The Integration of Two Greek Cultural Immigrants of the 15 and 20 Century

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3.

The Integration of Two Greek Cultural Immigrants of the 15th and 20thCentury: The Cases of Cardinal Bessarion and the Artist Constantine Andreou

Dr. Sapfo Mortaki and Dr. Vasileios Pappas1

Abstract

This paper focuses on the presence, activity and consequently social and cultural integration of two personalities of the Greek Diaspora. The Greek Cardinal Bessarion from Trebizond (1402-1472) migrated in 1440 in Rome, where he joined Catholicism, and was rewarded with numerous religious axioms and granted with a palace, which became a famous intellectual centre of the era. This study demonstrates Bessarion’s gentle integration and his social evolution in the host country (Italy), the recognition of his education and political influence throughout Europe, and the strong bond with his hometown as he had made a major effort for its release. Constantin Andreou was a Greek artist who migrated to Paris in 1945 with a scholarship of the French government along with many other artists and intellectuals, who were escaping the political situation in Greece after World War II. In this broader context, his artistic creation and its resonance in France, where he lived for fifty eight years, will be documented through the perception of him of the host country. Furthermore, his contribution to the development of art in his homeland will be assessed, along with the projection of Greece abroad.

Keywords: migration, integration, cultural identity, Bessarion, Constantine Andreou

1See biographical note after references.

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3.

Introduction

The subject of Diaspora is traditionally associated to the Greek and Jewish experience throughout the centuries (Fishman, 2004: 27). The term Diaspora (Sakellariou, 1991: 15; Cohen, 2003: 21 and 26) refers to the existence of parts of a population in disperse geographical places, away from its original birthplace (Gotovos, 2004: 57-58) and constitutes an eternal and continuing phenomenon in Greek history, from the Mycenaean period of archaic colonization until our days (Sakellariou, 1991: 15). Diaspora is examined in relation to the socialization and the formation of identity of the immigrants who reside in environments or, generally, in conditions of convergence and interaction of different civilizations. In this context a triadic relationship is created between Diaspora and the host and origin countries of the immigrants (diasporic tripole), whose interactions are multilevel, multidimensional, dynamic and ever evolving (Damanakis, 2004: 25-26). Host societies do not constitute homogenous entities 2 but complex multicultural phenomena, which are attributed with special features (Ventoura, 1994: 9-10). Greek Diaspora can therefore be approached as the settlement of a part of the Greek population in areas beyond the national territory, independently of its duration, as well as the reasons for the migrants’ estrangement from their birthplace, with which they maintain strong and stable bonds.3

2In their core religious, linguistic, economic, political, social and other cultural differences exist. 3The latter continues to influence their overall condition, while simultaneously they develop relations with the host country. From this interaction a new civilization emerges that ameliorates their existence. For bibliography about emigration, see Vlachos (1966).

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3.

The transition from one society to another presupposes changes in many levels and is therefore influenced by many factors. In the cultivation of a dynamic relationship between the migratory element and the human environment of the host country the demographic importance of the diasporic communities is of determinant importance (Sakellariou, 1991: 18). However, social, cultural, political, economic, linguistic, communicational and educational parameters contribute to the evolution of this relationship (Gotovos, 2004: 59-62). Migrants, who either choose to integrate into the host society or adopt a diversification and opposition attitude, are influenced regarding their choices by various elements (Ventoura, 1994: 60). Moreover, the migration policy of the host country and, more specifically, whether it aspires the integration of foreigners into the national community or if favors the creation of separate ethnic minorities, is another factor that affects integration. It is a fact that historically Greek immigrants achieved to become a part of their new social reality and to become designated by their contribution and general activity in the host country (Tamvakis, 2003: 45-46). The basic elements that specify minority groups (Hirschon, 2004: 287) are mostly associated with the place of their origin, their country and also the various manifestations of their cultural relations, such as language, religion, education and moral conventions. In an individual level, however, to the aforementioned parameters others related to their personal character can be added, like their familial condition, age, gender and employment. As long as Greek Diaspora is concerned, the formation of the migrants’ identity emerges from the contribution and the interaction of factors that are eminent in the country of origin (Hirschon, 2004: 288) on one side and the dominant conditions in the host country on the other side. So, their identity appears twofold (Damanakis, 2004: 33).4 The expression cultural identity declares the place that an individual belongs in terms of culture, designates its cultural mark (Gotovos, 2004: 53), and is attributed with meaning when it is used to describe cultural elements that are common to individuals who come from different categories, which derive exactly form their

4There is the personal aspect, which expresses the uniqueness and the particularity of a person as a general concept and as biography and also the social aspect, which is complex as it encompasses both the common elements of the other identities as well as the different identities, like the national, ethnic, religious, cultural and professional.

