Sunday 16 December 2012

Launch Party Silent Auction Items!

Silent Auction Items for Launch Fundraiser!

As part of our fundraising efforts for LANTIF, we'll be holding a silent auction for two images which will be matted and professionally framed:

Item 1:

The Travels of Anacharsis- 1808 Antique Map ORIGINAL COPPER ENGRAVING WITH WASH COLOURING from Wilkinson's Atlas Classica.

This antique map showcases the ancient Peloponnese, including Ancient Sparta. The image is 19.5" by 13.5".

Reserve: $300 



Item 2: Statue of Leonidas - 2006 - ORIGINAL FULL COLOUR PHOTOGRAPH -
Tatiana Popova
This full-colour photograph is of the statue of King Leonidas located in modern Sparta, Greece. The image is 14" x 11".

Reserve:  $200



Saturday 24 November 2012

Great News

Greece arrests Olympia robbery suspects: police
 

Sunday 4 November 2012

LANTIF Launch Party and Fundraiser

Mark your calendars for a special event happening on December 27th, 2012. The Laconian Antiquities Foundation (LANTIF) is holding its launch event and first fundraiser.

The event will be a fun and informative evening featuring archaeologist Adamantia Vasilogamvrou, who will speak in english about an ongoing excavation of the Mycenaean site at Ayios Vasileios, outside Sparta, near Xerokambi, Laconia.

The evening will feature a three-course dinner at Niche Restaurant including wine, with a launch party to follow at Pacifico Nightclub.

Tickets to the event will be $60 per person for the whole evening including dinner, speaker and launch party, or $10 for the launch party only. Tickets are available by contacting Jimmy Karountzos at karountzos@hotmail.com or 802-7774 or online at TicketPro:
https://secure.ticketpro.ca/achat_PAC27LS12.html?lang=en

LANTIF is a Halifax-based non-profit group organized to help fund archaeological research in Greece, specifically projects that have lost funding due to the Greek financial crisis.
A note about our sponsors:

Since 1996, Pacifico has raised over a million dollars for various charities, local university and non-profit groups. Pacifico and Niche have generously provided venue and food and beverage services at cost for this non-profit event.

Monday 15 October 2012

Going Greek: Why Now Is a Good Time to Visit

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Posted by Guest Blogger on October 11, 2012

