Carl Anton Joseph Rottmann was a famous German landscape painter and a beloved painter of the Bavarian king Ludwig I (1786 – 1868). He was famous for his mythical-heroic themes in his painting. Rottmann’s greatest artistic achievement was the creation of the “Greek Circle” (Griechenlandzyklus), a series of romantic landscape paintings of Greece, which he created after an assignment by Ludwig I. He was considered to be the “most important landscape painter of Munich”, and was one of the first German painters to accomplish realistic pictures of Greece (as noted by the German architect, Leo von Klenze, 1784-1864). The importance of his contribution was recognized in his time, and, after his death, a room of the New Gallery of Munich (Neue Pinakothek) was dedicated exclusively to the exhibition of the works of the “Greek Circle” (1853). He is the only artist to be awarded such an honor at the Neue Pinakothek.

He was born on 11 January 1797 in the Handschuhsheim district of Heidelberg and apprenticed with his father, Friedrich Rottmann, who taught painting at the city’s University. Carl’s younger brother, Leopold, also became a painter; without reaching an equal fame. Carl Rottmann´s mastery in using watercolor and the power of his compositions can be already seen in some of his first works. He was influenced by the Dutch landscape painters, the Frenchman Claude Lorrain (1600-1682), and the Englishman George Augustus Wallis (1761-1847), with whom he became associated during the latter’s stay in Heidelberg. Rottmann, along with his compatriots Philipp Fohr (1795-1818) and Ernst Fries (1801-1833), was one of Heidelberg’s leading Romantic painters, and influenced a number of younger landscape painters.

His moving to Munich in 1821 was a turning point in his rise as an artist. Through his wife, Friedericke Sckell, and her family circle, he came in contact with the Bavarian monarch, Ludwig I. Ludwig´s ideological and artistic program aimed to promote the Wittelsbach House in Munich, as well as to emphasize the common cultural heritage of the emerging new Greek state and Bavaria. The architectural buildings and the urban redesign of the “Athens on the Isar”, as well as the new artworks that were created, clearly supported this ideological program. As a patron of the arts, Ludwig Ι soon formed a circle of favored painters and architects around him. One of his favorite artists was Rottmann (from 1841 onwards the official “painter of the royal court” – Hofmaler), to whom he commissioned the illustration of the galleries of the garden of Munich (Hofgarten) with Italian landscapes. The accessible to the public gardens would offer a “free history lesson”. The Bavarian monarch chose to emphasize his homeland’s relationship with Italy through an artistic tour of the neighboring country. In order for Rottmann to enrich his repertoire of images with realism, Ludwig instructed him to visit Italy (1826-1827). Thus he created 28 idyllic topographies (frescoes) by 1828, which were originally intended to be exhibited at the Hofgarten.

The cycle of the “Italian works” paved the way for another important assignment of Ludwig I to Rottmann. The eldest son of the monarch, Othon, had already been crowned King of Greece in 1832, and the creation of some monumental works that would underline the alliance and friendship between the two countries were needed. Thus Ludwig financed Rottmann´s transition to the newly built Greek state (1834-1835) to collect material for the creation of “Greek works” in the northern wing of the Hofgarten galleries. These works would complete the program of idyllic – romantic landscape that was inaugurated with the Italian themes. The original plan was to create 38 scenes. Apart from Rottmann, Ludwig’s envoys to Greece were the painters Ferdinand Stademann (1791-1873), Ludwig Lange (1808-1868), Peter von Hess (1792-1871), the army officers / painters Karl Wilhelm Freiherr von Heideck (-1861) and Karl Krazeisen (1794-1878), as well as the architect Leo von Klenze (1784-1864). Peter von Hess was also commissioned by Ludwig I to create images from the Greek Revolution for the Hofgarten’s north portico.

Ludwig Lange was an important companion of Rottmann in Greece, who provided him with valuable advice on his architectural plans. Rottmann encountered difficulties during his one-year journey, as evidenced by a number of letters he wrote at the time. He toured both mainland Greece (Athens, Corinth, Nafplio, Tiryns, Mycenae, Epidaurus, Nemea, Sparta, Thebes) and the islands (Evia, Naxos, Delos), and created hundreds of sketches of the landscapes he visited, sometimes panoramic representations with pencil and watercolor.

 

Sunset in Epidaurus, Carl Rottmann, oil on canvas (SHP collection).

