This is the tomb of an unknown partner and fellow warrior of Alexander the Great in Thessaloniki – Photo

In the summer of 1994, archaeologists of the then 16th EPKA (today Ephorate of Antiquities of the Thessaloniki Region) and artisans who worked systematically for a long time in large moundwith a height of almost 20 meters and a diameter of about 100, east of the settlement of Agios Athanasios20 kilometers west of Thessaloniki, witnessed a shocking revelation.

For more than two months under the merciless sun and the incessant roar of digging machines, the wounded mound slowly revealed its secrets, but kept the most precious hidden deep in its bowels.

On the afternoon of June 15, 1994, the pickaxes tripped over marble and when the mass of earth was removed, a great find came to light that flooded the hitherto dreary excavation pit with color and life: from the Macedonian soil, anthemic and all-white lilies began to sprout, colorful waves and mythical griffins with golden wings. A Macedonian tomb of the last quarter of the 4th century BC. was coming to light.

The archaeologists found that, despite the enormous bulk that the ancient craftsmen had protectively piled on top of the small building, the unscrupulous grave diggers had once again achieved their goal. It is unknown when and what they lifted, but they definitely destroyed part of the archaeological evidence.

But the disappointment was momentary. The recorded facade of the single-chambered tomb, with its stunning colors and, fortunately, minimal damage, was the best compensation.

THE archaeologist-responsible for the excavation, Maria Tsibidou-Avlonitoudescribes to Voria the impressive and beyond imagination decoration of the facade:

“The written pediment is succeeded by deep blue triglyphs and white metopes, but the surprise lingered lower, in a narrow frieze above the doorway (only 0.35 m high), where a banquet scene unfolds. A theme so familiar from the descriptions of ancient writers and classical mostly vase painting, but for the first time so vividly close to us.

In the center of the show they are depicted six crowned co-compounders, erected on three wooden beds with covers of alice, violet and blue. The figures, worked by a quick but skillful hand, are erased almost in relief, as the dark background brings out the color revelry. Lazily resting on colorful headboards, the men seem to surrender to the melody of the guitar, which pulsates in her hands imposing guitarist. She plays standing up young ladybug, a key factor in entertainment at any successful banquet. In front of the beds are three low tables laden with all kinds of fruit and peculiar confections, made with honey and flour, desserts necessary for drinking wine. The show ends the naked skinny teenager, the “pais” – wine drinker, ready to rush to the men’s call and pour wine into the glasses. To the left of the wine cellar and in front of a densely leafed tree dominates a heavy piece of furniture with three shelves, where gilded bottles and other vessels rest. It’s about her first depiction of the “canteen”, of a piece of furniture that we know was in use in Attica as early as the times of Alcibiades and Aristophanes.”

As Mrs. Tsibidou-Avlonitou mentions, this classic banquet composition, which seems to bring Plato’s thoughts to life, is framed by two more scenes, seemingly independent and yet tied together by a hidden thread. From the left approaches a merry company of three men on horseback and their attendants on foot, with vessels full of wine, a contribution to the banquet, where they are invited. The shadows of the night flicker on the faces of the youths and the sturdy bodies of the horses, as four burning torches, raised crosswise, illuminate the dark sky.

At the right end of the frieze the atmosphere is calmer, even though the eight men are depicted in military dress and armor. Leaning loosely on their spears and brightly colored shields, they watch the proceedings whispering to each other. And it is precisely the elements of their armor and clothing that turn this part of the performance into a symbol of the specific area, as together with the well-known armor of the Greek troops, the young men wear the traditional Macedonian uniform: chlamys with a buckle on the right shoulder, leather “stools” on the feet and, of course, the peculiar head covering, the well-known Macedonian “kaussia”, which Alexander himself and his generals proudly carried, as far as the depths of Asia. And even more, brilliant helmets, with high plumes and feathers that flutter white, while the impressive composition is completed by the famous Macedonian shields with their special shape and the characteristic decoration with star symbols.

Capes bear writings flame-shaped anthems and in the dark depth of the pediment dominates a golden disk framed by two winged leopards.

Shocking was then the revelation of the two young figures in long saris, wrapped in their chlamys and grief, standing silently by the entrance to the tomb, eternal guards of the eminent deceased. Above their heads are depicted two large shields with bright colors and impressive “letters”. In the violet depth of the left is projected an impressive in size and expressive performance mermaid (head of Medusa), of the so-called “beautiful type”, while on the bright red background of the right, the winged thunderbolt of Zeus, the god with a strong presence in the religious consciousness of the Macedonians, can be seen almost in relief.

Which dead man did the Macedonian land accept in its bowels? A noble Macedonian, as evidenced by his arming with the characteristic iron breastplate, similar to Vergina’s.

“Among the endless iron fragments on the floor, parts of a large round shield, the prongs of a helmet, a knife and two spearheads were identified. The gradual restoration of a pair of wrought iron anklets was extremely interesting, as they are the only iron pair known so far,” notes the archaeologist.

The iron chest was almost entirely reconstructed and impresses with its masterful construction. Underneath the iron plate of the chest was another component part of the chest, of which only the metal frame survives, where cloth or, more likely, leather would have been attached. That is to say, as the archaeologist says, the special care for the protection of the chest combined with the ease of breathing and movement is evident, and the whole accessory was intended to facilitate as much as possible the movements of the man on horseback during the battle.

“In other words, it is about the entire armament of one a high-ranking Macedonian fighter, a “partner” and member of the royal troops, which literally “iron carrier”. A man who probably fought on the side of Alexander the Great in the distant and glorious campaign in the East, who was fortunate, now dead, to return and be buried in the holy land of the Macedonians”, notes Mrs. Tsibidou-Avlonitou.

The Macedonian tomb in Ag. Athanasios, who can be visited and impresses with his amazing frescoes and vibrant colors, comes to add – after the Lefkadian tombs and the shocking discoveries of Vergina – an essential chapter in the history of Greek painting.

As Mrs. Tsibidou-Avlonitou points out, “it is a fact that the Macedonian land, which in recent years has not stopped surprising us, has so far offered us the most important examples of the great painting of the classical and Hellenistic times, which until recently were considered forever lost. But above all, it is a truly unique monument of the 4th century. BC, whose performances reflect every aspect of life and society in ancient Macedonia. After all, it was the last residence of a man, whose name we will probably never know, but his image is clearly reflected in the words of Plutarch:

“… of this man you are and a phalanx is recommended to the fearsomeness and the banquet itself, for both are eutaxic…”»

* Photo Source: Ministry of Antiquities/Ephorate of Antiquities of Thessaloniki Region