By Odysseas Papadimitriou
Growing up in Athens, I suppose it was inevitable that I’d take the city’s natural beauty and historic significance for granted. But now — years after moving to the U.S. for college and starting my own business — my biannual trips back to Greece to visit friends and family have allowed me to see the country for what it is: a veritable wonderland for the senses. But, being an expert in personal finance, I can also see the costs and logistical challenges travelers face when they’re thinking about visiting.
A beach bar on a small island off of Zakynthos. (Photograph by Dragan Arsovski, My Shot)
So, let me save you some time and frustration by providing some insider tips on what to see in Greece, what to skip — and how to save a ton of money while you’re at it. And don’t worry, I’m not on Greek Tourism’s payroll (I don’t think they could afford me these days), so I’ll give it to you straight.
Let’s start by addressing the elephant in the room: anxiety about Greece’s economic struggles. It’s easy to assume from snippets on the news that Greece is awash in protests and debilitating strikes. The truth is that the demonstrations are really only limited to ten square blocks in Athens’ center (around Syntagma Square), and if you’re anywhere else, you’ll have no idea that anything is going on. Even with the recent turmoil, there is far less violent crime in Greece than in Canada or the U.S. — at least that’s what the United Nations Office on Drugs and Crime tells us.
If you need more convincing, consider the fact that Greece’s main draws – history and natural beauty – haven’t been affected by the unrest, and that the downturn has made hotels, restaurants, and inter-country travel much, much cheaper. In other words, it’s actually a great time to visit. You just have to keep a few things in mind as you plan your itinerary. Like:
1. Look for a package deal. Often, you’ll be able to get a better deal by booking flights, hotels, and certain activities in a bundle rather than individually. Just make sure to check online reviews before you sign on the dotted line.
2. Don’t cruise. While the Greek islands are popular cruise destinations, cruise line operators are much less affected by the struggles of the Greek economy than hotels and restaurants, which means you won’t be likely to score the best deal. Besides, in my opinion, docking at a bunch of different islands for a few hours won’t give you enough time to get a real taste for each one’s unique flavor.
3. Don’t be afraid to negotiate. The trick is to shop around for the lowest possible rates and then call the respective hotel or package-deal provider and tell them that you’ll make a reservation then and there if they give you a 10-15% markdown. I’ll tell you from past experience that this works more than you might think. But keep in mind that the odds of success decrease in July and August.
Check out Paros instead of the uber-popular Mykonos. (Photograph by Natalia Romay, Flickr)
4. Skip cosmopolitan islands. Like cruises, notoriously popular islands such as Mykonos and Santorini have a worldwide appeal that insulates them from the financial troubles that have befallen the Greek mainland. But don’t worry, there are still plenty of beautiful, fun, and most importantly, reasonably priced island destinations to visit — including Paros, Skopelos, Tinos, and Zakynthos.
5. Forget the Acropolis and the Parthenon. Don’t plan your whole trip around visiting these historic attractions because any protests or strikes will make them inaccessible. If you are dead-set on seeing some archeological sights, check out Delphi, Phaistos, Olympia, and Vergina instead. If you really want to hit the main attractions, schedule a couple of days in Athens at the bookends of your trip because odds are that you’ll be able to get there at some point.
6. Avoid flying within Greece. Airline personnel have a history of going on strike, so try to rent a car and drive if you can, or at least take a mode of transportation that offers back-up options (e.g. travel by boat to an island that gets served by more than one port in Athens). In that vein, traveling to the Peloponnese could be an excellent alternative to the islands because you can rent a car and visit a number of beautiful seaside towns as well as important archeological sites.
7. Save money. Use a no-foreign-transaction credit card to save on purchases made through foreign merchants. Just make sure to notify your credit-card company of your travel plans and only sign receipts in terms of Euros. If you have excellent credit, apply for a card that offers a lucrative initial rewards bonus. For example, the Chase Sapphire Preferred Card currently gives you up to $500 toward travel expenses if you spend $3,000 during the first three months.
There you have it, a Greek personal finance professional’s guide to experiencing all that Greece has to offer while saving money in the process.
All that’s left to say is Kalo Taxidi (have a good trip)!
Odysseas Papadimitriou is a native of Greece who founded the credit card comparison website Card Hub in 2008 after serving as a senior director at Capital One for eight years.

Wednesday 12 September 2012

Antiparos in the Cyclades


Ancient artifacts, kouroi and goats

A multitude of finds makes the need to protect islet of Despotiko imperative

By Iota Sykka

 Uninhabited apart from dozens of wild and disobedient goats that roam its scrubland, Despotiko, off the island of Antiparos in the Cyclades group, was in ancient times a destination for pilgrims. Its strategic importance as a beacon of the Aegean has been confirmed by a number of significant archaeological finds, which include impressive kouros statues, parts of which are scattered around Despotiko.


Despotiko is thought to have been a sanctuary throughout the Geometric era which rose to prominence in ancient times after the inhabitants of Paros established it as a place of worship in order to confirm the larger neighboring island as a dominant force in the Aegean.

It continued to serve as a religious site up until the beginning of the 2nd century BC, when it suffered extensive destruction at the hands of the Athenians as a punishment to Paros for siding with the Persians. Later, in Roman times and the post-Byzantine era, the islet was frequently targeted by pirates.

In recent years researchers have been attempting to secure Despotiko a place in the National Strategic Reference Framework (NSRF) funding program in the hope that it may one day be seen as a paradigm of Archaic restoration, just like Sangri and Iria on Naxos, Messini in the Peloponnese and Karthea on Kea.

For the time being aspirations are focused on getting off the ground a plan by architect Katerina Tsigarida for an archaeological park, or “open museum,” with the restored temple as its main attraction. In addition, plans are also being made by architect-engineer Goulielmos Orestidis (who took on the restoration of the ancient theater at Sparta) for further studies into the stabilization of the ruins.