 

The image of the war-torn Greece that the painter came across during his twelve-month stay was far from the idealized “Arcadia” that Ludwig I wanted to promote. For the depictions of places of significant historical importance, e.g. “Schlachtfeld von Marathon” (the battlefield of Marathon), Rottmann avoided narrating events through the depiction of persons, assigning it more to the elements of nature, animals or weather phenomena, with which he “confesses” the historical events to his viewer. He also tried to combine the evidence of antiquity with the Greek modern presence, as in “Athen, vom Brunnen aus” (view of Athens from a fountain). These choices made him the proponent of a new “romantic, heroic landscape”. His works stand out for their skillful rendering of light and subtle shades of sky. The expression “Rottmannhimmel” (Rottmann sky) as a reference to a clear blue sky survives in Munich up to this day.

After returning to Munich in October 1834, he transferred his drafts to watercolors, in order to present them to Ludwig I and gain his approval for their transfer to the Hofgarten. For the “Greek Circle” he first used encaustic painting, which guaranteed longevity in the works, then experimented with the use of resin. By 1849, he had created 23 landscapes, thus reducing the number of works originally planned. The idea of their outdoor exhibition was abandoned. From 1853 the scenes were on display in a special room of the New Gallery in Munich that bore his name (Rottmann-Saal, Neue Pinakothek). This room, together with the New Gallery building, was closed with the outbreak of World War II. Due to their weight, the images could only be moved to the basement of the museum, where they suffered a significant damage. In 2003 a new Rottmann room was created in the new building of the New Gallery (1981), where 14 of his 19 restored paintings were exhibited.

Carl Rottmann died in Munich on July 7, 1850, just a few weeks after completing his last painting of the “Greek Circle”. His tomb is located in the Alter Südfriedhof in Munich.

 

Bust of Carl Rottmann, lithography, 19nth century.

 

SHP honors the great painter and Philhellene Carl Rottmann, who preserved for the younger generations the image of Greece that he confronted during the first years of the Greek state, through his atmospheric landscapes.

 

Sources – Bibliography

  • Fuhrmeister, Christian; Jooss, Birgit (Hrsg.), Isar/Athen Griechische Künstler in München – Deutsche Künstler in Griechenland, Μόναχο 2008.
  • Kepetzis, Ekaterini, „Imagination und Wirklichkeit. Griechenlandrezeption in der westeuropäischen Malerei“, στο: Κonstantinou, Evangelos (Hrsg.), Das Bild Griechenlands im Spiegel der Völker (17. bis 18. Jahrhundert), Philhellenische Studien Band 14, Peter Lang, Frankfurter am Main 2008.
  • Kepetzis, Ekaterini, Rezension von: Herbert W. Rott / Renate Poggendorf / Elisabeth Stürmer: Carl Rottmann. Die Landschaften Griechenlands, Ostfildern: Hatje Cantz 2007, στο KUNSTFORM 9 (2008), Nr. 1, https://www.arthistoricum.net/kunstform/rezension/ausgabe/2008/1/
  • Μιχαήλ, Γιάννης, «Δέκα τόνοι Ελλάδα», Το Βήμα, 25.11.2008.
  • https://www.pinakothek.de/kunst/carl-rottmann/kopaissee

 

Sixth medal: The French Philhellene Charles – Nicolas Fabvier

 

 

After the first quadrilingual and luxurious anniversary edition related to the Philhellenism, we present an impressive collection of medals depicting 10 emblematic Philhellenes and 20 Greeks who contributed to the liberation of Greece.

Side A (recto) of the medal presents the emblem of the Friendly Society (Filiki Etairia), which organized the Greek Revolution, based on the values ​​of Hellenism and Philhellenism. Side B (verso) presents the figure of an important Philhellene or Greek actor of the Greek Revolution. The design and implementation of the medals is a product of the work of the Greek creator Mr. Thanassis Dovas, in collaboration with SHP and the Museum of Philhellenism.

The medals have a diameter of 40 mm and a thickness of 3.5 mm. They are offered in bronze, brass and silver, and are available individually (in a package of one medal) or in a case of ten.

Medal price (bronze or brass): 49 Euro.
Medal price (silver 925): 99 Euro.

For orders:
Tel: 6974750361
email: info@eefshp.org

Anlässlich des 200. Jubiläums seit Beginn des griechischen Unabhängigkeitskampfes gegen die osmanische Herrschaft stellt Ihnen die Deutsche Botschaft Athen 21 Beispiele des deutschen Philhellenismus vor.

 

 

In March 1821, the Greeks started a struggle for independence, which brought the liberation of the Greek people from the Ottoman yoke. Few expected then that the slogan “freedom or death” that prevailed on the flags of the fighters, would be repeated in almost all European languages. The Greek Revolution inspired the uprisings of many European nations and its absolute success proved that freedom can be won even when objective conditions foretell defeat.

The goal of the struggling Greeks was to build a modern state based on the heritage of Greece but also of Europe: individual freedom, democracy, Christian values, which were embraced by the majority of society.

