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A series (thirty) of marble sculptures from the Archaeological Museum of Kavala, in North Greece, coming from Amphipolis and the greater area of East Macedonia, have been examined and analyzed in order to determine the provenance of their marble. A detailed in-situ examination with optical techniques was carried out, followed by sampling and laboratory analyses with the techniques of Stable Isotope Analysis (IRMS) for carbon and oxygen, Electron Paramagnetic Resonance Spectroscopy (EPR), selective petrography and optical microscopy. In addition, the results from a new quarry near Kavala (Chalkero) that was field-examined and analyzed isotopically are presented for the first time. The results from the sculptures show that the dominant origin of the marble for a lot of them is Thasos, both the dolomitic marble quarries at Vathy and Saliara and the calcitic ones from Aliki or Cape Fanari. A very interesting find was that the source of the marble for several sculptures of the Hellenistic and Roman periods was the Chalkero quarry. Paros marble is used for five sculptures, Penteli and Asia Minor are also represented among the thirty sculptures examined. The marble provenance results have largely contributed to the archaeological/art historical interpretation regarding workshops and sculptors and facilitated the dating of some sculptures. [ABSTRACT FROM AUTHOR]

The aim of this note is to review the passage of Polyaenus, Stratagemata 5. 2. 12. The seizure of Amphipolis by the Syracusans, narrated by Polyaenus, may have taken place in 388, when Dionysius I sent a war fleet to the northern Aegean Sea. The presence of Syracusans in the city on river Strymon may have had an impact on the cultural, religious and artistic life of Amphipolis. In particular, the kidnapping of Kore by Hades on a carriage driven by only two horses in the mosaic of tumulus Kasta near Amphipolis may be due to this western influence. [ABSTRACT FROM AUTHOR]

Ancient Amphipolis (Eastern Macedonia, Greece) is one of the most important archaeological sites of Greece. Despite the restricted excavation studies, important monuments have been discovered, such as the city walls and the Macedonian burial site at the Kasta hill, etc. Currently, the location of the ancient theater is unknown and only assumptions can be made regarding its location. In the current study, we aim to detect the accurate location of the ancient theater using archaeological prospection tools, data collected from the excavated sites, and testimonies of people of the modern city. For the first step of the approach, the approximate location of the ancient theater was determined using information derived by archived geospatial data (multi-temporal aerial photographs, satellite image, and Digital Terrain Model (DTM) of the area) as well as information regarding the neighboring excavated sites. For the in-depth study of the area of interest, a drone was used for the acquisition of high-resolution geospatial data. The generated orthorectified image (3 cm spatial resolution), DTM, and Digital Surface Model (DSM) allowed the determination of the potential location of the buried orchestra’s center using geometric rules for the design of ancient theaters. Furthermore, using the produced DSM and DTM, terrain cross-sections were generated.

The geophysical investigations aiming to image the interior of the huge tumulus of Kastas in Amphipolis in northern Greece commenced on November of 2014 and continued sporadically until the first months of 2017. The electrical resistivity tomography (ERT) method was exclusively employed in both conventional and innovative schemes. Due to the immense size of the tumulus, an irregular grid was established on the tumulus whereas regular grids of ERTs were established on a small terrace created by the excavations and at the south extremity. Also, typical two‐dimensional (2D) ERTs carried out to help clarifying the geological and tectonic setting. Kastas tumulus was created by covering a hill with large amounts of transported earth material. In this respect it constitutes a huge human construction. Further, the excavations revealed a unique building containing ancient art masterpieces. The irregular grid on top constitutes the first effort of such an approach to investigate the interior of a tumulus since all known efforts have been implemented employing regular grids. Consequently, a three‐dimensional (3D) smoothness constrained inversion algorithm was modified. At first, the irregularly placed electrode locations had to fit in a finite element forward solver having particular specifications. Further, the hexahedral elements of the created mesh were manipulated to cope with neighbouring electrode positions in order to make a less dense grid. Finally, a so called 'nudging' process was followed to merge closely positioned electrodes belonging to different, branching, 2D data acquisition lines. The geophysical imaging helped clarify the geological and tectonic structure of Kastas. Further, it yielded several findings some of them being interpreted as natural features and some others as probable manmade. The latter comprise the targets of future excavations. [ABSTRACT FROM AUTHOR]

This article explores the ways in which the archaeological excavations at Amphipolis, Northern Greece, were transformed into a ‘heritage spectacle’ during the summer of 2014. The article argues that the spectacularisation of Amphipolis excavations constituted a powerful, political medium for dis-orientating the wider Greek public from issues related to the severe economic crisis of the country. Although the practice of heritage spectacularisation is not new, the media spectacle of Amphipolis introduced an advanced mechanism for spectacularizing archaeological research and the past. The article deconstructs this mechanism through a thematic content analysis of about 100 newspaper articles published in the Greek press, filtered through the lenses of spectacle theory. As it is demonstrated, the spectacularisation process of Amphipolis excavations is embodied by emotive dramatisation, banal cultural symbols, escapism and power imbalances. The article concludes with an interpretive framework for heritage spectacles while highlighting ethical and practical implications regarding the role of archaeologists and heritage practitioners towards political ‘abuse’ of heritage in times of socio-economic and political crises. [ABSTRACT FROM PUBLISHER]