Whether these plans will be implemented rests with the Central Archaeological Council (KAS) and the archaeological services, while according to the director of the excavations on Despotiko, Yiannis Kouragios, the Municipality of Antiparos has been aiding proceedings to the best of its abilities so that steps can be initiated for the island to become a destination for archaeological tourism.

While previous excavations have taken place on Despotiko, most of the architectural ruins and a plethora of tools and storage vessels made out of seashells were brought to light during this year’s digs in the area of Mantra, as well as Archaic ceramics and other ancient artifacts concerning the god Apollo. During the last few days of excavation work, a pleasant surprise came in the discovery of a piece of marble which appeared to belong to a kouros due to its muscular form, adding to the dozens of marble fragments that have been unearthed on the island of kouroi, as Despotiko has been dubbed.

Kouragios has continued his research around the ancient temple dedicated to Apollo. Twelve buildings have been discovered around Despotiko and another five on the nearby islet of Tsimintiri. The current research team (which includes archaeologists Cornelia Daifa, Spyros Petropoulos and architects Aenne Ohnesorg and Katerina Papagianni from the University of Munich) has been working around the temple and a walled-in space where rituals were held. The various facets of the structures have been studied, more buildings have been excavated and various architectural elements categorized. A marble sacrificial site was discovered at the forefront of the temple, similar to one found at a shrine on Naxos. Kouragios says older artifacts uncovered in front of one of the temple’s pillars have proved crucial, as “they identify the temple’s function during the Geometric era.” Among the finds were vases from the Late Geometric and Early Archaic periods, as well as engravings and a table-like structure made of four plaques (a type of altar).

The tomb of an adult was discovered without funeral offerings in the outer corner of the temple and at its base was yet another find that proved perplexing for the archaeologists as it was next to a place of worship. If this tomb proves to date back to the Archaic period, it could be surmised that the deceased was a laborer that died in the temple and was buried next to the ruins. If however evidence shows it is from more recent times, it could be merely one of the temple’s pillagers. A tomb containing three skeletons dating back to Late Roman era, meanwhile, was found within the interior of Building B.

The excavation was made possible thanks to the sponsorship of the John S. Latsis Public Benefit Foundation, the P&A Canellopoulos Foundation, the A.G Leventis Foundation and the Merchant Marine Ministry’s secretariat for islands.

Wednesday 11 July 2012

The Lovely Stones

(First published in Vanity Fair magazine, July, 2009)
 
Among the first to visit Greece’s new Acropolis Museum, devoted to the Parthenon and other temples, the author reviews the origins of a gloriously “right” structure (part of a fifth-century-b.c. stimulus plan) and the continuing outrage that half its façade is still in London.
The Parthenon as seen from the new Acropolis Museum
The Parthenon as seen from the new Acropolis Museum, April 2009, with, at right, the west metopes, of the Greeks and Amazons in battle. Photograph by Yannis Kontos.
The great classicist A. W. Lawrence (illegitimate younger brother of the even more famously illegitimate T.E. “of Arabia”) once remarked of the Parthenon that it is “the one building in the world which may be assessed as absolutely right.” I was considering this thought the other day as I stood on top of the temple with Maria Ioannidou, the dedicated director of the Acropolis Restoration Service, and watched the workshop that lay below and around me. Everywhere there were craftsmen and -women, toiling to get the Parthenon and its sister temples ready for viewing by the public this summer. There was the occasional whine of a drill and groan of a crane, but otherwise this was the quietest construction site I have ever seen—or, rather, heard. Putting the rightest, or most right, building to rights means that the workers must use marble from a quarry in the same mountain as the original one, that they must employ old-fashioned chisels to carve, along with traditional brushes and twigs, and that they must study and replicate the ancient Lego-like marble joints with which the master builders of antiquity made it all fit miraculously together.

Don’t let me blast on too long about how absolutely heart-stopping the brilliance of these people was. But did you know, for example, that the Parthenon forms, if viewed from the sky, a perfect equilateral triangle with the Temple of Aphaea, on the island of Aegina, and the Temple of Poseidon, at Cape Sounion? Did you appreciate that each column of the Parthenon makes a very slight inward incline, so that if projected upward into space they would eventually steeple themselves together at a symmetrical point in the empyrean? The “rightness” is located somewhere between the beauty of science and the science of beauty.