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3. integration. The term is usually used with an ethnic, religious, cultural or geographical assignation (Gotovos, 2004: 53-54).5

The Case of Cardinal Bessarion

Greek Cardinal Bessarion was born in Trebizond of Byzantine Empire in 1403 and died in Ravenna of Italy in 1472 (Sathas, 1868: 25-35; Vast, 1878; Kalogeras, 1893; Kurou, 1947; Manousakas, 1965; Mohler, 1967; Anthemides, 1983; Monfasani, 1995). His secular name was John or Vasileios (Kalogeras, 1893: 10, Enciclopedica Cattolica, 1948, vol. 2: 1492). He lived his childhood in his hometown, but quickly moved to Constantinople to continue his studies (1415). In 1423 he become a monk and gained the name that became widely known, Bessarion. In 1433 he went to Mistra, where he continued his studies near the famous philosopher Pletho Gemisto, who taught mathematics and philosophy and helped him to become familiar with the Platonic philosophy. Then he returned to Constantinople and was consecrated bishop of Nicaea in 1437.6As a member of the attendance of the emperor John VIII Palaeologus and the Patriarch he took part in the Council of Ferrara-Florence (1438- 1439) (Gill, 1976: 119-136), where he played a key role in supporting the Association of Churches and fought against his biggest opponent, the fanatic anti-unionist Marcos Eugenikos. After the signing of the Term of the Union that he had drafted for the Greek side in 1439, he returned in Constantinople (Sathas, 1868: 26) and lived there until 1440. During this trip, Pope Eugene D conferred him the title of cardinal, as a reward for his contribution to unifying efforts (Gill, 1976: 119-136). Meanwhile, Constantinople was dominated by acute reactions of anti-unionists against the ―traitors‖ unionists, a fact that rendered Bessarion unwanted in his hometown. Thus, in 1440, he abandoned definitely Byzantium and was installed in Italy, where he devoted himself undistracted in two interrelated purposes: the Union of Orthodox and Catholic Churches and the Crusade against the Turks, in order to achieve the liberation of his homeland (Irmscher, 1976: 175-185). Bessarion not simply was integrated in the host country, but he reached the biggest hierarchical and social evolution. In this contributed the excellent knowledge

5Lately, it is referred to as European identity, with a transnational meaning, which only signifies the content of the respective national or geographical identity. 6It should be notedthat untilhis death,everyonecalled him ―Niceno‖.

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3. of the Latin language.7 That was the reason why the emperor John asked him to accompany him to help to the extremely serious (for political and religious reasons) Council of Ferrara-Florence, where he came into contact with Latin scholars, but also with the spirit of the Renaissance in general. In the thirty-two years of his permanent residence in Italy (1440-1732) he cultivated his knowledge of Latin language and literature to the fullest extent and made them second mother language. So much he seems to penetrate in the study of the Latin language,8 so his biographer Platina noted in the panegyric speech which composed in honor of him the following: ―this smart and perceptive man won so quickly Roman institutions and literature, to show that he was Italian and not that he was born elsewhere‖ (Patrologia Graeca, vol. 161: cvii). As noted by several scholars (Sathas, 1868: 27; Enciclopedica Cattolica, 1948, vol. 2: 1493), Bessarion knew well and the Italian language, while some argue that it held well enough German and French (Anthemides, 1983: 15), which makes perfect sense if you think that the cardinal was sent as a representative of the Pope in Germany and France, in order to arrange for the burning issue of the campaign against the Turks. The Italian scholar Lorenzo Valla, impressed by Bessarion’s Latin knowledge, described him as ―Latinorum graecissimus et Graecorum latinissimus‖ (Sathas, 1868: 32). Another important factor that contributed to the normal integration of Bessarion to Italy was his definite adherence to Catholicism, although he held until his death the beard of the Orthodox clergy, which several times Catholic clergy and princes confronted with suspicion (Sathas, 1868: 27-30). He was rewarded by the current Pope with various titles and offices: Abbot of Grottaferrata Abbey, Protector of the monks under the rule of Basil the Great in Italy, Bishop of Sabina and Archbishop of Tuscany and, finally, Latin Patriarch of Constantinople. Pope Nicholas V had sent him to Bologna to bring order to the anarchy that prevailed in the city due to civil strife. The Greek Cardinal succeeded in his work to such an extent that the inhabitants of the city honored him with a public inscription calling him ―their

