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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MNEMOSYNE Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hercules Melqart Coin Collections Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. The Coins with Hercules Melqart Συλλογή Νομισμάτων με τον Ηρακλή Μελκαρτ Subject The topic of the resource Hercules Melqart Coin Collections Cypriot Archaeology Bank of Cyprus Cultural Foundation Numismatic Museum Athens Mnemosyne Description An account of the resource The Numismatic Museum in Athens owns one of the most important collections of coins in a worldwide scale, covering a chronological continuum from ancient to modern times, providing a unique history of monetary practice. Material, inscriptions, typologies and iconography are the main mediums through which coins narrate cultural identities, influences and exchanges, commerce and economy, religion, mythology, aesthetics and governing systems. The present case study which will deal with a small number of coins connected with Cyprus, will undoubtedly shed light on the island’s wealth and foreign connections and exchanges with its Near Eastern neighbours, during the sixth century BC. The coins in question depict Hercules-Melqart and belong to the Numismatic Museum of Athens, as well as to the Bank of Cyprus Cultural Foundation in Nicosia. The latter possesses also an important Numismatic Collection, covering the entire range of the Cypriot coinage, from the sixth century BC, the period of the city-kingdoms to the more recent period, following the establishment of the Republic of Cyprus. The iconography of Hercules Hercules represents one of the most archetypical personalities of Greek Mythology. His distinctive characteristics as a hero and as a god find parallels as early as in the adventures of the Mesopotamian hero Gilgamesh, the earliest poem of human history. Long after his establishment in the Greek pantheon, versions of Hercules are met in the Egyptian god Chonsu, Babylonian Nergal or the Phoenician god Melqart. On a small number of Cypriot coins from the collection of the Numismatic Museum of Athens, the local version of Hercules also takes the shape of Melqart. Cypriot Hercules, or Melqart, is an excellent example of cultural exchanges and affinities, while it also provides a unique testimony for the societal processes taking place in an island, the position of which made of it an important cultural and historical crossroad in the Near East and the civilizations that flourished around the Mediterranean basin, already from early antiquity. Epigraphic testimonies verify the division of Cyprus in distinct kingdoms already from the eighth century BC. Until the conquest of the kingdoms by Ptolemy I in 309 BC, the kings of the ten separate independent kingdoms minted coins in gold, silver and copper, using different iconographic motifs and inscriptions in Cypriot-syllabic scripture -the local syllabic scripture that was used for transcribing the Greek language in the Phoenician alphabet; in Greek alphabet from the fifth century BC onwards; and finally, in the Eteocypriot language, a pre-Indo-European language spoken in Iron Age Cyprus, which hasn’t yet been deciphered. An important number of silver and gold coins was minted by the kings of Kition -located in the area of the modern city of Larnaca-, founded at the end of the fourteenth century BC by groups of people arriving from the coast of Syria and Palestine. The strong Phoenician influence in Kition is evident due to the worship of Phoenician gods such as Melqart and Astarte, evidenced by the presence of altars, religious inscriptions, coins, as well as of other movable objects. Several of them have representations of Melqart, bearing the physical characteristics of Hercules. However, in the Cypriot depictions in sculpture and coins, Hercules is clearly differentiated since he often appears without a beard. Creator An entity primarily responsible for making the resource Bank of Cyprus Cultural Foundation Numismatic Museum Athens Source A related resource from which the described resource is derived UNESCO Chair on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology Numismatic Museum Athens Bank of Cyprus Cultural Foundation EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE <br /><br /><a href="https://unescochair-dch.net/EU_Study_quality_in_3D_digitisation_of_tangible_cultural_heritage">EU Study VIGIE 2020/654</a> Publisher An entity responsible for making the resource available UNESCO and ERA Chairs on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 6th Century B.C. Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology Rights Information about rights held in and over the resource CC BY-NC-SA 4.0 Format The file format, physical medium, or dimensions of the resource JPEG PNG Language A language of the resource en Type The nature or genre of the resource IMAGE Identifier An unambiguous reference to the resource within a given context CS05 https://apsida.cut.ac.cy/files/original/525/49276/Chalcolithic_1.png 9c71e7b15825ec68632b28a446bc44f5 https://apsida.cut.ac.cy/files/original/525/49276/Chalcolithic_2.png e896c5c91ff33968ef85bad7bd3d32d3 https://apsida.cut.ac.cy/files/original/525/49276/Chalcolithic_3.png 09217df155a20a57f2ece01f47729d9c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MNEMOSYNE Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data PHOTO Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chalcolithic wine jars Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Χαλκολιθικά δοχεία κρασιού Subject The topic of the resource Chalcolithic wine jars Description An account of the resource Chalcolithic Wine Jars and the History of Wine in Cyprus Since antiquity, grapes have been one of the most famous agricultural products and foodstuffs of Cyprus, as well as one of the basic nutritional elements of the Cypriot diet. The vine has been cultivated on the island since ancient times, while it is still widely cultivated on the island more than any kind of fruit. Viticulture constitutes almost one quarter of the agricultural population, while a large proportion of their income derives from the vines. The famous Wine Villages (“Krasochoria”) of Cyprus – fourteen areas in Limassol, Paphos and Troodos, where inhabitants are exclusively engaged to vine planting and wine-making – constitute the core of vinification of Cyprus since antiquity. However, it is difficult to make any assumptions concerning the time and the circumstances under which the plant was brought to cultivation. It is likely that its cultivation is closely related to the knowledge of turning the fruit of the vine into wine. Wine is not only related to the nutrition or the economy of the island. Given that some of the equipment, recipes, techniques, and processes used to make wine (such as the traditional Commandaria) and zivania (another traditional grape-related beverage), as well as deserts, such as palouzes and soutzoukos, have been handed down for thousands of years, it is clear that wine constitutes a very important part of the cultural heritage – both tangible and intangible - of Cyprus, totally connected with the traditions, the art and the religion of the island. The famous Cypriot Wine The Cypriot wine became famous since antiquity while poets and historians, such as Homer, Stasinus, Pliny, Strabo, and others, sang the praises for its high quality and its sweet flavour. As early as 1100 B.C. the epic poet Homer refers to the Cypriot wine, while the great poet Hesiod in his book “Works and Days”, written around 800 B.C., describes its production in detail. Pliny highlights the importance of wine in antiquity in a simple statement (xiv. 150): ‘There are two liquids most pleasant to human bodies, wine inside and (olive) oil outside’. Furthermore, Strabo in his Geographica (around 23 AD) mentions that (xiv. 6.5): ‘In fertility Cyprus is not inferior to any one of the islands, for it produces both good wine and good oil…’. Winemaking though, was known in Cyprus long before Strabo wrote, as evident by the archaeological record, while Cypriot wine would be known for centuries by the name of “Nama”. Nevertheless, after Richard the Lionheart sold Cyprus to the Order of the Knights Templar and then to