22 October 2026

The sculptures of Thessaloniki:
11, ‘Monument of Sokratis Karantinos’
at the Royal Theatre of Thessaloniki

The marble monument at the Royal Theatre of Thessaloniki honours Sokratis Karantinos (1906-1979), the first artistic director of the State Theatre of Northern Greece (Photograph: Patrick Comerford)

Patrick Comerford

I have been recalling in recent weeks how I have come across a collection of photographs of a dozen modern sculptures in the streets and parks of Thessaloniki and how I realised I had written little about these sculptures over the years.

Rather than leave these photographs and memories in forgotten files on my laptop or in the cloud, I started an occasional series of blog postings on some of those modern sculptures I have rediscovered in Thessaloniki. Over these few weeks, I am inviting you to join me in a minor odyssey of recovery and discovery as my mind wanders through the streets of Thessaloniki, looking at these sculptures again.

The sculptures I have looked at in recent weeks include the monumental statues of Aristotle, Alexander the Great and Eleftherios Venizelos, the Jewish Memorial by Konstantinos Lentaris at the Aristotele University of Thessaloniki, the bust of Admiral Nikolaos Votsis in front of the White Tower, the Monument for the Jewish Holocaust on the edge of Eleftherias Square, ‘The Woman of Pindos’ by Kostas Domboulas in Fanarioton Square, ‘The Stumbling Stones’ or ‘Stolpersteine’ by Gunter Demnig, and the ‘Marathon Runner of Peace’ or ‘Monument of Peace’ commemorating the peace activist Grigoris Lambrakis (1912-1963), at the junction of Ermou street, Eleftherios Venizelou street and Spandoni street.

A marble monument by an unknown sculptor at the Royal Theatre of Thessaloniki honours Sokratis Karantinos (1906-1979), the first artistic director of the State Theatre of Northern Greece and a prominent theatre director and critic. He was involved with the foundation and the early years of the National Theatre of Northern Greece (NTNG), and was its first artistic director (1961-1967).

The inscriptions on the sculpture include a dedication to Sokratis Karantinos and a verse from the poet George Seferis (Photograph: Patrick Comerford)

The monument was erected on 30 October Avenue by the Municipality of Thessaloniki in 1989. The pedimented upper part of the monument is in the style of a relief marble funerary stele, with a relief carving of a theatre stage in the middle.

The inscriptions on the sculpture include a dedication to Sokratis Karantinos and a poignant verse by the Nobel Prize winning poet George Seferis:

Θυμότανε κανείς γέροντες δασκάλους που μας άφησαν ορφανούς
One remembered old teachers who left us orphaned

This haunting quotation is from the closing stanza of ‘The Last Day’, a powerful poem written by Seferis in Athens in February 1939. The line expresses a profound sense of spiritual and cultural abandonment. For Seferis, the ‘old teachers’ (or elders/spiritual leaders) represent the guiding authority of tradition, wisdom, and moral stability. By leaving the younger generation ‘orphaned’ they left them without direction in a broken world.

The poem was written on the brink of World War II and during the oppressive Metaxas dictatorship and captures a pervasive sense of powerlessness, impending doom, and total annihilation. The line highlights a deep disappointment with the previous generation, whose cowardice, political missteps, or silence left ordinary people completely vulnerable to the oncoming historical catastrophe.

In the context of Greek theatre history, Karantinos was universally revered by generations of actors and colleagues as a δάσκαλος (dáskalos), a master or teacher. The choice of this specific line highlights the profound sense of loss felt in the theatrical community in Greece when Karantinos died in 1979.

Sokratis Karantinos (Σωκράτης Καραντινός) was a theatre director, theatre critic, drama teacher and actor. He was born in Athens, the son of the owner of the Olympia Theatre and theatrical entrepreneur Nikolaos Karantinos, and a brother of the architect Patroklos Karantinos (1903-1976). He was raised in Athens and spent part of his childhood in Constantinople (Istanbul). After studying in Germany, France and Austria, he returned to Greece in 1933 and became the director the New Drama School. At the time, he also worked as a journalist and theatre critic.

During and after World War II, Karantinos worked with the Athens Theatre, the National Theatre, the Attica Stage and the Greek National Opera. He then became director of the Theatre School of the Athenaion educational association, professor at the University of Athens, first artistic director of the National Theatre of Northern Greece in Thessaloniki (1961) and director of the Drama School of the National Theatre.

As a theatre director of the NTNG, he staged more than 15 theatrical productions. He became artistic advisor and director at the Cyprus Theatre Organisation (THOC) in 1972 and remained there until 1974.

He died in Athens on 2 June 1979.

The name of 30 October Avenue (Λεωφόρος 30ης Οκτωβρίου, Leoforos 30is Oktovriou) recalls 30 October 1944, when the city was liberated from occupying German forces. The Royal Theatre of Thessaloniki (Βασιλικό Θέατρο Θεσσαλονίκης) on 30 October Avenue is the main winter stage for the National Theatre of Northern Greece. It is located at 2, 30 October Avenue in White Tower Square in Thessaloniki and has seating for 721.

