The Ottoman tower house that was home to Sir Richard Church (Photograph: Patrick Comerford, 2017)
Patrick Comerford
Strolling through the Plaka on Saturday [19 August 2017], I wanted to see the old mansion that had been home to Sir Richard Church, the Irish-born Philhellene, while he lived in Athens.
During this search, I came across the oldest house in Athens, which dates back to the 17th century.
The Mansion of Benizelou, the oldest surviving house in Athens, is located at 96 Adrianou Street, in Plaka. This house once belonged to the aristocratic family of the Athenian leader, Angelos Benizelou, his wife Sirigi Palaiologina, and their daughter Regoula. Their names indicate they were from old Venetian and Byzantine families.
Regoula Benizelou was widowed at a very young age and decided to dedicate her life to charity by becoming a nun as Sister Philothei. She founded a monastery and her charitable work among both Christians and Muslims attracted the attention of the Ottoman powers and led to her martyrdom. She is now revered as Saint Philothei.
This is one of the few Athenian noble mansions. The house dates back to the 16th century, although most of what we see today dates from the late 17th and early 18th century. It had many characteristics of Ottoman architecture of its day, with a loggia, a patio and a well.
This house has been restored in recent years by the Ministry of Culture and the Archdiocese of Athens and opened as a museum earlier this year [February 2017].
The Mansion of Benizelou, the oldest surviving house in Athens at 96 Adrianou Street (Photograph: Patrick Comerford, 2017)
The remains of what might have been the second oldest house in Athens also stand in the Plaka. The Mansion of Logotheti stood at what is now 14B Areos Street. All that has survived are the gate, the fountain and a small section of the yard. These once belonged to a magnificent mansion built in the 17th century.
This villa was once the home of the British consul in Athens, Spiridon Logothetis, and his family. They hosted Thomas Bruce, Earl of Elgin, when he visited Athens.
I was on my way to join a guided visit to the Acropolis and the Acropolis Museum, so it was interesting to hear that it was at this house the Parthenon Sculptures spent their last nights in Athens before they were shipped to London.
Because the gardens but not the Logothetis mansion have survived, the second oldest surviving house in Athens is the Tower of Church, on the corner of School Street and Epicharmou Street in the Plaka.
This three-storey tower was fortified, and this distinguishes it from all other buildings in the Plaka. It is one of the few Ottoman buildings in Athens that to have survived to this day.
This house was built in the 18th century, and was used by the Ottomans as a fortified post, before being sold in 1835 to the Scottish historian and Philhellene George Finlay (1799-1875). Finlay gave the house to his friend and comrade, Sir Richard Church (1784-1873), the Cork-born general, and so it is known as the Tower of Church.
In the 1920s, it was also known as House Dialisma, and was feted in a painting by the Greek artist Yannis Tsarouchis (1910-1989). But, despite recent renovation work, the house is closed up today, is covered in graffiti, and there are signs or plaques to indicate the important role it played in the Greek War of Independence in the 19th century.
Sir Richard Church (1784-1873), who lived in this house, has been described as the ‘liege lord of all true Philhellenes.’ Church was born in Cork into a Quaker merchant family. In his youth, he ran away to join the army. His Quaker parents were disowned or excommunicated for buying him a commission and so they became Anglicans. He arrived in Greece in 1800 as a 16-year-old ensign serving under Sir Hudson Lowe from Galway. Lowe, who is remembered as Napoleon’s jailer, was the second-in-command in the expedition to the Ionian Islands.
Church took part in the capture of Kephalonia, Ithaki, Lefkhada, Zakynthos and Kythera. He wrote home: ‘The Greeks, who are slaves to the Turks and are Christians, are ... a brave, honest, open generous people.’
Church soon began providing military training for Greek revolutionaries, including Theodoros Kolokotronis, who became the pre-eminent general in the Greek War of Independence. Church recruited the Greeks troops who captured Paxos and the town of Parga on the mainland, and assisted in the negotiations for the surrender of Corfu. By then, he had become ‘more Greek than the Greeks.’