the Frank, Guy de Lusignan, the founder of the dynasty that ruled the island for three centuries (1192-1489), the Cypriot wine was renamed to “Commandaria”. During the Lusignans’ rule, catholic crusaders were settled and established themselves on the island in order to build up a feudal kingdom. Among these were the Knights of the Order of Saint John of Jerusalem. During their government (in order for them to have better control of the island) Cyprus was divided into districts called ‘commanderies’. The largest territory was that of Limassol, with Colossi Castle being tis centre of administration. Therefore, the name “Commandaria” was given to the wine because vineyards of excellent quality used to produce this wine were cultivated around the area of Colossi – named “La Grande Commanderie”. After the 12th century, the Cypriot wine became famous in almost all European countries. A famous poem by Henri d’ Andeli ‘The battle of the Wines’ says that during a wine contest the King of France, Phillip Augustus, asked his messengers to bring him the best wines from all around the world. Commandaria won the first prize and the King called the wine of Cyprus “the Apostle of wines”. Moreover, Ludolf Von Suchen, a historian who visited Cyprus in 1336-1344 writes that Commandaria was the Crusaders’ main source of wealth because of the extensive wine trade of that period. As evident in the text of Estienne de Lusignan, who visited Cyprus in 1850, “The Description of the Island of Cyprus”, the Cypriot wine is produced almost in the same way as it was produced during that time and even earlier, while he notes that the Cypriot wine is the best of the world. As Commandaria is not only one of the oldest traditional wines of the world, but it is also produced only in the previously mentioned Wine villages in Cyprus, it was attributed with a Protected Designation of Origin within the European Union, USA and Canada, securing the uniqueness and authenticity of the Cypriot wine. The case under study The earliest archaeologically documented evidence for the vine dates back to the middle of the 5th millennium BC. Wild grape seeds have been found at the Neolithic site of Aghios Epiktetos-Vrysi (4500-3900 BC), in the Kyrenia district, but most probably without any economic significance of the plant in the early prehistory of Cyprus. The same variety of wild grape seeds have been also discovered at the Chalcolithic site of Lemba - Lakkous, in Paphos, dated in the late 4th millennium BC. Chemical analyses of the botanical remains found at the bottoms of a number of egg-shaped jars (with long, narrow, cylindrical necks tapered towards the mouth, pointed nipple bases and no handles) found during Porphyrios Dikaios’ excavation at the archaeological site of Erimi-Bamboula, in 1932-1935, indicate that wine was produced on the island, at least, as early as the Chalcolithic period (3900-2500 BC). More specifically, out of an assemblage of eighteen jars, twelve bottoms contained large traces of tartaric acid (a naturally occurring acid found in several fruits, especially grapes), while the remaining six contained only some traces of the acid. Hence, the research concluded that the Chalcolithic jars were indeed used to intentionally process wine and, furthermore, that the jars with their specific form can be considered the predecessors of amphora-type wine storage vessels in Cyprus. The Chalcolithic Wine Jar under study: Out of the assemblage of the eighteen wine jars found in fragments (18 bottoms and several scattered body sherds) at the site of Erimi – Bamboula this was the only one restored and preserved. It has a characteristic ovoidal shape, pointed base and cylindrical neck tapered towards the mouth. It is taller than 60cm. It can be considered as an early amphora for wine storage and/or processing. It is white slipped inside and outside while it is decorated with wide brush strokes of red colour. Creator An entity primarily responsible for making the resource Department of Antiquities Source A related resource from which the described resource is derived Department of Antiquities Limassol Archaeological Museum UNESCO Chair on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE <a href="https://unescochair-dch.net/EU_Study_quality_in_3D_digitisation_of_tangible_cultural_heritage">EU Study VIGIE 2020/654</a> Publisher An entity responsible for making the resource available UNESCO and ERA Chairs on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource Chalcolithic Period (3900-2500 BC) Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology Rights Information about rights held in and over the resource CC BY-NC-SA 4.0 Format The file format, physical medium, or dimensions of the resource JPEG PNG Language A language of the resource en Type The nature or genre of the resource IMAGE Identifier An unambiguous reference to the resource within a given context CS10 https://apsida.cut.ac.cy/files/original/525/49357/ch3.png ccf07945d10550f21498e5fb1143cbcb https://apsida.cut.ac.cy/files/original/525/49357/ch4-1-1.jpg 5a8d4f388cef6833d70221e695df20cd https://apsida.cut.ac.cy/files/original/525/49357/Non_Destructive_Techs_31_5_2022_Image1-1.jpg 0c24538c35d7e6d8b0be0247a1aa3d2f https://apsida.cut.ac.cy/files/original/525/49357/Screenshot-39-1024x556.png 4c71221781c799b8eb8906b065d02665 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MNEMOSYNE Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Frescoes of the Saint Euphemianos (Lysi) Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Τοιχογραφίες του Αγίου Ευφημιανού (Λύση) Description An account of the resource The Church of Saint Euphemianos or Themonianos is a small, single-room, medieval chapel, surrounded by eucalyptus about 3klm southwest of the village of Lysi in the district of Ammochostos/Famagusta district of Cyprus. It is a very small, single-dome stone building with dimensions 7.5 x 3.5m (without the arch). According to the inscription on the bottom of the arch, which was destroyed by looters, is indicated that the church was dedicated by Monk Lavrentios and Abbot of St. Andronikos Monastery, to St. Euphemianos (Themonianos), a local saint. The interior is decorated with frescoes, which have suffered great damage because of the moisture. Thus, in 1972 maintenance was undertaken by the Department of Antiquities of Cyprus, completed a year before the Turkish invasion of 1974. The dome of the church is decorated with a fresco depicting the Christ Pantocrator. Surrounding the figure of Christ is a double row of angels moving towards the Hetoimasia (the preparation of the throne of the Second Coming of Christ). The Virgin Mary leads one line of the angels to the throne, while John the Baptist leads to the other. In the other fresco of the apse, the Virgin is depicted flanked by two archangels, Gabriel and Michael, with a medallion on her breast of the infant Christ, symbolizing the Incarnation of Christ. A big part of the figure of the archangel Michael has been destroyed due to humidity, whereas the face and figure of the archangel Gabriel remain in very good condition. The frescoes date back to the 13th century and they are typical examples of the Maniera Cypria, the Cypriot painting of the 13th century reflecting the artistic symbiosis between two worlds, East and West in the artworks of the period. During the 1980s, apart from icons, mosaics and frescoes which had been traumatically detached from their “natural habitat” began to appear in the international art market. The first case of organized looting that occurred after the cases of the frescoes of the church of Antiphonitis and the mosaics of Panagia Kanakaria, was that of the frescoes of Saint Euphemianos church. The frescoes of Saint Euphemianos church were forcibly removed by professional looters and were cut into 38 pieces. This case serves as evidence of the brutal destruction of the cultural heritage in the occupied part of Cyprus by the Turkish state officials who participated in and supported the looting. The 38 fragments were bought in 1983 by the Houston-based Menil Foundation in agreement with the Greek Orthodox Church of Cyprus. With the consent of Archbishop Chrysostomos I, a small chapel museum was built in Houston, where the frescoes were presented after their