Foreigners rushed to help the Greeks. Among them were Poles, such as Franciszek Mierzejewski, who was killed along with his comrades in the Battle of Peta in 1822, fighting “for our and your freedom.”

The Greek ordeal in the struggle for an independent state – a victorious ordeal – was an inspiration to other oppressed nations.

Poland remembers that Greece was one of the first European countries to recognize its independence when it was reborn after 123 years of partition.

The Parliament of the Republic of Poland, for the 200th anniversary of the beginning of the Greek Revolution, expresses its appreciation to the Greek Nation. Given the experiences of our own history, we know very well that any liberation uprising requires not only excessive courage, but above all, a strong belief in the ideals of freedom, which often require the ultimate sacrifice.

Today, we can proudly repeat the slogan of our common hero of the 20th century, George Ivanov-Sainovich, who at the time of his execution shouted: “Long live Greece, long live Poland!”.

Speaker of Parliament

Elżbieta Witek

 

SHP and the people of Greece thank the Parliament of Poland for this historic decision which confirms the longstanding friendship between the Greek and Polish people. The Philhellenism Museum will send a photo of a painting on the subject of the Greek Revolution that will be displayed on the facade of the Polish Parliament on March 25, 2021.

 

Fifth medal: The Italian Philhellene Santorre di Santarosa

 

 

After the first quadrilingual and luxurious anniversary edition related to the Philhellenism, we present an impressive collection of medals depicting 10 emblematic Philhellenes and 20 Greeks who contributed to the liberation of Greece.

Side A (recto) of the medal presents the emblem of the Friendly Society (Filiki Etairia), which organized the Greek Revolution, based on the values ​​of Hellenism and Philhellenism. Side B (verso) presents the figure of an important Philhellene or Greek actor of the Greek Revolution. The design and implementation of the medals is a product of the work of the Greek creator Mr. Thanassis Dovas, in collaboration with SHP and the Museum of Philhellenism.

The medals have a diameter of 40 mm and a thickness of 3.5 mm. They are offered in bronze, brass and silver, and are available individually (in a package of one medal) or in a case of ten.

Medal price (bronze or brass): 49 Euro.
Medal price (silver 925): 99 Euro.

For orders:
Tel: 6974750361
email: info@eefshp.org

 

The royal family of Bavaria admires the painting of Von Hess on the arrival of Othon in Nafplio

 

Dr. Eleni Leontidou and SHP’s Scientific Committee

 

The international circumstances at the time of the outbreak of the Greek revolution were less than favorable for the Greeks: after the end of the Napoleonic Wars, the leaders of the European powers met in Vienna, where they agreed on adopting a common policy for maintaining the European status quo. This stance came as a reaction to prior wars and catastrophes: the French Revolution had led to a regime of terror, and eventually brought Napoleon to power. Napoleon’s rise provoked a series of wars with great costs for Europe. Because of their obsession with maintaining order and balance of power, in order to avoid new conflicts, the great European powers, and in particular Prussia, Russia and Austria, founding members of the ‘Holy Alliance’, were particularly hostile towards any threat of revolution or republicanism.

The Greek revolutionaries, however, had considerable support from the public. Members of the European elite saw themselves as the spiritual heirs of classical Greece and tended to view the Ottomans as barbarous tyrants.

This often applied for the royal families of Europe as well. Many royals had strong philhellenic feelings even preceding the outbreak of the revolution. An example is Caroline von Braunschweig-Wolfenbüttel (1768 – 1821), the wife of the then Prince of Wales King George IV of Great Britain. The queen had a great love and admiration for classical Greece and the Greeks. In 1816, during a tour of the East, she visited Athens where she carried out archaeological excavations and expressed her support for the Philomuse Society, a society founded with the help of the English with the aim of educating young people and cultivating a national consciousness.[1]

 

Caroline von Braunschweig-Wolfenbüttel (1768-1821)

 

The philhellenic feelings of the members of the royal families were manifested through generous contributions to various fundraisers, organized by the philhellenic committees of Europe, to provide financial support for the Greek revolutionaries. There was also one member of a royal European family who played an instrumental role in the establishment and financing of a philhellenic committee. She was the sister of the Swedish king, Princess Sophia Albertina of Sweden, who had transformed the palace into a center of philhellenism and founded, after the outbreak of the Greek Revolution, a philhellenic women’s committee.[2]

 

Sophia Albertina of Sweden (1753 – 1829)

 

The heir to the Danish throne, Prince Christian Frederick, who later became King Christian VIII, was another supporter of the Greek Revolution. In 1814 he responded anonymously to a fundraiser organized by the Danish priest Hans Bastholm, contributing the sum of 500 talers.

