T574 - Jason, after having been conveyed across the river [assisted by Hera], discovers that he has lost his sandal –

Pyrgoteles; Sardonyx

********************************************************************************

Beazley Archive Gems Search

www.beazley.ox.ac.uk/xdb/asp/gemsSearch.asp?LastMenuPageI...

plaster cast of a gem - Oxford; Beazley Gem database

www.beazley.ox.ac.uk/databases/gems.htm

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T147 Latona (Leto) and her two children in presence of Poseidon (Neptune) descending from his car

 

Beazley gem database -

T208 - Ceres presenting Triptolemus [who is about to mount his car drawn by dragons ] with a vase of gold filled with inexhaustible corn - Gnaios

 

Source:

Beazley gem database

T207 - Ceres [standing near her car] changes Stellio into a lizard (eft) - Pyrgoteles,

 

Source:

Beazley gem database

T22 - Jupiter hurling a thunderbolt at Typhon - Apollonidou

 

Gem impression

Source:

www.beazley.ox.ac.uk/XDB/ASP/recordDetailsLarge.asp?recor...{B9641B06-206A-4629-BA87-702CDE167516}&returnPage=&start=0

T264 - Ariadne presenting a cup to Dionysos containing a most exquisite liquid - Dioskourides

Source:

beazley gem database

From Left to Right :

Ringdoll Norman NS (2015)

SimplyDivine Richard Sunrise (2014) on SpiritDoll NS (2014)

IOS S NS (?) on Dollzone Normal Yellow (2014)

YouplaDoll Zenji NS (2016) on AriaDoll NS (?)

CrobiDoll Lance NS (2012)

Dollzone Byron WS (2012)

SupiaDoll Nael NS (2013)

IpleHouse Soo Light Brown (2014)

Little Rebel Seven NS (2012) on FantasyDoll NS (2014)

Country: FRANCE

Operator: SNCF

Item: ELECTRIC

Class or Maker: SNCF/7100

Wheel Arrangement or Type: Co-Co

Number: CC-7104

Place details: CARCASSONNE Station

Additional notes: std arrival with Pau to Nice train

 

Original source material: Kodak 35mm slide

Photographer: Charles F Firminger

Copyright: Photographer

 

Library locator reference: CHFF.0008

30937 Transport Photograph Database

1961SEP17CHFF002cs

plaster cast of a gem - Oxford; Beazley Gem database

www.beazley.ox.ac.uk/databases/gems.htm

****************************************************************

T205 - Plemneus [Plemeneus] confiding his daughter Chrysorte to Ceres - Dioskourides

 

Source:

Beazley gem database

T206 - Lyncus transformed into a lynx, when about to kill Triptolemus (by invisible Demeter / Ceres) - Pyrgoteles

 

Source:

Beazley gem database

Athens is a major coastal urban area in the Mediterranean, and it is both the capital and the largest city of Greece. With its urban area's population numbering over three million, it is also the eighth largest urban area in the European Union. Athens dominates and is the capital of the Attica region and is one of the world's oldest cities, with its recorded history spanning over 3,400 years, and its earliest human presence beginning somewhere between the 11th and 7th millennia BC. The city was named after Athena, the ancient Greek goddess of wisdom.

 

Classical Athens was one of the most powerful city-states in ancient Greece. It was a centre for democracy, the arts, education and philosophy, and was highly influential throughout the European continent, particularly in Ancient Rome. For this reason, it is often regarded as the cradle of Western civilization and the birthplace of democracy in its own right independently from the rest of Greece. In modern times, Athens is a huge cosmopolitan metropolis and central to economic, financial, industrial, maritime, political and cultural life in Greece. In 2023, Athens metropolitan area and its surrounding municipalities (consisting the regional area of Attica) has a population of approximately 3.8 million.

 

Athens is a Beta-status global city according to the Globalization and World Cities Research Network, and is one of the biggest economic centers in Southeastern Europe. It also has a large financial sector, and its port Piraeus is both the 2nd busiest passenger port in Europe, and the 13th largest container port in the world. The Municipality of Athens (also City of Athens), which constitutes a small administrative unit of the entire urban area, had a population of 643,452 (2021) within its official limits, and a land area of 38.96 km2 (15.04 sq mi). The Athens metropolitan area or Greater Athens extends beyond its administrative municipal city limits as well as its urban agglomeration, with a population of 3,638,281 (2021) over an area of 2,928.717 km2 (1,131 sq mi). Athens is also the southernmost capital on the European mainland.

 

The heritage of the Classical Era is still evident in the city, represented by ancient monuments, and works of art, the most famous of all being the Parthenon, considered a key landmark of early Western culture. The city also retains Roman, Byzantine and a smaller number of Ottoman monuments, while its historical urban core features elements of continuity through its millennia of history. Athens is home to two UNESCO World Heritage Sites, the Acropolis of Athens and the medieval Daphni Monastery. Landmarks of the modern era, dating back to the establishment of Athens as the capital of the independent Greek state in 1834, include the Hellenic Parliament and the Architectural Trilogy of Athens, consisting of the National Library of Greece, the National and Kapodistrian University of Athens, and the Academy of Athens. Athens is also home to several museums and cultural institutions, such as the National Archeological Museum, featuring the world's largest collection of ancient Greek antiquities, the Acropolis Museum, the Museum of Cycladic Art, the Benaki Museum, and the Byzantine and Christian Museum. Athens was the host city of the first modern-day Olympic Games in 1896, and 108 years later it hosted the 2004 Summer Olympics, making it one of five cities to have hosted the Summer Olympics on multiple occasions. Athens joined the UNESCO Global Network of Learning Cities in 2016.

 

Etymology and names

In Ancient Greek, the name of the city was Ἀθῆναι (Athênai, pronounced [atʰɛ̂ːnai̯] in Classical Attic), which is a plural word. In earlier Greek, such as Homeric Greek, the name had been current in the singular form though, as Ἀθήνη (Athḗnē). It was possibly rendered in the plural later on, like those of Θῆβαι (Thêbai) and Μυκῆναι (Μukênai). The root of the word is probably not of Greek or Indo-European origin, and is possibly a remnant of the Pre-Greek substrate of Attica. In antiquity, it was debated whether Athens took its name from its patron goddess Athena (Attic Ἀθηνᾶ, Athēnâ, Ionic Ἀθήνη, Athḗnē, and Doric Ἀθάνα, Athā́nā) or Athena took her name from the city. Modern scholars now generally agree that the goddess takes her name from the city,[24] because the ending -ene is common in names of locations, but rare for personal names.