conservation (1984-1988). In 1992 the agreement signed by the Church of Cyprus and the Menil Foundation specified that the Foundation would take care of the frescoes and cover the ongoing costs of conservation in exchange for the right to present the frescoes for 20 years, concluding in February 2012. The frescoes were repatriated on March 16, 2012, with the valuable help of the Archbishop of Cyprus Chrysostomos II and the authorities of the Republic of Cyprus. They are temporally exhibited at the Byzantine Museum of the Archbishop Makarios III Foundation, with the aim of returning them to their birthplace after resolving the Cyprus Question. For the holistic documentation of the frescoes of Saint Euphemianos, a conceptual model of data was created which divides the different types of data needed for the record of a cultural heritage object into classification categories. The general taxonomic system was developed under the MNEMOSYNE project (H2020 ERA Chair) and categorizes the frescoes within the classes, for example, Tangible and Immovable, indicating the type of the object. Furthermore, the intangible information of the object gives information on the past and current location of the frescoes, the period of production, the legal owner of the frescoes etc. This data offers important explanations and knowledge regarding the history of the frescoes. The collected information supports contextual knowledge redistribution and preventive conservation through awareness of the object’s heritage significance. The holistic documentation of the frescoes is important for piecing together their history, which is achieved by recording all of the related information within the same system. The cutting, stealing and illegal export of the frescoes demonstrates the extent of the violent destruction of Cyprus’ cultural heritage by Turkish illicit antiquities dealers in the Turkish-occupied part of the island and by the Turkish occupation army that was actively supporting and even partaking in the looting of churches and monasteries, and medieval monuments. For this reason, many hold the hope to one day not only return to their occupied lands but to also see looted artefacts returned to their rightful place of origin. To this end, the ERA Chair team members work toward a set of objectives, including digitizing the two frescoes located in the Byzantine Museum in Nicosia to perform a digital reunification with the 3D model of the church to provide an as close as possible authentic setting for the murals. Furthermore, written sources (e.g. newspapers) and photographs of the Church before the frescoes were forcibly removed in 1984 are to be collected via crowdsourcing and subsequently digitized. The research results are to be disseminated to the international community (e.g. Europeana) to raise awareness of the violent destruction of Cyprus’ cultural heritage. Creator An entity primarily responsible for making the resource Byzantine Musuem – Nicosia, Cyprus Source A related resource from which the described resource is derived Byzantine Musuem – Nicosia, Cyprus UNESCO Chair on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE <br /><a href="https://unescochair-dch.net/EU_Study_quality_in_3D_digitisation_of_tangible_cultural_heritage">EU Study VIGIE 2020/654</a> Publisher An entity responsible for making the resource available UNESCO and ERA Chairs on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 13th century Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology Rights Information about rights held in and over the resource CC BY-NC-SA 4.0 Format The file format, physical medium, or dimensions of the resource JPG, PNG Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context CS09 Subject The topic of the resource Frescoes Saint Euphemianos Church Frescoes Saint Euphemianos Church https://apsida.cut.ac.cy/files/original/525/49356/Capture7.jpg 4cd8fb4a048bca3173ceadac3153bede https://apsida.cut.ac.cy/files/original/525/49356/holy-bread-seal-removebg-preview.png 89a9f3cfedcfdca4c3576775ff4d1510 https://apsida.cut.ac.cy/files/original/525/49356/HolyBread3-scaled.jpg c47a63ec154c15eb7c94dbc04515e021 https://apsida.cut.ac.cy/files/original/525/49356/Capture2.jpg 63da850b47861dc42087eea9c04c3d49 https://apsida.cut.ac.cy/files/original/525/49356/Capture6.jpg 9316e9ee4c65eab46ab38e1c3d486a8f https://apsida.cut.ac.cy/files/original/525/49356/Capture_img2.jpg f3e8fb61ffd0b6ebd93a676ef26064b6 https://apsida.cut.ac.cy/files/original/525/49356/HolyBread2-1024x683.jpg c42a06b90c978dbecb9aee60ccf92b43 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MNEMOSYNE Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Holy Bread Prosphora Seal Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Σφραγίδα Ευλογίας Subject The topic of the resource Σφραγίδα Ευλογίας Early Medieval Byzantine period Description An account of the resource The artefact chosen for this case study is speculated to had been used for sealing bread or lead objects which were given as a blessing and/or memorial gift to the faithful during their visit to a particular pilgrimage. The artefact belongs to the George and Nefeli Giabra Pierides Museum of the Bank of Cyprus Cultural Foundation. The inscription of the seal/stamp of blessing shows a cross on its centre. The stamp probably dates from the c.6th century AD, thus placing it chronologically in the Early Medieval Byzantine period (or Early Christian period which dates from 395 to mid 7th century A.D., as defined by the Republic of Cyprus’s Department of Antiquities). The circular seal’s diameter is about 10 cm. The seal’s three antennae have a scissor tip, while the fourth one is straight. In the four corners there is an equal number of crosses. The central cross is decorated with geometric, cruciform and cruciform motifs. The seal is made of limestone, and it resembles works of stone or metal replicating them in design. The handle of the seal is also decorated with a cross. Currently there is no information on the seal’s provenance. The above information was given to the Mnemosyne project team by the head Curator of the Bank of Cyprus Cultural Foundation, Dr Christodoulos Hadjichristodoulou. Currently the use of the specific stamp as a blessed object for marking bread is disputed by the Foundation’s Curator, Dr Hadjichristodoulou on the grounds that its inscription does not seem appropriate enough to stamp bread loaves. Based on relevant archeological evidence on other similar stamps, and in particular the metal blessing of Saint Mamas (Mammes, Mammas, Mammet) of Caesarea, the Curator speculates that seals of this type could had also been used for the manufacturing of blessing stamps, however without ruling out the sealing of bread as well. Dr Hadjichristodoulou notes that other objects were also given to the faithful as blessings, such as prayer beads or even the gesture of the priest who blessed the faithful during liturgy or in depictions in art, e.g. the Christ blessing with the right hand, etc. On the other hand, Dr. Ioanna Koltsida-Makri, an archaeologist whose research focuses on byzantine sigillography, supports that the stamp is most probably a bread stamp. Dr. Koltsida-Makri deciphered the stamp’s circular inscription as follows: ‘Blessings of Konstantinos, Paulus, Dommitius’, the inscription is written in mixed Greek and Latin letters. Koltsida-Makri hypothesizes that the bread seal probably belonged to a charity ‘organization’ and used to seal bread and other products for distribution. As our research for this case-study is still under development, both theories are given here, with the intention to arrive to more concrete findings as the research progresses. Thus, both theories are still under development and further evidence is expected to be revealed. The specific artefact was chosen exactly because it has great significance as an object in the Bank of Cyprus Cultural Foundation’s collection. It is one of only three similar stamps found in Cyprus – the rest are kept at the Castle of Limassol-, and is the only one on display and in good condition. Its intangible value for the cultural heritage of Cyprus, and specifically as an artefact used for Christian worship, is unquestionable, because of the symbolism of stamped/blessed bread bear in eastern