At the Congress of Vienna, he argued for an independent Greece. But he was ordered to disband his Greek regiments, the Ionian Islands became a British colony, and, in an act of treachery, Parga was sold to Ali Pasha (1740-1822). A disappointed Church left Greece for a military career in Austria and Italy. But when the Greek War of Independence broke out in 1821, Kolokotronis and Edward Blaquière, a Dublin seaman of Huguenot descent, campaigned to bring Church back to lead the armed forces.
Two weeks after Church married Elizabeth Augusta Wilmot, who was sister-in-law of the Earl of Kenmare and related by marriage to Byron, the Greek government invited Church to take command of the army. After an absence of 12 years, he returned to Greece in 1827 to a hero’s welcome. He played a decisive role in uniting the Greek factions and in the election of Ioannis Kapodistrias as President, and Church was sworn into office on Easter Day, 15 April 1827.
One of his first actions was a disastrous attempt to drive off a Turkish force besieging the tiny Greek garrison in the Acropolis in Athens. But he soon rallied his forces and stirred a fresh rebellion across the northern Peloponnese. A major turning point in the War of Independence came at the Battle of Navarino, the last sea battle of the age of sail.
Thanks largely to the actions of Church and Gawin Rowan Hamilton, an Irish officer in the British navy, a large Turkish naval force was defeated in a four-hour battle in October 1827. Turkey’s naval power was broken and Church rejoiced at what he called ‘this signal interposition of divine Providence.’
Church found it increasingly difficult to work with Kapodistrias, resigned and left Greece. But he soon relented, returned to Greece permanently, and became a Greek citizen. In 1834, he and his wife moved into a house in the heart of the Plaka, beneath the Acropolis in Athens.
King Otho (r. 1832-1862) restored Church to the rank of general and appointed him Inspector-General of the army. But Otho was a despot, and in 1843 Church played a key role in a coup d’état, presenting the king with an ultimatum that demanded reforms or his abdication. Otho later took his revenge on Church, dismissing him from his post as Inspector-General. But Church remained a life senator and during the Crimean War (1853-1856) he was recalled as a general. A popular revolt in 1862 finally forced Otho to abdicate.
When Church died in his ninetieth year on 27 March 1873, he received a public funeral and was buried in the First Cemetery of Athens, close to Kolokotronis and the heroes of the War of Independence. In his oration, the Greek Ambassador to London, Ioannis Gennadios, described Church as ‘the truest Hellene, the most steadfast and most affectionate of the sons of Greece.’
Church often travelled with nothing more than his Bible and his sword. He believed the Greek struggle was a holy war. This connection between his faith and action is seen in Saint Paul’s Anglican Church, Athens, where two sets of windows to his memory use Old Testament imagery to represent the Greeks as the chosen people and Greece as the Promised Land. Church is represented as Caleb who helps them capture the land from the Gentiles, and as David who, despite his stature, defeats the Philistines. The inference is that the Turks were Amalekites or the Philistines who deprived the Chosen People of the Promised Land.
Church’s grave is marked by a tall slender column with his carved profile, and topped with a Greek cross and a laurel wreath. The simple inscription reads: ‘Richard Church General who having given himself and all that he had to rescue a Christian race from oppression and to make Greece a nation lived for her service and died amongst her people rests here in peace and faith.’
Later in the afternoon, I walked along Tzortz Street (Οδός Τζορτζ), in a depressed corner of Athens off Kanigos Square and Akadimias Street. When he was writing in Greek, Church spelled his name Τζορτζ. It is such a pity that the English transliteration of the street name is not properly rendered as Church Street.
Tzortz Street (Οδός Τζορτζ) near Kanigos Square and Akadimias Street, was named in honour of Sir Richard Church (Photograph: Patrick Comerford, 2017)
20 August 2017
Popular puppets find
new relevance in
the streets of Athens
Colourful characters from Karagiozis on sale in the Plaka (Photograph: Patrick Comerford, 2017)
Patrick Comerford
The streets of the Plaka are lined with tourist shops, selling icons, souvenir reproductions, colourful trinkets and cheap T-shirts. But popular items also included colourful characters from Karagiozis or Karaghiozis (Καραγκιόζης), the shadow puppet theatre that takes its name from a popular character in Greek culture and folklore.
