστημα ολοκληρωμένων δορυφόρων και επιστημονικών οργάνων, τα οποία εκτελούν μετρήσεις πάνω σε διαστημικές αποστολές της NASA γύρω από τη γη, τους άλλους πλανήτες και τον ήλιο.
  Τα επιστημονικά ενδιαφέροντα του Δρ Κριμιζή συμπεριλαμβάνουν περιβαλλοντολογικά προβλήματα της γης, τις μαγνητόσφαιρες της γης, των πλανητών και άλλων διαπλανητικών σωμάτων, τα ηλιακά φαινόμενα και τη φυσική πλάσματος στο διαπλανητικό χώρο. Έτσι με την καθοδήγησή του, το τμήμα Διαστημικής Φυσικής διενεργεί πρωτοποριακή έρευνα σε όλα τα πεδία της Διαστημικής Επιστήμης, από την ατμόσφαιρα της γης μέχρι τον ήλιο, το διαπλανητικό χώρο, τους πλανήτες, τους κομήτες, τους αστεροειδείς και άλλα διαστημικά σώματα. Μέχρι τώρα έχει εκτελέσει πάνω από 60 δορυφορικές αποστολές στο διάστημα και έχει κατασκευάσει πάνω από 100 επιστημονικά όργανα, έχοντας έτσι επιβληθεί σαν το ίδρυμα που συνδυάζει την υπεροχή στη διαστημική μηχανική με τη βαθιά επιστημονική έρευνα. Τα προγράμματα του τμήματος χρηματοδοτούνται από τη NASA, το Ναυτικό και άλλες κυβερνητικές υπηρεσίες.
  Ο Δρ Σταμάτης Κριμιζής γεννήθηκε στο Βροντάδο της Χίου. Εκεί τελείωσε το Δημοτικό και το Γυμνάσιο. Γιος Έλληνα μετανάστη που πηγαινοερχόταν στην Αμερική, μετά το θάνατο του πατέρα του πήγε στην Αμερική όπου και σπούδασε στο Πανεπιστήμιο της Μινεσότα, απ' όπου έλαβε το πτυχίο της φυσικής το 1961 και στο Πανεπιστήμιο της Αϊόβα, όπου υπό την καθοδήγηση του J. A. Van Allen, που ανακάλυψε τις ραδιενεργές ζώνες Βανάλλεν γύρω από τη γη, απόκτησε Μάστερς και Διδακτορικό στη Φυσική το 1963 και 1965 αντίστοιχα. Η διδακτορική διατριβή του Δρ Κριμιζή πάνω στο μοντέλο διάδοσης των πρωτονίων προερχομένων από τις εκλάμψεις του ήλιου (Krimigis, s. m., Interplanetary diffusion model for the time behavior of intensity in a solar cosmic ray event, J. Geophys. Res. 70, 2943-2960, 1965) ήταν η πρώτη μελέτη που ερμήνευσε τη διαπλανητική διάδοση των πρωτονίων μέσα από μια διαδικασία διάχυσης και έγινε γνωστή σαν "το μοντέλο Κριμιζή" στην ανάπτυξη του θέματος για τις επόμενες δυο δεκαετίες. Αμέσως μετά την απόκτηση του διδακτορικού του διπλώματος, ο Δρ Κριμιζής προσελήφθη σαν επίκουρος καθηγητής στη Σχολή Φυσικής και Αστρονομίας του Πανεπιστημίου της Αϊόβα, όπου δίδαξε για τρία χρόνια. Από το 1972 προήχθη στη βαθμίδα του ισότιμου καθηγητή στο Εργαστήριο Εφαρμοσμένης Φυσικής του Πανεπιστημίου Τζωνς Χώπκινς.
  Ως μεταπτυχιακός ακόμα φοιτητής στο Πανεπιστήμιο της Αϊόβα, ο Δρ Κριμιζής εξελέγη από τη NASA σαν συνερευνητής του Van Allen για το πείραμα του Πανεπιστημίου που εστάλη με το διαστημόπλοιο Mariner 4, που ήταν η πρώτη τότε αποστολή στον Αρη. Ο ίδιος επινόησε, σχεδίασε και κατασκεύασε τον πρώτο μετρητή στερεάς κατάστασης που εστάλη ποτέ στο διάστημα. Συμπτωματικά, το ερευνητικό όργανο του Mariner 4, εκτός από τη μελέτη των στοιχείων στην περιοχή του Αρη, ανακάλυψε την εκτόξευση ηλεκτρονίων υψηλής ενεργείας στις εκλάμψεις του ηλίου (Van Allen, J. A. and S. M. Krimigis, Impulsive Emission of ~40 kev electronics from the sun, J. Geophys. Res., 70, 5737-5751, 1966), ένα φαινόμενο που έκτοτε χρησιμοποιείται κατά κανόνα στην εξερεύνηση της απελευθέρωσης ηλιακής ενεργείας μέσω ακτίνων Χ και μικροκυμάτων.
  Την ίδια χρονική περίοδο, σαν ιθύνων ερευνητής (Lead Investigator) στο πείραμα μετρήσεως ιόντων υψηλής ενεργείας του δορυφόρου Injun 4, σχεδίασε, κατασκεύασε και απέστειλε στο διάστημα (Νοέμβρης 1964) τον πρώτο μετρητή, που είχε την ικανότητα να διακρίνει πυρήνες Ηλίου από πρωτόνια, μέσω του οποίου ανακάλυψε το συστατικό Ήλιο (άλφα σωματίδιο) στις ραδιενεργές ζώνες της γης (Krimigis, S. M. and Van Allen, Geomagnetically trapped alpha particles, J. Geophys. Res., 72, 5779-5797, 1967).
  Σαν κύριος δημιουργός και ερευνητής του πειράματος του Μετρητή Στερεάς Κατάστασης στο Injurn-5, ο Δρ Κριμιζής, εν συνεχεία, επινόησε και κατασκεύασε ένα πρωτοποριακό σύστημα, που ανακάλυψε την παρουσία πυρήνων βαρύτερων από το Ήλιο, παγιδευμένων στις ζώνες Βαναλλεν (Krimigis et al, Trapped energetic nuclei Z 3 in the Earth's outer radiation zone, J. Geophys. Res. 75, 4210-4215, 1970).
  Την άφιξη του Δρ Κριμιζή στο Εργαστήριο Εφαρμοσμένης Φυσικής του Πανεπιστημίου Τζων Χώπκινς, ακολούθησε η επιλογή του σαν Πρώτου Ερευνητή (Principal Investigator) για το πείραμα της Μέτρησης Φορτισμένων Σωματιδίων (CPME) των διαστημοπλοίων Explorer 47 και 50, που εκτοξεύθηκαν το 1972 και 1973 αντίστοιχα.
  Το όργανο του πειράματος στο διαστημόπλοιο Explorer 50 λειτουργεί ακόμα και σήμερα και παρέχει την πιο πλήρη πηγή δεδομένων για τα ηλιακά σωματίδια υψηλής ενεργείας.
  Κανένα όργανο από όσα έχουν εκτοξευθεί μέχρι σήμερα στο διάστημα δεν έχει δώσει πιο πλήρη στοιχεία.
  Το 1971 ο Δρ Κριμιζής ανέπτυξε προ-ενισχυτές ευαίσθητους σε πολύ χαμηλές ενέργειες, που οδήγησαν στην κατασκευή οργάνου για την εξερεύνηση σωματιδίων φορτισμένων με χαμηλή ενέργεια στους απώτερους πλανήτες. Το όργανο αυτό (Low Energy Charged Particle ή LECP) που κατετέθη μαζί με άλλες 300 προτάσεις επιστημονικών εξερευνητικών οργάνων προς έγκριση στη NASA, επελέγη μεταξύ των 10 που εστάλησαν με τα διαστημόπλοια Voyager 1 και 2. Αξίζει να σημειωθεί ότι στο διαγωνισμό αυτό, το LECP του Δρ Κριμιζή θεωρήθηκε σαν τελειότερο εκείνου που είχε υποβάλει ο πρώην καθηγητής του Van Allen για το ίδιο πείραμα. Ο Δρ Κριμιζής υπήρξε τότε (1971) ο νεώτερος Principal Investigator, που εξέλεξε ποτέ η NASA. Η επιτυχία των Voyager 1 και 2, που εκτοξεύτηκαν το 1977, είναι γνωστή, ενώ τα όργανα LECP στέλνουν ακόμη πολύτιμες πληροφορίες. Οι ανακαλύψεις που οφείλονται στα LECP είναι πάρα πολλές για να παρουσιαστούν με λεπτομέρεια. Είναι αρκετό να αναφερθεί ότι τουλάχιστον 150 εργασίες έχουν δημοσιευθεί από τα δεδομένα που έχουν στείλει μέχρι σήμερα.
  Στις αρχές της δεκαετίας του 1970, ο Δρ Κριμιζής συνέλαβε την ιδέα ενός διαστημικού πειράματος που θα εξερευνούσε τις πηγές των ραδιενεργών πηγών της γης. Το πείραμα έγινε γνωστό σαν AMPTE (Active Magnetospheric Particle Tracer Explorers) και τελικά εξελίχθηκε σε μια διεθνή συνεργασία μεταξύ των ΗΠΑ, Γερμανίας και Αγγλίας. Ο Δρ Κριμιζής ήταν ο ιθύνων (Principal Investigator) της ομάδας των ΗΠΑ.
  Στα πλαίσια του ίδιου προγράμματος το 1984 εκτοξεύθηκαν 3 διαστημόπλοια, που μεταξύ άλλων δημιούργησαν και τον πρώτο τεχνικό κομήτη του ηλιακού μας συστήματος. Το AMPTE πρόσφερε υλικό για πάνω από 500 δημοσιευμένες επιστημονικές εργασίες. Τη δεκαετία του '80 ο Δρ Κριμιζής ήταν ο βασικός παράγων στην ανάπτυξη μιας νέας τεχνολογίας για τη φωτογράφηση των Μαγνητοσφαιρικών πλασμάτων. Η τεχνική αυτή βασίστηκε σε πρωτότυπες παρατηρήσεις πάνω στις πληροφορίες που έστειλαν τα Voyager με σκοπό να εξερευνηθούν τα αφόρτιστα άτομα υψηλής ενέργειας (Energetic Neutral Atoms or ENA), που είχαν επισημανθεί στον δακτύλιο αερίων του δορυφόρου του Δία Ηώ. Ο ίδιος ηγήθηκε στην κατασκευή μιας ΕΝΑ φωτογραφικής συσκευής με την οικονομική υποστήριξη ενός καινοτομικού ερευνητικού κονδυλίου της NASA (1985). Πάνω σ' αυτή τη φωτογραφική συσκευή βασίστηκε η κατασκευή ενός νέου οργάνου για τη φωτογράφηση των μαγνητοσφαιρών (Magnetosphere Imaging Instrument or MIMI) που εκτοξεύθηκε πάνω στο διαστημόπλοιο Cassini στην αποστολή στον Κρόνο, το 1997.
  Ο Δρ Κριμιζής είναι ξανά ο ιθύνων ερευνητής ( Principal Investigator) στο πείραμα αυτό. Πάνω στις ανακαλύψεις αυτές βασίζει το τμήμα Διαστημικής της NASA άλλες αποστολές.
  Παράλληλα με την προώθηση της τεχνολογίας και της επιστήμης, ο Δρ Κριμιζής κατάφερε να ανάγει το επιστημονικό πρόγραμμα του Εργαστηρίου Εφαρμοσμένης Φυσικής του Πανεπιστημίου Τζων Χώπκινς από μια ολιγάριθμη επιστημονική ομάδα το 1968, σε ένα πολυάριθμο τμήμα διαστημικής ερευνητικής δραστηριότητας με μεγάλη ποικιλία προγραμμάτων, από θέματα Ωκεανογραφίας μέχρι Αστροφυσικής.
  Η ομάδα φυσικής πλάσματος του τμήματός του, έχει αναγνωριστεί σαν η μεγαλύτερη και η πιο πετυχημένη και πρωτοποριακή στις ΗΠΑ. Κάτω από την επίβλεψη του Δρ Κριμιζή, το ALP κατασκεύασε το πρόγραμμα Discovery (Near or Near Earth Asteroid Rendezvous), που εκτοξεύθηκε και έφτασε μέχρι τον Αστεροειδή Έρωτα όπου και προσεδαφίσθηκε στις 12 Φεβρουαρίου 2001.
  Ένας από τους κρατήρες του Έρωτα ονομάζεται Χίος (HIOS) κοντά στον μεγάλο κρατήρα Ψυχή. Έτσι τ' όνομα του νησιού, πήγε στα επουράνια. Κι ο Δρ Κριμιζής φυσικά δεν έμεινε μόνο στη γη. Το 1979 η Διεθνής Αστροναυτική Ένωση (International Astronautical Union) έστειλε και το δικό του όνομα στον ουρανό, μετονομάζοντας τον Αστεροειδή 1979 UH, σε 8323 KRIMIZIS.
  Πολλές οι τιμητικές διακρίσεις πριν και μετά απ' αυτήν. Αναφέρουμε μερικές ενδεικτικά όπως το μετάλλιο της NASA για εξαιρετικό επιστημονικό επίτευγμα (NASA Medal for Exceptional Scientific Achievement) το 1980 και για δεύτερη φορά το 1986, το ομαδικό βραβείο (Group Achievement Award) για τα προγράμματα Voyager, AMPTE, Galileo και Ulysses από τη NASA, το βραβείο για εξαιρετικό επιστημονικό επίτευγμα από την Ευρωπαϊκή Υπηρεσία Διαστήματος για το Πρόγραμμα Ulysses.
  Η επιστημονική προσφορά του Δρ Κριμιζή έχει αναγνωριστεί από πολλούς επιστημονικούς οργανισμούς όπως την Αμερικανική Εταιρεία Φυσικής (American Physical Society), που τον εξέλεξε Διακεκριμένο Μέλος (Fellow) για εξαιρετική προσφορά στην καταγραφή και ερμηνεία του πλάσματος στις μαγνητόσφαιρες των πλανητών και στην ηλιόσφαιρα, το 1983, όπως και στην Αμερικανική Γεωφυσική Ένωση (ACU), to 1980. Έχει βραβευθεί από τη Διεθνή Ακαδημία Αστροναυτών και την Ακαδημία AHEPA το 1994. Στο Παγκόσμιο Διαστημικό Συνέδριο του 2002 του παρεδόθη το Βραβείο Διαστημικών Επιστημών COSPAR, η ύψιστη τιμητική διάκριση που η παγκόσμια διαστημική επιστημονική κοινότητα έχει δώσει.
  Το 1993 εξελέγη μέλος της Διεθνούς Αστροναυτικής Ακαδημίας (International Academy of Astronautics), είναι συνεργαζόμενο μέλος της Ακαδημίας Αθηνών, έχει τιμηθεί από τον Πρόεδρο της Ελληνικής Δημοκρατίας με τον Χρυσό Σταυρό του Φοίνικα και βραβεύθηκε επίσης από το Ελληνοαμερικανικό Ινστιτούτο.
  Η επιστημονική αναγνώριση του Δρ Κριμιζή τον έχει επιβάλλει σε παγκόσμια κλίμακα σαν ομιλητή ή οργανωτή σε εθνικά και διεθνή συνέδρια για τη διαστημική φυσική. Έχει δώσει διαλέξεις σε πολλές ξένες χώρες όπως Αυστραλία, Καναδά, Κίνα, Ιαπωνία, Ρωσία, Ισραήλ και όλες τις χώρες της Ευρώπης.
  Έχει υπηρετήσει σαν Πρόεδρος, Σύμβουλος ή μέλος σε Δ. Σ. πάνω από 36 επιστημονικών και τεχνολογικών επιτροπών για τη NASA, την Εθνική Ακαδημία Επιστημών των ΗΠΑ και τη Διεθνή Επιστημονική Συμβουλευτική Επιτροπή Εμπειρογνωμόνων για τη Διαστημική Φυσική (Fachbeirat) του Max-Plank-Institute.
  Σαν Πρόεδρος της Επιτροπής για την Ηλιακή και τη Διαστημική Φυσική της Εθνικής Ακαδημίας Επιστημών (1983-86) η οποία προδιέγραψε το διαστημικό ερευνητικό πρόγραμμα της NASA για την περίοδο 1985-2001 ο Δρ Κριμιζής συνέθεσε την γνωστή "Αναφορά Κριμιζή" που είχε τέτοια απήχηση ώστε έγινε εισήγηση στη Βουλή των Αντιπροσώπων (Congress) για την έγκριση του προγράμματος και ήταν η πρώτη φορά που μια αναφορά της Ακαδημίας Επιστημών στηρίχθηκε με απόφαση του Κογκρέσου.
  Οι τόσες επιτυχίες του Δρ Κριμιζή όπως είναι φυσικό τράβηξαν την προσοχή των μέσων ενημέρωσης όλου του κόσμου. Η συνέντευξη τύπου που έδωσε για τις ανακαλύψεις του στο Voyager 1, παρουσιάστηκε στην πρώτη σελίδα των New York Times στις 10 Ιουνίου 1979 μετά από τη συνάντηση του διαστημοπλοίου με το Δία και δεύτερη φορά τον Οκτώβριο του 1981 μετά τη συνάντηση του Voyager 2 με τον Κρόνο. Ανάλογες μεταδόσεις έκαναν τα διεθνή πρακτορεία καθώς και τα μεγαλύτερα τηλεοπτικά και ραδιοφωνικά δίκτυα της Αμερικής και όλου του κόσμου.
  Στις 26 Μαρτίου 1986 είχε προσκληθεί με άλλους 5 επιστήμονες σε γεύμα στον Λευκό Οίκο με σκοπό να ενημερώσει τον Πρόεδρο Ρήγκαν για το πείραμα LECP στο Voyager και το πρόγραμμα συνεργασίας AMPTE με Γερμανία και Αγγλία.
  Πήρε επίσης μέρος στην ενημέρωση του Προέδρου Μπους στις 7 Ιουλίου 1990, για την επιτυχή συνάντηση του Voyager με τον Ποσειδώνα στις 25 Αυγούστου 1989 και τον Δεκέμβριο του 1987 ήταν ένας από τους προσκεκλημένους στη συνάντηση με τον Πρόεδρο Κορμπατσώφ στην πρώτη επίσκεψη του τελευταίου στην Αμερική.(...)