 

According to the ancient Athenian founding myth, Athena, the goddess of wisdom and war, competed against Poseidon, the God of the Seas, for patronage of the yet-unnamed city; they agreed that whoever gave the Athenians the better gift would become their patron and appointed Cecrops, the king of Athens, as the judge. According to the account given by Pseudo-Apollodorus, Poseidon struck the ground with his trident and a salt water spring welled up. In an alternative version of the myth from Vergil's poem Georgics, Poseidon instead gave the Athenians the first horse. In both versions, Athena offered the Athenians the first domesticated olive tree. Cecrops accepted this gift and declared Athena the patron goddess of Athens. Eight different etymologies, now commonly rejected, have been proposed since the 17th century. Christian Lobeck proposed as the root of the name the word ἄθος (áthos) or ἄνθος (ánthos) meaning "flower", to denote Athens as the "flowering city". Ludwig von Döderlein proposed the stem of the verb θάω, stem θη- (tháō, thē-, "to suck") to denote Athens as having fertile soil. Athenians were called cicada-wearers (Ancient Greek: Τεττιγοφόροι) because they used to wear pins of golden cicadas. A symbol of being autochthonous (earth-born), because the legendary founder of Athens, Erechtheus was an autochthon or of being musicians, because the cicada is a "musician" insect. In classical literature, the city was sometimes referred to as the City of the Violet Crown, first documented in Pindar's ἰοστέφανοι Ἀθᾶναι (iostéphanoi Athânai), or as τὸ κλεινὸν ἄστυ (tò kleinòn ásty, "the glorious city").

 

During the medieval period, the name of the city was rendered once again in the singular as Ἀθήνα. Variant names included Setines, Satine, and Astines, all derivations involving false splitting of prepositional phrases. King Alphonse X of Castile gives the pseudo-etymology 'the one without death/ignorance'. In Ottoman Turkish, it was called آتينا Ātīnā, and in modern Turkish, it is Atina.

 

History

Main article: History of Athens

For a chronological guide, see Timeline of Athens.

Historical affiliations

Kingdom of Athens 1556 BC–1068 BC

City-state of Athens 1068 BC–322 BC

Hellenic League 338 BC–322 BC

Kingdom of Macedonia 322 BC–148 BC

Roman Republic 146 BC–27 BC

Roman Empire 27 BC–395 AD

Eastern Roman Empire 395–1205

Duchy of Athens 1205–1458

Ottoman Empire 1458–1822, 1827–1832

Greece 1822–1827, 1832–present

 

Antiquity

The oldest known human presence in Athens is the Cave of Schist, which has been dated to between the 11th and 7th millennia BC. Athens has been continuously inhabited for at least 5,000 years (3000 BC). By 1400 BC, the settlement had become an important centre of the Mycenaean civilization, and the Acropolis was the site of a major Mycenaean fortress, whose remains can be recognised from sections of the characteristic Cyclopean walls. Unlike other Mycenaean centers, such as Mycenae and Pylos, it is not known whether Athens suffered destruction in about 1200 BC, an event often attributed to a Dorian invasion, and the Athenians always maintained that they were pure Ionians with no Dorian element. However, Athens, like many other Bronze Age settlements, went into economic decline for around 150 years afterwards. Iron Age burials, in the Kerameikos and other locations, are often richly provided for and demonstrate that from 900 BC onwards Athens was one of the leading centres of trade and prosperity in the region.

 

By the sixth century BC, widespread social unrest led to the reforms of Solon. These would pave the way for the eventual introduction of democracy by Cleisthenes in 508 BC. Athens had by this time become a significant naval power with a large fleet, and helped the rebellion of the Ionian cities against Persian rule. In the ensuing Greco-Persian Wars Athens, together with Sparta, led the coalition of Greek states that would eventually repel the Persians, defeating them decisively at Marathon in 490 BC, and crucially at Salamis in 480 BC. However, this did not prevent Athens from being captured and sacked twice by the Persians within one year, after a heroic but ultimately failed resistance at Thermopylae by Spartans and other Greeks led by King Leonidas, after both Boeotia and Attica fell to the Persians.

 

The decades that followed became known as the Golden Age of Athenian democracy, during which time Athens became the leading city of Ancient Greece, with its cultural achievements laying the foundations for Western civilization. The playwrights Aeschylus, Sophocles and Euripides flourished in Athens during this time, as did the historians Herodotus and Thucydides, the physician Hippocrates, and the philosopher Socrates. Guided by Pericles, who promoted the arts and fostered democracy, Athens embarked on an ambitious building program that saw the construction of the Acropolis of Athens (including the Parthenon), as well as empire-building via the Delian League. Originally intended as an association of Greek city-states to continue the fight against the Persians, the league soon turned into a vehicle for Athens's own imperial ambitions. The resulting tensions brought about the Peloponnesian War (431–404 BC), in which Athens was defeated by its rival Sparta.

 

By the mid-4th century BC, the northern Greek kingdom of Macedon was becoming dominant in Athenian affairs. In 338 BC the armies of Philip II defeated an alliance of some of the Greek city-states including Athens and Thebes at the Battle of Chaeronea. Later, under Rome, Athens was given the status of a free city because of its widely admired schools. In the second century AD, The Roman emperor Hadrian, himself an Athenian citizen, ordered the construction of a library, a gymnasium, an aqueduct which is still in use, several temples and sanctuaries, a bridge and financed the completion of the Temple of Olympian Zeus.

 

In the early 4th century AD, the Eastern Roman Empire began to be governed from Constantinople, and with the construction and expansion of the imperial city, many of Athens's works of art were taken by the emperors to adorn it. The Empire became Christianized, and the use of Latin declined in favour of exclusive use of Greek; in the Roman imperial period, both languages had been used. In the later Roman period, Athens was ruled by the emperors continuing until the 13th century, its citizens identifying themselves as citizens of the Roman Empire ("Rhomaioi"). The conversion of the empire from paganism to Christianity greatly affected Athens, resulting in reduced reverence for the city.[33] Ancient monuments such as the Parthenon, Erechtheion and the Hephaisteion (Theseion) were converted into churches. As the empire became increasingly anti-pagan, Athens became a provincial town and experienced fluctuating fortunes.