All these colourful puppets are two dimensional and are seen in profile, made in either wood or cardboard, with their torso, waist, feet and arms as separate pieces that are joined together with pins and that are moved with sticks attached to their backs.
Karagiozis is a well-loved figure in Greek folklore, performed at folk feasts, festivals and on television. In Greek daily speech, the name Karagiozis is also used as an insult more or less like clown. But, while Karagiozis can be violent, mischievous, a liar and an anti-hero, he is also good-natured and faithful.
Everyone in Greece loves Karagiozis, and recalls with affection the regular, weekly Karagiozis shows on Greek television in the 1980s, which showed Karagiozis living out some Greek myths or visiting the moon and other planets.
The name Karagiozis or Karaghiozis (Καραγκιόζης) comes from the Turkish Karagöz (‘dark eye’). Karagiozis may have come to mainland Greece from Anatolia at the 19th century, during Ottoman rule. Karagiozis was Hellenised in Patras at the end of 19th century by Dimitrios Sardounis, also known as Mimaros, the founder of modern Greek shadow theatre, and soon became popular throughout Greece.
There are several legends about the arrival of Karagiozis in Greece and his growth in popularity in Greece. Some stories say that Greek merchants brought the art from China and others say that it was a Greek who created the legend under Ottoman rule to entertain the sultan. Others say it began in real events involving two masonry workers, named Karagöz and Haci Ivat, who were building a mosque in Bursa in Turkey in the early 14th century.
Karagiozis is a poor hunch-backed Greek, with a long right hand, clothes that are ragged and patched, and bare feet. He lives in a poor cottage (παράγκα) with his wife Aglaia and their three sons under Ottoman rule. The scene shows their cottage on the left, and the Sultan’s Palace (Sarai) on the far right.
Because of his poverty, Karagiozis uses mischievous and crude ways to find money and to feed his family.
Karagiozis the doctor … one of the many tales in the puppet theatre (Photograph: Patrick Comerford, 2017)
There are many tales, including one-well known one that involves Alexander the Great and the accursed snake, and others that tell of Karagiozis the doctor, the cook, the senator, the scholar, the prophet, the fisherman, the gorilla or even the ghost.
The traditional stories follow a pattern that remains in many of the shows to this day.
Karagiozis appears with his three sons, dancing and singing. He welcomes the audience and has a comical dialogue with his children. He then enters his cottage.
The Vizier reports that he has a problem and needs someone to perform a deed. Hadjiavatis obeys and keeps on announcing the news until Karagiozis hears it.
Karagiozis sees an opportunity to make money and sometimes asks Hadjiavatis to helps him.
Karagiozis sets out either to help the vizier or to fool him. The regular characters appear one-by-one, with an introducing song. Karagiozis has a funny dialogue with them, mocks them, fools them, or becomes annoyed and throws them out violently.
Finally, Karagiozis is either rewarded by the vizier or his mischief is revealed and he is punished, usually by Veligekas, the vizier’s bodyguard.
The main character, Karagiozis, is a trickster and a poor man whose main interests are sleeping and eating. He is close to Hadjiavatis – sometimes they co-operate, but sometimes Hadjiavatis falls prey to Karagiozis abd his schemes.
Kollitiria (Κολλητήρια), Karagiozis’ three kids, are sometimes named as Kollitiris, Svouras and Mirigkokos.
Anglaia (Αγλαΐα), Karagiozis’ wife, is usually not seen, but her nagging voice can be heard coming from the house.
Hadjiavatis (Χατζηαβάτης) is Karagiozis’ friend and sidekick, an honest and serious figure but often ends up being caught up in Karagiozis' schemes. He flatters the powerful and can be subservient, unlike Karagiozis.