Κείμενο: Βαγγέλης Ρουφάκης
Το κείμενο παρατίθεται τον Νοέμβριο 2004 από την ακόλουθη ιστοσελίδα , με φωτογραφίες, του Περιοδικού Δάφνη


Αρίσταρχος ο Σάμιος

ΣΑΜΟΣ (Αρχαία πόλη) ΣΑΜΟΣ
320 - 250
Aristarchus of Samos, often referred to as the Copernicus of antiquity, laid the foundation for much scientific examination of the heavens. According to his contemporary, Archimedes, Aristarchus was the first to propose not only a heliocentric universe, but one larger than any of the geocentric universes proposed by his predecessors.
  Copernicus himself originally gave credit to Aristarchus in his own heliocentric treatise, De revolutionibus caelestibus , where he had written, ”Philolaus believed in the mobility of the earth, and some even say that Aristarchus of Samos was of that opinion.” Interestingly, this passage was crossed out shortly before publication, maybe because Copernicus decided his treatise would stand on its own merit.
  Plutarch in his De facie in orbe lunae gives reference not only to Aristarchus's theory, but to the way it was received by contemporaries. The general opinion of the time appeared to be that of Dercyllides, who “says that we must suppose the earth, the Hearth of the House of the Gods according to Plato, to remain fixed, and the planets with the whole embracing heaven to move, and rejects with abhorrence the view of those who have brought to rest the things which move and set in motion the things which by their nature and position are unmoved, such a supposition being contrary to the hypotheses of mathematics.” As we can imagine, this did not look good for Aristarchus, and was probably one of the main reasons the heliocentric hypothesis did not re-emerge until the mid 15th century with the Copernican revolution.
  Though some of his reasoning was a bit out of place in his time, Aristarchus nevertheless was able to adapt to the conventions of society and use the methods of known geometry to explain other phenomena. His treatise On the Sizes and Distances of the Sun and Moon , written from a geocentric point of view, was a breakthrough in finding distances to objects in the universe, and his methods were used by later astronomers and mathematicians through the time of Hipparchus and Ptolemy.
  Aristarchus introduced six hypotheses, from which he determined first the relative distances of the sun and the moon, then their relative sizes:
  1) The moon receives its light from the sun.
  2) The earth is positioned as a point in the center of the sphere in which the moon moves.
  3) When the moon appears to us halved, the great circle which divides the dark and bright portions of the moon is in the direction of our eye.
  4) When the moon appears to us halved, its [angular] distance from the sun is then less than a quadrant by one-thirtieth part of a quadrant. (One quadrant = 90 degrees, which means its angular distance is less than 90 by 1/30th of 90, or 3 degrees, and is therefore equal to 87 degrees.) (This assigned value was based on Aristarchus' observations.)
  5) The breadth of the earth's shadow is that of two moons.
  6) The moon subtends one fifteenth part of a sign of the Zodiac. (The 360 degrees of the celestial sphere are divided into twelve signs of the Zodiac each encompassing 30 degrees, so the moon, therefore, has an angular diameter of 2 degrees.)
  Although he proved many propositions (eighteen to be exact), the three most well-known are the following:
  1) The distance of the sun from the earth is greater than eighteen times, but less than twenty times, the distance of the moon from the earth.
  2) The diameter of the sun has the same ratio (greater than eighteen but less than twenty) to the diameter of the moon.
  3) the diameter of the sun has to the diameter of the earth a ratio greater than 19 to 3, but less than 43 to 6. In his determination of these three factors, Aristarchus developed the Lunar Dichotomy method and the Eclipse Diagram, the latter of which became a much-used method of determining celestial distances up until the seventeenth century.

Method of Lunar Dichotomy
  When the moon appears to us in its phase of First Quarter or Last Quarter, it is “dichotomized”, or half illuminated. At the moment when the dividing line between light and dark exactly bisects the moon's circle, the angle from Earth to Moon to Sun is exactly 90 degrees. Aristarchus determined that at this precise moment the angular separation between the moon and the sun, that is, the angle from Moon to Earth to Sun, is equal to 87 degrees, as he stated in his fourth hypothesis. Using these angles, he determined (without using trigonometric tables or formulae--they weren't invented yet) that the ratio of the distance ES to EM was greater than 18 to 1, but less than 20 to 1.
  In order to determine the actual values for the sizes of the sun and moon, Aristarchus used two observations: first, that the disk of the moon just covers the sun during a solar eclipse--although this is not always true, for the sun appears larger during an annular eclipse.
  Second, that during a lunar eclipse the shadow of the earth appears to be twice as large as the moon at the moon's distance. (See hypothesis 5.) With this data he constructed the Eclipse Diagram, which he used to show that the earth is approximately three times larger than the moon, and that the radius of the sun is more than six times larger than the radius of the earth.
  Although his geometry was perfect, Aristarchus' methods of measurement were extremely inaccurate. His basic value for the angle from Sun to Earth to Moon was off by a few degrees (the actual value is 89 degrees, 50 minutes), and the width of the earth's shadow cone at the moon is actually three rather than two moon diameters. Using improved values, we can show that the sun is about 400 times farther from the earth than the moon, and its diameter is approximately 109 times greater than that of earth.
  In terms of heliocentricity or the movement of the earth, the only person to follow Aristarchus' philosophy was Seleucus, who in 150 BC attributed the ocean tides to the stirring of air caused by the rotation of the earth and its interaction with the revolution of the moon. Later, in the first century BC, Seneca mentioned the possibility of a rotating earth, but did not necessarily believe that it was possible.
  Overall, Aristarchus was a pioneer both in his depiction of the universe and his geometric approach to the measurement of the heavenly bodies. He contributed a great deal to both geometry and astronomy, and his methods, as adapted by Hipparchus and others, were used well into the 17th century.
by Kristen Riley

Aristarchus (Aristarchos), of Samos, one of the earliest astronomers of the Alexandrian school. We know little of his history, except that he was living between B. C. 280 and 264. The first of these dates is inferred from a passage in the megale suntaxis of Ptolemy (iii. 2), in which Hipparchus is said to have referred, in his treatise on the length of the year, to an observation of the summer solstice made by Aristarchus in the 50th year of the st Calippic period: the second from the mention of him in Plutarch (de Facie in Orbe Lunae), which makes him contemporary with Cleanthes the Stoic, the successor of Zeno.
  It seems that he employed himself in the determination of some of the most important elements of astronomy; but none of his works remain, except a treatise on the magnitudes and distances of the sun and moon (peri megethon kai apostematon heliou kai selenes). We do not know whether the method employed in this work was invented by Aristarchus (Suidas, s. v. philosophos, mentions a treatise on the same subject by a disciple of Plato); it is, however, very ingenious, and correct in principle. It is founded on the consideration that at the instant when the enlightened part of the moon is apparently bounded by a straight line, the plane of the circle which separates the dark and light portions passes through the eye of the spectator, and is also perpendicular to the line joining the centres of the sun and moon; so that the distances of the sun and moon from the eye are at that instant respectively the hypothenuse and side of a right-angled triangle. The angle at the eye (which is the angular distance between the sun and moon) can be observed, and then it is an easy problem to find the ratio between the sides containing it. But this process could not, unless by accident, lead to a true result; for it would be impossible, even with a telescope, to determine with much accuracy the instant at which the phaenomenon in question takes place; and in the time of Aristarchus there were no means of measuring angular distances with sufficient exactness. In fact, he takes the angle at the eye to be 83 degrees whereas its real value is less than a right angle by about half a minute only; and hence he infers that the distance of the sun is between eighteen and twenty times greater than that of the moon, whereas the true ratio is about twenty times as great, the distances being to one another nearly as 400 to 1. The ratio of the true diameters of the sun and moon would follow immediately from that of their distances, if their apparent (angular) diameters were known. Aristarchus assumes that their apparent diameters are equal, which is nearly true; but estimates their common value at two degrees, which is nearly four times too great. The theory of parallax was as yet unknown, and hence, in order to compare the diameter of the earth with the magnitudes already mentioned, he compares the diameter of the moon with that of the earth's shadow in its neighbourhood, and assumes the latter to be twice as great as the former (Its mean value is about 84?). Of course all the numerical results deduced from these assumptions are, like the one first mentioned, very erroneous. The geometrical processes employed shew that nothing like trigonometry was known. No attempt is made to assign the absolute values of the magnitudes whose ratios are investigated; in fact, this could not be done without an actual measurement of the earth--an operation which seems to have been first attempted on scientific principles in the next generation. Aristarchus does not explain his method of determining the apparent diameters of the sun and of the earth's shadow; but the latter must have been deduced from observations of lunar eclipses, and the former may probably have been observed by means of the skaphium by a method described by Macrobius (Somn. Scip. i. 20). This instrument is said to have been invented by Aristarchus (Vitruv. ix. 9): it consisted of an improved gnomon, the shadow being received not upon a horizontal plane, but upon a concave hemispherical surface having the extremity of the style at its centre, so that angles might be measured directly by arcsinstead of by their tangents. The gross error in the value attributed to the sun's apparent diameter is remarkable; it appears, however, that Aristarchus must afterwards have adopted a much more correct estimate, since Archimedes in the Psammites refers to a treatise in which he made it only half a degree. Pappus, whose commentary on the book peri megethon, &c. is extant, does not notice this emendation, whence it has been conjectured, that the other works of Aristarchus did not exist in his time, having perhaps perished with the Alexandrian library.
  It has been the common opinion, at least in modern times, that Aristarchus agreed with Philolaus and other astronomers of the Pythagorean school in considering the sun to be fixed, and attributing a motion to the earth. Plutarch (de fac. in orb. lun.) says, that Cleanthes thought that Aristarthus ought to be accused of impiety for supposing (hupotithemenos), that the heavens were at rest, and that the earth moved in an oblique circle, and also about its own axis (the true reading is evidently Kleanthes oieto dein Aristarchon, k. t. l.); and Diogenes Laertius, in his list of the works of Cleanthes mentions one pros Aristarchon (See also Sext. Empir. adv. Math.; Stobaeus, i. 26). Archimedes, in the psammites, refers to the same theory (hupotithetai gar, k. t. l.). But the treatise peri megethon contains not a word upon the subject, nor does Ptolemy allude to it when he maintains the immobility of the earth. It seems therefore probable, that Aristarchus adopted it rather as a hypothesis for particular purposes than as a statement of the actual system of the universe. In fact, Plutarch, in another place (Plat. Quest.) expressly says, that Aristarchus taught it only hypothetically. It appears from the passage in the psammites alluded to above, that Aristarchus had much juster views than his predecessors concerning the extent of the universe. He maintained, namely, that the sphere of the fixed stars was so large, that it bore to the orbit of the earth the relation of a sphere to its centre. What he meant by the expression, is not clear : it may be interpreted as an anticipation of modern discoveries, but in this sense it could express only a conjecture which the observations of the age were not accurate enough either to confirm or refute -a remark which is equally applicable to the theory of the earth's motion. Whatever may be the truth on these points, it is probable that even the opinion, that the sun was nearly twenty times as distant as the moon, indicates a great step in advance of the popular doctrines.
  Censorinus (de Die Natali, c. 18) attributes to Aristarchus the invention of the magnus annus of 2484 years.
  A Latin translation of the treatise peri megethon was published by Geor. Valla, Venet. 1498, and another by Commandine, Pisauri, 1572. The Greek text, with a Latin translation and the commentary of Pappus, was edited by Wallis, Oxon. 1688, and reprinted in vol. iii. of his works. There is also a French translation, and an edition of the text, Paris, 1810.

This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks


Αρίστυλλος ο Σάμιος, 3ος αι., π.Χ.

He lived in Alexandria at the time of the Kings Ptolemaios, Soter and Philadelphos. Aristyllos and Timocharis were the only astronomers who made astronomical observations before Hipparchos. His observations on the constellation of Capricorn and three stars of the Great Bear are extremely important.
Plutarch mentions him "as a writer of astronomical works".
A moon crater at the NE is called Aristyllos to his honor.

Γεωγράφοι

Αγάθων ο Σάμιος

Εζησε την Ελληνιστική περίοδο. Εγραψε: Περίπλους Ευξείνου Πόντου, Σκυθικά, Περί ποταμών.

Διόδωρος ο Σάμιος, 1ος αι., π.Χ.

He wrote: "Indica" He describes his journey which started at the city Limyra of Lycia and ended at the Indian peninsula. He gives valuable geographical information. He mentions the constellations of Taurus and the Pleiades which he observed. Two islands of the Arabian Gulf were named after him (today's name: Perim islands). Some excerpts of his books remain through the writings of other geographers.