With me on my tour was Nick Papandreou, son and grandson of prime ministers and younger brother of the Socialist opposition leader, who reminded me that the famously fluted columns are made not of single marble shafts but of individually carved and shaped “drums,” many of them still lying around looking to be re-assembled. On his last visit, he found a graffito on the open face of one such. A certain Xanthias, probably from Thrace, had put his name there, not thinking it would ever be seen again once the next drum was joined on. Then it surfaced after nearly 2,500 years, to be briefly glimpsed (by men and women who still speak and write a version of Xanthias’s tongue) before being lost to view once more, this time for good. On the site, a nod of respect went down the years, from one proud Greek worker to another.

The original construction of the Parthenon involved what I call Periclean Keynesianism: the city needed to recover from a long and ill-fought war against Persia and needed also to give full employment (and a morale boost) to the talents of its citizens. Over tremendous conservative opposition, Pericles in or about the year 450 b.c. pushed through the Athenian Assembly a sort of stimulus package which proposed a labor-intensive reconstruction of what had been lost or damaged in the Second Persian War. As Plutarch phrases it in his Pericles:

The house-and-home contingent, no whit less than the sailors and sentinels and soldiers, might have a pretext for getting a beneficial share of the public wealth. The materials to be used were stone, bronze, ivory, gold, ebony and cypress-wood; the arts which should elaborate and work up these materials were those of carpenter, molder, bronze-smith, stone-cutter, dyer, veneerer in gold and ivory, painter, embroiderer, embosser, to say nothing of the forwarders and furnishers of the material It came to pass that for every age almost, and every capacity, the city’s great abundance was distributed and shared by such demands.

When we think of Athens in the fifth century b.c., we think chiefly of the theater of Euripides and Sophocles and of philosophy and politics—specifically democratic politics, of the sort that saw Pericles repeatedly re-elected in spite of complaints that he was overspending. And it’s true that Antigone was first performed as the Parthenon was rising, and Medea not all that long after the temple was finished. From drama to philosophy: Socrates himself was also a stonemason and sculptor, and it seems quite possible that he too took part in raising the edifice. So Greece might have something to teach us about the arts of recovery as well. As the author of The Stones of Athens, R. E. Wycherley, puts it:

In some sense, the Parthenon must have been the work of a committee It was the work of the whole Athenian people, not merely because hundreds of them had a hand in building it, but because the assembly was ultimately responsible, confirmed appointments, and sanctioned and scrutinized the expenditure of every drachma.

I have visited many of the other great monuments of antiquity, from Luxor and Karnak and the pyramids to Babylon and Great Zimbabwe, and their magnificence is always compromised by the realization that slaves did the heavy lifting and they were erected to show who was boss. The Parthenon is unique because, though ancient Greece did have slavery to some extent, its masterpiece also represents the willing collective work of free people. And it is open to the light and to the air: “accessible,” if you like, rather than dominating. So that to its rightness you could tentatively add the concept of “rights,” as Periclean Greeks began dimly to formulate them for the first time.
Not that the beauty and symmetry of the Parthenon have not been abused and perverted and mutilated. Five centuries after the birth of Christianity the Parthenon was closed and desolated. It was then “converted” into a Christian church, before being transformed a thousand years later into a mosque—complete with minaret at the southwest corner—after the Turkish conquest of the Byzantine Empire. Turkish forces also used it for centuries as a garrison and an arsenal, with the tragic result that in 1687, when Christian Venice attacked the Ottoman Turks, a powder magazine was detonated and huge damage inflicted on the structure. Most horrible of all, perhaps, the Acropolis was made to fly a Nazi flag during the German occupation of Athens. I once had the privilege of shaking the hand of Manolis Glezos, the man who climbed up and tore the swastika down, thus giving the signal for a Greek revolt against Hitler.
Italian president Giorgio Napolitano repatriates a fragment of a Parthenon frieze
Italian president Giorgio Napolitano repatriates a fragment of a frieze depicting Artemis. By Konstantina Labropoulou/Athens News Agency.