Barba Giorgos (Μπάρμπα Γιώργος, ‘Uncle George’) is a crude villager from the mountains, a shepherd or dairy farmer who comes to town on business. He is sometimes a Vlach from Rumeli, knows little about urban life, is broad and strong in build, and dresses in traditional clothing. Although he believes his nephew is a crook, he helps him out and beats all the opponents black and blue with his staff.
Stavrakas (Σταύρακας) has a long independent arm. He represents the mangas culture in Piraeus and the Rebetiko tradition, and Karagiozis teases him rather than bullying him.
Sir Dionysios (Σιορ Διονύσιος) is an Italian aristocrat from Zakynthos who sings cantades and speaks in Ionian Greek with a lampooned accent.
Morfonios (Μορφονιός) is ugly, with a huge head with an extremely large nose. But he thinks he handsome and is always falling in love.
Solomon (Σολομών), is fast-talking rich Jew from Thessaloniki. Despite his frail build, Karagiozis calls him ‘heavy arms.’
The Vizier (Βεζύρης), sometimes called the Pasha (Πασάς), lives in the Sarai. He begins each new tale by announcing the trials, deeds and tests in which Karagiozis becomes entangled.
Fatme (Φατμέ) is the Vizier’s beautiful daughter. She causes trouble by opposing her despotic father or by showing her dislike for Karagiozis or one of the heroes.
Veligekas (Βελιγκέκας), an Albanian guard in the Sarai, is always on the lookout for Karagizis and never loses an opportunity to give him a good beating. But then he is usually gets beaten by Barba Giorgos. Sometimes, he is replaced by Peponias (Πεπόνιας), a fat officer in the Sarai.
Puppeteers often devise their own tales, but there are many traditional tales, handed down from earlier puppeteers and form a ‘canon,’ although there may be variations, and usually there is interaction with the audience.
The stories of poverty and of the oppressed man overcoming the domineering oppressor have many resonances in Greece today, which explains a revival in the popularity of Karagiozis. But I wonder if today’s economic woes are considered by tourists as they look with curiosity on these colourful characters that are a unique part of Greek culture and folklore.
Patrick Comerford
The streets of the Plaka are lined with tourist shops, selling icons, souvenir reproductions, colourful trinkets and cheap T-shirts. But popular items also included colourful characters from Karagiozis or Karaghiozis (Καραγκιόζης), the shadow puppet theatre that takes its name from a popular character in Greek culture and folklore.
All these colourful puppets are two dimensional and are seen in profile, made in either wood or cardboard, with their torso, waist, feet and arms as separate pieces that are joined together with pins and that are moved with sticks attached to their backs.
Karagiozis is a well-loved figure in Greek folklore, performed at folk feasts, festivals and on television. In Greek daily speech, the name Karagiozis is also used as an insult more or less like clown. But, while Karagiozis can be violent, mischievous, a liar and an anti-hero, he is also good-natured and faithful.
Everyone in Greece loves Karagiozis, and recalls with affection the regular, weekly Karagiozis shows on Greek television in the 1980s, which showed Karagiozis living out some Greek myths or visiting the moon and other planets.
The name Karagiozis or Karaghiozis (Καραγκιόζης) comes from the Turkish Karagöz (‘dark eye’). Karagiozis may have come to mainland Greece from Anatolia at the 19th century, during Ottoman rule. Karagiozis was Hellenised in Patras at the end of 19th century by Dimitrios Sardounis, also known as Mimaros, the founder of modern Greek shadow theatre, and soon became popular throughout Greece.
There are several legends about the arrival of Karagiozis in Greece and his growth in popularity in Greece. Some stories say that Greek merchants brought the art from China and others say that it was a Greek who created the legend under Ottoman rule to entertain the sultan. Others say it began in real events involving two masonry workers, named Karagöz and Haci Ivat, who were building a mosque in Bursa in Turkey in the early 14th century.
Karagiozis is a poor hunch-backed Greek, with a long right hand, clothes that are ragged and patched, and bare feet. He lives in a poor cottage (παράγκα) with his wife Aglaia and their three sons under Ottoman rule. The scene shows their cottage on the left, and the Sultan’s Palace (Sarai) on the far right.