Γλύπτες

Αλκαμένης ο Λήμνιος

ΛΗΜΝΟΣ (Νησί) ΒΟΡΕΙΟ ΑΙΓΑΙΟ
   Alcamenes, (Alkamenes). A Greek artist of Athens or Lemnos, and a pupil of Phidias, who flourished towards the end of the fifth century B.C. Following his master's ideal tendency, he devoted himself mainly to religious subjects, working like him in various materials, gold and ivory, bronze and marble. His statue of the winner in the Pentathlon was stamped as classic by the epithet of enkrinomenos, as the Doryphoros of Polyclitus was by that of kanon. About B.C. 436 he was employed with Phidias in decorating the temple of Zeus at Olympia. The marble groups of the battle of Centaurs and Lapithae in its western pediment are his work. Of these considerable remains have been brought to light by recent German excavations.

This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Oct 2002 from The Perseus Project URL below, which contains interesting hyperlinks


Alcamenes (Alkamenes), a distinguished statuary and sculptor, a native of Athens (Plin. H. N. xxxvi. 5. s. 4.). Suidas (s. v.) calls him a Lemnian (if by Alcamenes he means the artist). This K. O. Muller interprets to mean that he was a cleruchus, or holder of one of the kleroi in Lemnos. Voss, who is followed by Thiersch, conjectured that the true reading is Aimnios, and accordingly that Alcamenes was born in the district called the Aimnai, which is in some degree confirmed by his having made a statue of Dionysus in gold and ivory to adorn a temple of that god in the Lenaeum, a part of the Limnae (Paus. i. 20.3). He was the most famous of the pupils of Phidias, but was not so close an imitator of his master as Agoracritus. Like his fellow-pupil, he exercised his talent chiefly in making statues of the deities. By ancient writers he is ranked amongst the most distinguished artists, and is considered by Pausanias second only to Phidias (Quintil. xii. 10.8; Dionys. De Demosth.; Paus. v. 10.8). He flourished from about Ol. 84 (Plin. H. N. xxxiv. 8. s. 19) to Ol. 95 (B. C. 444-400). Pliny's date is confirmed by Pausanias, who says (viii. 9.1), that Praxiteles flourished in the third generation after Alcamnenes; and Praxiteles, as Pliny tells us, flourished about Ol. 104 (B. C. 364). The last works of his which we hear of, were the colossal statues of Athene and Hercules, which Thrasybulus erected in the temple of Hercules at Thebes after the expulsion of the tyrants from Athens. (B. C. 403.) The most beautiful and renowned of the works of Alcamenes was a statue of Venus, called from the place where it was set up, He en kepois Aphrodite (Lucian, Imagines, 4, 6; Paus. i. 19.2) It is said that Phidias himself put the finishing touches to this work (Plin. H. N. xxxvi. 5. s. 4). The breasts, cheeks, and hands were especially admired. It has been supposed by some that this was the Venus for which lie gained the prize over Agoracritus. There is no direct evidence of this, and it is scarcely consistent with what Pliny says, that Alcamenes owed his success more to the favouritism of his fellow-citizens than to the excellence of his statue. Another celebrated specimen of his genius was the western pediment of the temple at Olympia, ornamented with a representation of the battle between the Centaurs and the Lapithae (Pans. v. 10.2) Other works of his were: a statue of Mars in the temple of that god at Athens (Paus. i. 8.5); a statue of Hephaestus, in which the lameneess of the god was so ingeniously represented as not to give the appearance of deformity (Cic. De Nat. Deor. i. 30; Val. Max. viii. 11. ext. 3); an Aesculapius at Mantineia (Paus. viii. 9.1); a three-formed Hecate (the first of the kind), and a Procne in the Acropolis at Athens (Paus. ii. 30.2, i. 24.3); and a bronze statue of a victor in the Pentathlon (Plin. xxxiv. 8. s. 19). A story of very doubtful credibility is told by Tzetzes (Chil. viii. 193), that Alcamenes and Phidias contended in making a statue of Athene, and that before the statues were erected in their destined elevated position, that of Aleamenes was the most admired on account of its delicate finish; but that, when set up, the effect of the more strongly defined features in that of Phidias caused the Athenians to change their opinion.
On a Roman anaglyph in the villa Albani there is the following inscription :
Q. LOLLIUS ALCAMENES DEC. ET DUUMVIR.
If this contains the name of the artist, he would seem to have been a descendant of an Alcamenes, who had been the slave and afterwards the freedman of one of the Lollian family, and to have attained to the dignity of deenrio and duumvir in some municipium. He perhaps exercised the art of carving as an amateur. (Winckelmann, viii. 4, 5.)

This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited June 2005 from The Perseus Project URL below, which contains interesting hyperlinks


  Among the numerous sculptors active in or based upon Athens in the later fifth century, the sources explicitly name four as pupils of Pheidias and agalmatopoioi (makers of divinities) par excellence: Alkamenes, Agorakritos, Kolotes, and Theokosmas. By common consent the greatest of these was Alkamenes: Alkamenes of Athens/Lemnos Alkamenes
  The Souda calls Alkamenes a Lemnian, so he was perhaps born or (more likely) raised in the Athenian colony (cleruchy) established on the island around 450. The sources often mention him in the same breath with Pheidias (Quintilian 12.7-9 ), which may account for the somewhat early floruit of 448-445 assigned him by Pliny, N.H. 35.49-52. At any rate, he was still active in or after 403, when he made a colossal relief to celebrate the expulsion of the pro-Spartan puppet oligarchy from Athens (no. 9, below). His Hephaistos at Athens (work no. 6), if identical with that exhibited in the Hephaisteion and apparently recorded in IG 13 nos. 370-1, can be dated by the archons named on the stone to 421/20 -416/5. His early career is obscure, but he presumably served his apprenticeship either on the Parthenon or on the Zeus; if the former, he may have followed Pheidias to Olympia in 438/7 or stayed to complete the pediments.
  Like Pheidias, Alkamenes worked in chryselephantine, bronze, and marble, and tackled a similar range of subjects:
1. Aphrodite in the Gardens outside Athens, of marble (Lucian, Imagines 4 and 6)
2. Hera, in a temple between Athens and Phaleron
3. Triple-bodied Hekate Epipyrgidia, on the Akropolis
4. Ares, in his temple in the Agora (moved by Augustus, perhaps from Acharnai)
5. Dionysos Eleuthereus, in his temple near the theater at Athens, in chryselephantine
6. Hephaistos, perhaps grouped with Athena, probably in the Hephaisteion at Athens, in bronze (Valerius Maximus 8.11 ext. 3)
7. Hermes Propylaios at Athens, in marble (JdI 82: 40)
8. Asklepios in Mantinea (Pausanias 8.9.1)
9. Athena and Herakles on a colossal relief of Pentelic marble, dedicated by Thrasyboulos and the democrats of 403 in the Herakleion at Thebes
10. West pediment (probably in fact the western akroteria) of the temple of Zeus at Olympia (Pausanias 5.10.2-10)
11. Pentathlete in bronze
  In addition, Pliny (N.H. 36.16-17) records a victory over Agorakritos, gained because the Athenians preferred a citizen to a foreigner; the subject was supposedly an Aphrodite (cf. no. 1). A second such competition, between him and Pheidias, is recorded in Byzantine sources (Tzetzes, Chiliades 340-369), but seems purely anecdotal.
Finally:
  Pausanias 1.24.3: [On the Athenian Akropolis] there is Prokne too, who has already made up her mind about the boy, and Itys too, a group dedicated by Alkamenes.
  This is usually identified with a marble group found on the Akropolis: Athens, Acropolis 1358; Stewart 1990, fig. 399. Prokne's head, however, does not join the body break-on-break, and may not belong.
  Despite Alkamenes' high reputation, modern scholarship has encountered problems with every one of the types regularly attributed to him in copy. Thus the two archaistic works (3 and 7) each survive in two versions; while the Hekate (3: Paus. 2.30.2) may be represented most faithfully by a headless statuette in the British School at Athens, the Hermes is attested by inscribed replicas from Pergamon (Istanbul, Archaeological Museum 527; Stewart 1990, fig. 400) and Ephesos that both claim to be authentic but nevertheless differ markedly from each other:
  JdI 82: 40 Here you see Alkamenes' most beautiful image, The Hermes before the Gates; Pergamios dedicated it. I'm not just anyone's work; my form, If you'll look closely, was wrought by Alkamenes.
  Recent scholarship (e.g. Willers 1967) has tended to regard the Pergamene type as a classicizing variant. Less unanimity exists concerning his most famous creation, the Aphrodite in the Gardens (1), mentioned by both Pliny and Pausanias (Pliny 36.16; Paus. 1.19.2) but only described by Lucian (Imagines 4 and 6). Even before Delivorrias' publication of the version from Daphni (Delivorrias 1968) most identified her with the so-called Leaning Aphrodite type, but once more the statue exists in several recensions, both veiled and unveiled. The debate continues.
  As for the male cult-images, the Ares (4) is often recognized in the so-called Borghese Ares, though Bruneau 1982 exposes the attribution as totally gratuitous; fragments of a high-relief frieze found around the temple are often ascribed to the base of this cult statue, and at times indeed resemble the Prokne in style, though both their original location and subject-matter remain unclear. The Hephaistos (6) is described by Cicero, de natura Deorum 1.30, 83 and, more fully, by Valerius Maximus:
   Valerius Maximus 8.11 ext. 3 Visitors at Athens are impressed by the Vulcan made by the hands of Alkamenes; besides the other conspicuous signs of his supreme art, there is one thing in particular that they admire -- the god's lameness is masked. He stands there displaying a trace of it unobtrusively beneath his garment, so that this is no blemish that could be censured, but a definite and personal characteristic of the god, becomingly represented.
  Since Athens boasted only one cult image of Hephaistos, the following passage of Pausanias is usually taken to refer to the same statue, and the temple in question is identified with the so-called "Theseion" in the Agora.
  Pausanias 1.14.6 Above the Kerameikos and the so-called Royal Stoa is a temple of Hephaistos. I was not surprised that a statue of Athena stands beside him because I knew the story about Erichthonios. But when I saw that the image of Athena had blue eyes I found out that the legend about them is Libyan. For they have a saying that she is the daughter of Poseidon and Lake Tritonis, and so has blue eyes like Poseidon.
  A marble torso in Athens and a head in the Vatican, both copies, were associated with this statue by Karouzou 1954/5, working from representations on Roman-period lamps; since IG 13 nos. 370-1, probably the accounts for the group, also mentions an anthemon or "floral", she also resurrected the nineteenth-century identification of an Athena from Cherchel, which has a floral against her left leg, as the Athena Hephaistia.
  Against this, E.B. Harrison 1977a has argued that so much metal was budgeted for the anthemon that it had to be enormous, that Neo-Attic reliefs (stylistically related to the "Ares" frieze and the Prokne) showing Erichthonios's birth (Pausanias 1.14.6) demanded a high, wide base, and that the "Cherchel" Athena type is early fourth century. For it she substitutes the colossal "Velletri" type and hangs the Rondanini Medusa (Munich 252; cf. Belson 1980 and Stewart 1990, fig. 783) on the anthemon . Since this whole ensemble is too large for the "Theseion", she prefers to call this building the temple of Artemis Eukleia and identifies the "real" Hephaisteion with the large Hellenistic foundation to the North on the same hill.
  This thesis has met with considerable skepticism, not least because the Velletri Athena does not resemble the Prokne, and the "Theseion" is roughly where Pausanias tells us that the Hephaisteion should be, while he places Artemis Eukleia at the opposite corner of the Agora (Paus. 1.14.4-5); but see now Mansfield 1985, 361-65 for additional arguments against the traditional view.
  His archaistic work apart, then, Alkamenes remains an enigma, though this very aspect of this output, together with the later tendency to pair him with Pheidias (Pliny, N.H. 35.49-52 , Quintilian 12.7-9) has suggested to some a conservative sculptor, perhaps ministering to traditionalists among the wartime Athenians. The Prokne's style, so close to some sections of the Parthenon frieze, might support this if only we could be sure that he carved it, though the democrats' relief (no. 9) hints at an altogether less straightforward situation. Indeed, since both the political implications (if any) of stylistic choice and the artistic preferences (if any) of the ever-volatile demos remain obscure in the extreme (Pliny, N.H. 36.16-17), such neat equations may hinder understanding rather than advance it.

This extract is from: Andrew Stewart, One Hundred Greek Sculptors: Their Careers and Extant Works. Cited Dec 2003 from Perseus Project URL below, which contains extracts from the ancient literature, bibliography & interesting hyperlinks.


Eunicus

ΜΥΤΙΛΗΝΗ (Αρχαία πόλη) ΛΕΣΒΟΣ
Eunicus, a distinguished statuary and silverchaser of Mytilene, seems, from the order in which he is mentioned by Pliny, to have lived not long before the time of Pompey the Great. (Plin. xxxiii. 12. s. 55; xxxiv. 8. s. 19.25.)

Ariston

Ariston, a celebrated silver-chaser and sculptor in bronze, born at Mytilene. His time is unknown. (Plin. xxxiii. 55, xxxiv. 19.25)

Hecataeus

Hecataeus, a statuary and silver-chaser of some note, who seems, from the way in which he is mentioned by Pliny, to have been a native of Mytilene, and to have lived not long before the time of Pompey the Great. (Plin. H. N. xxxiii. 12. s. 55; xxxiv. 8. s. 19.25)

Lesbothemis

Lesbothemis, was a statuary of an ancient date, and probably a native of Lesbos. He is the only artist who is mentioned in connection with that island. His statue of one of the Muses holding a lyre of the ancient form (sambuke) at Mytilene, was mentioned by Euphorion in his peri Isthmion (Athen. iv. p. 182, e., xiv. p. 635, a. b.; Meineke, Euphor. Fr. 31, Anal. Alex. p. 67, Fr. 32).