 

The city remained an important center of learning, especially of Neoplatonism—with notable pupils including Gregory of Nazianzus, Basil of Caesarea and emperor Julian (r. 355–363)—and consequently a center of paganism. Christian items do not appear in the archaeological record until the early 5th century. The sack of the city by the Herules in 267 and by the Visigoths under their king Alaric I (r. 395–410) in 396, however, dealt a heavy blow to the city's fabric and fortunes, and Athens was henceforth confined to a small fortified area that embraced a fraction of the ancient city. The emperor Justinian I (r. 527–565) banned the teaching of philosophy by pagans in 529, an event whose impact on the city is much debated, but is generally taken to mark the end of the ancient history of Athens. Athens was sacked by the Slavs in 582, but remained in imperial hands thereafter, as highlighted by the visit of the emperor Constans II (r. 641–668) in 662/3 and its inclusion in the Theme of Hellas.

 

Middle Ages

The city was threatened by Saracen raids in the 8th–9th centuries—in 896, Athens was raided and possibly occupied for a short period, an event which left some archaeological remains and elements of Arabic ornamentation in contemporary buildings—but there is also evidence of a mosque existing in the city at the time. In the great dispute over Byzantine Iconoclasm, Athens is commonly held to have supported the iconophile position, chiefly due to the role played by Empress Irene of Athens in the ending of the first period of Iconoclasm at the Second Council of Nicaea in 787. A few years later, another Athenian, Theophano, became empress as the wife of Staurakios (r. 811–812).

 

Invasion of the empire by the Turks after the Battle of Manzikert in 1071, and the ensuing civil wars, largely passed the region by and Athens continued its provincial existence unharmed. When the Byzantine Empire was rescued by the resolute leadership of the three Komnenos emperors Alexios, John and Manuel, Attica and the rest of Greece prospered. Archaeological evidence tells us that the medieval town experienced a period of rapid and sustained growth, starting in the 11th century and continuing until the end of the 12th century.

 

The Agora (marketplace) had been deserted since late antiquity, began to be built over, and soon the town became an important centre for the production of soaps and dyes. The growth of the town attracted the Venetians, and various other traders who frequented the ports of the Aegean, to Athens. This interest in trade appears to have further increased the economic prosperity of the town.

 

The 11th and 12th centuries were the Golden Age of Byzantine art in Athens. Almost all of the most important Middle Byzantine churches in and around Athens were built during these two centuries, and this reflects the growth of the town in general. However, this medieval prosperity was not to last. In 1204, the Fourth Crusade conquered Athens and the city was not recovered from the Latins before it was taken by the Ottoman Turks. It did not become Greek in government again until the 19th century.

 

From 1204 until 1458, Athens was ruled by Latins in three separate periods, following the Crusades. The "Latins", or "Franks", were western Europeans and followers of the Latin Church brought to the Eastern Mediterranean during the Crusades. Along with rest of Byzantine Greece, Athens was part of the series of feudal fiefs, similar to the Crusader states established in Syria and on Cyprus after the First Crusade. This period is known as the Frankokratia.

 

Ottoman Athens

The first Ottoman attack on Athens, which involved a short-lived occupation of the town, came in 1397, under the Ottoman generals Yaqub Pasha and Timurtash. Finally, in 1458, Athens was captured by the Ottomans under the personal leadership of Sultan Mehmed II. As the Ottoman Sultan rode into the city, he was greatly struck by the beauty of its ancient monuments and issued a firman (imperial edict) forbidding their looting or destruction, on pain of death. The Parthenon was converted into the main mosque of the city.

 

Under Ottoman rule, Athens was denuded of any importance and its population severely declined, leaving it as a "small country town" (Franz Babinger). From the early 17th century, Athens came under the jurisdiction of the Kizlar Agha, the chief black eunuch of the Sultan's harem. The city had originally been granted by Sultan Ahmed I (r. 1603–1617) to Basilica, one of his favourite concubines, who hailed from the city, in response of complaints of maladministration by the local governors. After her death, Athens came under the purview of the Kizlar Agha.

 

The Turks began a practice of storing gunpowder and explosives in the Parthenon and Propylaea. In 1640, a lightning bolt struck the Propylaea, causing its destruction. In 1687, during the Morean War, the Acropolis was besieged by the Venetians under Francesco Morosini, and the temple of Athena Nike was dismantled by the Ottomans to fortify the Parthenon. A shot fired during the bombardment of the Acropolis caused a powder magazine in the Parthenon to explode (26 September), and the building was severely damaged, giving it largely the appearance it has today. The Venetian occupation of Athens lasted for six months, and both the Venetians and the Ottomans participated in the looting of the Parthenon. One of its western pediments was removed, causing even more damage to the structure. During the Venetian occupation, the two mosques of the city were converted into Catholic and Protestant churches, but on 9 April 1688 the Venetians abandoned Athens again to the Ottomans.

 

Modern history

In 1822, a Greek insurgency captured the city, but it fell to the Ottomans again in 1826 (though Acropolis held till June 1827). Again the ancient monuments suffered badly. The Ottoman forces remained in possession until March 1833, when they withdrew. At that time, the city (as throughout the Ottoman period) had a small population of an estimated 400 houses, mostly located around the Acropolis in the Plaka.

 

Following the Greek War of Independence and the establishment of the Greek Kingdom, Athens was chosen to replace Nafplio as the second capital of the newly independent Greek state in 1834, largely because of historical and sentimental reasons. At the time, after the extensive destruction it had suffered during the war of independence, it was reduced to a town of about 4,000 people (less than half its earlier population) in a loose swarm of houses along the foot of the Acropolis. The first King of Greece, Otto of Bavaria, commissioned the architects Stamatios Kleanthis and Eduard Schaubert to design a modern city plan fit for the capital of a state.