Because of his poverty, Karagiozis uses mischievous and crude ways to find money and to feed his family.
Karagiozis the doctor … one of the many tales in the puppet theatre (Photograph: Patrick Comerford, 2017)
There are many tales, including one-well known one that involves Alexander the Great and the accursed snake, and others that tell of Karagiozis the doctor, the cook, the senator, the scholar, the prophet, the fisherman, the gorilla or even the ghost.
The traditional stories follow a pattern that remains in many of the shows to this day.
Karagiozis appears with his three sons, dancing and singing. He welcomes the audience and has a comical dialogue with his children. He then enters his cottage.
The Vizier reports that he has a problem and needs someone to perform a deed. Hadjiavatis obeys and keeps on announcing the news until Karagiozis hears it.
Karagiozis sees an opportunity to make money and sometimes asks Hadjiavatis to helps him.
Karagiozis sets out either to help the vizier or to fool him. The regular characters appear one-by-one, with an introducing song. Karagiozis has a funny dialogue with them, mocks them, fools them, or becomes annoyed and throws them out violently.
Finally, Karagiozis is either rewarded by the vizier or his mischief is revealed and he is punished, usually by Veligekas, the vizier’s bodyguard.
The main character, Karagiozis, is a trickster and a poor man whose main interests are sleeping and eating. He is close to Hadjiavatis – sometimes they co-operate, but sometimes Hadjiavatis falls prey to Karagiozis abd his schemes.
Kollitiria (Κολλητήρια), Karagiozis’ three kids, are sometimes named as Kollitiris, Svouras and Mirigkokos.
Anglaia (Αγλαΐα), Karagiozis’ wife, is usually not seen, but her nagging voice can be heard coming from the house.
Hadjiavatis (Χατζηαβάτης) is Karagiozis’ friend and sidekick, an honest and serious figure but often ends up being caught up in Karagiozis' schemes. He flatters the powerful and can be subservient, unlike Karagiozis.
Barba Giorgos (Μπάρμπα Γιώργος, ‘Uncle George’) is a crude villager from the mountains, a shepherd or dairy farmer who comes to town on business. He is sometimes a Vlach from Rumeli, knows little about urban life, is broad and strong in build, and dresses in traditional clothing. Although he believes his nephew is a crook, he helps him out and beats all the opponents black and blue with his staff.
Stavrakas (Σταύρακας) has a long independent arm. He represents the mangas culture in Piraeus and the Rebetiko tradition, and Karagiozis teases him rather than bullying him.
Sir Dionysios (Σιορ Διονύσιος) is an Italian aristocrat from Zakynthos who sings cantades and speaks in Ionian Greek with a lampooned accent.
Morfonios (Μορφονιός) is ugly, with a huge head with an extremely large nose. But he thinks he handsome and is always falling in love.
Solomon (Σολομών), is fast-talking rich Jew from Thessaloniki. Despite his frail build, Karagiozis calls him ‘heavy arms.’
The Vizier (Βεζύρης), sometimes called the Pasha (Πασάς), lives in the Sarai. He begins each new tale by announcing the trials, deeds and tests in which Karagiozis becomes entangled.
Fatme (Φατμέ) is the Vizier’s beautiful daughter. She causes trouble by opposing her despotic father or by showing her dislike for Karagiozis or one of the heroes.
Veligekas (Βελιγκέκας), an Albanian guard in the Sarai, is always on the lookout for Karagizis and never loses an opportunity to give him a good beating. But then he is usually gets beaten by Barba Giorgos. Sometimes, he is replaced by Peponias (Πεπόνιας), a fat officer in the Sarai.
Puppeteers often devise their own tales, but there are many traditional tales, handed down from earlier puppeteers and form a ‘canon,’ although there may be variations, and usually there is interaction with the audience.
The stories of poverty and of the oppressed man overcoming the domineering oppressor have many resonances in Greece today, which explains a revival in the popularity of Karagiozis. But I wonder if today’s economic woes are considered by tourists as they look with curiosity on these colourful characters that are a unique part of Greek culture and folklore.
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