Ροίκος, Τηλεκλής & Θεόδωρος οι Σάμιοι

ΣΑΜΟΣ (Αρχαία πόλη) ΣΑΜΟΣ
500 π.Χ., πρώτοι βρήκαν τό χύσιμο του χαλκού σε καλούπια και την κατασκευή χωνευτών αγαλμάτων (Παυσ. 8,14,8)

  The surviving ancient accounts of these three sculptors' achievements are the product of two quite different Greek historical traditions, whose contradictions are sometimes misunderstood as evidence for two Theodoroi, not one. Writing around 450, Herodotos knew of Rhoikos (son of Philes) only as "first" architect of the great temple of Hera on Samos, and describes Theodoros (son of Telekles) as the maker of the tyrant Polykrates' famous ring, of two massive silver kraters dedicated by Croesus at Delphi, and of a golden vine for the Lydian Pythios, which he later gave to Darius (Hdt. 1.51; Hdt. 3.41; Hdt. 3.60; Hdt. 7.27); the temple was begun ca. 560, while Polykrates ruled from ca. 533 to 522, and Croesus from ca. 560-547/6. Six hundred years later, Herodotos' admirer Pausanias accepted this testimony, adding that Theodoros also built the "Skias" (an assembly-place) in Sparta and that:
Pausanias 10.38.6-7 These two Samians were the first to discover the art of founding the bronze to perfection, and the first to cast it in a mold. I have found no surviving work of Theodoros, at least in bronze.
  In addition, Vitruvius records a book by Theodoros on the "Doric" (sic) Heraion, while Pliny lists Smilis, Rhoikos, and him (in that order) as architects of the "Lemnian Labyrinth" (see T 14) with its lathe-turned columns, describes the two Samians as inventors of clay modelling (!), and Theodoros alone as inventor of certain tools, the lathe included. In fact, the columns of the mid sixth-century Heraion were indeed lathe-turned, apparently a 'first' in Greek architecture. Finally, Diogenes Laertius credits Theodoros with designing the foundations for the Ephesian Artemision (begun by 547/6), but remarks that he was Rhoikos' son. All this information clearly derives from a common source, perhaps a Hellenistic writer who had Theodoros' original text. Along with Diogenes' variant geneology, this brings us to the second historical tradition, which is both more problematic and in some ways more interesting. The crucial witness here is Diodoros:
Diodoros 1.98 The most distinguished of the ancient sculptors, namely Telekles and Theodoros, the sons of Rhoikos, spent time in Egypt. They made the xoanon of Pythian Apollo for the Samians, and it is said that one half of it was carved by Telekles in Samos, the other half by his brother Theodoros in Ephesos; and when the parts were brought together, they fitted so well that the whole statue seemed to have been made by one man. This sort of technique is practised nowhere among the Greeks, but it is especially common among the Egyptians. For with them the commensurability (symmetria) of statues is not calculated according to the appearance (phantasia) presented to the eye, as among the Greeks, but when they have laid out the stones and divided them up, they begin work on them by taking the proportions from the smallest parts to the largest; for, dividing the layout of the whole body into twenty-one parts and an additional quarter, they produce the entire symmetria of the figure. Consequently, as soon as the artisans have agreed upon the size of the figure, they split up and make the parts to the agreed size so accurately as to cause amazement at this peculiar system of theirs. The xoanon in Samos, in accordance with the Egyptian technique, is divided into two parts from the crown of the head through the middle to the groin, each part exactly matching the other at every point. And they say that for the most part this statue is rather like those of the Egyptians, having the arms suspended at the sides and the legs separated in a stride.
  Now most of Diodoros' first book was lifted wholesale from an early Alexandrian historian, Hekataios of Abdera, whose declared aims were to discredit Greek writers on Egypt, particularly Herodotos (cf. Diod. Sic. 1.69.7) in favor of Egyptian priestly traditions, and to show that everything worthwhile in Greek culture came from Egypt. Hence the different family tree, which surely reflects the received opinion that Theodoros was somehow a "junior partner" to Rhoikos on the Heraion, and the author's clear preference for the absolute perfection of Egyptian sculpture over the subjectivity or phantasia of the Greek.
  In fact, Egyptologists have long recognized that Hekataios is describing -- and misunderstanding -- the traditional Egyptian workshop practice of having apprentices make canonical trial pieces (chiefly heads, hands, and feet) as a part of their training; the grid he describes is the revised one current from the seventh century. As Lippold 1950, 59 suggests, a double signature of Rhoikos and Theodoros may have prompted the whole fantastic anecdote (for another explanation, Davaras 1972, 22-3). For since East Greek sculptors normally cut inscriptions into the legs of their kouroi, the two perhaps signed one leg each. Of course, none of this disqualifies them from possessing the firsthand knowledge of Egyptian methods that Hekataios attributes to them: the Egyptian canon was used on the New York kouros around 600-580 (New York 32.11.1), Samos had close artistic, commercial, and political ties with Egypt, and an early sixth-century cup dedicated by one Rhoikos (a rare name) to Aphrodite was even found at Naukratis in the 1880s.
Finally, Theodoros' self-portrait, for which Pliny is the only source:
Pliny, N.H. 34.83 Theodorus, who made the Labyrinth at Samos, cast a portrait of himself in bronze. Besides its remarkable fame as a likeness, it is celebrated for its great finesse; the right hand holds a file, and the three fingers of the left a little chariot and four, but this has been taken away to the Praeneste as a marvel of miniaturization: if it were reproduced in a drawing, together with its charioteer, the fly which Theodorus made at the same time would cover it with its wings.
  On the likely extent of this "realism" see Metzler 1971, 175-9, with comments on the growing self-assertiveness of the artist and the use of realism as a differentiating device (though to see it in Marxist terms, as a working-class riposte to the aristocratic beauty of the kouroi, is surely anachronistic). Pliny's use of similitudo or "likeness" here links Theodoros with Demetrios of Alopeke and Lysistratos, brother of Lysippos; Pollitt 1974, 430-34 discusses the Hellenistic background to all this, including the neo-classic distaste for "likeness" as opposed to "beauty".
  If one is to credit the sources, then, Theodoros was a kind of archaic Cellini, inventive and versatile as none other, and particularly expert in metalwork; one only wishes that something had survived to confirm his stellar reputation.

This extract is from: Andrew Stewart, One Hundred Greek Sculptors: Their Careers and Extant Works. Cited Jan 2004 from Perseus Project URL below, which contains extracts from the ancient literature, bibliography & interesting hyperlinks.


Ροίκος ο Σάμιος, 6ος αι., π.Χ.

The son of Phileas or Philaeus, of Samos, an architect and statuary, who flourished about B.C. 640. He is said to have invented the art of casting statues in bronze and iron, and was the architect of the beautiful temple of Here in his native island. It is known, however, that the casting of bronze had been known to the Phoenicians before his time, so that he merely introduced the art into Greece.

Θεόδωρος ο Σάμιος, γιος του Ροίκου

    In conjunction with his father, he erected the labyrinth of Lemnos, and advised the laying down of a layer of charcoal as part of the foundation of the Temple of Artemis at Ephesus. He is said to have lived for a long time in Egypt, where he and his brother Telecles learned the Egyptian canon of proportion for the human figure. He was considered by the Greeks as one of the inventors of the art of casting in bronze . He wrote a work on the Temple of Here at Samos, which was begun by his father.

This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Oct 2002 from The Perseus Project URL below, which contains interesting hyperlinks


Pythagoras of Samos or Rhegium

Pliny places Pythagoras fourth in his selection of five bronze-casters, after Pheidias, Polykleitos, and Myron, and before Lysippos.
Assembling all the evidence, his recorded works, all bronzes, are as follows:
Victor statues
- The wrestler Leontiskos of Messana, at Olympia
- The runner Astylos of Kroton, at Olympia
- The boxer Euthynos of Italian Locri, at Olympia
- The pankratiast Dromeus of Mantinea, at Olympia
- The hoplite runner Mnaseas of Kyrene, nicknamed Libys, at Olympia
- The charioteer Kratisthenes of Kyrene, his chariot, and Nike, at Olympia
- The boy-boxer Protolaos of Mantinea, at Olympia
- A pankratiast, at Delphi
- The kithara-player Kleon, at Thebes
Gods and heroes
- Apollo shooting the dragon, perhaps at Kroton
- A wounded man, at Syracuse
- Seven nudes and an old man, later at Rome
- Eteokles and Polyneikes
- Perseus
- Europa on the Bull, at Taras

This extract is from: Andrew Stewart, One Hundred Greek Sculptors: Their Careers and Extant Works. Cited Jan 2004 from Perseus Project URL below, which contains extracts from the ancient literature, bibliography & interesting hyperlinks.


Archermos, 6th c. B.C.

ΧΙΟΣ (Αρχαία πόλη) ΕΛΛΑΔΑ
Archermos, son of Mikkiades and his family (Melas, Micciades, Archermos, Bupalus and Athenis)
  Archermos is among only three archaic sculptors known from both literary and epigraphical sources, plus (probably) a preserved statue: Stewart 1990, fig. 92. He was apparently active ca. 550-500, and like Dipoinos and Skyllis appears to have attracted enough attention from some later connoisseur to arouse Pliny's curiosity:
Pliny, N.H. 36.11-14 Before the time of Dipoenus and Scyllis the sculptor Melas already lived on the island of Chios, followed by his son Micciades and grandson Archermus. His sons Bupalus and Athenis were quite the most eminent in this craft at the time of the poet Hipponax, who was certainly alive in the 60th Olympiad [540-537]. Now if we trace their lineage back to their great-grandfather, we find that the beginnings of this art coincided with the beginning of the Olympiads [776]. Hipponax had a notoriously ugly face, and because of this they exhibited his portrait and made dirty jokes about it to their circles of fun-loving companions. Whereupon the indignant Hipponax rebuked them so bitterly in his poems that some believe he drove them to hang themselves. This is false, for they later made many statues in the neighbouring islands, for example on Delos, to which they attached verses saying that Chios is esteemed not merely for its vines, but also for the works of the sons of Archermus. Furthermore, the Iasians exhibit a Diana made by their hands. In Chios itself there is said to be a face of Diana which is also their work; it is set on high, and appears sad to those entering, cheerful to those departing. At Rome there are statues of theirs on the gable of the temple of Apollo on the Palatine and on almost all the buildings erected by the deified Augustus. There were works by their father too at Delos and on the island of Lesbos.
  Pliny's source evidently knew the verses on the base of Archermos' Delian statue, still preserved today, but erroneously included Melas, the mythical founder of Chios mentioned in line 3, in the genealogy. The reading of the inscription is uncertain: the latest study, Scherrer 1983, even denies that Mikkiades and Archermos sign as sculptors at all, making them the dedicators of the statue. Since the lower part of the Nike found nearby (Stewart 1990, fig. 92) is lost, its attribution to this base will never be completely certain: supporting the connection, however, are its scale and a scholiast's note:
Scholium to Aristophanes, Birds 573 Only more recently have Nike and Eros acquired wings. For some say that it was Archennos [sic] the father of Boupalos and Athenis, others that it was Aglaophon the Thasian painter who made Nike winged, as Karystios of Pergamon relates.
Munzer 1895, 522-25 proposed that the otherwise obscure "Karystios of Pergamon" could be the Hellenistic connoisseur Antigonos of Karystos, who made Pergamon his base, and further suggested him as Pliny. Yet though the range of interests there displayed coincides exactly with his, Pliny only includes him in his source list for books 34-35, and not in that for book 36. Since certifies him as a competent epigrapher and no "armchair archaeologist", Pliny may be relying upon a Latin intermediary here, like Varro or the (none too careful) Mucianus, both cited by him as prime sources for book 36. Sheedy 1985, 625 dismisses Pliny's account as largely fiction based on the Romans' desire for tidy genealogies and famous names, but overlooks the inscribed base found in Rome.
  Aside from the Delian statue and Pliny's vague mention of Lesbos, the only hard evidence as to Archermos' career is a signed column from the Akropolis (Raubitschek 1949 no. 3; Marcade 1957, 21(v)-22: later sixth century); for another (?), see also Raubitschek 1949 no. 9. His sons, active from ca. 540 are hardly less shadowy, though their oeuvre is far more extensive. In addition to the five works listed in liny, N.H. 36.11-14, Boupalos alone is given the following:
Tyche, at Smyrna
Three Graces, under the image of Nemesis, at Smyrna; gold
Three Graces, later in the palace of the Attalids at Pergamon; cf:
Part of a base from Pergamon bearing a Chiot sculptor's signature
Base from Rome with his signature (a renewal)
Animals in clay
Paintings at Klazomenai
The Samian Hera, later in the Lauseion at Constantinople; supposedly in collaboration with Lysippos. (Misattribution)
   Once again, the Pergamene connection is clear, and could have been what sparked the interest of "Karystios"/Antigonos. Concerning the other images, Pausanias (Paus. 4.30.6) credits him with the invention of the Tyche type with polos and cornucopia, and remarks that his Graces were decorously draped (in contrast to later practice: cf. Stewart 1990, fig. 809). It has also been suggested that the Jekyll-and-Hyde expression of the Artemis on Chios describes "the effect of an archaic smile viewed close from below and head-on at a distance, respectively" (Boardman 1978a, 88). Pausanias (Paus. 4.30.6) also calls Boupalos a "builder of temples."
  Modern scholarship often associates the kore from the Acropolis (Athens, Acropolis 675, Stewart 1990, fig. 148) and the "ex-Knidian" caryatid from Delphi (Delphi, Anonymous Caryatid) with the Nike, but agrees on little else. Croissant 1983, 73-83 sees strong influence from this tradition upon the Peplos kore (Athens, Acropolis 679, Stewart 1990, fig. 147), and associates the East frieze of the Siphnian treasury (Delphi, Siphnian Treasury Frieze--East, Stewart 1990, figs. 192-93; but not the North, in defiance of the signature on the latter, which declares that the two were made by the same sculptor) with the "Chiot school." Others even attribute a fragment of a Palladion, found on the Palatine, to Boupalos and Athenis; Zanker 1988, 242, fig. 188 (cf. 9). Sheedy 1985, on the other hand, dissects the evidence critically and thoroughly, and comes to the conclusion that although korai found on Chios do share some interesting characteristics, they have very little in common with the Nike. The Chiot school as currently conceived, he concludes, is a "mirage" (1985, 625).

This extract is from: Andrew Stewart, One Hundred Greek Sculptors: Their Careers and Extant Works. Cited Dec 2003 from Perseus Project URL below, which contains extracts from the ancient literature, bibliography & interesting hyperlinks.


Bupalus, 6th c. B.C.

Bupalus (Boupalos). A sculptor and architect born in the island of Chios, and son of Anthermus, or rather Archennus. He encountered the animosity of the poet Hipponax, the cause of which is said to have been the refusal of Bupalus to give his daughter in marriage to Hipponax, while others inform us that it was owing to a statue made in derision of the poet by Bupalus. The satire and invective of the bard were so severe that, according to one account, Bupalus hanged himself in despair (Horace, Epod.vi. 14). His brother's name was Athenis. In addition to the statue which Bupalus made in derision of Hipponax, other works are mentioned by Pliny as the joint productions of the two brothers.

Bupalus, an architect and sculptor of the island of Chios, where his family is said to have exercised the art of statuary from the beginning of the Olympiads. (Plin. H. N. xxxvi. 5; comp. Thiersch, Epoch. Anm.) Bupalus and his brother Athenis are said by Pliny (l. c.) and Suidas (s. v. Hipponax) to have made caricatures of the famous iambographical poet Hipponax, which the poet requited by the bitterest satires. (Welcker, Hipp. fragm.) This story, which we have no grounds for doubting, gives at once a pretty certain date for the age of the two artists, for Hipponax was a contemporary of Dareius (B. C. 524 - 485); and it also accounts for their abilities, which for their time must have been uncommon. This is proved moreover by the fact, that Augustus adorned most of his temples at Rome with their works. It is to be noticed that marble was their material. In the earlier period of Greek art wood and bronze was the common material, until by the exertions of Dipoenus and Scyllis, and the two Chian brothers, Bupalus and Athenis, marble became more general. Welcker (Rhein. Museum, iv.) has pointed out the great importance which Bupalus and his brother acquired by forming entire groups of statues, which before that time had been wrought as isolated figures. The father of Bupalus and Athenis, likewise a celebrated artist, is generally called Anthermus, which being very differently spelt in the different MSS. has been rejected by Sillig (Cat. Art. s. v.), who proposes to read Archeneus. The reading Anthermus for the son's name instead of Athenis has long been generally given up.

This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks


Γλαύκος, 7ος αιώνας π.Χ.

Γλύπτης από τη Χίο, που επινόησε την κόλληση του σιδήρου.