 

Christian VIII, King of Denmark (1786 – 1848)

 

In August 1821 he sent C. L. J. Von Wedekind, a Lieutenant of the Danish Army, to Greece.  At the beginning of 1822 Wedekind, went to Paris, in order to get in touch with the Philhellenic Committee there. Afterwards he returned to his homeland but later went back to Greece. For his support of the Greek cause, Christian Frederick made him his personal guard. Christian was also a subscriber to the Danish philhellenic newspaper “Graekervennen” (The Philhellene).[3] He even offered to personally pay for the debts of  the Danish philhellenes, after they returned to their country.[4]

 

Charles X (Charles Philippe), King of France (1757 – 1836)

 

France, then ruled by King Charles X, was a member of the Holy Alliance but also home to a great number of Philhellenes who traveled to Greece to fight against the Turks. The strong philhellenic current that followed the massacres of Chios, and particularly, the Exodus of Messolonghi, further strengthened French sympathies for the Greek cause. After the victory of the European allied forces in the Battle of Navarino, Charles X provided financial support to the Greeks and in 1828 he sent a military mission of 14000 men led by General Maison to Greece with the mission of putting an end to Ibrahim’s operations in the Peloponnese.  Maison brought with him archaeologists and scientists who mapped the area, prepared urban plans of most of the cities, made records of the ancient monuments and shared their expertise on different issues with the local population.[5]

The house of Orleans also sided with the Greeks. The Duke of Orleans, who later became King of the French, Louis-Philippe, donated significant sums of money for Philhellenic fundraisers. In a single fundraiser, the Princess of Orleans offered 3000 Francs in favor of the Greek cause.[6]

 

Louis Philippe I, King of the French (1773 – 1850)

Louise Marie Thérèse Charlotte Isabelle d’Orléans (1812-1850)

 

Philhellenism was also very widespread in the royal houses of the German states. For example, William I, the second king of Württemberg (1816-1864) was a staunch philhellene[7].

 

William I, King of Württemberg (1781 – 1864)

 

The most important Philhellene monarch, however, was King Ludwig I of Bavaria.

 

Ludwig I, King of Bavaria (1786 – 1868)

 

Τhe European king to openly take a position in favor of Greek independence from the early stages of the struggle. Louis, father of Otto, the future king of Greece, was a Hellenist and a friend of the arts, and envisioned his capital, Munich, as the center of neoclassical philhellenic humanism. From his position of power, he facilitated the creation of the Philhellenic Association of Munich, wrote pamphlets and published fiery articles in favor of the Revolution. He also wrote 32 philhellenic poems and published collections of poetry. The proceeds of the sales of his collections went to the aid of the Greek revolutionaries.[8] After the Exodus of Messolonghi he contributed 2 million francs for the purposes of the Revolution.[9]

The king of Bavaria himself sent a corps of Philhellenes under the command of Karl Heideck to fight in Greece.[10] . At around the same period, he also sent the famous landscape painter Carl Rottmann (1797-1850), to Athens. There Rottmann painted Greek historical landscapes made in order to adorn at Munich’s Hofgarten.[11] The famous philhellenic paintings by Peter von Hess (the so-called 39 scenes from the Greek Revolution) were commissioned by him.[12]

In some cases, the princes’ own views were at odds with the political interests of the state. While two of the princes of the Kingdom of the Netherlands were philhellenes, strategic interests in the Ottoman Empire prevented the royal family from openly supporting the Greek cause. In addition, the Dutch king did not want to strengthen separatist movements within his own kingdom, particularly in Belgium, which finally gained its independence in 1830.[13] Nevertheless, the philhellenic movement developed in the Netherlands as well and contributed greatly to the struggle of the Greeks.

The prince of Prussia was also sympathetic towards the Greek revolutionaries, even though the Prussian government was originally one of the most hostile ones towards the struggle of the Greeks. Philhellenic fundraisers and conscription in armies were prohibited in Prussia until 1826.[14] At that time, Frederick Wilhelm, King of Prussia, lifted the ban on fundraisers, and apparently also offered anonymously 1,200 gold coins for the Greek struggle.[15]

 

Frederick William III, King of Prussia (1770 – 1840)

 

Whereas Western European philhellenism, stemmed from love and admiration for ancient Greek culture, for Russian philhellenism the common Orthodox faith played a major role. The Russians had been interested in Greece for a long time, since the Greek issue was part of the ‘Eastern question’: as the weakening of the Ottoman Empire from18th century onward paved the way for the division of its territories into spheres of influence for the Western powers. In the end of the 18th century, Empress Catherine the Great had devised an ambitious plan to create an orthodox empire: after the division and distribution of the lands of the Ottoman Empire there would be a restoration of the Byzantine Empire under Russian protection and rule.