 

The first modern city plan consisted of a triangle defined by the Acropolis, the ancient cemetery of Kerameikos and the new palace of the Bavarian king (now housing the Greek Parliament), so as to highlight the continuity between modern and ancient Athens. Neoclassicism, the international style of this epoch, was the architectural style through which Bavarian, French and Greek architects such as Hansen, Klenze, Boulanger or Kaftantzoglou designed the first important public buildings of the new capital. In 1896, Athens hosted the first modern Olympic Games. During the 1920s a number of Greek refugees, expelled from Asia Minor after the Greco-Turkish War and Greek genocide, swelled Athens's population; nevertheless it was most particularly following World War II, and from the 1950s and 1960s, that the population of the city exploded, and Athens experienced a gradual expansion.

 

In the 1980s, it became evident that smog from factories and an ever-increasing fleet of automobiles, as well as a lack of adequate free space due to congestion, had evolved into the city's most important challenge.[citation needed] A series of anti-pollution measures taken by the city's authorities in the 1990s, combined with a substantial improvement of the city's infrastructure (including the Attiki Odos motorway, the expansion of the Athens Metro, and the new Athens International Airport), considerably alleviated pollution and transformed Athens into a much more functional city. In 2004, Athens hosted the 2004 Summer Olympics.

 

Geography

Athens sprawls across the central plain of Attica that is often referred to as the Athens Basin or the Attica Basin (Greek: Λεκανοπέδιο Αθηνών/Αττικής). The basin is bounded by four large mountains: Mount Aigaleo to the west, Mount Parnitha to the north, Mount Pentelicus to the northeast and Mount Hymettus to the east. Beyond Mount Aegaleo lies the Thriasian plain, which forms an extension of the central plain to the west. The Saronic Gulf lies to the southwest. Mount Parnitha is the tallest of the four mountains (1,413 m (4,636 ft)), and has been declared a national park. The Athens urban area spreads over 50 kilometres (31 mi) from Agios Stefanos in the north to Varkiza in the south. The city is located in the north temperate zone, 38 degrees north of the equator.

 

Athens is built around a number of hills. Lycabettus is one of the tallest hills of the city proper and provides a view of the entire Attica Basin. The meteorology of Athens is deemed to be one of the most complex in the world because its mountains cause a temperature inversion phenomenon which, along with the Greek government's difficulties controlling industrial pollution, was responsible for the air pollution problems the city has faced. This issue is not unique to Athens; for instance, Los Angeles and Mexico City also suffer from similar atmospheric inversion problems.

 

The Cephissus river, the Ilisos and the Eridanos stream are the historical rivers of Athens.

 

Environment

By the late 1970s, the pollution of Athens had become so destructive that according to the then Greek Minister of Culture, Constantine Trypanis, "...the carved details on the five the caryatids of the Erechtheum had seriously degenerated, while the face of the horseman on the Parthenon's west side was all but obliterated." A series of measures taken by the authorities of the city throughout the 1990s resulted in the improvement of air quality; the appearance of smog (or nefos as the Athenians used to call it) has become less common.

 

Measures taken by the Greek authorities throughout the 1990s have improved the quality of air over the Attica Basin. Nevertheless, air pollution still remains an issue for Athens, particularly during the hottest summer days. In late June 2007, the Attica region experienced a number of brush fires, including a blaze that burned a significant portion of a large forested national park in Mount Parnitha, considered critical to maintaining a better air quality in Athens all year round. Damage to the park has led to worries over a stalling in the improvement of air quality in the city.

 

The major waste management efforts undertaken in the last decade (particularly the plant built on the small island of Psytalia) have greatly improved water quality in the Saronic Gulf, and the coastal waters of Athens are now accessible again to swimmers.

 

Parks and zoos

Parnitha National Park is punctuated by well-marked paths, gorges, springs, torrents and caves dotting the protected area. Hiking and mountain-biking in all four mountains are popular outdoor activities for residents of the city. The National Garden of Athens was completed in 1840 and is a green refuge of 15.5 hectares in the centre of the Greek capital. It is to be found between the Parliament and Zappeion buildings, the latter of which maintains its own garden of seven hectares. Parts of the City Centre have been redeveloped under a masterplan called the Unification of Archeological Sites of Athens, which has also gathered funding from the EU to help enhance the project. The landmark Dionysiou Areopagitou Street has been pedestrianised, forming a scenic route. The route starts from the Temple of Olympian Zeus at Vasilissis Olgas Avenue, continues under the southern slopes of the Acropolis near Plaka, and finishes just beyond the Temple of Hephaestus in Thiseio. The route in its entirety provides visitors with views of the Parthenon and the Agora (the meeting point of ancient Athenians), away from the busy City Centre.

 

The hills of Athens also provide green space. Lycabettus, Philopappos hill and the area around it, including Pnyx and Ardettos hill, are planted with pines and other trees, with the character of a small forest rather than typical metropolitan parkland. Also to be found is the Pedion tou Areos (Field of Mars) of 27.7 hectares, near the National Archaeological Museum. Athens' largest zoo is the Attica Zoological Park, a 20-hectare (49-acre) private zoo located in the suburb of Spata. The zoo is home to around 2000 animals representing 400 species, and is open 365 days a year. Smaller zoos exist within public gardens or parks, such as the zoo within the National Garden of Athens.

 

Climate

Athens has a hot-summer Mediterranean climate (Köppen climate classification: Csa). According to the meteorological station near the city center which is operated by the National Observatory of Athens, the downtown area has an annual average temperature of 19.2 °C (66.6 °F) while parts of the urban agglomeration may reach up to 19.8 °C (67.6 °F), being affected by the urban heat island effect. Athens receives about 433.1 millimetres (17.05 in) of precipitation per year, largely concentrated during the colder half of the year with the remaining rainfall falling sparsely, mainly during thunderstorms. Fog is rare in the city center, but somewhat more frequent in areas to the east, close to mount Hymettus.

 

The southern section of the Athens metropolitan area (i.e., Elliniko, Athens Riviera) lies in the transitional zone between Mediterranean (Csa) and hot semi-arid climate (BSh), with its port-city of Piraeus being the most extreme example, receiving just 331.9 millimetres (13.07 in) per year. The areas to the south generally see less extreme temperature variations as their climate is moderated by the Saronic gulf. The northern part of the city (i.e., Kifissia), owing to its higher elevation, features moderately lower temperatures and slightly increased precipitation year-round. The generally dry climate of the Athens basin compared to the precipitation amounts seen in a typical Mediterranean climate is due to the rain shadow effect caused by the Pindus mountain range and the Dirfys and Parnitha mountains, substantially drying the westerly and northerly winds respectively.