The damage done by the ages to the building, and by past empires and occupations, cannot all be put right. But there is one desecration and dilapidation that can at least be partially undone. Early in the 19th century, Britain’s ambassador to the Ottoman Empire, Lord Elgin, sent a wrecking crew to the Turkish-occupied territory of Greece, where it sawed off approximately half of the adornment of the Parthenon and carried it away. As with all things Greek, there were three elements to this, the most lavish and beautiful sculptural treasury in human history. Under the direction of the artistic genius Phidias, the temple had two massive pediments decorated with the figures of Pallas Athena, Poseidon, and the gods of the sun and the moon. It then had a series of 92 high-relief panels, or metopes, depicting a succession of mythical and historical battles. The most intricate element was the frieze, carved in bas-relief, which showed the gods, humans, and animals that made up the annual Pan-Athens procession: there were 192 equestrian warriors and auxiliaries featured, which happens to be the exact number of the city’s heroes who fell at the Battle of Marathon. Experts differ on precisely what story is being told here, but the frieze was quite clearly carved as a continuous narrative. Except that half the cast of the tale is still in Bloomsbury, in London, having been sold well below cost by Elgin to the British government in 1816 for $2.2 million in today’s currency to pay off his many debts. (His original scheme had been to use the sculptures to decorate Broomhall, his rain-sodden ancestral home in Scotland, in which case they might never have been seen again.)

Casts of the Parthenon's west frieze
Casts of the Parthenon’s west frieze, depicting preparations for the Pan-Athens procession, displayed in the Acropolis Museum. By Vasilis Vrettos/OANMA.


Ever since Lord Byron wrote his excoriating attacks on Elgin’s colonial looting, first in Childe Harold’s Pilgrimage (1812) and then in The Curse of Minerva (1815), there has been a bitter argument about the legitimacy of the British Museum’s deal. I’ve written a whole book about this controversy and won’t oppress you with all the details, but would just make this one point. If the Mona Lisa had been sawed in two during the Napoleonic Wars and the separated halves had been acquired by different museums in, say, St. Petersburg and Lisbon, would there not be a general wish to see what they might look like if re-united? If you think my analogy is overdrawn, consider this: the body of the goddess Iris is at present in London, while her head is in Athens. The front part of the torso of Poseidon is in London, and the rear part is in Athens. And so on. This is grotesque.

To that essentially aesthetic objection the British establishment has made three replies. The first is, or was, that return of the marbles might set a “precedent” that would empty the world’s museum collections. The second is that more people can see the marbles in London. The third is that the Greeks have nowhere to put or display them. The first is easily disposed of: The Greeks don’t want anything else returned to them and indeed hope to have more, rather than less, Greek sculpture displayed in other countries. And there is in existence no court or authority to which appeals on precedent can be made. (Anyway, who exactly would be making such an appeal? The Aztecs? The Babylonians? The Hittites? Greece’s case is a one-off—quite individual and unique.) As to the second: Melina Mercouri’s husband, the late movie director and screenwriter Jules Dassin, told a British parliamentary committee in 2000 that by the standard of mass viewership the sculptures should all be removed from Athens and London and exhibited in Beijing. After these frivolous and boring objections have been dealt with, we are left with the third and serious one, which is what has brought me back to Athens. Where should the treasures be safeguarded and shown?

It is unfortunately true that the city allowed itself to become very dirty and polluted in the 20th century, and as a result the remaining sculptures and statues on the Parthenon were nastily eroded by “acid rain.” And it’s also true that the museum built on the Acropolis in the 19th century, a trifling place of a mere 1,450 square meters, was pathetically unsuited to the task of housing or displaying the work of Phidias. But gradually and now impressively, the Greeks have been living up to their responsibilities. Beginning in 1992, the endangered marbles were removed from the temple, given careful cleaning with ultraviolet and infra-red lasers, and placed in a climate-controlled interior. Alas, they can never all be repositioned on the Parthenon itself, because, though the atmospheric pollution is now better controlled, Lord Elgin’s goons succeeded in smashing many of the entablatures that held the sculptures in place. That leaves us with the next-best thing, which turns out to be rather better than one had hoped.