After the Napoleonic Wars, however, the balance of power changed: the Russian government initially viewed the Greek revolution negatively, since Russia was one of the powers that wished to maintain the status quo in Europe. Thus, Tsar Alexander I kept a neutral stance. However, in July 1821 he approved a programme for collecting aid for the Greeks who had fled to Odessa and Bessarabia, to which his wife Tsarina Elizabeth had contributed. Both the Tsar and the Tsarina offered significant sums to the Philomuse Society of Vienna, which was a philological society similar in actions and ideology to that of Athens, but which operated under Russian influence. Specifically, the Tsar offered 200 Dutch ducats and the Tsarina 100, while most of the Danubian rulers contributed with donations as well.[16]

As we have seen, many kings and princes of Europe were supporters and exponents of the philhellenism since the start of the Greek Revolution. In the beginning, their philhellenic feelings were not enough in most cases, to influence the political stance of their countries towards the Greeks. However, their contribution was significant, especially because they encouraged the development of philhellenic committees.

Ludwig of Bavaria was the first king to offer his full moral, economic, humanitarian, diplomatic and military support to the Greek revolution. The works of art he commissioned spread the romantic iconography of the revolution throughout Europe and inspired and captivated many.

In 1826, conditions started changing in favour of Greece. Great Britain and Russia signed the Protocol of St. Petersburg (aimed at providing support for Greece). A year later the two powers were joined by France and signed the Treaty of London which paved the way for the naval battle of Navarino and eventually for the liberation of Greece. But even after the battle of Navarino, the French king’s philhellenic feelings, led to the offer of substantial military support, which helped in finally removingthe Turks from the Peloponnese.

One after the other, almost all of Europe’s royal houses identified with the philhellenic movement and became exponents of ideas that transcended political expediencies of the time. And that is mostly why it is worth remembering and honouring them.

 

References

[1] Α. Μηλιαράκης, «Η Φιλόμουσος εταιρεία εν Αθήναις και η πριγγιπέσσα της Ουαλλίας (1816)», Εστία
683 (29.1.1889).
[2] William St Clair, That Greece may still be free, p. 271.
[3] Βλ. Αριστέα Παπανικολάου-Κρίστενσεν, Το Φιλελληνικό κίνημα στην Δανία.
[4] St Clair, Greece, p. 112.
[5] Ξένη Μπαλωτή, Μαιζών, ένας μεγάλος φιλέλληνας. Η εκστρατεία του στην Πελοπόννησο (Αθήνα 1993). Νίκος Τζανάκος, Η Γαλλική Εκστρατεία στον Μοριά και ο Στρατάρχης Μαιζών (Πάτρα, 2017).
[6] Στέφανος Παπαδόπουλος, «Το Μεσολόγγι και ο Φιλελληνισμός, ομιλία στο πανεπιστήμιο Ιωαννίνων για τον εορτασμό της 150ετηρίδος της Εθνικής Παλιγγενεσίας (27.11.1971)», Ιωάννινα 1971.
[7] Παύλος Καρολίδης, Ο γερμανικός φιλελληνισμός (Αθήνα, 1917).
[8] Λουδοβίκος Α’ (βασιλιάς της Βαυαρίας), Ποιήματα περί Ελλάδος, μτφρ. Σοφοκλής Καρύδης, (Αθήνα, 1868).
[9] Σεβαστή Κεφαλίδου, «Πώς βλέπουν οι Ευρωπαίοι Φιλέλληνες Περιηγητές και τεχνοκράτες τους υπόδουλους Έλληνες και την ελληνική πραγματικότητα (κοινωνία-πολιτική- παιδεία)», Μεταπτυχιακή εργασία. Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης (2005), σελ. 36, 82-3. Στέφανος Παπαδόπουλος, «Το Μεσολόγγι και ο Φιλελληνισμός», σ. 15, 32-4.
[10] Gahlen, Gundula: The Deployment of Bavarian Officers to Greece in the 19th Century, (2015), URL: http://www.mwme.eu/essays/index.html. Reinhard Heydenreuter, Die erträumte Nation. Griechenlands Staatswerdung zwischen Philhellenismus und Militärintervention, in: Reinhard Heydenreuter (ed.), Die erträumte Nation. Griechenlands Wiedergeburt im 19. Jahrhundert. Begleitband zur Ausstellung (München 1993), pp. 47-78.
[11] Markella-Elpida Tsichla, «The Semiotics of the Imagery of the Greek War of Independence. From Delacroix to the Frieze in Otto’s Palace, The Current Hellenic Parliament», cf. Kalligas, Μ. (1977) Images of Greek space after the Liberation. Watercolors and drawings by C. Rottmann and L. Lange. (Athens, 1977).
[12] Μιλτιάδης Παπανικολάου, «Εικόνες από την Ελληνική Επανάσταση: τα 39 πρωτότυπα σχέδια του Peter Von Hess»,  ΕΕΣΑΠΘ, ΙΖ’ (1978), σελ.  335-344.
[13] Β. J. Slot, «Σχέσεις μεταξύ Ολλανδίας και Ελλάδος από τον ΙΖ’ αιώνα μέχρι τον Καποδίστρια, «Παρνασσός, τ. 19.2 (1977), σελ. 281-282.
[14] St Clair, Greece, σ. 64.
[15] Παπαδόπουλος, «Το Μεσολόγγι και ο Φιλελληνισμός», σ. 17
[16] Theophilus C. Prousis, «Russian Philorthodox Relief During The Greek War Of Independence», University of North Florida, History Faculty Publications, (1985) http://digitalcommons.unf.edu/ahis_facpub/17, σελ. 41-42.