 

Snowfall is not very common, though it occurs almost annually, but it usually does not cause heavy disruption to daily life, in contrast to the northern parts of the city, where blizzards occur on a somewhat more regular basis. The most recent examples include the snowstorms of 16 February 2021 and 24 January 2022, when the entire urban area was blanketed in snow.

 

Athens may get particularly hot in the summer, owing partly to the strong urban heat island effect characterizing the city. In fact, Athens is considered to be the hottest city in mainland Europe, and is the first city in Europe to appoint a chief heat officer to deal with severe heat waves. Temperatures of 47.5°C have been reported in several locations of the metropolitan area, including within the urban agglomeration. Metropolitan Athens was until 2021 the holder of the World Meteorological Organization record for the highest temperature ever recorded in Europe with 48.0 °C (118.4 °F) which was recorded in the areas of Elefsina and Tatoi on 10 July 1977.

 

Administration

Athens became the capital of Greece in 1834, following Nafplion, which was the provisional capital from 1829. The municipality (City) of Athens is also the capital of the Attica region. The term Athens can refer either to the Municipality of Athens, to Greater Athens or urban area, or to the entire Athens Metropolitan Area.

 

The large City Centre (Greek: Κέντρο της Αθήνας) of the Greek capital falls directly within the Municipality of Athens or Athens Municipality (Greek: Δήμος Αθηναίων)—also City of Athens. Athens Municipality is the largest in population size in Greece. Piraeus also forms a significant city centre on its own within the Athens Urban Area and it is the second largest in population size within it.

 

Athens Urban Area

The Athens Urban Area (Greek: Πολεοδομικό Συγκρότημα Αθηνών), also known as Urban Area of the Capital (Greek: Πολεοδομικό Συγκρότημα Πρωτεύουσας) or Greater Athens (Greek: Ευρύτερη Αθήνα), today consists of 40 municipalities, 35 of which make up what was referred to as the former Athens Prefecture municipalities, located within 4 regional units (North Athens, West Athens, Central Athens, South Athens); and a further 5 municipalities, which make up the former Piraeus Prefecture municipalities, located within the regional unit of Piraeus as mentioned above.

 

The Athens Municipality forms the core and center of Greater Athens, which in its turn consists of the Athens Municipality and 40 more municipalities, divided in four regional units (Central, North, South and West Athens), accounting for 2,611,713 people (in 2021) within an area of 361 km2 (139 sq mi). Until 2010, which made up the abolished Athens Prefecture and the municipality of Piraeus, the historic Athenian port, with 4 other municipalities make up the regional unit of Piraeus. The regional units of Central Athens, North Athens, South Athens, West Athens and Piraeus with part of East and West Attica regional units combined make up the continuous Athens Urban Area, also called the "Urban Area of the Capital" or simply "Athens" (the most common use of the term), spanning over 412 km2 (159 sq mi), with a population of 3,059,764 people as of 2021. The Athens Urban Area is considered to form the city of Athens as a whole, despite its administrative divisions, which is the largest in Greece and the 9th most populated urban area in Europe.

 

Demographics

The Municipality of Athens has an official population of 643,452 people (in 2021). According to the 2021 Population and Housing Census, The four regional units that make up what is referred to as Greater Athens have a combined population of 2,611,713 . They together with the regional unit of Piraeus (Greater Piraeus) make up the dense Athens Urban Area which reaches a total population of 3,059,764 inhabitants (in 2021).

 

The municipality (Center) of Athens is the most populous in Greece, with a population of 643,452 people (in 2021) and an area of 38.96 km2 (15.04 sq mi), forming the core of the Athens Urban Area within the Attica Basin. The incumbent Mayor of Athens is Kostas Bakoyannis of New Democracy. The municipality is divided into seven municipal districts which are mainly used for administrative purposes.

 

For the Athenians the most popular way of dividing the downtown is through its neighbourhoods such as Pagkrati, Ampelokipoi, Goudi, Exarcheia, Patisia, Ilisia, Petralona, Plaka, Anafiotika, Koukaki, Kolonaki and Kypseli, each with its own distinct history and characteristics.

 

Safety

Athens ranks in the lowest percentage for the risk on frequency and severity of terrorist attacks according to the EU Global Terrorism Database (EIU 2007–2016 calculations). The city also ranked 35th in Digital Security, 21st on Health Security, 29th on Infrastructure Security and 41st on Personal Security globally in a 2017 The Economist Intelligence Unit report. It also ranks as a very safe city (39th globally out of 162 cities overall) on the ranking of the safest and most dangerous countries. As May 2022 the crime index from Numbeo places Athens at 56.33 (moderate), while its safety index is at 43.68.Crime in Athens According to a Mercer 2019 Quality of Living Survey, Athens ranks 89th on the Mercer Quality of Living Survey ranking.

 

Economy

Athens is the financial capital of Greece. According to data from 2014, Athens as a metropolitan economic area produced US$130 billion as GDP in PPP, which consists of nearly half of the production for the whole country. Athens was ranked 102nd in that year's list of global economic metropolises, while GDP per capita for the same year was 32,000 US-dollars.

 

Athens is one of the major economic centres in south-eastern Europe and is considered a regional economic power. The port of Piraeus, where big investments by COSCO have already been delivered during the recent decade, the completion of the new Cargo Centre in Thriasion, the expansion of the Athens Metro and the Athens Tram, as well as the Hellenikon metropolitan park redevelopment in Elliniko and other urban projects, are the economic landmarks of the upcoming years.

 

Prominent Greek companies such as Hellas Sat, Hellenic Aerospace Industry, Mytilineos Holdings, Titan Cement, Hellenic Petroleum, Papadopoulos E.J., Folli Follie, Jumbo S.A., OPAP, and Cosmote have their headquarters in the metropolitan area of Athens. Multinational companies such as Ericsson, Sony, Siemens, Motorola, Samsung, Microsoft, Teleperformance, Novartis, Mondelez and Coca-Cola also have their regional research and development headquarters in the city.