About a thousand feet southeast of the temple, the astonishing new Acropolis Museum will open on June 20. With 10 times the space of the old repository, it will be able to display all the marvels that go with the temples on top of the hill. Most important, it will be able to show, for the first time in centuries, how the Parthenon sculptures looked to the citizens of old.
An aerial view of Athens today
An aerial view of Athens today, with the Acropolis Museum at the bottom. By Nikos Daniilidis/OANMA.



Arriving excitedly for my preview of the galleries, I was at once able to see what had taken the Greeks so long. As with everywhere else in Athens, if you turn over a spade or unleash a drill you uncover at least one layer of a previous civilization. (Building a metro for the Olympics in 2004 was a protracted if fascinating nightmare for this very reason.) The new museum, built to the design of the French-Swiss architect Bernard Tschumi, has had to be mounted aboveground on 100 huge reinforced-concrete pillars, which allow you to survey the remnants of villas, drains, bathhouses, and mosaics of the recently unearthed neighborhood below. Much of the ground floor is made of glass so that natural light filters down to these excavations and gives the effect of transparency throughout. But don’t look down for too long. Raise your eyes and you will be given an arresting view of the Parthenon, from a building that has been carefully aligned to share its scale and perspective with the mother ship.

I was impatient to be the first author to see the remounted figures and panels and friezes. Professor Dimitrios Pandermalis, the head of the museum, took me to the top-floor gallery and showed me the concentric arrangement whereby the sculpture of the pediment is nearest the windows, the high-relief metopes are arranged above head height (they are supposed to be seen from below), and finally the frieze is running at eye level along the innermost wall. At any time, you can turn your head to look up and across at the architectural context for which the originals were so passionately carved. At last it will be possible to see the building and its main artifacts in one place and on one day.

The British may continue in their constipated fashion to cling to what they have so crudely amputated, but the other museums and galleries of Europe have seen the artistic point of re-unification and restored to Athens what was looted in the years when Greece was defenseless. Professor Pandermalis proudly showed me an exquisite marble head, of a youth shouldering a tray, that fits beautifully into panel No. 5 of the north frieze. It comes courtesy of the collection of the Vatican. Then there is the sculpted foot of the goddess Artemis, from the frieze that depicts the assembly of Olympian gods, by courtesy of the Salinas Museum, in Palermo. From Heidelberg comes another foot, this time of a young man playing a lyre, and it fits in nicely with the missing part on panel No. 8. Perhaps these acts of cultural generosity, and tributes to artistic wholeness, could “set a precedent,” too?

The Acropolis Museum has hit on the happy idea of exhibiting, for as long as following that precedent is too much to hope for, its own original sculptures with the London-held pieces represented by beautifully copied casts. This has two effects: It allows the visitor to follow the frieze round the four walls of a core “cella” and see the sculpted tale unfold (there, you suddenly notice, is the “lowing heifer” from Keats’s Ode on a Grecian Urn). And it creates a natural thirst to see the actual re-assembly completed. So, far from emptying or weakening a museum, this controversy has instead created another one, which is destined to be among Europe’s finest galleries. And one day, surely, there will be an agreement to do the right thing by the world’s most “right” structure.

Sunday 24 June 2012

Greek Antiquities, Long Fragile, Are Endangered by Austerity

Eirini Vourloumis for The New York Times
A closed room at the National Archaeological Museum.
KYTHIRA, Greece — A jarring public-awareness ad that has appeared recently on Greek television news shows a little girl strolling with her mother through the National Archaeological Museum in Athens, one of the country’s cultural crown jewels. The girl skips off by herself, and as she stands alone before a 2,500-year-old marble statue, a hand suddenly sweeps in from behind, covering her mouth and yanking her away.
 
An instant later, she reappears, apparently unharmed but staring forlornly at an empty plinth: The kidnappers weren’t after the girl — they were after the statue.
      