Christianity. Thus, the story of this bread is being told through these stamps, contributing in this way to our knowledge of the Early Christian eucharistic rites in general and of the Byzantine liturgy in particular. In Galavaris own words, ‘what I saw were no longer stamps but an image, however incomplete, of the bread used in the rites of the Orthodox Church’. Thus, this case-study also contributes in enriching our knowledge in the field of the symbolic sealing of an object or material (whether this is bread or a lead object or something else) for the ritual of the Christian worship. On May 31, 2022, members of the Mnemosyne project team visited the Museum of George and Nefeli Giabra Pierides Collection, at the Bank of Cyprus Cultural Foundation, in Nicosia, in order to study and digitize artefacts belonging to the collection. The collection numbers more than 600 objects and covers a wide range of Cypriot Archaeology from the Early Bronze Age to the Medieval period. It includes unique examples of Mycenaean pottery and examples of pottery from the Geometric, Archaic, Classical, Roman and Medieval periods, clay figurines, stone sculptures and seals, jewellery, coins and bronze objects. In consultation with the Head Curator of the Museum, Dr Christodoulos Hatzichristodoulou, 8 objects were selected for study and digitization: 3 goat-shaped rytas of the Hellenistic period made of clay, 3 limestone statuettes of a clothed youth sitting of the Cypriot-classical period, a late-geometric Euboean skyphos and a seal with a cross in the centre dating from the c.6th AD. In collaboration with the University of West Attica, the study of the chemical composition of the objects was carried out through the non-invasive technologies of X-ray fluorescence spectroscopy and X-ray Raman spectroscopy, which allow the identification of traces of colours in the objects under study. Furthermore, literature review is currently underway and, up until this point, there seems to exist a relative scarcity of secondary sources. Scholars explain that the literature is ‘mute’ about bread stamps, ‘these humble, unglamorous objects which are mostly forgotten in museum cases or catalogues’, and in fact raise more questions than they answer. Bread stamps, wooden molds for eucharistic wafer, and other objects of similar use, are placed within the framework of Christian worship. Investigation on these objects is by default multi-disciplinary, allowing the researcher to cross from one discipline to many others, including archaeology, theology, church history, folklore, literature and baking methods. Bread, as a basic daily food, had a symbolic role in civilization since antiquity, especially as a symbol of peace and health, and as such was offered as a gift to the gods. Before the advent of Christianity, stamping the loaves of uncooked bread before baking, was an ancient practice based on religious and social grounds, such as offering bread printed with animal images to Asclepius thus wishing for good health. When the bread began to be printed with the use of Christian symbols, such as the Cross, the stamps which sometimes functioned as objects for protection, also acquired a Christian character, hence the word eulogia which in the Greek language means ‘blessing’, hence ‘blessing seals/stamps’. Eulogiai (plural for eulogia), in this case blessed objects, we mean objects or materials that, when in contact with something sacred they acquire a spiritual power, whose beneficial effect is passed on to the owners of these objects, in this case the stamped bread loaf. Furthermore, Galavari mentions Leontius of Cyprus (d. ca. 650 AD) who spoke of eulogia sent from one person to another as a sign of affection, a use that recalls the ancient custom of sending blessed bread to others as a sign of communion. Eulogia bread was used effectively against evil, and in fact, this meaning of eulogia bread has persisted until today. Similar stamps to the one used for this case-study, many of which can be found for example at the Benaki Museum in Athens and at the Loulis Museum in Keratsini, Pireaus (Greece), seem to have been intended for the eucharistic bread, suggesting that they were used for a loaf of bread which was to carry a blessing. The loaf could have been distributed at the end of the liturgy, or taken home, or sent from one person to another as a sign of affection. For instance, an example of a seven-century Byzantine text writes: ‘As soon as [the monks] ate and had their fill, they gave their friend three warm loaves of eulogia, they too were blessed, and one of the monks said: “give them to the holy man and tell him that they come from me. For the sake of God, pray for your brother John”’. Hence, here we see another use of the stamp, as an object which bears the identifiable mark of its owner, namely, the unique inscription which ‘reveals’ its owner. These stamps, scholars argue, must had been in demand – given the information we so far have on their use -. Issues of wide circulation and what this meant in terms of ideas and liturgical practices in particular localities of eastern Christianity still exist and are open to interpretation. Our research has shown so far that medieval Christian pilgrims often travelled months or years to religious sites in the Holy Land and returned home with blessed mementos of their journey, such as vials of holy water, relics from saints, and even special loaves of bread or stamped objects. Molds were used to mark bread, for example with an image of the Church of Holy Sepulchre in Jerusalem and then the bread was distributed to pilgrims. It seems to had been common in early Christian practice to stamp images and inscriptions into loaves of bread and other objects, using special molds. Molds were probably used to stamp objects given to pilgrims visiting Jerusalem in commemoration of their journey (Mold for a Eulogia ‘Blessing’ Bread, Clevelandart.org). Even though the secondary literature available so far on bread stamps, does not prove that the pilgrims carried a blessed stamp back to their distant countries to remind them of their pilgrimage, however, there is no doubt that such bread existed and was given to pilgrims, and that stamps were available. For a more precise definition of any stamp’s use, and in this case of our stamp, and as far as this is possible, we must rely more on their inscription. An early reading of the circular inscription of our seal has been given by Dr Koltsida-Makri, as mentioned above and, further research is ongoing. Even though information on the stamp’s former use, provenance, and general ‘genealogy’ is missing, its uniqueness as an artefact in the Bank of Cyprus Cultural Foundation’s is certain. At the request of the stakeholder, the Bank of Cyprus Cultural Foundation, which collaborates with the ERA Chair Mnemosyne on a regular basis, also on other Mnemosyne project case-studies , a high-quality digital twin of the blessing seal was reproduced. The purpose of this commission was to use the 3D replicas of the object as gifts to the Bank of Cyprus Cultural Foundation’s selected clientele. It was the first time in Cyprus, that within a short amount of time (i.e. 6 months), the digital documentation of an artefact was used to reproduce its identical 3D replica, in order to reuse it, in this case as a gift. Thus, with the assistance of a high-resolution photographic camera the object was photographed from several angles. The pre-processing of the photographs followed. With the assistance of specialised software the processed photographs were used to create the digital 3D geometry (digital twin) of the object (LOD5). The digital 3D geometry was then used to collect the necessary data for the 3D reconstruction of the object, using additive manufacturing processes (3D printing). For the 2022 Christmas period, the Blessing Seal has been reproduced as a copy to be given away to the Bank of Cyprus’s selected clientele. Within the research agenda of our project, further work in collaboration with our multidisciplinary experts and organisations, on the identity of the blessing seal is underway and findings are expected to shed more light on the so far unknown history of the artefact. Creator An entity primarily responsible for making the resource Bank of