 

The banking sector is represented by National Bank of Greece, Alpha Bank, Eurobank, and Piraeus Bank, while the Bank of Greece is also situated in the City Centre. The Athens Stock Exchange was severely hit by the Greek government-debt crisis and the decision of the government to proceed into capital controls during summer 2015. As a whole the economy of Athens and Greece was strongly affected, while data showed a change from long recession to growth of 1.4% from 2017 onwards.

 

Tourism is also a leading contributor to the economy of the city, as one of Europe's top destinations for city-break tourism, and also the gateway for excursions to both the islands and other parts of the mainland. Greece attracted 26.5 million visitors in 2015, 30.1 million visitors in 2017, and over 33 million in 2018, making Greece one of the most visited countries in Europe and the world, and contributing 18% to the country's GDP. Athens welcomed more than 5 million tourists in 2018, and 1.4 million were "city-breakers"; this was an increase by over a million city-breakers since 2013.

 

Tourism

Athens has been a destination for travellers since antiquity. Over the past decade, the city's infrastructure and social amenities have improved, in part because of its successful bid to stage the 2004 Olympic Games. The Greek Government, aided by the EU, has funded major infrastructure projects such as the state-of-the-art Eleftherios Venizelos International Airport, the expansion of the Athens Metro system, and the new Attiki Odos Motorway

 

Education

Located on Panepistimiou Street, the old campus of the University of Athens, the National Library, and the Athens Academy form the "Athens Trilogy" built in the mid-19th century. The largest and oldest university in Athens is the National and Kapodistrian University of Athens. Most of the functions of NKUA have been transferred to a campus in the eastern suburb of Zografou. The National Technical University of Athens is located on Patision Street.

 

The University of West Attica is the second largest university in Athens. The seat of the university is located in the western area of Athens, where the philosophers of Ancient Athens delivered lectures. All the activities of UNIWA are carried out in the modern infrastructure of the three University Campuses within the metropolitan region of Athens (Egaleo Park, Ancient Olive Groove and Athens), which offer modern teaching and research spaces, entertainment and support facilities for all students. Other universities that lie within Athens are the Athens University of Economics and Business, the Panteion University, the Agricultural University of Athens and the University of Piraeus.

 

There are overall ten state-supported Institutions of Higher (or Tertiary) education located in the Athens Urban Area, these are by chronological order: Athens School of Fine Arts (1837), National Technical University of Athens (1837), National and Kapodistrian University of Athens (1837), Agricultural University of Athens (1920), Athens University of Economics and Business (1920), Panteion University of Social and Political Sciences (1927), University of Piraeus (1938), Harokopio University of Athens (1990), School of Pedagogical and Technological Education (2002), University of West Attica (2018). There are also several other private colleges, as they called formally in Greece, as the establishment of private universities is prohibited by the constitution. Many of them are accredited by a foreign state or university such as the American College of Greece and the Athens Campus of the University of Indianapolis.

 

Culture

The city is a world centre of archaeological research. Alongside national academic institutions, such as the Athens University and the Archaeological Society, it is home to multiple archaeological museums, taking in the National Archaeological Museum, the Cycladic Museum, the Epigraphic Museum, the Byzantine & Christian Museum, as well as museums at the ancient Agora, Acropolis, Kerameikos, and the Kerameikos Archaeological Museum. The city is also the setting for the Demokritos laboratory for Archaeometry, alongside regional and national archaeological authorities forming part of the Greek Department of Culture.

 

Athens hosts 17 Foreign Archaeological Institutes which promote and facilitate research by scholars from their home countries. As a result, Athens has more than a dozen archaeological libraries and three specialized archaeological laboratories, and is the venue of several hundred specialized lectures, conferences and seminars, as well as dozens of archaeological exhibitions each year. At any given time, hundreds of international scholars and researchers in all disciplines of archaeology are to be found in the city.

 

Athens' most important museums include:

 

the National Archaeological Museum, the largest archaeological museum in the country, and one of the most important internationally, as it contains a vast collection of antiquities. Its artefacts cover a period of more than 5,000 years, from late Neolithic Age to Roman Greece;

the Benaki Museum with its several branches for each of its collections including ancient, Byzantine, Ottoman-era, Chinese art and beyond;

the Byzantine and Christian Museum, one of the most important museums of Byzantine art;

the National Art Gallery, the nation's eponymous leading gallery, which reopened in 2021 after renovation;

the National Museum of Contemporary Art, which opened in 2000 in a former brewery building;

the Numismatic Museum, housing a major collection of ancient and modern coins;

the Museum of Cycladic Art, home to an extensive collection of Cycladic art, including its famous figurines of white marble;

the New Acropolis Museum, opened in 2009, and replacing the old museum on the Acropolis. The new museum has proved considerably popular; almost one million people visited during the summer period June–October 2009 alone. A number of smaller and privately owned museums focused on Greek culture and arts are also to be found.

the Kerameikos Archaeological Museum, a museum which displays artifacts from the burial site of Kerameikos. Much of the pottery and other artifacts relate to Athenian attitudes towards death and the afterlife, throughout many ages.

the Jewish Museum of Greece, a museum which describes the history and culture of the Greek Jewish community.

 

Architecture

Athens incorporates architectural styles ranging from Greco-Roman and Neoclassical to Modern. They are often to be found in the same areas, as Athens is not marked by a uniformity of architectural style. A visitor will quickly notice the absence of tall buildings: Athens has very strict height restriction laws in order to ensure the Acropolis Hill is visible throughout the city. Despite the variety in styles, there is evidence of continuity in elements of the architectural environment throughout the city's history.

 

For the greatest part of the 19th century Neoclassicism dominated Athens, as well as some deviations from it such as Eclecticism, especially in the early 20th century. Thus, the Old Royal Palace was the first important public building to be built, between 1836 and 1843. Later in the mid and late 19th century, Theophil Freiherr von Hansen and Ernst Ziller took part in the construction of many neoclassical buildings such as the Athens Academy and the Zappeion Hall. Ziller also designed many private mansions in the centre of Athens which gradually became public, usually through donations, such as Schliemann's Iliou Melathron.