Glaucus, (Glaukos), artists. 1. Of Chios, a statuary in metal, distinguished as the inventor of the art of soldering metals (kollesis). His most noted work was an iron base (hupokreteridion, Herod.; hupothema, Paus.), which, with tile silver bowl it supported, was presented to the temple at Delphi by Alyattes, king of Lydia. (Herod. i. 25.) This base was seen by Pausanias, who describes its construction (x. 16.1), and by Athenaeus (v.), who says that it was chased with small figures of animals, insects, and plants. Perhaps it is this passage that has led Meyer (Kunstgeschichte, vol. ii.) and others into the mistake of explaining kollesis as that kind of engraving on steel which we call damascene work. There is no doubt that it means a mode of uniting metals by a solder or cement, without tile help of the nails, hooks, or doyetails (desmoi), which were used before the invention of Glaucus. (Pausan. l. c.; Muiller, in Bottiger's Amalthea, vol. iii.) Plutarch also speaks of this base as very celebrated. (De Defect. Orac. 47) The skill of Glaucus passed into a proverb, Glaukou techne. (Schol. ad Plat. Phaed., Ruhnken, Bekker.)
  Stephanus Byzantinus (s. v. Aithale) calls Glaucus a Samian. The fact is, that Glaucus belonged to the Samian school of art.
  Glaucus is placed by Eusebius (Chron. Arm.) at Ol. 22, 2 (B. C. 69 1/0). Alyattes reigned B. C. 617 -560. But the dates are not inconsistent, for there is nothing in Herodotus to exclude the supposition that the iron base had been made some time before Alyattes sent it to Delphi.

This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Nov 2005 from The Perseus Project URL below, which contains interesting hyperlinks


Επτά Σοφοί

Πιττακός

ΜΥΤΙΛΗΝΗ (Αρχαία πόλη) ΛΕΣΒΟΣ
650 - 569
  A native of Mitylene in Lesbos, and one of the so-called Seven Sages of Greece, was born about B.C. 650. Having obtained popularity among his countrymen by successfully opposing the tyrant Melanchrus, he was intrusted with the command of a fleet in a war with the Athenians concerning some territory which they had seized in the island. In the course of this war the Athenian commander Phryno, a man of uncommon size and strength, challenged him to single combat. Providing himself with a net, which he concealed under his buckler, he took the first opportunity to throw it over the head of his antagonist, and by this means gained an easy victory. According to Strabo's account, Pittacus came into the field armed with a castingnet, a trident, and a dagger; and it is said that from this stratagem of the Mitylenean was borrowed the mode of fighting practised by the Roman gladiators called retiarii. From this time Pittacus was held in high esteem among the Mityleneans, and was intrusted with the supreme power in the State (Aristot. Polit. iii. 15). Among other valuable presents, his countrymen offered him as much of the lands which had been recovered from the Athenians as he chose; but he only accepted of so much as he could measure by a single cast of a javelin; and one half of this small portion he afterward dedicated to Apollo, saying, concerning the remainder, that "the half is better than the whole." Cornelius Nepos says that the Mityleneans offered him many thousand acres, but that he took only a hundred. Pittacus displayed great moderation in his treatment of his enemies, among whom one of the most violent was the poet Alcaeus, who frequently made him the object of his satire. Finding it necessary to lay severe restrictions upon drunkenness, to which the Lesbians were particularly addicted, Pittacus passed a law which subjected offenders of this class to double punishment for any crime committed in a state of intoxication. When he had established such regulations as seemed to him satisfactory, he resigned his power, which he had held for ten years, and retired to private life.
  Some of his famous sayings are as follows: "Power reveals the man;" "Whatever you do, do well;" "Watch for opportunities;" "Never talk of your plans before they are carried out." The life of Pittacus is given by Diogenes Laertius.

This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Sept 2003 from The Perseus Project URL below, which contains interesting hyperlinks


Life of Pittacus, by Diogenes Laertius

  Pittacus of Mitylene was not only admired of men for his wisdom, but he was also such a citizen as the island never produced again, nor, in my opinion, could produce in time to come--not until it bears wine both more abundant and more delicious. For he was an excellent law-giver, in his dealings with individual citizens affable and kindly, and he freed his native land from the three greatest evils, from tyranny, civil strife, and war.
  Pittacus was a man of consequence, gentle and inclined to self-disparagement. Consequently he was regarded by all as a man who, beyond dispute, was perfect in respect of every virtue: for as to his legislation, he showed himself statesmanlike and prudent, as to keeping his plighted faith strictly just, as to his distinction in armed combat, courageous, and as to his greatness of soul in the matter of lucre, having no trace of avarice.
  When the inhabitants of Mitylene offered to Pittacus the half of the land for which he had fought in single combat, he would not accept it, but arranged to assign to every man by lot an equal part, uttering the maxim, "The equal share is more than the greater." For in measuring "the greater" in terms of fair dealing, not of profit, he judged wisely; since he reasoned that equality would be followed by fame and security, but greediness by opprobrium and fear, which would speedily have taken away from him the people's gift.
  Pittacus acted consistently with these principles toward Croesus also, when the latter offered him as much money from his treasury as Pittacus might desire to take. For on that occasion, we are told, in refusing the gift he said that he already had twice as much as he wished. And when Croesus expressed his surprise at the man's freedom from avarice and inquired of him the meaning of his reply, Pittacus said, "My brother died childless and I inherited his estate, which was the equal of my own, and I have experienced no pleasure in having received the extra amount."
  The poet Alcaeus, who had been a most confirmed enemy of Pittacus and had reviled him most bitterly in his poems, once fell into his hands, but Pittacus let him go free, uttering the maxim: "Forgiveness is preferable to punishment."

This extract is from: Diodorus Siculus, Library (ed. C. H. Oldfather, 1989). Cited Sept 2003 from The Perseus Project URL below, which contains comments & interesting hyperlinks.


  Croesus was once building ships of war, we are told, with the intention of making a campaign (560-559 BC) against the islands. And Bias, or Pittacus, who happened to be visiting Lydia at the time and was observing the building of the ships, was asked by the king whether he had heard of any news among the Greeks. And when he was given the reply that all the islanders were collecting horses and were planning a campaign against the Lydians, Croesus is said to have exclaimed, "Would that some one could persuade the islanders to fight against the Lydians on horseback!" For the Lydians are skilled horsemen and Croesus believed that they would come off victorious on land. Whereupon Pittacus, or Bias, answered him, "Well, you say that the Lydians, who live on the mainland, would be eager to catch islanders on the land; but do you not suppose that those who live on the islands have prayed the gods that they may catch Lydians on the sea, in order that, in return for the evils which have befallen the Greeks on the mainland, they may avenge themselves at sea on the man who has enslaved their kinsmen?" Croesus, in admiration of this reply, changed his purpose at once and stopped building the ships.

  When (Croesus) he had subjugated all the Asiatic Greeks of the mainland and made them tributary to him, he planned to build ships and attack the islanders; but when his preparations for shipbuilding were underway, either Bias of Priene or Pittacus of Mytilene (the story is told of both) came to Sardis and, asked by Croesus for news about Hellas, put an end to the shipbuilding by giving the following answer: "O King, the islanders are buying ten thousand horse, intending to march to Sardis against you." Croesus, thinking that he spoke the truth, said: "Would that the gods would put this in the heads of the islanders, to come on horseback against the sons of the Lydians!" Then the other answered and said: "O King, you appear to me earnestly to wish to catch the islanders riding horses on the mainland, a natural wish. And what else do you suppose the islanders wished, as soon as they heard that you were building ships to attack them, than to catch Lydians on the seas, so as to be revenged on you for the Greeks who dwell on the mainland, whom you enslaved?" Croesus was quite pleased with this conclusion, for he thought the man spoke reasonably and, heeding him, stopped building ships. Thus he made friends with the Ionians inhabiting the islands.

And also Pittacus was one of the tyrants (Reigned 589-579 B.C.). Now Alcaeus would rail alike at both Pittacus and the rest, Myrsilus and Melanchrus and the Cleanactidae and certain others, though even he himself was not innocent of revolutionary attempts; but even Pittacus himself used monarchy for the overthrow of the oligarchs, and then, after overthrowing them, restored to the city its independence. (Strabo 13.2.3)

Ζωγράφοι

Σφούνης Θωμάς

ΛΗΜΝΟΣ (Νησί) ΒΟΡΕΙΟ ΑΙΓΑΙΟ
1951
  Γεννήθηκε στη Λήμνο το 1951. Σπούδασε σχέδιο στην Αθήνα και μαθήτευσε κοντά σε γνωστούς Έλληνες ζωγράφους. Έργα του βρίσκονται σε ιδιωτικές συλλογές στην Ελλάδα και το εξωτερικό.
  Τα έργα του χαρακτηρίζονται από μία τάση υπερρεαλιστική, αλλά ταυτόχρονα και αφηρημένη, δημιουργώντας μια πολύπλοκη εικαστική επιφάνεια η οποία αναγκάζει το θεατή να συνδέσει και να κατανοήσει την πολύπλευρη αντιμετώπιση του καλλιτέχνη για τα θέματα του. Κεντρικός πρωταγωνιστής είναι το ανθρώπινο σώμα που μεταμορφώνεται και συνεχώς αλλάζει, καθώς ο καλλιτέχνης αποτυπώνει τις φιλοσοφικές και εικαστικές του ανησυχίες.
Εκθέσεις:
1976-79: Συμμετοχή σε ομαδικές εκθέσεις με τις ομάδες δημιουργίας και εκπαίδευσης σε διάφορες Ευρωπαϊκές χώρες.
1981-89: Δημιουργία εικαστικού τμήματος στο Πολιτιστικό Σωματείο Λήμνου. Ατομικές και ομαδικές εκθέσεις.
1989: Γκαλερί Αντήνωρ. Ατομική έκθεση
1990: Γκαλερί Αντήνωρ. Ατομική έκθεση
199:1 Art Gallery Χρ. Κυριαζή
1994: Πολιτιστικό κέντρο Νίκαιας. Ατομική
1994: Πολιτιστικό κέντρο "Αθηναϊκό Στέκι". Συμμετοχή στη διεθνή έκθεση καλλιτεχνικής βεντάλιας
1995: FAN INTERNATIONAL (Λονδίνο)
1995: FAN ASSOCIATION OF NORTH AMERICA
1995: Ατομικές εκθέσεις στα πλαίσια πολιτιστικών εκδηλώσεων των ξενοδοχειακών συγκροτημάτων Lemnos Village και Kaviria Pallace
1998: Έκθεση Λημνίων ζωγράφων στο Πνευματικό Κέντρο του Δήμου Αθηναίων

Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα του Ιατρικού Συλλόγου Λήμνου


Ελευθεριάδης Τάκης

ΠΕΤΡΑ (Κωμόπολη) ΛΕΣΒΟΣ
1911 - 1987
  Ο Τάκης Ελευθεριάδης γεννήθηκε στις 23 Ιουνίου 1911 στην Πέτρα της Λέσβου όπου και κατοικούσε μέχρι το θάνατο του το 1987. Αρχισε να ζωγραφίζει από το 1925. Στα 1930 γνώρισε τον Γιώργο Γουναρόπουλο που, κατά κάποιον τρόπο, στάθηκε ο μοναδικός του δάσκαλος. Εξέθεσε για πρώτη φορά το 1933 με την ομάδα "Τέχνη", της οποίας έγινε αργότερα μέλος. Στην Αθήνα έκανε τέσσερις ατομικές εκθέσεις. Πήρε μέρος στις πανελλήνιες εκθέσεις του 38, 39, 40 και 48. Το 1950 μαζί με άλλους ίδρυσαν την ομάδα "Στάθμη", με την οποία εκθέτει το '51 και στη Θεσσαλονίκη. Το 1959 παίρνει μέρος στην 5η Μπιενάλε του Σαν Πάολο και στην έκθεση νεοελληνικής Τέχνης του Καναδά. Το 1960 προτάθηκε ως υποψήφιος για το διεθνές βραβείο Γκουγκενχάιμ. Το 1961 παίρνει μέρος στην 4η Μπιενάλε Μεσογειακών Χωρών στην Αλεξάνδρεια. Μετά την τελευταία του έκθεση στον "Ζυγό" το 1959, σταμάτησε να ζωγραφίζει. Από τότε πλούτιζε με πάθος και επιμονή τις συλλογές του: βιβλία, δίσκους μουσικής και πήλινα. Έργα του βρίσκοναι στη Δημοτική Πινακοθήκη Αθηνών, στην Δημοτική Πινακοθήκη Ρόδου, και σε ιδιωτικές συλλογές.
  Το κείμενο παρατίθεται τον Οκτώβριο 2004 από την ακόλουθη ιστοσελίδα, με φωτογραφίες

Agatharchus (Agatharchos)

ΣΑΜΟΣ (Αρχαία πόλη) ΣΑΜΟΣ
Agatharchus (Agatharchos), a Athenian artist, said by Vitruvius (Praef. ad lib. vii.) to have invented scene-painting, and to have painted a scene for a tragedy which Aeschylus exhibited. As this appears to contradict Aristotle's assertion (Poet. 4.16), that scene-painting was introduced by Sophocles, some scholars understand Vitruvius to mean merely, that Agatharchus constructed a stage (Compare Hor. Ep ad. Pis. 279: et modicis instraxit pulpita tignis). But the context shews clearly that perspective painting must be meant, for Vitruvius goes on to say, that Democritus and Anaxagoras, carrying out the principles laid down in the treatise of Agatharchus, wrote on the same subject, shewing how, in drawing, the lines ought to be made to correspond, according to a natural proportion, to the figure which would be traced out on an imaginary intervening plane by a pencil of rays proceeding from the eye, as a fixed point of sight, to the several points of the object viewed.
There was another Greek painter of the name of Agatharchus, who was a native of the island of Samos, and the son of Eudemus. lie was a contemporary of Alcibiades and Zeuxis. We have no definite accounts respecting his performances, but he does not appear to have been an artist of much merit : he prided himself chiefly on the ease and rapidity with which he finished his works (Plut. Perid. 13). Plutarch (Alcib. 16) and Andocides at greater length (in Alcib.) tell an anecdote of Alcibiades having inveigled Agatharchus to his house and kept him there for more than three months in striet durance, compelling him to adorn it with his pencil. The speech of Andocides above referred to seems to have been delivered after the destruction of Melos (B. C. 416) and before the expedition to Sicily (B. C. 415); so that from the above data the age of Agatharchus may be accurately fixed. Some scholars (as Bentley, Bottiger, and Meyer) have supposed him to be the same as the contemporary of Aeschylus, who, however, must have preceded him by a good half century.