Cyprus Cultural Foundation Source A related resource from which the described resource is derived Bank of Cyprus Cultural Foundation - Museum UNESCO Chair on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE <a href="https://unescochair-dch.net/EU_Study_quality_in_3D_digitisation_of_tangible_cultural_heritage">EU Study VIGIE 2020/654</a> Publisher An entity responsible for making the resource available UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 6th century 7th century Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology Rights Information about rights held in and over the resource CC BY-NC-SA 4.0 Format The file format, physical medium, or dimensions of the resource JPG, PNG Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context CS15 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 35°10'21.7"N 33°21'45.7"E Early Medieval Byzantine period Holy Bread Prosphora Seal Σφραγίδα Ευλογίας https://apsida.cut.ac.cy/files/original/525/49274/Icon-1-rotated.jpg 0a49395c8a4601b1da74628a55fda122 https://apsida.cut.ac.cy/files/original/525/49274/PAM05921-683x1024.jpg ee57cc03992d0cbed2bb3d24702dcb7e https://apsida.cut.ac.cy/files/original/525/49274/Edit2-768x460.png 8c051cacc0dc8056cf528ddcceb263d6 https://apsida.cut.ac.cy/files/original/525/49274/Edit3-768x488.png 1ad830c94dc3180c0a1eaab13d07ae53 https://apsida.cut.ac.cy/files/original/525/49274/Edit1-768x508.png 81e5ca7a58f39c0b29f0b82feb47ba9a https://apsida.cut.ac.cy/files/original/525/49274/Panagia_Chrysorrogiatissa1.mp4 2b09ca4b0a75a1af6a7dc9c2d349efbf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MNEMOSYNE Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Icon of Panagia Chrysorrogiatissa Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Εικόνα Παναγιάς Χρυσορρογιάτισσας Subject The topic of the resource Icon of Panagia Chrysorrogiatissa Description An account of the resource The icon of Christ and the Virgin Mary covered with gold and silver is located in the Church of Chrysorrogiatissa monastery and is believed to have been painted by the Apostle and Evangelist Luke. According to tradition, the sacred icon was thrown into the sea during the iconoclastic period, in order to be saved from the iconoclasts. The waves from Isauria swept it away and carried it to the coast of Paphos, to the location of Moullia. On August 15, 1152, the monk Ignatius, who was practicing in the area, at the site of Kremasti, saw a great flash on the coast of Paphos. He found the icon and set off for his retreat. Overtired as he was, he fell asleep on the slope of Mount Rogia, under a pine tree. In his sleep, an angel of the Lord envisioned him building a temple in the name of the Virgin Mary. The building of Chrysorrogiatissa monastery as it is today, dates back to the 1760- 1770. Creator An entity primarily responsible for making the resource Chrysorrogiatissa Monastery Source A related resource from which the described resource is derived Chrysorrogiatissa Monastery UNESCO Chair on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE <a href="https://unescochair-dch.net/EU_Study_quality_in_3D_digitisation_of_tangible_cultural_heritage">EU Study VIGIE 2020/654</a> EUreka3D Publisher An entity responsible for making the resource available UNESCO and ERA Chairs on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 1152 A.D. Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology Rights Information about rights held in and over the resource CC BY-NC-SA 4.0 Format The file format, physical medium, or dimensions of the resource JPEG PNG MP4 Language A language of the resource en Type The nature or genre of the resource IMAGE Identifier An unambiguous reference to the resource within a given context CS17 https://apsida.cut.ac.cy/files/original/525/49267/late-geometric-euboean-skyphos-870x506.jpg d24458f6bab42d24b119f13bc0d9439c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Late geometric Euboean Skyphos https://apsida.cut.ac.cy/files/original/525/49267/PAM05347.jpg a52a8ec7d570671321f67e4c6c3099ab Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Data Acquisition - Photogrammetry https://apsida.cut.ac.cy/files/original/525/49267/PAM05501.jpg 646fd34d4bf690b3badd7c9ba24e163a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Data Acquisition - Photogrammetry https://apsida.cut.ac.cy/files/original/525/49267/PAM05530.jpg 0ada253f02a77a5010f3cf4a7e8d099c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Data Acquisition - Photogrammetry https://apsida.cut.ac.cy/files/original/525/49267/Capture_img.JPG 4bba77077f18e04bef7cbd4606fdd39e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Data Processing https://apsida.cut.ac.cy/files/original/525/49267/Capture21_[1].JPG ab9d21f13d4333ce9b61ffc677516742 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Data Processing https://apsida.cut.ac.cy/files/original/525/49267/GC_45_3D_Image_3_[1].jpg 53703f76ed8cf10925179333d4f9473a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Data Processing https://apsida.cut.ac.cy/files/original/525/49267/GC_45_3D_Image_4.jpg d6aa62a0f02bf94c3d747fc023945a4d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Process of Use and Reuse- 3D Printing https://apsida.cut.ac.cy/files/original/525/49267/DSC00549.jpg c1210025029f3bef43d9fe50e1c44eb3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Use and Reuse - 3D Printing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MNEMOSYNE Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Late geometric Euboean Skyphos Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Ύστερος γεωμετρικός Ευβοϊκός Σκύφος Subject The topic of the resource Late geometric Euboean Skyphos Cypriot Archaeology Bank of Cyprus Cultural Foundation Mnemosyne Description An account of the resource The skyphos, dating back to the end of the 8th century BC, is of characteristic Late Geometric Euboean type. Such skyphoi have been found in fairly large numbers, especially in tombs in the Amathus region. The Cypriots were very fond of the Euboean drinking cups, especially during the Cypro-Archaic I period, and they also produced them locally. The skyphos belongs to the pottery collection of the George and Nefeli Giabra Pierides museum at the Bank of Cyprus Cultural Foundation. The artefact under study (height: 7cm; diameter: 11.8 cm) has convex sides, a vertical lip, two opposite horizontal loop handles on body, flat base. Decoration in orange to dark red paint. The exterior surface is decorated on both sides between handles with two confronted birds in rectangular panels separated by a group of vertical parallel lines. Above each bird there is a rectangle or lozenge probably recalling the wings of Euboean birds. The interior is painted solid. MNEMOSYNE research group has focused on the digital reconstruction of the late geometric Euboean Skyphos using photogrammetry. Additive manufacturing (3D printing) has been employed for the replication of the 3D model. ERA Chair team members have done the research and documentation of the related literature to record the conceptual model of data, aiming on the holistic documentation of the Skyphos. The taxonomy diagrams have been gathered and divided the types of data needed for the record of the cultural heritage objects into classification categories. Noninvasive chemical analytical techniques (eg. X-ray fluorescence spectroscopy, FTIR spectroscopy and Raman spectroscopy) could be employed for the identification of the dark orange- red colour used for the decoration of the Skyphos. Other traces of colour not visible to the naked eye could also be detected. Such identification of original pigments and comparison with related, published, scientific data may provide information for art-historical and archaeological studies on aspects such as material and symbolic status of such artefacts manufacturing techniques and workshops secrets, diachronic development of style and technology. Director of the Bank of Cyprus Culture Foundation, and Curator of the Museum, contributed to the collection of all relevant information and historical and other data. Additionally, in association with the University of West Attica, the non-invasive technologies of X-ray fluorescence spectroscopy and X-ray Raman spectroscopy, which enable the identification of traces of colors in the