7We must notforget thatat that timeresidedinConstantinopleeducated Latindiplomats andmonks, but thatBessarionhadasclassmatesItalians,whichlaterevolved intogiganticforms ofscholarship, such as FrancescoFilelfoand GiovanniAurispa. 8It seems, indeed, thatBessarionstudiedparticularlythe techniquesfollowedinthe translationfrom ancientGreektoLatin.

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3. benefactor‖ (Sathas, 1868: 27)9 and, as his biographer Platina writes, they thought ―that was not sent by the Pope, but by God‖. Bessarion climbed so high in the hierarchy of the Catholic Church, that he was twice nominated candidate for Pope, but was not elected, mainly because of his Greek origin (Sathas, 1868: 28-30).10 Bessarion was granted with a palace in Rome, which was turned into a true Academy (Bessarioneios Academy) (Kurou, 1949, vol. 2: 134-161; Anthemides, 1983: 10-11), one of the largest centers of humanist studies in this era. In this refugee Greek scholars found a home. Bessarion’s Cycle was also attended by Italian intellectuals, indicative of Bessarion’s great recognition in his host country. Thus, the Academy served as an important center of humanities, which was combining the Byzantine with Western literary tradition (Manousakas, 1965: 23) and was contributed significantly to the Renaissance. Greek scholars who lived and worked there constituted a ―cultural bridge‖ between East and West (Zakuthinos, 1954-55: 126-138). An nnormous contribution of the Greek Cardinal in the humanities was the valuable collection of manuscripts prepared with zeal and with the help of mainly Greek calligraphers that enriched the invaluable Greek heritage he had brought with him. As custodian of his collection of manuscripts Bessarion chose Venice ―as another Byzantium‖ and in 1468 wrote the deed for the donation of 482 Greek and 264 Latin manuscripts, accompanied by his famous dedicatory letter. The donation with subsequent to his death additions approached 1000 titles. This valuable treasure was later housed (1554-1564) in the mansion built by Jacopo Sansovino and formed the core of the famous Marciana Library in Venice (Sathas, 1868: 31; Labowsky, 1966: 159-182). The most persistent pursuit of Bessarion’s life was the beginning of a Holy Crusade against the Turks, which with their west course were dangerously threatening Europe (Palmieri, 1895: 49-66; Taylor, 1924: 120-127; Ourliac, 1942: 33-52; Pappas, 2014a: 402-415; Pappas, 2014b: 37-55). The Crusade was therefore two-fold purpose: a) repelling the Turks and b) the liberation of Cardinal’s homeland, Byzantium. For

9The public inscription is as follows: ―Bessarioni episcopo Tusculano, cardinali Niceno, benefactori nostro‖. Platina writes: ―Quem enim videbant iustissimum, quem modestissimum, hunc tamquam de coelo missum, ea praesertim tempestate, venerabantur, colebant et observabant‖. 10We should note here that,beforeBessarion, itwasa GreekPope,Philargosfrom Cretewho was electedto the highest officeon26 June 1409under the nameAlexanderE.The GreekPopewas notcongenialto the Romanclergy, as it was thoughtthathe was obstructingthe Union ofChurches.Thishistorywas, of course, negativeimpact on the subsequentnon-election of Bessarionin the office ofPope (Sathas, 1868: 28).

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3. his ambitious dream he devoted all his powers, proving that he never forgot his country and that he had European consciousness, since he perceived the Ottoman danger and he battled to preserve Europe’s freedom. Also, the Greek cardinal enjoyed not only Italian but also pan-European recognition, since he was accepted with honors from most powerful courts of Europe (Kurou, 1949: 36-65; Irmscher, 1976: 175-185; Meserve, 2003: 521-588, Pappas, 2005: 18-96; Pappas, 2014a: 402-415; Pappas, 2014b: 37-55).