The Royal Theatre continues to be the main stage of the Theatre and remains one of the main pillars of Thessaloniki’s cultural life. As well as theatrical performances, the theatre also hosts concerts, festivals and other cultural events, keeping the cultural tradition of the city alive.

In the side streets of Thessaloniki after night falls (Photograph: Patrick Comerford)

In this series:

1, Introduction (21 September 2026)

2, Aristotle by Giorgos Georgiadis, Aristotelous Square (22 September 2026)

3, Alexander the Great by Evangelos Moustakas, Alexander’s Garden (23 September 2026)

4, Eleftherios Venizelos by Giannis Pappas, Plateia Dikastirion (24 September 2026)

5, The Jewish Monument by Konstantinos Lentaris, Aristotle University of Thessaloniki (25 September 2026)

6, Admiral Nikolaos Votsis by Georgios Dimitriadis, in front of the White Tower (1 October 2026)

7, The Monument of the Jewish Holocaust by Nandor Glid, Eleftherias Square (2 October 2026)

8, ‘The Woman of Pindos’ by Kostas Domboulas, Fanarioton Square (8 October 2026)

9, ‘The Stumbling Stones’ (‘Stolpersteine’) by Gunter Demnig (9 October 2026)

10, ‘Marathon Runner of Peace’, the monument to Grigoris Lambrakis by Vasilis Doropoulos, Ermou Street (14 October 2026)

11, The Monument of Sokratis Karantinos, 30 October Avenue (22 October 2026)

Next: Citizens’ by Manolis Tzompanakis, Aghias Sophias Square

Daily prayer in Ordinary Time 2026:
167, Thursday 22 October 2026

The 15th-century font with images of the Seven Sacraments and the Crucifixion in Saint Mary and All Saints’ Church, Walsingham (Photograph: Patrick Comerford, 2026)

Patrick Comerford

We are continuing in Ordinary Time in the Church Calendar, and the week began with the Twentieth Sunday after Trinity (Trinity XX, 18 October 2026).

Before the day begins, I am taking some quiet time early this morning to give thanks, and for reflection, prayer and reading in these ways:

1, today’s Gospel reading;

2, a short reflection;

3, a prayer from the USPG prayer diary;

4, the Collects and Post-Communion prayer of the day.

‘Do you think that I have come to bring peace to the earth?’ (Luke 12: 51) … the Peace Globe in the nave in Norwich Cathedral (Photograph: Patrick Comerford, 2026)

Luke 12: 49-53 (NRSVA):

[Jesus said:] 49 ‘I came to bring fire to the earth, and how I wish it were already kindled! 50 I have a baptism with which to be baptized, and what stress I am under until it is completed! 51 Do you think that I have come to bring peace to the earth? No, I tell you, but rather division! 52 From now on, five in one household will be divided, three against two and two against three; 53 they will be divided:

father against son
and son against father,
mother against daughter
and daughter against mother,
mother-in-law against her daughter-in-law
and daughter-in-law against mother-in-law.’

‘And you yourself a sword shall pierce’ … Station IV of Ken Thompson’s Stations of the Cross in Saint Mel’s Cathedral, Longford (Photograph: Patrick Comerford)

Today’s Reflection:

Once again we are confronted with a Gospel reading this morning that is difficult, with its images of division and strife, shattering all our expectations of Gospel values that emphasise domestic bliss and harmony.

I cannot resist finding irony in the coincidence just two days before we mark United Nations Day and the beginning of UN Disarmament Week, while the US continues to wage an undeclared against war against Iran and is now openly facilitating Russia’s invasion of Ukraine, the Gospel reading is a passage in which Jesus says: ‘Do you think that I have come to bring peace to the earth? No, I tell you, but rather division!’ (verse 51).

In today’s Gospel reading (Luke 12: 49-53), we hear warnings of fire on earth (verse 49), and of families and households divided and fighting each other to the death (verses 52-53). The verses that follow include images of people being blown about by the storms and tempests of the day (verses 54-56).

They are images that might have inspired ‘hellfire and brimstone’ sermons. But they have inspired too great creative and literary minds in the English language, from William Shakespeare and William Blake to TS Eliot in the Four Quartets:

This is the death of earth.

Water and fire succeed
The town, the pasture and the weed.
Water and fire deride
The sacrifice that we denied.
Water and fire shall rot
The marred foundations we forgot,
Of sanctuary and choir.
This is the death of water and fire. ( – Little Gidding)

If we dismiss these apocalyptic images because they have been hijacked by fundamentalist extremists for their own religious and political ideals, then we miss an opportunity to allow our values to challenge those ways we may be allowing our lives to drift along without questioning or examination.