 

Bibliography – Sources

  • Λουδοβίκος Α’ (βασιλιάς της Βαυαρίας), ‘’Ποιήματα περί Ελλάδος’’, μτφρ. Σοφοκλής Καρύδης (Αθήνα, 1868).
  • Gahlen, Gundula. The Deployment of Bavarian Officers to Greece in the 19th Century, (2015), URL: http://www.mwme.eu/essays/index.html.
  • Heydenreuter, Reinhard. «Die erträumte Nation. Griechenlands Staatswerdung zwischen Philhellenismus und Militärintervention» in Reinhard Heydenreuter (ed.), Die erträumte Nation. Griechenlands Wiedergeburt im 19. Jahrhundert. Begleitband zur Ausstellung, (München, 1993), σελ. 47-78.
  • Kalligas, Μ. Images of Greek space after the Liberation. Watercolors and drawings by C. Rottmann and L. Lange (Athens, 1977).
  • Prousis Theophilus C., «Russian Philorthodox Relief During The Greek War Of Independence», University of North Florida, History Faculty Publications, σελ. 31-62. (1985) http://digitalcommons.unf.edu/ahis_facpub/17.
  • Slot Β. J., «Σχέσεις μεταξύ Ολλανδίας και Ελλάδος από τον ΙΖ’ αιώνα μέχρι τον Καποδίστρια», Παρνασσός, τ. 19.2 (1977), σελ. 263-284.
  • St Clair, William. That Greece Might Still Be Free: The Philhellenes in the War of Independence (Cambridge, 2008).
  • Tsichla, Markella-Elpida. «The Semiotics of the Imagery of the Greek War of Independence. From Delacroix to the Frieze in Otto’s Palace, The Current Hellenic Parliament». American Research Journal of Humanities & Social Science 3.1, σελ. 36-41 (2020).
  • Καρολίδης, Παύλος Ο γερμανικός φιλελληνισμός (Αθήνα, 1917).
  • Εταιρεία για τον Ελληνισμό και Φιλελληνισμό, «Ελληνίδες και φιλελληνίδες: η συμβολή τους στην Ελληνική Ανεξαρτησία», https://www.eefshp.org/ellinides-kai-filellinides-i-symvoli-toys-stin-elliniki-anexartisia/
  • Κεφαλίδου, Σεβαστή. «Πώς βλέπουν οι Ευρωπαίοι Φιλέλληνες Περιηγητές και τεχνοκράτες τους υπόδουλους Έλληνες και την ελληνική πραγματικότητα (κοινωνία-πολιτική- παιδεία)» Μεταπτυχιακή εργασία. Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης, 2005.
  • Μηλιαράκης, Α. «Η Φιλόμουσος Εταιρεία εν Αθήναις και η πριγγιπέσσα της Ουαλλίας (1816)», Εστία 683 (29.1.1889).
  • Μπαλωτή, Ξένη. Μαιζών, ένας μεγάλος φιλέλληνας. Η εκστρατεία του στην Πελοπόννησο (Αθήνα 1993).
  • Παπαδόπουλος, Στέφανος Ι. Το Μεσολόγγι και ο Φιλελληνισμός, Ομιλία στο πανεπιστήμιο Ιωαννίνων για τον εορτασμό της 150ετηρίδος της Εθνικής Παλιγγενεσίας (27.11.1971), (Ιωάννινα, 1971).
  • Παπανικολάου-Κρίστενσεν. Αριστέα. Το Φιλελληνικό κίνημα στην Δανία (Αθήνα, 2010).
  • Παπανικολάου, Μιλτιάδης. «Εικόνες από την Ελληνική Επανάσταση: τα 39 πρωτότυπα σχέδια του Peter Von Hess»,  ΕΕΣΑΠΘ, ΙΖ’ (1978), σελ.  335-344.
  • Τζανάκος, Νίκος. Η Γαλλική Εκστρατεία στον Μοριά και ο Στρατάρχης Μαιζών (Πάτρα, 2017).