objects under study, were used to study the chemical composition of the objects. The object was digitized using photogrammetry, and various measurements were made to determine the object’s material and colors. Creator An entity primarily responsible for making the resource Bank of Cyprus Cultural Foundation Source A related resource from which the described resource is derived Bank of Cyprus Cultural Foundation UNESCO Chair on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE <a href="https://unescochair-dch.net/EU_Study_quality_in_3D_digitisation_of_tangible_cultural_heritage">EU Study VIGIE 2020/654</a> Publisher An entity responsible for making the resource available UNESCO and ERA Chairs on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 8th century BC Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology Rights Information about rights held in and over the resource CC BY-NC-SA 4.0 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context CS16 Bank of Cyprus Cultural Foundation Cypriot Archaeology Late geometric Euboean Skyphos Mnemosyne https://apsida.cut.ac.cy/files/original/525/49362/The-Antikythera-Mechanism-1-870x580.jpg 3983b03a6d146c2c1a1f3e827a1b4843 https://apsida.cut.ac.cy/files/original/525/49362/20-1-1.jpg 4298e7d579a9181cf6f7efb69a36f147 https://apsida.cut.ac.cy/files/original/525/49362/5-3-1.jpg 139336db6431fa48097f9d07d085f468 https://apsida.cut.ac.cy/files/original/525/49362/1-3-1.jpg 7ad7f93b6c7974cb62125e19b584dac5 https://apsida.cut.ac.cy/files/original/525/49362/2-3-1.jpg a97c1daf9a87807b4715b3bf1a04284c https://apsida.cut.ac.cy/files/original/525/49362/3-3-1.jpg 3a40d6c23cbdba418fb214dba0523b5d https://apsida.cut.ac.cy/files/original/525/49362/4-3-1.jpg ef264b10f16c4ed9608e0f779079f3d0 https://apsida.cut.ac.cy/files/original/525/49362/14-1.jpg c92aa1f38ba4d474975e591b2065e6ab https://apsida.cut.ac.cy/files/original/525/49362/16-1.jpg e50a9d1d11b4cbc4015605267835fd79 https://apsida.cut.ac.cy/files/original/525/49362/6-2-1-1.jpg 462f0135cf32213e5036989328ca5516 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MNEMOSYNE Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Antikythera Mechanism Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Ο Μηχανισμός των Αντικυθήρων Subject The topic of the resource Antikythera Mechanism Description An account of the resource One of the artefacts ranked among the Wonders of the Ancient World is the Antikythera Mechanism, the oldest extant complex geared device, also described as the first analogue computer. Its construction was variously estimated to be about 87 BC; or between 150 and 100 BC; or to 205 BC; or finally, within a generation before the shipwreck, which has been dated to approximately 70-60 BC. It relied on the second-century BC Greek knowledge of astronomy and mathematics. The main utility of the Antikythera mechanism was to calculate the exact position of the Sun, the Moon and possibly the planets in the sky as well as the phases of the Moon and the prediction of eclipses. Apart from the prediction of astronomical events, the mechanism could also determine dates related to religious, social and agricultural rituals and events. The Mechanism was accompanied by an extended “instructions manual” inscribed on one of its parts. The device was operated manually by a user, setting a date in a dial. All necessary calculations were made using a set of gears (at least 39), while the results were displayed on several scientific scales. Unfortunately, the specific purpose for which the Mechanism was made remains unknown. The identity of its maker is also unknown, but the variety of skills and knowledge necessary for the creation of the Mechanism indicate that it required collaboration between an astronomer/mathematician and a mechanic. With its discovery, the Antikythera Mechanism demonstrated that Greek engineers of the Hellenistic period had become far more fluent in designing and constructing geared devices than the surviving written sources infer. It is also notable that the knowledge transmitted by the mechanism was lost and similar technological works appeared much later in Byzantium (fifth-sixth century AD) and the Arab world, while complex ones like the Mechanism appeared in Western Europe in the fourteenth century. The Antikythera Mechanism was retrieved from the sea in 1901 near the coast of the Greek island of Antikythera. The divers retrieved also numerous large artefacts, including bronze and marble statues, pottery, unique glassware, jewellery and coins. A year later, the archaeologist Valerios Stais acknowledged that the curious artefact housed in the remains of the wooden box was an instrument composed of at least one gear. The device was found as one lump, which was subsequently divided into three main fragments during restoration. The Mechanism currently showcased at the National Archaeological Museum of Athens is divided into eighty-two separate parts. As expected, the scholars who have been involved in the study of the Antikythera Mechanism were numerous, with specialization in various research fields. The first researchers who focused for over 30 years on the study of the function of the Mechanism published the most substantial and extensive articles available today. A series of articles were also published dealing with the function and usage of the mechanism and its calculations. The authors of the various papers formed eventually the core of the “Antikythera Mechanism Research Group” composed of researchers from Greece and the UK, supported in addition by an international team of astronomers, archaeologists, mathematicians, physicists, chemists, computer engineers, mechanical engineers, epigraphists and papyrologists. In September 2005 they undertook a major new investigation of the Antikythera Mechanism, using x-ray tomography and a PTM/RTI dome for the mapping of the texture of the fragments, which revealed internal details of the gears, as well as inscriptions previously undeciphered. Creator An entity primarily responsible for making the resource UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE Source A related resource from which the described resource is derived UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE <a href="https://unescochair-dch.net/EU_Study_quality_in_3D_digitisation_of_tangible_cultural_heritage">EU Study VIGIE 2020/654</a> Publisher An entity responsible for making the resource available UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 2nd century BC Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology Rights Information about rights held in and over the resource CC BY-NC-SA 4.0 Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context CS01 Format The file format, physical medium, or dimensions of the resource JPG Antikythera Mechanism astronomy gears lunar eclipses mechanical engineering https://apsida.cut.ac.cy/files/original/525/49275/Karmiotissa_Church_P10_3D_Perpsective-1-870x580.jpg 3b0c3e09f0d23b92e20675e312b841e7 https://apsida.cut.ac.cy/files/original/525/49275/Karmiotissa_Church_P09_3DPerspective-1-870x580.jpg 7b6b5247f8f26c942bcfef2e9783ae74 https://apsida.cut.ac.cy/files/original/525/49275/Karmiotissa_Church_P08_3DPerspective-1-870x580.jpg 78abaf978ebb4c56412703341294c22f https://apsida.cut.ac.cy/files/original/525/49275/Karmiotissa_Church_P07_Section2-1-870x580.jpg 87942e21dc16621c079bd414bd29549a https://apsida.cut.ac.cy/files/original/525/49275/Karmiotissa_Church_P06_Section1-1-870x580.jpg e3856836d857975e8ab029db628ad21d https://apsida.cut.ac.cy/files/original/525/49275/Karmiotissa_Church_P04_Southeast_Elevation-1-870x580.jpg 005f19f9444b818fd0ff19cbc7cc32e6 https://apsida.cut.ac.cy/files/original/525/49275/Karmiotissa_Church_P03_Northwest_Elevation-1-870x580.jpg 1ccc5785d01d1c1e2d55f9c629d74e73 https://apsida.cut.ac.cy/files/original/525/49275/Karmiotissa_Church_P02_iortheast_Elevation-870x580.jpg 05475bf46cc25b518ed51fd4ff39a8ed https://apsida.cut.ac.cy/files/original/525/49275/Karmiotissa_Church_P01_Ground_Floor-1-870x580.jpg 98e427478de0d141b9d2cea5db3fe428 https://apsida.cut.ac.cy/files/original/525/49275/3D_architectural_drawing_.png 2a18384dc0e5915ba589b805e5bf9e1f https://apsida.cut.ac.cy/files/original/525/49275/2D_architectural_drawing.png c603a72611f7e678400be6fd93a70c25 