This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited July 2005 from The Perseus Project URL below, which contains interesting hyperlinks


Ιατροί

Εμμανουήλ Τιμόνης

ΧΙΟΣ (Νησί) ΒΟΡΕΙΟ ΑΙΓΑΙΟ
  Πριν τρεις αιώνες, την ανθρωπότητα την μάστιζαν τρομερές επιδημίες, γνωστότερες με τον όρο "λοιμός". Μια από τις αρρώστιες της εποχής, που είχε προκαλέσει χιλιάδες θανάτους ήταν και η ευλογιά. Το 1713 η Βασιλική Εταιρία του Λονδίνου, έκανε ανακοίνωση για την ανακάλυψη μιας μεθόδου ανοσοποίησης κατά της ευλογιάς.
  Τη μέθοδο ανακάλυψε ο Χιώτης γιατρός Εμμανουήλ Τιμόνης (1669-1720), καθηγητής του Πανεπιστημίου Παδούης Ιταλίας. Μετά απ' αυτό ανακηρύχθηκε και Διδάκτωρ της Ιατρικής και της Φιλοσοφίας στο Πανεπιστήμιο της Οξφόρδης. Ο Εμμανουήλ Τιμόνης ασκούσε την ιατρική στην Κωνσταντινούπολη και ήταν αρχίατρος του Σουλτάνου. Δυο χρόνια αργότερα ένας άλλος Έλληνας ιατρός ο Ιάκωβος Πυλαρινός από την Κεφαλονιά, έκανε μια παρόμοια ανακάλυψη. Ο ίδιος ήταν αρχίατρος του Μεγάλου Πέτρου του τσάρου της Ρωσίας. Η πρωτοκαθεδρία όμως, ανήκει δικαιωματικά στον Τιμόνη.
  Ο Εμμανουήλ Τιμόνης ήταν γόνος της Χιώτικης οικογένειας των Τιμόνηδων, που είχε και ιδιόκτητο ναό στη συνοικία του Παλαιοκάστρου, την Αγία Αννα των Τιμόνηδων. Η μέθοδος του ευλογιασμού που εφάρμοσε ως μέτρο για την πρόληψη της ευλογιάς, βρήκε ένθερμο οπαδό την λαίδη Μαίρη Ουώρτλυ Μοντάγκιου σύζυγο του πρεσβευτή στην Υψηλή Πύλη, που εμβολίασε και τα παιδιά της με τη μέθοδο που πρότεινε ο Τιμόνης. Η ίδια έπεισε τον κλινικό γιατρό του Λονδίνου Richard Mead (1673-1754), να διαδώσει την μέθοδο πανευρωπαϊκά.
  Η ανακάλυψη του εμβολίου του δαμαλισμού από τον Edward Jenner (1749-1823) πήρε πολλά στοιχεία από την μέθοδο του ευλογιασμού.
  Ο ευλογιασμός που εισήγαγαν οι δυο Έλληνες, ήταν μια μέθοδος εμπειρικής ιατρικής, που ήταν διαδεδομένη στην περιοχή της Κωνσταντινούπολης.
  Σύμφωνα μ' αυτήν, έπαιρναν πύο από τις φλύκταινες που σχηματίζονταν στην επιφάνεια του δέρματος των πασχόντων από ευλογιά, όταν τα άτομα αυτά βρισκόταν στο στάδιο της αναρρώσεως, ώστε να εξασθενήσει ο ιός και εμβολίαζαν με τσιμπήματα ή εντομές στο δέρμα υγιών ατόμων και κυρίως των παιδιών. Μ' αυτόν τον τρόπο εξασφάλιζαν ανοσία στους περισσότερους εμβολιασθέντες, η οποία διαρκούσε εφ' όρου ζωής, αν ο εμβολιασμός ήταν επιτυχής. Η ανακοίνωση του Τιμόνη για τον ευλογιασμό έγινε στην συνεδρία της 27ης Μαϊου 1714 της Royal Society. Η δημοσίευση της εργασίας στο επιστημονικό περιοδικό της Βασιλικής Εταιρίας έγινε τον Δεκέμβριο του 1713. Στην εργασία του ο Τιμόνης περιγράφει τον τρόπο συλλογής του πύου από τους πάσχοντες τη δωδέκατη ή δέκατη τρίτη μέρα από την αρχή της νοσήσεώς τους και τον εμβολιασμό στα υγιή άτομα. Εκθέτει επίσης τους πειραματισμούς του και τα αποτελέσματά τους θετικά ή αρνητικά και διερευνά τα αίτια της αποτυχίας ορισμένων εμβολιασμών. Τέλος εκθέτει την κατά τη γνώμη του ερμηνεία του φαινομένου.
  Η καθοριστική συμβολή του ιατροφιλοσόφου Εμμανουήλ Τιμόνη με την ανακάλυψή του, άνοιξε τον δρόμο στον Edward Jenner για να επιτύχει την ανακάλυψη του εμβολίου του δαμαλισμού. Απ' αυτές τις ανακαλύψεις επωφελήθηκε όλη η ανθρωπότητα.

Κείμενο: Μαρία Χρονοπούλου
παρατίθεται τον Νοέμβριο 2004 από την ακόλουθη ιστοσελίδα του Περιοδικού Δάφνη


Εύδημος ο Χίος, 4ος αι., π.Χ.

ΧΙΟΣ (Αρχαία πόλη) ΕΛΛΑΔΑ
Pharmacist. Mentioned by Theophrastos as "undefeated by poisons as he took 22 doses of hellebore and antidote to them ; nothing happened to him". He also writes "Eudemos is a root breaker and asks his profession with experience and conscientious".
Theophrastos : Histories on plants, IX - 17,3.

Ιστορικές προσωπικότητες

Καπετάν Σταμάτης

ΜΑΡΑΘΟΚΑΜΠΟΣ (Κωμόπολη) ΣΑΜΟΣ
Ο Μαραθόκαμπος ήταν η γενέτειρα του Καπετάν Σταμάτη Γεωργιάδη, πολέμαρχου του Ναπολέοντα, στελέχους των Καρμανιόλων και ήρωα της Σαμιακής παλιγγενεσίας που η καταλυτική του παρουσία στην μάχη του Κάβο Φονιά έδωσε την νίκη στα Σαμιακά όπλα το 1924. Η οικογένεια του Καπετάν Σταμάτη, τα αδέρφια του, οι αδερφές του και οι γαμβροί του (ο ποιητής της Σάμου Τυρταίος, ο Γεώργιος Κλεάνθης και ο αρχηγός της Σαμιακής επανάστασης Λυκούργος Λογοθέτης), έδωσαν τα πάντα για τον αγώνα και πέθαναν στην γη της εξορίας την Εύβοια, όταν η Σάμος έγινε ηγεμονία. Σώζεται ακόμα στο Μαραθόκαμπο το σπίτι του, όπου και φυλάσσονται τα προσωπικά αντικείμενα του αγωνιστή.

Το κείμενο παρατίθεται τον Απρίλιο 2005 από την ακόλουθη ιστοσελίδα, με φωτογραφία, του Δήμου Μαραθοκάμπου


Ιστορικοί

Ελλάνικος ο Λέσβιος, 5ος αιώνας π.Χ.

ΜΗΘΥΜΝΑ (Αρχαία πόλη) ΛΕΣΒΟΣ
480 - 400
   Hellanicus, (Hellanikos). One of the Greek logographi or chroniclers, born at Mitylene in Lesbos about B.C. 490. He is said to have lived till the age of eighty-five, and to have gone on writing until after B.C. 406. In the course of his long life he composed a series of works on genealogy, chorography, and chronology, of which the fragments are collected by C. and Th. Muller (Paris, 1841). He was the first writer who attempted to introduce a systematic chronological arrangement into the traditional periods of Greek, and especially Athenian, history and mythology. His theories of the ancient Attic chronology were accepted down to the time of Eratosthenes.

Hellanicus, (Hellanikos). Of Mytilene in the island of Lesbos, the most eminent among the Greek logographers. He was the son, according to some, of Andromenes or Aristomenes, and, according to others, of Scamon (Seammon), though this latter may be merely a mistake of Suidas (s. v. Hellanikos). According to the confused account of Suidas, Hellanicus and Herodotus lived together at the court of Amyntas (B. C. 553--504), and Hellanicus was still alive in the reign of Perdiccas, who succeeded to the throne in B. C. 461. This account, however, is irreconcilable with the further statement of Suidas, that Hellanicus was a contemporary of Sophocles and Euripides. Lucian (Macrob. 22) states that Hellanicus died at the age of eighty-five, and the learned authoress Pamphila (ap. Gellium, xv. 23), who likewise makes him a contemporary of Herodotus, says that at the beginning of the Peloponnesian war (B. C. 431), Hellanicus was about sixty-five years old, so that he would have been born about B. C. 496, and died in B. C. 411. This account, which in itself is very probable, seems to be contradicted by a statement of a scholiast (ad Aristoph. Ran. 706), from which it would appear that after the battle of Arginusae, in B. C. 406, Hellanicus was still engaged in writing; but the vague and indefinite expression of that scholiast does not warrant such an inference, and it is moreover clear from Thucydides (i. 97), that in B. C. 404 or 403 Hellanicus was no longer alive. Another authority, all anonymous biographer of Euripides (p. 134 in Westermann's Vitarum Scriptores Graeci minores, Brunswick, 1845), states that Hellanicus was born on the day of the battle of Salamis, that is, on the 20th of Boedromion B. C. 481, and that he received his name from the victory of Hellas over the barbarians; but this account is too much like an invention of some grammarian to account for the name Hellanicus, and deserves no credit; and among the various contradictory statements we are inclined to adopt that of Pamphila. Respecting the life of Hellanicus we are altogether in the dark, and we only learn from Suidas that he died at Perperene, a town on the coast of Asia Minor opposite to Lesbos ; we may, however, presume that he visited at least some of the countries of whose history he treated.
  Hellanicus was a very prolific writer, and if we were to look upon all the titles that have come down to us as titles of genuine productions and distinct works, their number would amount to nearly thirty; but the recent investigations of Preller (De Hellanico Lesbio Historico, Dorpat, 1840, 4to.) have shown that several works bearing his name are spurious and of later date, and that many others which are referred to as separate works, are only chapters or sections of other works. We adopt Preller's arrangement, and first mention those works which were spurious. 1. Aiguptiaka. The late origin of this production is obvious from the fragment quoted by Arrian (Dissert. Epictet. ii. 19) and Gellius (i. 2; comp. Athen. xi., xv.) 2. Eis Ammonos anabasis, which is mentioned by Athenaeus (xiv.), who, however, doubts its genuineness. 3. Barbarika nomima, which, even according to the opinions of the ancients, was a compilation made from the works of Herodotus and Damastes. (Euseb. Praep. Evang. ix.; comp. Suid. s.v. Zamolxis; Etymol. Mag. p. 407. 48.) 4. Ethnon onomasiai, which seems to have been a similar compilation. (Athen. xi. ; comp. Herod. iv. 190.) It may have been the same work as the one which we find referred to under the name of Peri ethnon (Schol. ad Apollon. Rhod, iv. 322), Ktiseis ethnon kai poleon, or simply ktiseis. (Steph. Byz. s. v. Charimatai; Athen. x.) Stephanus of Byzantium refers to some other works under the name of Hellanicus, such as Kupriaka, ta peri Ludian, and Skuthika, of which we cannot say whether they were parts of another work, perhaps the Persika (of which we shall speak presently). The Phoinikika mentioned by Cedrenus (Synops.), and the historiai (Athen. ix., where hiereiais must probably be read for historiais; Theodoret, de Aff.), probably never existed at all, and are wrong titles. There is one work referred to by Fulgentius (Myth. i. 2), called Dios polutuchia, the very title of which is a mystery, and is otherwise unknown.
  Setting aside these works, which were spurious, or at least of very doubtful character, we proceed to enumerate the genuine productions of Hellanicus, according to the three divisions under which they are arranged by Preller, viz. genealogical, chorographical, and chronological works.

This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Nov 2005 from The Perseus Project URL below, which contains interesting hyperlinks


Works of Hellanicus

I. Genealogical works. It is a very probable opinion of Preller, that Apollodorus, in writing his Bibliotheca, followed principally the genealogical works of Hellanicus, and he accordingly arranges the latter in the following order, agreeing with that in which Apollodorus treats of his subjects. 1. Deukalioneia, in two books, containing the Thessalian traditions about the origin of man, and about Deucalion and his descendants down to the time of the Argonauts. (Clem. Alex. Strom. vi.) The Phettalika referred to by Harpoeration (s. v. tetrarchia) were either the same work or a portion of it. 2. Phoronis, in two books, contained the Pelasgian and Argive traditions from the time of Phoroneus and Ogyges down to Heracles, perhaps even down to the return of the Heracleidae. (Dionys. i. 28.) The works Peri Arkadias (Schol. ad Apollon. Rhod. i. 162), Argolika (Schol. ad Hom. Il. iii. 75), and Boiotika (ibid. iii. 494) were either the same work as the Phoronis or portions of it. 3. Atlantias, in two books, containing the stories about Atlas and his descendants. (Harpocrat. s. v. Homeridai; Schol. ad Hom. Il. xviii. 486.) 4. Troika, in two books, beginning with the time of Dardanus. (Harpocrat. s. v. Krithote; Schol. ad Hom. Il.) The Adopis was only a portion of the Troica. (Marcellin. Vit. Thue. § 4.)
II. Chorographical works. 1. Atthis, or a history of Attica, consisting of at least four books. The first contained the history of the mythical period ; the second was principally occupied with the history and antiquities of the Attic demi; the contents of the third and fourth are little known, but we know that Hellanicus treated of the Attic colonies established in Ionia, and of the subsequent events down to his own time. (Preller; comp. Thuc. i. 97.) 2. Aiolika, or the history of the Aeolians in Asia Minor and the islands of the Aegean. The Lesbiaca and Peri Chiou ktiseos seem to have formed sections of the Aeolica. (Tzetz. ad Lyeoph. 1374; Schol. ad Pind. Nem. xi. 43, ad Hom. Od. viii. 294.) 3. Persika, in two books, contained the history of Persia, Media, and Assyria from the time of Ninus to that of Hellanicus himself, as we may gather from the fragments still extant, and as is expressly stated by Cephalion in Syncellus (p. 315, ed. Dindorf).
III. Chronological works. 1. Hiereiai tes Heras in three books, contained a chronological list of the priestesses of Hera at Argos. There existed undonbtedly at Argos in the temple of Hera records in the form of annals, which ascended to the earliest times for which they were made up from oral traditions. Hellanicus made use of these records, but his work was not a mere meagre list, but he incorporated in it a variety of traditions and historical events, for which there was no room in any of his other works, and he thus produced a sort of chronicle. It was one of the earliest attempts to regulate chronology, and was afterwards made use of by Thucydides (ii. 2, iv. 1, 33), Timaeus (Polyb. xii. 12), and others. (Comp. Plut. De Mus.; Preller, l. c.) 2. Karneonikai, or a chronological list of the victors in the musical and poetical contests at the festival of the Carneia. This work may be regarded as the first attempt towards a history of literature in Greece. A part of this work, or perhaps an early edition of it, is said to have been in verse. (Athen. xiv.) Suidas states that Hellanicus wrote many works both in prose and in verse; but of the latter kind nothing is known.
  All the productions of Hellanicus are lost, with the exception of a considerable number of fragments. Although he belongs, strictly speaking, to the logographers (Dionys. Jud. de Thuc. 5; Diod. i. 37), still he holds a much higher place among the early Greek historians than any of those who are designated by the name of logographers. He forms the transition from that class of writers to the real historians; for he not only treated of the mythical ages, but, in several instances, he carried history down to his own times. But, as far as the form of history is concerned, he had not emancipated himself from the custom and practice of other logographers, for, like them, he. treated history from local points of view, and divided it into such portions as might be related in the form of genealogies. Hence he wrote local histories and traditions. This circumstance, and the many differences in his accounts from those of Herodotus, renders it highly probable that these two writers worked quite independently of each other, and that the one was unknown to the other. It cannot be matter of surprise that, in regard to early traditions, he was deficient in historical criticism, and we may believe Thucydides (i. 97), who says that Hellanicus wrote the history of later times briefly, and that he was not accurate in his chronology. In his geographical views, too, he seems to have been greatly dependent upon his predecessors, and gave, for the most part, what he found in them; whence Agathemerus (i. 1), who calls him an aner poluistor, remarks that he aplastos paredoke ten historian; but the censure for falsehood and the like bestowed on him by such writers as Ctesias (ap. Phot. Bibl. Cod. 72), Theopompus (ap. Strab. i.), Ephorus (up. Joseph. c. Apion, i. 3; comp. Strab. viii.), and Strabo (x., xi., xiii.), is evidently one-sided, and should not bias us in forming our judgment of his merits or demerits as a writer; for there can be no doubt that he was a learned and diligent compiler, and that so far as his sources went, he was a trustworthy one. His fragments are collected in Sturz, Hellanici Lesbii Fragmenta, Lips. 1796, 8vo., 2d edition 11826; in the Museum Criticum,vol.ii., Camb. 1826 ; and in C. and Th. Muller, Fragmenta Histor. Graec. (Dahlmann, Herodot., Muller, Hist. of Greek Lit., and especially the work of Preller above referred to.)