 

Fourth medal: The German Philhellene Karl Friedrich Lebrecht von Normann-Ehrenfels

 

 

After the first quadrilingual and luxurious anniversary edition related to the Philhellenism, we present an impressive collection of medals depicting 10 emblematic Philhellenes and 20 Greeks who contributed to the liberation of Greece.

Side A (recto) of the medal presents the emblem of the Friendly Society (Filiki Etairia), which organized the Greek Revolution, based on the values ​​of Hellenism and Philhellenism. Side B (verso) presents the figure of an important Philhellene or Greek actor of the Greek Revolution. The design and implementation of the medals is a product of the work of the Greek creator Mr. Thanassis Dovas, in collaboration with SHP and the Museum of Philhellenism.

The medals have a diameter of 40 mm and a thickness of 3.5 mm. They are offered in bronze, brass and silver, and are available individually (in a package of one medal) or in a case of ten.

Medal price (bronze or brass): 49 Euro.
Medal price (silver 925): 99 Euro.

For orders:
Tel: 6974750361
email: info@eefshp.org

 

Painting by the German painter Christian Johann Georg Perlberg (1806-1884). It depicts an emblematic figure of a Greek fighter (dimensions 65 cm x 53 cm without the margins).

 

 

SHP and the Philhellenism Museum present a series of reproductions of emblematic paintings of the Museum’s collection. The copies are of excellent quality and are printed on canvas.

Price: 33 Euros

For orders:
Code: ASP1
Tel: 6974750361
email: info@eefshp.org

 

The mythical hero Theseus fights the Minotaur. Work of Antoine-Louis BARYE (1795-1875) (SHP collection).

 

For the Greek Revolution to prevail, it had to gain the trust and admiration of the international political scene and public opinion. A number of important personalities from Greece played a crucial role in this direction.

There are four Greek fighters of the Greek Revolution, whose lives and actions allowed the public to identify them with heroic figures of the Greek mythology and Homeric epics.

It is recalled that the western world had progressively adopted a Hellenocentric culture since the end of the 18th century. This culture had progressively passed into the educational system of every western society.

A key element of this education was the Homeric hero, who excited young people at the time. It is worth noting that in European mythology, the central figure was usually the wizard. We are all familiar with the wizard Merlin in England or even today Harry Potter.

 

Video with the trailer of a recent movie about Merlin https://www.youtube.com/watch?v=er_LjKgkO08

Video with the trailer of the first movie on Harry Potter https://www.youtube.com/watch?v=VyHV0BRtdxo

 

The Homeric hero falls into a different category. He is brave, selfless, a fighter with high ideals, and he takes his fate into his own hands. He fights for his values ​​and for his community.

This form of hero shocks young people in Europe, especially when combined with the cultural wealth of ancient Greece and classical Athens. During the second decade of the 19th century, these values ​​were promoted in the work of the great Romantic poet and Philhellene, Lord Byron.

So when the Greek Revolution began, public opinion was looking to identify in Greece, this very type of Homeric hero. And it found it mainly in the faces of two men and two women.

The two men are the heroes of the Greek Revolution, Markos Botsaris and Konstantinos Canaris. They are both brave and selfless. They fight for their ideals without seeking personal gain, while they refused to engage in civil conflicts.

In the same manner, the public opinion identified similar elements of a heroine in the faces of two Greek women. These were Bouboulina and Manto Mavrogenous. The first one stood out for her combativeness and militancy. The second for her education, selflessness and generosity. Both offered everything they had to the struggle of the Greeks.

The stories of these four Greek heroes became the subject of literary, theatrical and musical works, while their figures and scenes from their lives, were captured in many forms of philhellenic art.

Markos Botsaris and his heroic death, as well as the life and action of Konstantinos Kanaris, have been imprinted in paintings, literary works, poems, works of art, musical works, etc.

 

The death of Markos Botsaris (19th century). Based on a work by Jean-Charles Langlois (1789-1870) (SHP collection).

The oath of Lord Byron at the tomb of M. Botsaris. Variation of the work of Ludovico Lipparini (1800-1856) (SHP collection).