The Case of the Artist Constantine Andreou

Constantine Andreou, sculptor, painter and engraver, (1917-2007) came to Greece in 1925 from Sao Paolo, Brazil, where he was born in 1917, as his parents had immigrated there in search of a better future. His inclination for plastic arts was manifested from a very young age, but the difficult financial condition of his family prevented him from materializing his dream to study Fine Arts (Mortaki, 2014: 274- 277). During the decade 1932-1941 Andreou encountered great difficulty.11 In 1936 he completely abandoned carpentry in order to devote himself to sculpture. In the following years, marked by war and German occupation, he demobilized and acceded into the resistance and simultaneously he was working indefatigably on his sculptures despite the surrounding poverty and misery. In the year 1945 he was recruited for six months, but in the same year his good fortune, as he argues, led him to the Paris that he was dreaming about 1932.12 In 1945 one hundred fifty Greek scholars boarded the British battleship Mataroa that was chartered by the French government, along with another seventy who were going to study at their own expenses and Andreou was between the first. The candidates were chosen by a French committee and Octave Merlier, the director of the French Institute in Athens, was responsible for the whole organization and the examination of the candidatures (Oikonomou, 2008: 109). These scholarships were institutionalized from the years before World War II and were considered very important. Andreou says that France, the French Institute and Roger Milliex13 saved

11By daytime he was working as a carpenter and in the night he was studying in the Industrial School of Athens, from where he graduated in 1935 after a lot of effort and sacrifices (Rimpa, n.d.) 12Personal interview given to Sapfo Mortaki at his house in 88 Orphanidou str., Ano Patisia, Athens in 22/6/2005. 13 Roger Milliex was the assistant director of the French Institute in Athens.

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3. his life in the difficult years of the Greek Civil War, as he had participated in the resistance with the National Liberal Frontline.14 In the postwar Paris the disorder and instability caused by the wars resulted in the appearance of a plurality of artistic movements that influenced the progressive advancement of Art. In the French capital15 Andreou realized that he lived in a different world and that his former knowledge was not related to reality. Inside this different artistic atmosphere of Paris armed with great equanimity, maturity, determination, persistence and naturally his talent and despite the adverse living conditions, Andreou commenced his personal journey in order to achieve his own plastic language by experiencing every form of expression (Kazazi, 1992: 7). In the provocative atmosphere of Paris he will manage to succeed and to assert himself in the international artistic field. He says that success was the result of his will.16 And eventually, after the followed for three months lessons in the Decorative Arts School and equivalent time in the Fine Arts School he decided to become reclusive in his atelier (Trèhet, 1991) in the artistic quartier of Montparnasse in order to absorb the eminent artistic inversions (Dubreucq, 1975 : 187).

The Course of Andeou’s Integration in the French Society

His acquaintance with the architect Le Corbusier in 1947, with who he developed a close relation (Épivent, 1979) and his incorporation in his team until 1954 manufacturing architectural models, was significant as it brought him closer to the modern trends, the discovery of the dominant aesthetic of the time (Lydakis, 1981: 148; Cabanne, 1946: 104). In the meantime, Andreou cultivated his relations with other scholars in Paris (Valis, 2009) and in 1946 he participated amongst other Greek artists in the exhibition organized in the Pavillon Hellénique in Cite Universitaire (Phili, 2007: 28). A year later he participated in the exhibition of the group ―Young Artists who live and study in Paris‖ (Spiteris, 1979: 465) and in 1953 in a group

14 Personal interview, 2005. 15Paris is characterized by the philosophical and the literary discourses of Jean Paul Sartre and other philosophers, intellectuals and writers in Saint Germain des Pres, Picasso’s renewed interest in sculpture and synthetic cubism, Kandinsky’s improvisations towards art informel, the promotion of expressionist abstraction by Vols and Fautrier, the aesthetic and ideological conflicts of Matisse, Picasso and Braque, the Salons of Nouvelles Réalités and the galleries that hosted artists like Bazaine, Vasareli, Poliakof as well as others with abstract morphological expressions (Spiteris, 1979: 193). 16 Personal interview, 2005.