https://apsida.cut.ac.cy/files/original/525/49275/2D_architectural_drawing_-_1.png f941182e94c0d909c96089095e714276 https://apsida.cut.ac.cy/files/original/525/49275/Karmiotissa_Church_-_Oculus.mp4 b3d28ee6127a6093c6239ed3ea370b01 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MNEMOSYNE Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Church of the Virgin Karmiotissa Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Η Εκκλησία της Παναγίας Καρμιώτισσας Subject The topic of the resource The Church of the Virgin Karmiotissa Description An account of the resource The church of Panagia Karmiotissa is dedicated to the Merciful Mother of God (Panagia Eleousa). It is located north of the area of Pano Polemidia, on the outskirts of the city of Limassol, in Cyprus. The foundation of the church is dated to the period spanning from the late 13th century to the early 14th century. It was erected by Roman-Catholic monks of the Order of Carmelites, who migrated to the island following their expulsion from Mount Carmel in Palestine. The monument is currently the sole remnant of the Monastery founded by the Carmelite monks and is therefore considered an important vestige of the establishment and presence of the Mendicant Orders on the island during the Frankish period. History and structure The monument, which was fully constructed from regular ashlars, is a pointed barrel-vaulted structure, unusually spacious for a rural Cypriot church. The two additional sections attached to its north wall, most probably two adjacent chapels, are preserved today in a ruinous state. A doorway on the north wall (there are two more doors opened on the west and south walls), which was later sealed, connected the interior of the church with the two chapels. The corners of the west wall bear the bases and of arches that may have supported a gateway or a narthex. One of the upper arch cantilevers is decorated with a figure, most probably that of a Carmelite monk, preserved in a bad condition. The interior of the church is not decorated and there are no traces of plaster, indicating thus, that it has never received a painted decoration. The monument has been restored several times between 1952 and 2002. According to the oral tradition, a settlement was also built within the same area because of the existence of a spring, the water flowing from which, was and is still believed to be holy. Through a water channel, the sacred water was also transferred to the center of the nearby city of Limassol, and more specifically to the church of Ayia Napa. The church belongs to a cluster of monuments and sites of the wider Limassol area associated with the Lusignan ruling family and the Frankish elites, while it is also connected with the religious life of the Latin (Catholic) population of the island of the 13th and 14th centuries. Creator An entity primarily responsible for making the resource Holy Metropolis of Limassol Source A related resource from which the described resource is derived The Church of the Virgin Karmiotissa UNESCO Chair on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE <a href="https://unescochair-dch.net/EU_Study_quality_in_3D_digitisation_of_tangible_cultural_heritage">EU Study VIGIE 2020/654</a> Publisher An entity responsible for making the resource available UNESCO and ERA Chairs on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource late 13th century to the early 14th century A.D. Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology Rights Information about rights held in and over the resource CC BY-NC-SA 4.0 Language A language of the resource en Type The nature or genre of the resource IMAGE Identifier An unambiguous reference to the resource within a given context CS06 https://apsida.cut.ac.cy/files/original/525/49272/Picture91.png 45db9671e2f7d98a4d722c0d0680b33f https://apsida.cut.ac.cy/files/original/525/49272/Picture94.png e5e9a0c53d4cc36d19287c1c5f32e59d https://apsida.cut.ac.cy/files/original/525/49272/SAM_0816.JPG 94de0906dfca06099c34879ca3fa2216 https://apsida.cut.ac.cy/files/original/525/49272/SAM_0854.JPG 13461285329a88385f4fc7f1a4aea388 https://apsida.cut.ac.cy/files/original/525/49272/school.png 7f038138b128585f4c4e8f66c8e40ea9 https://apsida.cut.ac.cy/files/original/525/49272/house_of_Achilleas_Dimitri.png 08effe87af0b6510c57af63d88cce51e https://apsida.cut.ac.cy/files/original/525/49272/House_of_Katsinioros.jpg eabd2722b7118aa78ccfa2ac5852757a https://apsida.cut.ac.cy/files/original/525/49272/Fig5-3D_Model.PNG 13e81752037c2e61dd961c40c6d3ca7d https://apsida.cut.ac.cy/files/original/525/49272/Fig6-BIM_model_left.png 0a098b0186af8a322648f8ba963ddf54 https://apsida.cut.ac.cy/files/original/525/49272/Fig6-BIM_model_right.png b1267bb5124bdf518c339f55df73519f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MNEMOSYNE Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Fikardou Village Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Το παραδοσιακό χωριό Φικάρδου Subject The topic of the resource The Fikardou Village, UNESCO World Heritage Tentative List, Ancient Monument, Παραδοσιακό Χωριό Φικάρδου Description An account of the resource Fikardou village is located on the south-eastern slopes of the Troodos Mountain range, about thirty kilometres (30 km) southwest of the capital city of Nicosia, on the Eastern Mediterranean island of Cyprus. The village is considered a genuine example of 18th and 19th-century folk architecture of Cyprus with modifications and additions belonging to the first decades of the 20th century. Due to its unique and well-preserved building structure, the settlement was put under the supervision of the Department of Antiquities in Cyprus in 1978 as an “Ancient Monument” and a “Controlled Area”. In 1984, the Department of Antiquities undertook, as part of a wider program to revitalize the village, to repair and restore the collapsing houses and generally to improve the entire image and structure of the village. Since 2002 the village has been included on the UNESCO World Heritage Tentative List, aiming at high-quality protection and management of the components that constitute its uniqueness. Although the evidence referring to the village’s origins is scarce, the use of a genitive case in the village’s name suggests that the village once belonged to a feudal family of the same name, as is the case for the neighbouring villages of Gourri and Lazania. Τhe village bears the name of a once opulent and important native family of Cyprus, known in the chronicles under the various spellings of Phicardo, Ficardi etc.” and one Tomazo Phicardo - a notary to King James II during Frankish rule in Cyprus - was a feudal lord of nearby villages and possibly owned the village for a time as a fief, thus passing on his name to the village, as was the case for many village fiefs of the time. Fikardou is one of the few examples of a remarkable traditional settlement in Cyprus that has remained unspoiled over time and has managed to keep its architectural features and traditional way of life. The Department of Antiquities in 1978 declared the entire village an ‘Ancient Monument’ and a ‘Controlled Area’. The Department of Antiquities has made restorations on the old houses of the village which are great examples of mountainous Cypriot architecture of the 18th and 19th century, built with rough local stones and bricks in perfect harmony with the surrounding environment. The efforts of the Department made Fikardou, a former ruined village, a lively museum of traditional architecture. Forty houses of the 1920s which bear elements of folk architecture have been preserved to this day. The house of Katsiniorou and the house of Achilleas Dimitris have been honoured with the Europa Nostra prize in 1987-1988. The old houses were turned into museums accessible to the public and are run by the Department of Antiquities. Fikardou is located about 38 km southwest of Nicosia, 58 km from Limassol, 70 km southeastern to Larnaka and almost 150 km from the city of Paphos. It is built in the geographical area of Pitsilias at an altitude ranging from 400 to 1100 m on the southeastern slope of the Troodos Mountain. In the centre of the settlement there is 18th century church of Peter and Paul which operates once a year on June 23, on the Saints’ name day. The entrance to