Letter from the American General and Senator William Rosecrans (1819-1898), explaining in 1891 that he identified in his life with the Greek hero Markos Botsaris, who was praised with an emblematic poem by the American poet Halleck (SHP collection).

Canaris and Botsaris. French porcelain dishes. Second quarter of the 19th century (SHP collection).

Victor Hugo, “Les Orientales”, 1829 (SHP collection).

 

Of particular interest is the poetic collection “Les Orientales”, of Victor Hugo, which refers exclusively to the Greek Revolution and is published in Paris in the context of his solidarity with the suffering Greek people, promoting the philhellenic spirit in Europe. It coincides with the views of Lord Byron and publishes the revolutionary actions of the Greeks for freedom from the Turkish yoke, choosing to highlight events that will move more, such as the siege of Messolonghi, the achievements of Kanaris and Botsaris, etc.

“To Greece, forward, oh friends! Revenge and freedom! “

Victor Hugo calls Greece the mother of western civilization:

“(…) Greece of Lord Byron, Greece of Homer
You sweet sister, you our mother “.

The following excerpt presents Canaris saying:

“My brothers, if I return alive, Messolonghi will be spared,
I promise to build a new church of Jesus Christ.
If I die and fall in the dark night of Death
From which no one can return
And if all my blood is spilled, what is left of it
You will bury in free soils my ashes
Under the sun’s light, the clear sky, you dig my tomb”.

 

Mantle clock with Canaris in his fireship. Second quarter of the 19th century (SHP collection).

Canaris in his fireship. French porcelain platter. Second quarter of the 19th century (SHP collection).

Canaris with Pipinos in their fireship. Composition in bronze. Work of Benedetto Civiletti (1846-1899) (SHP collection).

The work of Alexandre Dumas, entitled “CANARIS”, with the inscription “Canaris dithyrambe par Alexandre Dumas. Au profit des Grecs” (Dithyrambic. Sold in favor of the Greeks), France 1826. This copy is sent by Dumas with a handwritten dedication to the Duke of Orleans, King Louis-Philippe of France (SHP collection).

 

Manto Mavrogenous was described as the “Greek Jean d’Arc”, she had constant communication and correspondence with many Philhellene women, whom she regularly informed about the course of the struggle and the needs of the Greeks. In France and elsewhere, all women’s fashion was influenced by these two heroines. The women wore in their honour clothes inspired by ancient or even modern Greece. While they even combed their hair in a Greek way (bobeline). Even liqueurs were marketed under their own name.

 

Bouboulina – Manto Mavrogenous. French porcelain dishes. Second quarter of the 19th century (SHP collection).

Crême de Bobelina [Lyon, 1820s], lithograph label of a liqueur bottle. Under Bouboulina’s ship the inscription: “Bobelina faisant jurer à ses enfans de venger la mort de leur Père” [Bouboulina makes her children swear that they will take revenge for their father’s death]. Right and left of the title, the naval battle of Tenedos and the siege of Nafplio respectively. Below are the details of the distillery: Fab (ri) que de Liqueurs / de Roche Meunier & Mejasson / de Lyon (SHP collection).

Bouboulina. Container in the shape of a woman’s head, coloured porcelain. Work based on a lithography by Adam Friedel, The Greeks (SHP collection).

 

The action, especially of these four heroes, monopolized the interest of the European press and inspired the philhellenic movement during the Greek Revolution, but also for the entire duration of the 19th century.

If one examines the number of literary and artistic works, which concern from 1821 until almost the end of the 19th century, these four figures, and the impact they had, one will understand to what extent Greece owes its freedom to them.

At the same time, it must be emphasized that all societies, in all ages, are looking for models which affirm classical values ​​and principles.

 

Third medal: The Polish Philhellene Franciszek Mierzejewski

 

 

After the first quadrilingual and luxurious anniversary edition related to the Philhellenism, we present an impressive collection of medals depicting 10 emblematic Philhellenes and 20 Greeks who contributed to the liberation of Greece.

Side A (recto) of the medal presents the emblem of the Friendly Society (Filiki Etairia), which organized the Greek Revolution, based on the values ​​of Hellenism and Philhellenism. Side B (verso) presents the figure of an important Philhellene or Greek actor of the Greek Revolution. The design and implementation of the medals is a product of the work of the Greek creator Mr. Thanassis Dovas, in collaboration with SHP and the Museum of Philhellenism.

The medals have a diameter of 40 mm and a thickness of 3.5 mm. They are offered in bronze, brass and silver, and are available individually (in a package of one medal) or in a case of ten.

Medal price (bronze or brass): 49 Euro.
Medal price (silver 925): 99 Euro.

For orders:
Tel: 6974750361
email: info@eefshp.org