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3. exposition in Petit Palais entitled ―Seven Greek Sculptors of Paris‖ (Dubreucq, 1975: 188). In 1954, during a solo show in gallery Simone Badinier, Jean Cocteau admired his work and foretold that he would become famous by telling him ―tu seras un grand‖ (Goulaki-Voutyra, 2004: 10). Since then his artistic distinction would continue until his death with two hundred fifty two solo and group exhibitions worldwide.17 In 1961 he co-exhibits in Musée Rodin with Picasso, Matisse, Leger and other great artists and he is therefore considered as one of the few Greek sculptors who participated in such an event (Mersiadou, 1992). The next year he participated in a group exposition in the Musée National d’Art Moderne in Paris.18 After his stay for twenty years in Montparnasse, Andreou obtained his own place with five ateliers in the suburb of Ville de Bois in Grand Rue 49 (Kazazi, 1994)19 where he perfected his technique of bronze welding, which he invented20 and where the famous sculptor César visited him. His close friend and painter Jean Marc Bernard testifies that Andreou is one of the greatest sculptors of the 20th century.21 In 1972 he exposed in Iraq and in the same year he manufactured a big relief in Le Corbusier’s high school. His exhibition in the gallery of Annie Maume and Robert Héraud in Sancerre in 1984 was grated as a major artistic event.22 In 1988 he was awarded the prize Antoine Pevsner for the monumental sculpture the Egg-Family (Kazazi, 1988). In 1991 he founded the association ―Friends of Andreou‖ with his friend Jacques Magloire with the aim to promote the work of the artist by organizing tours in his ateliers. The Municipality of Ville du Bois named the Municipal Library ―Constantin Andreou‖ as an appreciation of his offering in that place and with that opportunity organized an exhibition entitled ―Encounter of Arts‖.23 As a symbol of gratitude Andreou donated thirty three of his artworks to the library (Prenan, 2001).24 Later, before his departure for Greece in 2003 he donated thirty three artworks to the

17Αndreou: One newerafor sculture, 1967. 18FrenchcommentsaboutGreekpainters – sculptorsinParis, 1962. 19 See also: Constantin Andréou nous a quittés.La Feuille du Bois, 2007. 20Constantin Andréou nous a quittés, 2007. 21Andréou, le précurseur méconnu, n.d. 22L’exposition du sculpteur Andreou: un évènement artistique a Sancerre, Le journal de Sancerre, 21 Μαΐου 1984. 23La rencontre des arts…à la Ville du Bois, 1998. 24 See also: LaVilleduBois, Invitationinsettlementof Constanine Andreou’s sculpture named Μaternity 27 Οctober 2001.

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3.

Municipality.25 His initiative was the organization of the first ―Salon of painting and sculpture‖ in 2002 in the same place (Lentignac, 2002). The same year Andreou was rewarded by the French government the ―Croix de Chevalier de la Légion d'honneur‖ and in 2001 the title ―Commandeur de l'Ordre des Arts et des Lettres‖, the supreme distinction of the Legion of Honor (Kazazi, 1994), which was commentated by the Minister of Culture of the French government Catherine Tasca.26 Moreover, for fifteen years (1985-2000) Andreou held the presidency of the section of sculpture in the ―Salon d’Automne‖ in Grand Palais. He is one of the Greek artists who are mentioned in the French dictionary Petite Robert of 1985. In 2005 he was announced ―Officier of Letters and Arts‖ of the French State, which constitutes the ultimate distinction for an artist of international reputation (Mortaki, 2014).

Conclusion

The first personality which is examined in this paper, Bessarion, belongs to the first migratory period (1453 – 1830).27 Historically, the origin of the Greek Diaspora is placed in the dark period of the fall of Byzantium in 1453, which signifies one of the greater national disasters and extends through the period of the four centuries of the Ottoman occupation until the creation of the New Greek State in 1830.28 Cardinal Bessarion was undoubtedly the most famous émigré of the Post Byzantine era. He abandoned his birthplace, Byzantium, as its enemy, because he supported the union of the Churches. In the host country, Italy, he gained the highest offices of the Roman Catholic Church. Meanwhile, he contributed to a great extent in the Renaissance with the numerous manuscripts he donated to the Marciana Library, as well as with the scholarships to young Greek students in Italian universities. Even though he was proposed twice for Papacy, he never became a Pope due to his former