This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Nov 2005 from The Perseus Project URL below, which contains interesting hyperlinks


Chorizontes. "Separators." A name given to such of the ancient scholars and critics as held the belief that the Iliad and Odyssey of Homer were written by different authors. The names of only two of these critics -Xenon and Hellanicus- have come down to us.

Ερμείας ο Μηθυμναίος

4ος αιώνας π.Χ. Ο πρώτος που έγραψε την ιστορία της Σικελίας μέχρι το 375 π.Χ., τα Σικελικά σε 10 βιβλία

Hermeias. Of Methymna in Lesbos, the author of a history of Sicily, the third book of which is quoted by Athenaeus (x. ); but we know from Diodorus Siculus (xv. 37) that Hermeias related the history of Sicily down to the year B. C. 376, and that the whole work was divided into ten or twelve books. Stephanus Byzantius (s. v. Chalkis) speaks of a Periegesis of Hermeias, and Athenaeus (iv.) quotes the second book of a work Peri tou Gruneion Apollonos, by one Hermeias, but whether both or either of them is identical with the historian of Sicily is quite uncertain.

Μυρσίλος ο Μηθυμναίος

3ος αιώνας π.Χ. Έγραψε τα Λεσβιακά, ιστορία του νησιού και τα Ιστορικά Παράδοξα, συλλογή θαυμαστών ιστοριών.

Δούρις ο Σάμιος, 4ος αι. πΧ

ΣΑΜΟΣ (Αρχαία πόλη) ΣΑΜΟΣ
340 - 270
A Samian writer of history who flourished about B.C. 350. He was a descendant of Alcibiades, and at one time was tyrant of Samos. Only fragments now remain of his historical writings

Duris, (Douris), of Samos, a descendant of Alcibiades (Plut. Alcib. 32), and brother of Lynceus, lived in the reign of Ptolemy Philadelphus. The early part of his life fell in the period when the Athenians sent 2000 cleruchi to Samos, by whom the inhabitants of the island were expelled, B. C. 352. During the absence from his native country, Duris, when yet a boy, gained a victory at Olympia in boxing, for which a statue was erected to him there with an inscription. (Paus. vi. 13.3) The year of that victory is unknown, but it took place previous to the return of the Samians to their island, in B. C. 324. He must have been staying for some time at Athens, as he and his brother Lynceus are mentioned among the pupils of Theophrastus. (Athen. iv.) After his return to Samos, he obtained the tyranny, though it is unknown by what means and how long he maintained himself in that position. He must, however, have survived the year B. C. 281, as in one of his works (ap. Plin. H. N. viii. 40) he mentioned an occurrence which belongs to that year.
  Duris was the author of a considerable number of works, most of which were of an historical nature, but none of them has come down to us, and all we possess of his productions consists of a number of scattered fragments. His principal work was--1. A history of Greece, he ton Hellenikon historia (Diod. xv. 60), or, as others simply call it, isturiai. It commenced with the death of the three princes, Amyntas, the father of Philip of Macedonia, Agesipolis of Sparta, and Jason of Pherae, that is, with the year B. C. 370, and carried the history down at least to B. C. 281, so that it embraced a period of at least 89 years. The number of books of which it consisted is not known, though their number seems to have amounted to about 28. Some ancient writers speak of a work of Duris entitled Makedonika, and the question as to whether this was a distinct work, or merely a part of or identical with the historiai, has been much discussed in modern times. Grauert (Histor. Analect.) and Clinton maintain, that it was a separate work, whereas Vossius and Droysen (Gesch. d. Nachfolg. Alex.) have proved by the strongest evidence, that the Macedonica is the same work as the historiai. 2. Peri Agathoklea historiai in several books, the fourth of which is quoted by Suidas. 3. Samion oroi, that is, Annals of the history of Samos, is frequently referred to by the ancients, and consisted of at least twelve books. 4. Peri Euripidou kai Sophokleous (Athen. iv.), seems to be the same as peri tragoidiass. (Athen. xiv. p. 636.) 5. peri no/mwn. (Etym. M.) 6. Peri agonon. (Tzetz. ad Lycoph. 613; Photius, s. v. Selinou stephanos.) 7. Peri zographias. (Diog. Laert. i. 38, ii. 19.) 8. Peri torentikes (Plin. Elench. lib. 33, 34), may, however, have been the same as the preceding work. 9. Aibuka. (Phot. s. v. Damia; Schol. ad Aristoph. Vesp. 1030.) Duris as an historian does not appear to have enjoyed any very great reputation among the ancients. Cicero (ad Alt. vi. 1) says of him merely homo in historia satis diligens, and Dionysius (de Compos. Verb. 4) reckons him among those historians who bestowed no care upon the form of their compositions. His historical veracity also is questioned by Plutarch (Pericl. 28; comp. Demosth. 19, Alcib. 32, Eum. 1), but he does not give any reasons for it, and it may be that Plutarch was merely struck at finding in Duris things which no other writer had mentioned, and was thus led to doubt the credibility of his statements. The fragments of Duris have been collected by J. G. Hulleman, " Duridis Samii quae supersunt," Traject. ad Rhen. 1841, 8vo.

This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks


Αγαθαρχίδης ο Σάμιος

Εγραψε την ιστορία της Περσίας.

Αίθλιος ο Σάμιος, 6ος αι., π.Χ.

Eγραψε Ωροι Σαμίων, ιστορία της Σάμου.

Ολύμπιχος ο Σάμιος

4th ce. BC, he wrote Samian History

Αλέξις ο Σάμιος

Alexis. A Samian, the author of an historical work called Samioi Horoi or Horoi Samiakoi (Samian Annals), which Athenaeus quotes. (xiii., xii.)

Ευάνθης ο Σάμιος

Evanthes. Of Samos, a Greek historian, who is mentioned only by Plutarch. (Sol. 11.) There are several passages in which authors of the name of Evanthes are referred to; but, their native countries not being stated, it is uncertain whether those passages refer to any of the three Evanthes here specified, or to other persons of the same name. Thus Pliny (H. N. viii. 22) quotes one Evanthes whom he calls inter auctores Graeciae son spretus, and from whose work he gives a statement respecting some religious rite observed in Areadia. One might therefore be inclined to think him the same as the Evanthes who is quoted by the Scholiast on Apollonius Rhodius (i. 1063, 1065) as the author of muthika. Athenaeus (vii.) speaks of an epic poet Evanthes, of whose productions he mentions a hymn to Glaucus.

This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks


Eugeon

Eugeon, (or Eugaion), of Samos, one of the earliest Greek historians mentioned by Dionysius of Halicarnassus. (Jud. de Thueyd. 5; comp. Suid. s.v.)

Θεόπομπος

ΧΙΟΣ (Αρχαία πόλη) ΕΛΛΑΔΑ
377 - 323
Theopompus. A Greek historian, born at Chios about B.C. 378. He left home, probably about 361, with his father, who was banished by the democratic party on account of his predilection for the Spartans, and, having been trained in oratory by Isocrates, spoke with great success in all the larger towns of Greece. He distinguished himself so greatly in the rhetorical contest instituted (351) by Queen Artemisia, wife of Mausolus, in honour of her deceased husband, that he obtained a brilliant victory over all competitors. He afterwards travelled, with the object of acquiring material for his historical works. The favour shown him by Alexander the Great induced him to return to Chios at the age of forty-five; but on the death of his patron he found himself again obliged to flee from his opponents, whose hatred he had incurred by his vehement adoption of the sentiments of the aristocracy. He took refuge with Ptolemy I., at Alexandria, about 305. Here he did not, however, meet with a favourable reception, and was compelled to withdraw, as his life was in danger. Of his subsequent career nothing is known.
   Besides numerous orations (principally panegyrics) he composed two large histories, founded on the most careful and minute research: (a) Hellenica (Hellenikai Historiai), in twelve books, a continuation of Thucydides, covering the period from 411- 394; and (b) Philippica (Philippika), in fifty-eight books, treating of the life and times of Philip of Macedon. Of these works only fragments remain. The charge of malignity, which was brought against him by the ancients, seems to have originated in the reckless manner in which, on the testimony of Dionysius of Halicarnassus (Ep. ad Cn. Pompeium), he exposed the pettiness and baseness of the politics of those times, especially those of the Macedonian party. There seems to be better foundation for the charge brought against him of being too fond of digressions; for when, in later times, the digressions in the Philippica were omitted, the work was thereby reduced to sixteen books. Theopompus was the first Greek writer to make any definite mention of Rome, speaking of its capture by the Gauls.

This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Oct 2002 from The Perseus Project URL below, which contains interesting hyperlinks


  Among the writers of history Theopompus of Chios began his history of Philip at this point (360/359 B.C) and composed fifty-eight books, of which five are lost.(Diod. 16.3.8)
Commentary: Of this work, the longest history published till then, two hundred seventeen fragments remain. Theopompus' admiration for Philip is reflected by Diodorus, who must have relied heavily on his account.
  Theopompus of Chios ended with this year (393 B.C.) and the battle of Cnidus his Hellenic History, which he wrote in twelve books. This historian began with the battle of Cynossema, with which Thucydides ended his work, and covered in his account a period of seventeen years (410-394 B.C.). (Diod. 14.84.7)
  Theopompus of Chios, the historian, in his History of Philip, included three books dealing with affairs in Sicily. Beginning with the tyranny of Dionysius the Elder he covered a period of fifty years, closing with the expulsion of the younger Dionysius. These three books are 41-43.(Diod. 16.71.3)

Κωμικοί ποιητές

Αλκαίος ο Μίκκου τέλη 5ου - α΄μισό 4ου αιώνα π.Χ.

ΜΥΤΙΛΗΝΗ (Αρχαία πόλη) ΛΕΣΒΟΣ
Alcaeus (Alkaios), the son of Miccus, was a native of Mytilene, according to Suidas, who may, however, have confounded him in this point with the lyric poet. He is found exhibiting at Athens as a poet of the old comedy, or rather of that mixed comedy, which formed the transition between the old and the middle. In B. C. 388, he brought forward a play entitled Pasiphae, in the same contest in which Aristophanes exhibited his second Plutus, but, if the meaning of Suidas is rightly understood, he obtained only the fifth place. He left ten plays, of which some fragments remain, and the following titles are known, Adelphai moicheuomenai, Ganumedes, Endumion, Hiepos gamos, Kallisto, Komoidotragoidia, Palaistra.
  Alcaeus, a tragic poet, mentioned by Fabricius, does not appear to be a different person from Alcaeus the comedian. The mistake of calling him a tragic poet arose simply from an erroneous reading of the title of his " Comoedo-tragoedia."

Lynceus

ΣΑΜΟΣ (Αρχαία πόλη) ΣΑΜΟΣ
Lynceus (Lunkeus), of Samos, the disciple of Theophrastus, and the brother of the historian Duris, was a contemporary of Menander, and his rival in comic poetry. He survived Menander, upon whom he wrote a book. He seems to have been more distinguished as a grammarian and historian than as a comic poet; for, while only one of his comedies is mentioned (the Kentauros), we have the titles of the following works of his: -- Aiguptiaka, Apomnemoneumata, Apophsegmara, Epistolai deipnetikai, techne opsonetike. (Suid. s. v.; Athen. viii.; Plut. Demetr. 27)

This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2006 from The Perseus Project URL below, which contains interesting hyperlinks


Λόγιοι

Πορφύριος Ζαμπέτης

ΚΑΡΛΟΒΑΣΙ (Κωμόπολη) ΣΑΜΟΣ
1701 - 1781
  Ο καθιδρυτής της Σαμιακής Παιδείας Πορφύριος Ζαμπέτης (1701-1781), επίσκοπος Τυρολόης, στάθηκε μιά από τις μεγαλύτερες μορφές του Αιγαιοπελαγίτικου διαφωτισμού, ισάξιος του ιδρυτή της Ακαδημίας Κυδωνιών Ιωάννη Οικονόμου. Από φτωχόπαιδο κατόρθωσε να σπουδάσει στην Πάτμο και στη Μεγάλη του Γένους Σχολή, να χειροτονηθεί διάκονος και να γίνει γραμματικός και πρωτοσύγκελλος του Μητροπολίτη Κυζίκου και ύστερα επίσκοπος Τυρολόης της Θράκης, στην οποία έδρασε και σαν κληρικός και σαν δάσκαλος τριάντα ολόκληρα χρόνια. Με τη διαθήκη του άφησε εντολή όλη η περιουσία του να διατεθεί για την ίδρυση Ελληνικής Σχολής στον τόπο του, το Καρλόβασι, η οποία έγινε ο φάρος και το λίκνο στο οποίο γαλουχήθηκαν όλοι οι μεγάλοι Σαμιώτες επαναστάτες του 1821.
ΠΗΓΗ: Γιώργου Βαλέτα, Η πνευματική Σάμος Β. Περιοδικό Σαμιακή Επιθεώρηση Αρ. Τεύχους 24, Ιούλιος 1979

Το κείμενο παρατίθεται τον Φεβρουάριο 2004 από την ακόλουθη ιστοσελίδα της Νομαρχίας Σάμου


Βενιαμίν ο Λέσβιος

ΠΛΩΜΑΡΙ (Κωμόπολη) ΛΕΣΒΟΣ
1759 - 1824

Αλλάτιος Λέων

ΧΙΟΣ (Πόλη) ΒΟΡΕΙΟ ΑΙΓΑΙΟ
1588 - 1669
  A learned Greek of the seventeenth century, b. on the island of Chios in 1586, and d. at Rome, 19 January, 1669. He entered the Greek college at Rome in 1600, spent three years in Lucania with his countryman, Bishop Bernard Giustiniani, and then returned to Chios where he proved of great assistance to the Latin Bishop, Marco Giustiniani. In 1616, he received the degree Doctor of Medicine from the Sapienza, was made Scriptor in the Vatican Library, and later, professor of rhetoric at the Greek College, a position which he held for only two years. Pope Gregory XV sent him to Germany, in 1622, to bring to Rome the Palatinate library of Heidelberg, which Maximilian had presented to the Pope in return for war subsidies, a task which he accomplished in the face of great difficulties. In the death of Gregory XV (1623) Allatius lost his principal patron; but with the support of influential churchmen, he continued his researches especially upon the Palatinate manuscripts. Alexander VII made him custodian of the Vatican library in 1661, where he remained till his death. With untiring energy Allatius combined a vast erudition, which he brought to bear upon literary, historical, philosophical, and theological questions. He laboured earnestly to effect the reconciliation of the Greek Church with that of Rome and to this end wrote his most important work, "De Ecclesiae Occidentalisatque Orientalis perpetua consensione" (Cologne, 1648), in which the points of agreement between the Churches are emphasized, while their differences are minimized. He also edited or translated into Latin the writings of various Greek authors, corresponded with the foremost scholars of Europe, contributed as editor to the "Corpus Byzantinorum" (Paris), and arranged for the Publication of a "Bibliotheca Scriptorum Graecorum". He bequeathed his manuscripts about 150 volumes) and his correspondence (over 1,000 letters) to the library of the Oratorians in Rome.

