The Ladies

The Ladies of The First Cemetery Among the monuments of the men: heroes, politicians, movers and shakers, philosophers and writers, there are the ladies – not as many, of course. The golden age of sculptural grave monuments was the 19th and early 20th centuries – still pretty much a man’s world - and women, the real women of that era, as opposed to generic female figures such as angels or mourning spirits are less in evidence than the men. For that reason alone, we find ourselves looking closely at the depiction of the women who are there, be they elegant, idealistic, realistic, imposing, or  just plain mysterious. Here are just a few who have caught our eye:  This rather unimposing bust of Kalliroi Parren by sculptor Costas Valsamis is one of the first ladies you will encounter. It was added to the Plaza in 1992 - 52 years after her death - in a better late than never acknowledgement of her contribution to women’s rights. She was Greece’s first feminist.  Her actual grave is tucked inconspicuously away in Section 4, Number 221. The “wife of Mr Konstamouli” by  Ioannis Lampaditis  (1856-1920) reflects a severe  style popular at that time: Section 7, Number 336 A closer look at our ladies often reveals an exquisite detail such as the arresting glance of the writer Charisis Pouliou (Χαρίσης Πουλίου). Section 5, Number 219 a detail The writing below the bust of Maria Triandafillou may have  completely worn away, but her intricate curls have managed to stand the test of time.  Section 5, Number 575 On the family tomb of the Kastromenos family, a beautiful headscarf, style of the era, covers much of this lady’s hair. Then there is the lady seated on the imposing 1930’s tomb of businessman  Othon Tetenes: Section 8, Number 128 A mature work of sculptor Thomas Thomopoulos, this monument invites you to clamor up for a closer look.   It is executed in a style rather earlier than its 1935 date might suggest, echoing an older family photograph  or painting. (1)   The husband is the very image of the pater familias, but she is equally impressive - enthroned rather than seated: calm, forceful, very much the matriarch. Demitris Filippotis’ 1890 sculpture of Maria Kassimati shocked many because she chose to have her likeness placed prominently in the precinct of her first husband’s grave, quite overshadowing his own monument by the Fytalis brothers. Hers is one of the most admired monuments in the cemetery She is relaxed, yet totally in control. Filippotis has rendered her in exquisite detail. Popular female artists have fared well in the First From Sophia Bembo by sculptor Nikolaos Ikaris, Section 4, Number 220                To Marika Kotopoulou,  by sculptor  Klearchos Loukopoulos,                             (plaza file)   Plaza, Number 83 To Eleni Papadaki, by sculptor Vangelis Moustakas,   here depicted as Regan in King Lear. Section 1, Number 375   Sleeping Ladies Sleeping ladies are a genre all by themselves. There are six in the First–all but one are apparently true likenesses and most are in the traditional, romantic mold. But the one (1926) on the tomb of the Tsevas family by sculptor Evangelos  Vrettos is startling:  Section 5, Number 219 Rather than resting in peace, she looks wide awake and ready for action…. Generic Ladies Classical figures are no surprise if you have read our section on Ancient Greece in the Cemetery. There are two lovely examples on the walkway leading to Agios Lazarus Church. Ioannis Vitsaris’ symbol of justice: Section One, Number 132  And Georgios’ Vroutsos’   and  Georgios Vroutsos’ symbol of Science: Section One, Number 100  The Mourning Figure One of the most prevalent ladies in the cemetery is the Mourning Figure, whether angel or not.  Her portrayal is the most varied and has undergone the greatest transition over time although one should never underestimate the tendency to return to earlier models in the First Cemetery. Therefore dating a work is not always easy. This one on the Andropoulos tomb is by sculptor Iakovos Malakates, one of the first sculptors in the First cemetery: Section 2, Number 122, On the Mandelas family grave, above, all of the mourning ladies wear headscarves, a custom that lasted until well after the Second world war in much of Greece. (sculptor Klearchos Loukopoulos): Section 14, Number 145  A beautiful bas relief in Section 14 called in Greek "Ω ΔΕΣΠΟΙΝΑ ΜΟΥ" translates into  something like “my honoured lady” and has no other name. It is by sculptor  Praxitelis Tzanoulinos:    Section 5, Number 483 The beautiful Sophia Chelmi ‘s lady looks as if she has forgotten something or is following a discussion taking place just beyond our line of sight:  Section 4, Number 64 This elegant figure on the Ioannis Charisiadis family tomb by sculptor  Giannakos is the perfect blend of classical, religious, and contemporary. It’s severe classical elements make a bare breasted angel completely acceptable: . Section 14, Number 31 a detail The tomb of the Liveriatos family by sculptor Georgios Bonanos takes the genre a step in another direction…   Section 7, Number 41  Her face may be rather ‘neutral’ but her presentation with short dress and legs apart, in spite of the hands holding the traditional cross and lamp, is frankly sensual:  Bonanos was  a genius and we might have considered that he took the mourning figure as far as it could go until coming upon the tomb of the Diamantopoulos family by sculptor Nikolaos Stergios: Section 4, Number 313 Each lady in the First, idealized or real (and we have only scratched the surface), is well worth  a closer look as you get to know the cemetery better.

Footnote (1) In fact both figures on this monument were modeled on much earlier portraits which explains the old fashioned look. Or perhaps the family simply preferred that style.