Fire and water were a challenge for me earlier this year when I visited Saint Mary and All Saints’ Church, the Church of England parish church in Walsingham. I was speaking at the Ecumenical Pilgrimage in March, and I had two separate opportunities to visit the Church of England parish church.

Saint Mary and All Saints’ Church dates from the 14th and 15th centuries, and is built from flint with stone dressings. In addition to nave and chancel, there are north and south aisles and north and south transepts. The west tower has a lead needle spire. The church was destroyed in a major fire in 1961; although the original tower and north porch survived. The rest of the church was rebuilt and it is a Grade I listed, building, while the churchyard walls and gates are separately listed Grade II. The original dedication of the church was to All Saints. When Father Alfred Hope Patten (1885-1958) was appointed the Vicar in 1921, he changed the dedication to the present double dedication of Saint Mary and All Saints.

The church has a 15th-century font that illustrate the Seven Sacraments and the Crucifixion. The font survived the fire in 1961, but the 17th-century font cover did not, and the 1964 font cover is a replica of the original. The beautiful baptismal font has now been placed at the west end of the church, close to entrance. The font is a challenge to all who enter the church and is placed exactly where it should be, for Baptism is entry to the Church.

Baptism is not a naming ceremony, it is not about my individual experience, it is never a private event. It is a public event, and it incorporates me into the unity, the community of the Body of Christ.

In the Gospel reading today (Luke 12: 49-53), Christ challenges us with three themes: Fire, Baptism and Division.

In the Bible, fire can represent the presence of God – think of the pillar of fire in the wilderness (Exodus 13: 17-22) or the tongues of flame at Pentecost (Acts 2: 1-4).

It can represent judgment (see Revelation 20: 7-10), and it can represent purification – the prophets Zachariah (13: 9) and Malachi (3: 2-3) speak of the refiner’s fire in which God purifies his people, as a refiner purifies silver by fire.

At the Presentation in the Temple (Luke 2: 22-38), old Simeon foresees how the Christ Child ‘is destined for the falling and the rising of many in Israel, and to be a sign that will be opposed so that the inward thoughts of many will be revealed – and a sword will pierce your own soul too’ (verses 34-35).

The sword that pierces the soul of the Virgin Mary, the sword that has killed the prophets, the sword the divides families, is a reminder that Christ, who embodies the presence of God, simultaneously judges and purifies.

In the New Testament, Baptism represents both judgment and purification and Saint John the Baptist connects it with fire (Luke 3: 16-17).

In this Gospel reading, however, Christ is referring not to the baptism he brings but to the baptism he receives. He not only brings the fire of judgment and purification, but he bears it himself also.

The Kingdom of God he proclaims is governed:

• not by might but by forgiveness (think of forgiveness in the Lord’s Prayer, Luke 11: 4);
• not by fear but by courage (‘be not afraid’ in Luke 1: 13, 30, 2: 10, 5: 11, 8: 50, 12: 4, 7, 32);
• not by power but by humility (see Magnificat, Luke 1: 46-55).

But it is easy to be lured by the temptations of wealth, status, power and political promises rather than the promises that come with our Baptism.

‘Do you think that I have come to bring peace to the earth? No, I tell you, but rather division!’ (Luke 12: 51) … Luke Perry’s sculpture of Æthelflæd in Tamworth points to Saint Editha’s Church and Tamworth Castle (Photograph: Patrick Comerford)

Today’s Prayers (Thursday 22 October 2026):

The theme this week (18 to 24 October) in Pray with the World Church, the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘Inclusive Education in Handeni’ (pp 48-49). This theme was introduced on Sunday with a programme update from Father John George Sembuyagi, Programme Lead, Diocese of Tanga, Anglican Church of Tanzania.

The USPG Prayer Diary today (Thursday 22 October 2026) invites us to pray:

God of unity, we pray for your church in Handeni that it may be known as a place of welcome, where hearts and minds are open to recognise and celebrate the gifts present in every person.

The Collect of the Day:

God, the giver of life,
whose Holy Spirit wells up within your Church:
by the Spirit’s gifts equip us to live the gospel of Christ
and make us eager to do your will,
that we may share with the whole creation
the joys of eternal life;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.

The Post-Communion Prayer:

God our Father,
whose Son, the light unfailing,
has come from heaven to deliver the world
from the darkness of ignorance:
let these holy mysteries open the eyes of our understanding
that we may know the way of life,
and walk in it without stumbling;
through Jesus Christ our Lord.

Additional Collect:

God, our light and our salvation:
illuminate our lives,
that we may see your goodness in the land of the living,
and looking on your beauty
may be changed into the likeness of Jesus Christ our Lord.

Yesterday’s Reflections

Continued Tomorrow

‘I have a baptism with which to be baptized’ (Luke 12: 50) … the baptismal font in Saint Mary and Saint Giles Church, Stony Stratford (Photograph: Patrick Comerford, 2026)

Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org