the village is in the south, at the meeting point of the winding roads from the villages of Klirou and Gourri. The central paved road does not enter the inner branching of the settlement. The inner branching is consisted just by narrow, cobbled streets, suitable only for pedestrians and animals. To the north, Fikardou is connected to the village of Klirou, at a distance of about 7km and to the west to the village of Gourri, at 2 km. The road network of the village consists of the central road axis running from north to south, which is bound by two parallel, narrower roads at different elevations that communicate with the central one with vertical branches or meet at certain points. No street has a straight course at plan level, as it is formed by the property boundaries. The layout of the narrow roads does not exceed four meters in width, while the smallest road width is almost two meters. The only difference in the width of the streets is the small widenings, the dead ends, and the platforms (church, school) which we rarely meet in the settlement. The area is characterized by the strong slope of the ground and the road patterns follow the shape of the natural relief. The main axis, as well as the two parallel ones that flank it, are the longest, parallel to the curves of the mountainous relief, in contrast to the roads that are perpendicular to them, which are characterized by a dangerously steep slope that makes vehicle access impossible. The process of holistic digitization and documentation of the movable and immovable tangible cultural heritage of Fikardou village is crucial for the protection, preservation and renovation of the village. Additionally, the 3D digitization process can significantly improve the accessibility of the unique cultural heritage of the village for research, innovation, education and enjoyment. For these reasons, the Fikardou village was chosen as case study in the Mnemosyne project. Creator An entity primarily responsible for making the resource The Department of Antiquities Source A related resource from which the described resource is derived The Department of Antiquities, UNESCO-WHTL UNESCO Chair on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE Horizon 2020 - TExTOUR Horizon 2020 - IMPACTOUR <a href="https://unescochair-dch.net/EU_Study_quality_in_3D_digitisation_of_tangible_cultural_heritage">EU Study VIGIE 2020/654</a> Digital Europe Programme - EUreka3D Publisher An entity responsible for making the resource available UNESCO and ERA Chairs on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 1978 A.D. Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage Digital Heritage Research Lab Cyprus University of Technology Rights Information about rights held in and over the resource CC BY-NC-SA 4.0 Format The file format, physical medium, or dimensions of the resource JPG, PNG Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context CS 13 Relation A related resource Europa Nostra Ancient Moument Department of Antiquities Fikardou Village UNESCO World Heritage Tentative List Παραδοσιακό Χωριό Φικάρδου https://apsida.cut.ac.cy/files/original/525/49358/1-2.jpg 1bd7161ef9fb947987922d5cb5d64a39 https://apsida.cut.ac.cy/files/original/525/49358/2-2.jpg 336531bcb8a8ab1caec62cb16f3806ce https://apsida.cut.ac.cy/files/original/525/49358/3-2.jpg 9971216dd71c9eb4198569e18051d56e https://apsida.cut.ac.cy/files/original/525/49358/4-2.jpg 1025f6aacbd90359c8372933613ece95 https://apsida.cut.ac.cy/files/original/525/49358/5-2.jpg e05ff2d28de80b4e0ce85df7c44a345d https://apsida.cut.ac.cy/files/original/525/49358/6-1.jpg b1455f40b38cac670f77b089e7039bfa https://apsida.cut.ac.cy/files/original/525/49358/Monastery-of-Saint-Neophytos-1.png 9ca3cc455ff2b19360d887ed4a7b9e89 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MNEMOSYNE Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Hermitage (enkleistra) of Saint Neophytos Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Η Εγκλείστρα του Αγίου Νεοφύτου Subject The topic of the resource Hermitage Saint Neophytos Enkleistra Οrthodox Monastery Byzantine Monument Description An account of the resource The Hermitage (enkleistra) of Saint Neophytos is one of the most celebrated Byzantine twelfth-century monuments worldwide, given the high quality and the unique iconographic program of its frescoes, encountered nowhere else in the Byzantine world, as well as the fact that the whole complex was cut in rock. The monument is connected with an important intangible heritage. The community that was built and organised around Neophytos has been the centre of intellectual production with strong connections to the Byzantine elites of the island and the capital of the Byzantine empire (Constantinople), during the tumultuous period spanning the last decades of the Byzantine era -which ended with the conquest of the island by Richard the Lionheart in 1191- through the first decades of the Frankish period of Cyprus. The intellectual production at the Enkleistra is evidenced by the writings of Neophytos and the composition of the pictorial narratives of the frescoes. The latter has been studied extensively in the past, whereas the writings of Neophytos, as well as the artefacts produced by or connected to the members of the circle of Neophytos both monks and laymen, have made the object of far less study. Saint Neophytos the Recluse (1134-ca.1214) is one of the most important Cypriot Saints and historic figures. He was a prolific writer who composed his biography, an account of the first years of the Latin conquest of the island, as well as several theological treatises. At the age of 17, he became a monk at Koutsoventis Monastery. In search of a solitary life, he quit this Monastery two years later. After many adventures, he decided to become an ascetic in the mountainous area above the city of Paphos. In 1159 he started building his cell, by enlarging and modifying an already existing cave, which was expanded into a complex comprising three caves: the Cell, the Bema and the Naos dedicated to the Holy Cross. Neophytos soon became a well-known spiritual figure and in 1170 he was forced by Basil Kinnamos, the bishop of Paphos at the time, to accept a disciple. During this same period, the Enkleistra began to be extended and adorned with paintings, while the whole cliff was excavated for the creation of additional cells. This extension phase included possibly as well the Refectory, which was also adorned. According to Neophytos’ testimony, however, the Naos was excavated in 1183. The increasing number of pilgrims visiting him obliged Neophytos to dig another cave above the first one (the so-called New Zion), in search of solitude and inner peace. This latter cave was completed and painted by the end of 1197. According to written testimonies, the Enkleistra was painted in 1183 by Theodoros Apseudis, likely a Constantinopolitan painter who came to Cyprus at the instigation of the bishop of Paphos Basil Kinnamos. To the same painter are also attributed the Bema and the Naos of the church of the Virgin at Lagoudera (UNESCO World Heritage monument in Cyprus, dated ca. 1192), as well as at least seven icons currently owned by different ecclesiastical institutions in Cyprus. Creator An entity primarily responsible for making the resource Saint Neophytos Monastery Source A related resource from which the described resource is derived Saint Neophytos Monastery UNESCO Chair on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology EU ERA Chair on Digital Cultural Heritage - MNEMOSYNE <a href="https://unescochair-dch.net/EU_Study_quality_in_3D_digitisation_of_tangible_cultural_heritage">EU Study VIGIE 2020/654</a> Publisher An entity responsible for making the resource available UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 1159 Contributor An entity responsible for making contributions to the resource UNESCO and ERA Chairs on Digital Cultural Heritage - Digital Heritage Research Lab Cyprus University of Technology Rights Information about rights held in and over the resource CC BY-NC-SA 4.0 Format The file format, physical medium, or dimensions of the resource JPG Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context CS04 Byzantine Monument Enkleistra Hermitage Orthodox Monastery Saint Neophytos