 

Beginning in the 1920s, modern architecture including Bauhaus and Art Deco began to exert an influence on almost all Greek architects, and buildings both public and private were constructed in accordance with these styles. Localities with a great number of such buildings include Kolonaki, and some areas of the centre of the city; neighbourhoods developed in this period include Kypseli.

 

In the 1950s and 1960s during the extension and development of Athens, other modern movements such as the International style played an important role. The centre of Athens was largely rebuilt, leading to the demolition of a number of neoclassical buildings. The architects of this era employed materials such as glass, marble and aluminium, and many blended modern and classical elements. After World War II, internationally known architects to have designed and built in the city included Walter Gropius, with his design for the US Embassy, and, among others, Eero Saarinen, in his postwar design for the east terminal of the Ellinikon Airport.

 

Urban sculpture

Across the city numerous statues or busts are to be found. Apart from the neoclassicals by Leonidas Drosis at the Academy of Athens (Plato, Socrates, Apollo and Athena), others in notable categories include the statue of Theseus by Georgios Fytalis at Thiseion; depictions of philhellenes such as Lord Byron, George Canning, and William Gladstone; the equestrian statue of Theodoros Kolokotronis by Lazaros Sochos in front of the Old Parliament; statues of Ioannis Kapodistrias, Rigas Feraios and Adamantios Korais at the University; of Evangelos Zappas and Konstantinos Zappas at the Zappeion; Ioannis Varvakis at the National Garden; the" Woodbreaker" by Dimitrios Filippotis; the equestrian statue of Alexandros Papagos in the Papagou district; and various busts of fighters of Greek independence at the Pedion tou Areos. A significant landmark is also the Tomb of the Unknown Soldier in Syntagma.

 

Entertainment and performing arts

Athens is home to 148 theatrical stages, more than any other city in the world, including the ancient Odeon of Herodes Atticus, home to the Athens Festival, which runs from May to October each year. In addition to a large number of multiplexes, Athens plays host to open air garden cinemas. The city also supports music venues, including the Athens Concert Hall (Megaro Moussikis), which attracts world class artists. The Athens Planetarium, located in Andrea Syngrou Avenue, in Palaio Faliro is one of the largest and best equipped digital planetaria in the world. The Stavros Niarchos Foundation Cultural Center, inaugurated in 2016, will house the National Library of Greece and the Greek National Opera. In 2018 Athens was designated as the World Book Capital by UNESCO.

 

Restaurants, tavernas and bars can be found in the entertainment hubs in Plaka and the Trigono areas of the historic centre, the inner suburbs of Gazi and Psyrri are especially busy with nightclubs and bars, while Kolonaki, Exarchia, Metaxourgeio, Koukaki and Pangrati offer more of a cafe and restaurant scene. The coastal suburbs of Microlimano, Alimos and Glyfada include many tavernas, beach bars and busy summer clubs.

 

The most successful songs during the period 1870–1930 were the Athenian serenades (Αθηναϊκές καντάδες), based on the Heptanesean kantádhes (καντάδες 'serenades'; sing.: καντάδα) and the songs performed on stage (επιθεωρησιακά τραγούδια 'theatrical revue songs') in revues, musical comedies, operettas and nocturnes that were dominating Athens' theatre scene.

 

In 1922, following the war, genocide and later population exchange suffered by the Greek population of Asia Minor, many ethnic Greeks fled to Athens. They settled in poor neighbourhoods and brought with them Rebetiko music, making it also popular in Greece, and which later became the base for the Laïko music. Other forms of song popular today in Greece are elafrolaika, entechno, dimotika, and skyladika. Greece's most notable, and internationally famous, composers of Greek song, mainly of the entechno form, are Manos Hadjidakis and Mikis Theodorakis. Both composers have achieved fame abroad for their composition of film scores.

 

The renowned American-born Greek soprano Maria Callas spent her teenage years in Athens, where she settled in 1937. Her professional opera career started in 1940 in Athens, with the Greek National Opera. In 2018, the city's municipal Olympia Theatre was renamed to "Olympia City Music Theatre 'Maria Callas'" and in 2023, the Municipality inaugurated the Maria Callas Museum, housing it in a neoclassical building on 44 Mitropoleos street.

 

Sports

The Panathenaic Stadium of Athens (Kallimarmaron) dates back to the fourth century BC and has hosted the first modern Olympic Games in 1896.

 

Agia Sophia Stadium

Athens has a long tradition in sports and sporting events, serving as home to the most important clubs in Greek sport and housing a large number of sports facilities. The city has also been host to sports events of international importance.

 

Athens has hosted the Summer Olympic Games twice, in 1896 and 2004. The 2004 Summer Olympics required the development of the Athens Olympic Stadium, which has since gained a reputation as one of the most beautiful stadiums in the world, and one of its most interesting modern monuments. The biggest stadium in the country, it hosted two finals of the UEFA Champions League, in 1994 and 2007. Athens' other major stadiums are the Karaiskakis Stadium located in Piraeus, a sports and entertainment complex, host of the 1971 UEFA Cup Winners' Cup Final, and Agia Sophia Stadium located in Nea Filadelfeia.

 

Athens has hosted the EuroLeague final three times, the first in 1985 and second in 1993, both at the Peace and Friendship Stadium, most known as SEF, a large indoor arena, and the third time in 2007 at the Olympic Indoor Hall. Events in other sports such as athletics, volleyball, water polo etc., have been hosted in the capital's venues.

 

Athens is home to three European multi-sport clubs: Panathinaikos, originated in Athens city centre, Olympiacos, originated in the suburb of Piraeus and AEK Athens, originated in the suburb of Nea Filadelfeia. In football, Panathinaikos made it to the 1971 European Cup Final, Olympiacos have dominated domestic competitions, while AEK Athens is the other member of the big three. These clubs also have basketball teams; Panathinaikos and Olympiacos are among the top powers in European basketball, having won the Euroleague six times and three respectively, whilst AEK Athens was the first Greek team to win a European trophy in any team sport.

 

Other notable clubs within Athens are Athinaikos, Panionios, Atromitos, Apollon, Panellinios, Egaleo F.C., Ethnikos Piraeus, Maroussi BC and Peristeri B.C. Athenian clubs have also had domestic and international success in other sports.