The ad, produced by the Association of Greek Archaeologists, is most immediately a reminder of an armed robbery of dozens of artifacts from a museum in Olympia in February, amid persistent security shortcomings at museums across the country. But the campaign’s central message — “Monuments have no voice. They must have yours” — is a much broader attack on deep cultural budget cuts being made as part of the austerity measures imposed on Greece by the European economic establishment, measures that have led in recent weeks to an electoral crisis, a caretaker government and the specter of Greece’s departure from the euro zone.
      
Effects of the cultural cuts are already being felt by the public, as museum galleries and sometimes whole museums suffer from sporadic closings.
      
But Greek and international archaeologists and curators warn that the real consequences of the cuts will not become fully apparent for years and will be far more dire for ancient artifacts and historical scholarship. Over the last six months dozens of the country’s most experienced state archaeologists — those with the highest number of years of service and highest salaries, 1,550 euros a month, or a little less than $2,000 — have been forced into early retirement as part of a 10 percent staff reduction within the government’s Ministry of Culture and Tourism. Through regular retirements and attrition over the last two years, the archaeological staff has shrunk even more, to 900 from 1,100, according to the association, the union that represents the archaeologists.
      
At a time when taxes are being raised, pensions are being cut and the national unemployment rate stands at more than 21 percent, this exodus has faded quickly into the bleak economic landscape. But scholars say the cuts are beginning to cause precisely what the television ad dramatizes: the disappearance of antiquities. The primary culprits are not museum robbers and looters of antiquities sites, but two even more treacherous forces that now have fewer checks on their power: the elements and developers’ bulldozers.

In a dry riverbed one late April morning on the island of Kythira, Aris Tsaravopoulos, a former government archaeologist who was pushed out of his job in November, pointed out a site where a section of riverbank had collapsed during a rainstorm a few months earlier. Scattered all along the bed as it stretched toward the Mediterranean were hundreds of pieces of Minoan pottery, most likely dating to the second millennium B.C., some of them painted with floral patterns that were still a vivid red.
      
Mr. Tsaravopoulos, who directed archaeological projects and supervised foreign digs on the island for more than 15 years, said he believed the site might be part of a tomb or an ancient dumping ground. (Extensive digs in the mid-1960s by British archaeologists helped establish that the island was a longtime colony of Minoan Crete.) The collapse of the bank had already caused some of the artifacts to wash out to sea. Filling the pockets of his khaki vest with larger pieces of pottery to date and place in storage, Mr. Tsaravopoulos said, “The next big rain will carry away more, and before long it will all be gone.”
      
In years past Mr. Tsaravopoulos would have organized an emergency dig at such a site. Now, he said, he can no longer do anything but alert already overburdened colleagues in the state archaeological service, with little hope any rescue work will be done in time: Since his forced retirement last fall, Kythira, a sparsely populated island slightly larger than Malta and six hours southwest of Athens by ferry, had not been visited by a government archaeologist.
      
Of course, long before the economic meltdown, sites were lost or poorly kept, partly as a result of the immensity of the task of preserving the county’s past. In Kythira alone, there might well be dozens of such unexplored sites; the Greek truism that you can’t turn a corner without tripping over an antiquity often seems almost literally true. (The country has 19,000 declared archaeological sites and monuments and 210 antiquities museums.)
      
“I believe that this ministry could double or triple the number of archaeologists it hires — and the number of guards — and still be understaffed,” said Pavlos Geroulanos, Greece’s culture and tourism minister until the May 6 elections brought in a caretaker government. Mr. Geroulanos has overseen the layoffs and forced retirements as his annual operating budget has dwindled 30 percent over the last three years. “There’s so much out there, and so much work to be done,” he said.
But now Greece’s already hidebound and inefficient archaeological bureaucracy, for years among the largest in Europe (where the state plays a central role in the field in many countries), is confronting a drop in resources so sharp that it is beginning to cede the responsibility for cultural heritage it has had for more than 150 years.
      