Francis W. Gray, ed.
Transcribed by: Karen S. Williams
This text is cited Dec 2003 from The Catholic Encyclopedia, New Advent online edition URL below.


Λογοτέχνες

Γιάννης Ψυχάρης

ΒΡΟΝΤΑΔΟΣ (Κωμόπολη) ΧΙΟΣ
1854 - 1927

Μίλτος Κουντουράς

ΓΕΡΑΣ (Δήμος) ΜΥΤΙΛΗΝΗ

Χρήστος Μπουλώτης, Παιδική Λογοτεχνία

ΜΥΡΙΝΑ (Κωμόπολη) ΛΗΜΝΟΣ
1952

Μαθηματικοί

Αριστείδης ο Σάμιος, 1ος αι., π.Χ.

ΣΑΜΟΣ (Αρχαία πόλη) ΣΑΜΟΣ
Astronomer, historian, geographer. He lived in Miletos and Alexandria.

Aristeides of Samos, a writer mentioned by Varro in his work entitled " Hebdomades," as an authority for the opinion, that the moon completed her circuit in twenty-eight days exactly. (Aul. Gell. N. A. iii. 10.)

Αριγνώτη η Σαμία, 6ος αι., π.Χ.

Arignote of Samos,a female Pythagorean philosopher, is sometimes described as a daughter, at other times merely as a disciple of Pythagoras and Theano. She wrote epigrams and several works upon the worship and mysteries of Dionysus. (Suidas, s. v. Arignote, Theano, Puthag.; Clem. Alex. Strom. iv.; Harpocrat. s. v. Euoi.)

Κόνων ο Σάμιος, 3ος αι., π.Χ.

280 - 220
Conon: A native of Samos, distinguished as an astronomer and geometrician. None of his works have reached us; he is mentioned, however, by Archimedes, Vergil, Seneca, and others. Conon lived between about 300 and 260 years before our era. Apollonius, in the fourth book of his Conic Sections, thinks that many of Conon 's demonstrations might be rendered more concise. He is mentioned as an astronomer by one of the commentators on Ptolemy, and Seneca informs us that he had made out a list of the eclipses of the sun that had been visible in Egypt. He is mentioned also by Vergil, and by Catullus in his translation of the Greek poem of Callimachus, on the tresses of Berenice.

This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Oct 2002 from The Perseus Project URL below, which contains interesting hyperlinks


Conon

Conon (Konon), of Samos, a mathematician and astronomer, lived in the time of the Ptolemies Philadelphus and Euergetes (B. C. 283-222), and was the friend and probably the teacher of Archimedes, who survived him. None of his works are preserved. His observations are referred to by Ptolemy in his phadeis aplanon, and in the historical notice appended to that work they are said to have been made in Italy (Petav. Uranolog.), in which country he seems to have been celebrated (See Virgil's mention of him, Ecl. iii. 40). According to Seneca (Nat. Quaest. vii. 3), he made a collection of the observations of solar eclipses preserved by the Egyptians. Apollonius Pergaeus (Conic. lib. iv. praef.) mentions his attempt to demonstrate some propositions concerning the number of points in which two conic sections can cut one another. Conon was the inventor of the curve called the spiral of Archimedes; but he seems to have contented himself with proposing the investigation of its properties as a problem to other geometers (Pappus, Math. Coll. iv. Prop. 18). He is said to have given the name (Coma Berenices to the constellation so called, on the authority of an ode of Callimachus translated by Catullus (lxvii. de Coma Berenices); a fragment of the original is preserved by Theon in his Scholia on Aratus (Phaenom. 146; see also Hyginus, Poet. Astron. ii. 24). But it is doubtful whether the constellation was really adopted by the Alexandrian astronomers. The strongest evidence which remains to us of Conon's mathematical genius consists in the admiration with which he is mentioned by Archimedes. See his prefaces to the treatises on the Quadrature of the Parabola and on Spirals.

This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Nov 2005 from The Perseus Project URL below, which contains interesting hyperlinks


Οινοπίδης ο Χίος, 5ος αι., π.Χ.

ΧΙΟΣ (Αρχαία πόλη) ΕΛΛΑΔΑ
Oenopides (Oinopides). An astronomer and mathematician of Chios, who obtained from the Egyptian priests a knowledge of the obliquity of the ecliptic, of which he subsequently claimed to be the discoverer. He fixed the length of the solar year at 365 days, less nine hours. To him are ascribed the demonstrations of the twelfth and twenty-third propositions in Euclid, and the quadrature of the meniscus. He flourished in the fifth century B.C.

This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Oct 2002 from The Perseus Project URL below, which contains interesting hyperlinks


Oenopides of Chios, Mathematician, Astronomer
Life Cited by Diodorus Siculus and by Proclus in his "Commentary on Euclid", Oenopides travelled widely through Egypt and acquired considerable skill in astronomy. His work focused on studies of the lunar and solar years. The discoveries he made were engraved on a bronze tablet which he offered to Olympia.
Work His work also included: The first geometric constructions with ruler and compasses (e.g. "Perpendicular to a line from a point that is not on that line", "Construction on a given straight line of an angle equal to a given angle). The discovery of the inclination of the ecliptic. The introduction into Greece the "Great Year" of 59 years. Oenopides accepted a year of 365 days and a month of 291/2 days. 59 is the largest whole number of years that contains an exact number of lunar months (730). Since 730 lunar months correspond to 21,557 days, each year in the Great Year would have 365.373 days, or a little less than 365 days and 9 hours.

This text is based on the Greek book "Ancient Greek Scientists", Athens, 1995 and is cited August 2004 from The Technology Museum of Thessaloniki URL below.


490 - 420

Ιπποκράτης ο Χίος

Hippocrates, born in the island of Chios, in Ionia, started, according to a tradition recorded in Philoponus' Commentary on Aristotle's Physics, as a merchant and came to Athens to prosecute pirates who had robbed him of all his goods. Required to stay there for a while to settle his case, he consorted with philosophers and became interested in mathematics, so that in the end, he stayed in Athens from about 450 to 430 B. C. He was, according to Proclus (Commentary on Euclid, I), the first to write Elements (possibly around 430 B. C.), more than one century before those of Euclid (usually dated from around 300 B. C.), but his works are no longer extant and are known only from references by later commentators. In trying to square the circle, Hippocrates adressed the problem of the surface of lunes, figures included between two intersecting arcs of circles.

This text is cited Dec 2003 from the Plato and his dialogues URL below, which contains interesting hyperlinks.


Hippocrates of Chios (fl. in second half of 5th c.) is the first; then Leon, who also discovered diorismi, put together a more careful collection, the propositions proved in it being more numerous as well as more serviceable
Commentary: This passage has frequently been taken as crediting Hippocrates with the discovery of the method of geometrical reduction. As Tannery remarks, if the particular reduction of the duplication problem to that of the two means is the first noted in history, it is difficult to suppose that it was really the first; for Hippocrates must have found instances of it in the Pythagorean geometry. Bretschneider, I think, comes nearer the truth when he boldly translates: "This reduction of the aforesaid construction is said to have been first given by Hippocrates". The words are proton de phasi ton aporoumenon diagrammaton ten apagogen poiesasthai, which must, literally, be translated as in the text above; but, when Proclus speaks vaguely of "difficult constructions", he probably means to say simply that "this first recorded instance of a reduction of a difficult construction is attributed to Hippocrates".

470 - 410

Μητρόδωρος ο Χίος, 6-5ο αι., π.Χ.

Mathematician
WORK
"Greek Anthology" ( Ελληνική Ανθολογία )

Contains 46 arithmetic "inscriptions". Some of them are mentioned by Diophantos and Platon. These "inscriptions" help to solve simple equation systems and are very interesting for the history of arithmetic.

Μηχανικοί

Αρπαλος ο Σάμιος, 6-5ος αι., π.Χ.

ΣΑΜΟΣ (Αρχαία πόλη) ΣΑΜΟΣ
Engineer, astronomer. His work: Bridge on the Hellespont (481-480 BC).
This was a floating bridge which consisted of boats connected to each other, between Sestos-Madytos (european coast) and Abydos (asiatic coast). The bridge was constructed and commissioned by the King Xerxes in order to facilitate the passage of the persian army to the european coast.
Herodotos describes the construction: Width of the strait: 5280 feet (1580 m). The first try was made by Phoenician, then by Egyptian engineers, who announced to Xerxes the completion of the work. Winter had already began and strong winds broke the bridge in two. Xerxes was very angry and ordered the decapitation of the engineers, to whip the waters with 300 strokes and throw a pair of chains to the sea in order to captivate the Hellespont. The stress with which the chief engineer Harpalos and his collaborators worked is self-evident. The Greeks constructed two bridges at right angles to the Hellespont. Every bridge consisted of triremes and quinquiremes alternately connected to each other. In order to confront the stream and the wind, the bow was at the Aegean side and the stern was at the Black Sea. The bridge at the Black Sea side consisted of 360 boats, the other one (to the Aegean side) consisted of 314. In both rows openings had been provided in order to enable small commercial ships to pass through. The hanging bridges were connected to the coasts by 6 colossal ropes. The ropes were tied to wooden "onos" ("donkeys", special machines for the rising of heavy bodies). So they succeeded to connect the boats to each other and construct a road up on them. 2 of the ropes on every bridge consisted of canvas and 4 of papyrus. Through this combination the safety factor was increased. Harpalos' report after finishing the construction showed that the Phoenicians had used only canvas and the Egyptians only papyrus. The Greeks put trunks, cut to the same size on the ropes on shore at the anchoring area. On the trunks they placed a second layer of ropes etc. The footings of the bridges were completed with the heap up of earth and wood, probably by compression, in order to receive the reactions at the supports. Finally they constructed on both sides earth dams, probably combined with ramps, so that the passing animals could not see the sea and be alarmed.
Two months after the end of the construction and, probably after some endurance tests, Xerxes arrived at Abydos and the running through started. The army used the bridge to the Black Sea side. For animals and supplies the bridge to the Aegean side was used. According to Herodot's estimation passed safely through both bridges 1.700.000 infantry soldiers, belonging to 46 nations, 80.000 riders with the respective horses and 20.000 camels with the respective camel riders.

Μανδροκλής ο Σάμιος, 6ος αι., π.Χ.

Mandrocles was the technical consultant of Dareios 1st, King of the Persians. He followed him in the campaign against the Skyths (513-512 BCE). The bridging of the Bosporos was a great achievement in antiquity, considered the big opening to the sea streams and the depth of the sea. It is the first engineer work of this kind in world history. Herodot mentions it. Mandrocles ordered a painting showing Dareios' Army passing over the bridge and Dareios watching. A description of this work accompanied the paper. He dedicated it to the Heraion of Samos. The bridge was probably constructed at the narrowest point of the Bosporos, 660 m width (today Rumeli Hissar). The depth at this point is 120 m and the anchoring of the ships was very difficult because of the very strong streams.
Work: "Floating bridge", connecting both coasts of the Bosporos northly of Chalkedon, probably at the mouth of the Areta river.

Μουσικοί

Aristocleides

ΑΝΤΙΣΣΑ (Αρχαία πόλη) ΛΕΣΒΟΣ
Aristocleides (Aristokleides), a celebrated player on the cithara, who traced his descent from Terpander, lived in the time of the Persian war. He was the master of Phrynis of Mytilene. (Schol. ad. Aristoph. Nub. 958; Suidas, s. v. Phrunis)

Αγήνωρ, 4ος αιώνας π.Χ.

ΜΥΤΙΛΗΝΗ (Αρχαία πόλη) ΛΕΣΒΟΣ

Archytas

Archytas. A musician of Mitylene, mentioned by Diogenes Laertius as having written a treatise on agriculture.

Archytas (Archutas), of Mytilene, a musician, who may perhaps have been the author of the work Peri Aulon, which is ascribed to Archytas of Tarentum. (Diog. Laert. viii. 82; Athen. xiii., iv.)

Ξηρέλλης Τίτος (Σταύρος)

ΠΑΜΦΙΛΑ (Κωμόπολη) ΜΥΤΙΛΗΝΗ
1900 - 1985
Βαρύτονος και συνθέτης

Τηλεφάνης

ΣΑΜΟΣ (Αρχαία πόλη) ΣΑΜΟΣ
Αυλητής του οποίου τον τάφο είδε ο Παυσανίας στο δρόμο Μεγάρων-Κορίνθου. Σύμφωνα με την παράδοση τον τάφο είχε φτιάξει η κόρη του Φιλίππου Κλεοπάτρα (Παυσ. 1,44,6).

Dion

ΧΙΟΣ (Αρχαία πόλη) ΕΛΛΑΔΑ
Dion. Of Chios, a flute player, who is said to have been the first who played the Bacchic spondee on the flute. (Athen. xiv. p. 638.) It may be that he is the same as Dion, the aulopoios, who is mentioned by Varro. (Fragm., ed. Bipont.)

Μυθογράφοι

Λόγγος ο Λέσβιος

ΜΥΤΙΛΗΝΗ (Αρχαία πόλη) ΛΕΣΒΟΣ
   A writer who probably lived in the third century A.D. He was the author of a Greek pastoral romance, Daphnis and Chloe, in four books. It is considered the best of all ancient romances which have come down to us, on account of its deep and natural feeling, its grace of narrative, and the comparative purity and ease of its language. It has suggested many imitations by Italian, French, German, and English writers, the more famous being Bernardin de St. Pierre's Paul et Virginie. The rare translation by John Day of the French version of Amyot was reprinted in 1890. The Greek text is edited by Hirschig with a Latin version in the Erotici Scriptores of the Didot collection (Paris, 1856). Translation by Smith (London, 1855).

This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Oct 2002 from The Perseus Project URL below, which contains interesting hyperlinks


Ο Λόγγος, μυθιστοριογράφος της ύστερης αρχαιότητας, καταγόταν, σύμφωνα με την επικρατέστερη εκδοχή, από τη Λέσβο. Οι πληροφορίες για τη ζωή του είναι ελάχιστες. Τη φήμη του οφείλει στο ποιμενικό και ερωτικό μυθιστόρημα του Δάφνις και Χλόη. Δυο έκθετα παιδιά, που σώζονται και υιοθετούνται από βοσκούς,μεγαλώνουν μαζί και ερωτεύονται. Ο συγγραφέας ιστορεί την πορεία τους από την αθώα παιδική αγάπη μέχρι την ερωτική αφύπνιση και ολοκλήρωση, με φόντο την ειδυλλιακή φύση και τον εξιδανικευμένο αγροτοποιμενικό κόσμο.
Ο μύθος του Δάφνις και Χλόη έγινε προσφιλές θέμα για την παγκόσμια τέχνη, ενώ το ίδιο το έργο, μια από τις καλύτερες στιγμέςτης αρχαίας πεζογραφίας, θα είναι πάντοτε ένα τερπνό ανάγνωσμα.

Έχετε τη δυνατότητα να δείτε περισσότερες πληροφορίες για γειτονικές ή/και ευρύτερες περιοχές επιλέγοντας μία από τις παρακάτω κατηγορίες και πατώντας το "περισσότερα":

GTP Headlines

Λάβετε το καθημερινό newsletter με τα πιο σημαντικά νέα της τουριστικής βιομηχανίας.

Εγγραφείτε τώρα!
Greek Travel Pages: Η βίβλος του Τουριστικού επαγγελματία. Αγορά online

Αναχωρησεις πλοιων

Διαφημίσεις

ΕΣΠΑ