 

The Athens area encompasses a variety of terrain, notably hills and mountains rising around the city, and the capital is the only major city in Europe to be bisected by a mountain range. Four mountain ranges extend into city boundaries and thousands of kilometres of trails criss-cross the city and neighbouring areas, providing exercise and wilderness access on foot and bike.

 

Beyond Athens and across the prefecture of Attica, outdoor activities include skiing, rock climbing, hang gliding and windsurfing. Numerous outdoor clubs serve these sports, including the Athens Chapter of the Sierra Club, which leads over 4,000 outings annually in the area.

 

Athens was awarded the 2004 Summer Olympics on 5 September 1997 in Lausanne, Switzerland, after having lost a previous bid to host the 1996 Summer Olympics, to Atlanta, United States. It was to be the second time Athens would host the games, following the inaugural event of 1896. After an unsuccessful bid in 1990, the 1997 bid was radically improved, including an appeal to Greece's Olympic history. In the last round of voting, Athens defeated Rome with 66 votes to 41. Prior to this round, the cities of Buenos Aires, Stockholm and Cape Town had been eliminated from competition, having received fewer votes. Although the heavy cost was criticized, estimated at $1.5 billion, Athens was transformed into a more functional city that enjoys modern technology both in transportation and in modern urban development. The games welcomed over 10,000 athletes from all 202 countries.

"Training Humans" - Osservatorio Fondazione Prada.

Si prega di non applicare ai commenti icone animate, Grazie !

NO GIFS AND ANIMATED ICONS, PLEASE!

 

One of the new Database pictures of my Dolls I'm working on at the moment. Finally I got Photoshop CS4 and still have to get used to it. It's quite different and also a little hard for me to work with it since I was using the old Photoshop 6.0 until now. So that's really a huge difference. ^^;;;

 

But it's getting better, I'll do my very best and I think this picture can be seen, too. XD *lol*

Country: PORTUGAL

Operator: CP

Item: STEAM

Class or Maker: CP/E165

Wheel Arrangement or Type: 0-4-4-0T

Number: E170

Place details: BOAVISTA Loco Shed (Porto area)

 

Additional notes: Gauge 1000mm

E170 built by Henschel in 1908

 

Original source material: Agfa 35mm colour slide

Photographer: Bernard Harrison

Copyright: Photographer's estate

Library locator reference: BHAR_0136

 

30937 Transport Photograph Database

1968SEP11BHAR5142cs

T203 - Ceres in a car drawn by two dragons receiving from Bacchus a restorative cup - Gnaios

 

Source:

Beazley gem database

T703 - Ino [holding her son Melicertes] pursued by Phrixos [son of Athamas], is saved by Dionysos - Apollonides

Source:

beazley gem database

T94 Head of Hades (Pluto) - Aulos

beazley gem database

Intaglio; carnelian; Crucifixion; centre, upon exergual line, nude figure of Christ, facing, head and feet turned right; behind is T-shaped cross, beneath which the arms extend without any means of attachment; on each side stand six small draped figures representing the twelve apostles; inscription damaged.

Source: British Museum, London BM 1895,1113.1 -

Intaglio Gem Crucifixion [3rdC-4thC] Late Roman

Prada - L'Osservatorio.

 

T36 - Zeus destroying the house of Lycaon, and changing him to a wolf -

Kromos; Cornelian -

plaster cast of a gem - Oxford; Beazley Gem database

www.beazley.ox.ac.uk/databases/gems.htm

****************************************************************

In Greek mythology, Lycaon was a king of Arcadia who, in the most popular version of the myth, tested Zeus' omniscience by serving him the roasted flesh of Lycaon's own son Nyctimus, in order to see whether Zeus was truly all-knowing.

In return for these gruesome deeds, Zeus transformed Lycaon into a wolf and killed his offspring; Nyctimus was restored to life.

wikipedia

en.wikipedia.org/wiki/Lycaon_of_Arcadia

 

T272 – Dionysos teaching Oenopion, his son by Ariadne, the art of making wine - Apollonides

Source:

beazley gem database

T25 - Jason, a young man of great beauty, is being beloved by Ceres - Jupiter becomes jealous of him, and annhiliates him with lightning - Pyrgoteles,

 

Source:

Beazley gem database

plaster cast of a gem - Oxford; Beazley Gem database

www.beazley.ox.ac.uk/databases/gems.htm

****************************************************************

T573 - Jason supplicating Hera to convey him across the river Enipeus [Anaurus] – Pyrgoteles; Amethyst

********************************************************************************

Beazley Archive Gems Search

www.beazley.ox.ac.uk/xdb/asp/gemsSearch.asp?LastMenuPageI...

T524 - The murderers of Orpheus [the Bacchantes ] changed into trees [by Dionysos in his chariot] - Apollonides

Source:

beazley gem database

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

Momiji grandi !!!

[Volks SD-Midi Dai]

T79 - Ceres escaping from the importunities of Neptune by changing herself into a mare - Apollonides

 

Source:

Beazley gem database

T260 - Dionysos, enamoured of Erigone, daughter of Icarius, changes himself to a bunch of grapes to deceive her [changing her into a vine] - Pyrgoteles

Source:

beazley gem database

plaster cast of a gem - Oxford; Beazley Gem database

www.beazley.ox.ac.uk/databases/gems.htm

****************************************************************

The story reminds me of the libretto of "Il Trovatore" by Giuseppe Verdi

 

T212 - Metanira discovering herself while watching Demeter holding her son [Deiphon] over the flames - Apollonides

 

Source:

Beazley gem database

Source:

beazley gem database

Source:

beazley gem database

The analog of the analogue: card catalog system still present at the San Diego Central Library in Downtown, San Diego.

Cruquius, The Netherlands.

 

HWW! :)

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Country: SPAIN

Operator: RENFE

Item: STEAM

Class or Maker: RENFE/230-2075

Wheel Arrangement or Type: 4-6-0

Number: -

Place details: VALENCIA TERMINO

Additional notes: 1674mm

Original source material: Kodak 35mm slide

Photographer: James M Jarvis

Copyright: Photographer's estate

Library locator reference: JMJA.0003

 

30937 Transport Photograph Database

1963OCT31JMJA014cs

Écrit sur un scrabble : database

 

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