In Messenia, on the Peloponnesian peninsula, excavation work has come to a halt on a fifth- or sixth-century B.C. mountaintop temple discovered in 2010 not far from the well-known Temple of Apollo Epicurius, a Unesco World Heritage site. Xeni Arapogianni, the state archaeologist who oversaw the region and directed the initial excavation of the newly discovered temple, was forced into early retirement last fall before she could complete research for publications about the find.
“There’s still work that needs to be done there, but no one goes to do it,” Ms. Arapogianni said in an interview. “A department cannot function without a director.”
      
She added that the temple was not important simply as another place that might someday dot a tourist map but because the history of fifth-century temple cults in the region is still an emerging field of research, and the site could provide crucial insights. “This is not just another temple,” she said.
To many Greek archaeologists and university colleagues from other countries who dig with the government’s permission, an even more troubling repercussion of the austerity budget is that research leaves of absence for government archaeologists are being canceled, and money for their research excavations is no longer being provided unless they can find other sources to share the cost.
One effect is that Greek archaeologists are being pushed to focus almost exclusively on the more bureaucratic side of their jobs: inspecting construction sites for the presence of buried antiquities. It is a crucial task, but one that, even with the slowdown of development during the crisis, consumes almost all their time now. This means that scholarship is put on indefinite, and in some cases probably permanent, hold.
      
An American archaeologist with decades of experience in Greece, who spoke on condition of anonymity for fear of alienating government officials at such an uncertain time, said: “Nobody in Greece digs nearly as much as the government archaeological service. And if they aren’t able to publish what they find, they might as well not be doing it at all; they might as well just rebury it.”
Despite its relatively low pay, the profession of archaeology has long been held in high esteem in Greece; it is a job that children aspire to, like becoming a doctor. And in a country where the public sector has been plagued for decades with corruption, archaeologists have retained a reputation as generally honorable and hard-working.
      
“They used to say that we were a special race,” said Alexandra Christopoulou, the deputy director of the National Archaeological Museum. “We worked overtime without getting paid for it — a rarity in Greece — because we really loved what we did.”
      
Veteran Greek archaeologists tend to view the crisis with a grim resolve to make do with the resources at hand. But many in the next generation are unable to do even that. The archaeological service has all but stopped hiring, and the hundreds of young archaeologists who work on part-time contracts are finding those contracts renewed more infrequently.
      
Gely Fragou, a 31-year-old Greek archaeologist trained at the University of Southampton, in England, worked for several years on short government contracts, but the last one expired in 2010. She continues to hope for work, but she said that several friends have taken day jobs to make ends meet: One works in a bakery, another on an assembly line, and a third as a trash collector in Athens. “If it wasn’t for my family,” she said, “I would have left Greece.”
      
Mr. Geroulanos, who served as the culture minister for two and half years, an unusually long stretch amid Greece’s shifting political alliances, said the deep staff cuts were unavoidable in order to make the strongest case that his ministry could live within its means, as the rest of Greece is now having to do.
      
“We’re at a time now,” he said in an interview in his office in Athens, “where I can safely say that every dollar given to the ministry will be well spent.”
      
Even with the ministry’s budget falling every year of his tenure, he said, it has been able to complete important projects, like modernizing the facilities at more than 100 publicly accessible ancient sites. Over the last three years Greece has also managed to compete successfully for tens of millions of euros from the European Union available for archaeological projects.
But critics of austerity say these few bright spots pale against the irreversible damage already under way.
      
On the island of Kythira, Mr. Tsaravopoulos recently visited a plot of sparsely wooded field, acting on a tip from a friend that a bulldozer had been at work there without a permit or antiquities inspection. He arrived to find a makeshift dirt road freshly carved into a hillside, scattered with dozens of broken pieces of glazed pottery dating to Hellenic and early Roman times.
As he was leaving, the owner of the land arrived with his family, and he and Mr. Tsaravopoulos, who knew him, had a curt discussion in the middle of the road before the man walked on.
“He told me he didn’t realize he’d damaged any artifacts and that he was sorry,” Mr. Tsaravopoulos said later. “Then he told me very nicely: ‘Oh Aris, I heard the news that you had to retire. I’m very sorry about that.’ He knows that I have no power anymore to prevent people from digging wherever they want.”