25In 25 September 1999 theassociation ―FriendsofAndreou‖ incollaborationwiththemunicipalityofVilleduBoisorganizedan open tourin the artist’s ateliér. See : ―Portes ouvertes…á la découverte d’Andreou‖, Invitation and Programme, Saturday, 25 September 1999. 26Constantin Andreou, text for days of cultural heritage in Ville du Bois, 2008. 27 The history of Greece and of the Greek nation appears as a succession of cultural fluctuations, during which the country is scattered across the ends of the world and then it is gathered again in its borders. Greek Diaspora can be divided into four major periods and, more specifically, the following: 1453- 1830, 1830-1940, 1945-1970, 1970-present. 28The destruction of Constantinople caused the migration of all the intellectuals who succeeded in escaping the wrath of the conquerors and who possessed the qualifications on order to become professionally absorbed in the flourishing Europe of that time. These people cut their ties with their birthplace, became assimilated in the host countries that accepted them and in their majority they embraced Catholicism (Glykatzi-Ahrweiler, 2007: 61).

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3.

Orthodox past. Finally, he held a leading role in European politics of the time, as he demonstrated tremendous effort for the beginning of a Holy crusade against the Turks, with the aim to liberate his homeland and the deterrence of the Ottoman advance in Europe. France after World War II was trying to restore the disaster it caused with a vivid vision to recompose and reestablish its former prestige, aiming to play an important role in Europe (Oikonomou, 2008: 118). Both state and people envisaged a ―Great France‖ with universal radiation. In the context of its Foreign Affairs the French government implemented the institution of scholarships to artists and intellectuals of ally countries (Castoriades, 1986: 13-15) including Greece. This action brought Constantine Andreou in Paris in 28 December 1945. The impact of the personality and artistic creation of Andreou can be brilliantly outlined from the following testimonies: “one from the most important Greek sculptors who since many years live and work in Paris and who is considered as one of the most representative artists of our time exhibits for the first time in Greece”,29 “the mature and famous from many years in France and elsewhere Greek sculptor Andreou exhibits in a solo show for the first time in Athens‖ (Andreadi, 1967), “as it is known, Andreou, who is considered as one of our most important sculptors lives and works permanently in Paris. His new exhibition is about to open in Paris, while, in the meantime, he has been asked to show his work in England”,30

29Andreou: a new age for sculpture, 1967. 30Andreou exhibits sixty two new artworks. Painting – sculpture, 1967.

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3.

“the international review classifies him amongst the six best sculptors of our time”(Spyliakou, 1967) and “Greek sculptor of global recognition”(Lentignac, 2002).From the above study one can deduce that migration of Greek intellectuals constitutes a diachronic phenomenon. Their integration in the host countries lies in their qualities, educational level and overall contribution in the literal and cultural evolution of the time.

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3.

References

Andreou: a new age for sculpture.Vima, Athens 5 May 1967. (in Greek) Andreou, le précurseur méconnu.(n. d.). Temps libre. Andreou exhibits sixty two new artworks. Painting – sculpture, Ethnos 12 May 1967. (in Greek) Αndreou: One new era for sculpture. Vima, Αthens 5 Μay 1967. (in Greek) Andreadi, E. The exhibition of Andreou.Vima, Athens 13 May 1967.(in Greek) Anthemides, Ach. (1983). The contribution of great Bessarion in the transmission of classical studies in the West and his struggle for Greek nation’s freedom. Thessaloniki. (in Greek) Cabanne, P. (1946). Andréou: The eye of the sun. Biennale of Venice. Castoriades, C. (1986). The French society. Athens: Ypsilon. (in Greek) Cohen, R. (2003). Global Diaspora, trans. T. Plyta. Athens: Papazisis. (in Greek) Constantin Andréou nous a quittés. (2007). La Feuille du Bois, Journal municipal d’informations, (44). France: La Ville du Bois. Constantin Andreou. (2008). Text for days of cultural heritage in Ville du Bois. Damanakis, M. (2004). Modern Greek State and Modern Greek Diaspora: institutional, educational and political dimensions in their association. In M. Damanakis, V. Kardasis, Th. Michalakaki and Α. Hourdakis (eds), History of Modern Greek Diaspora, Research and Teaching: Proceedings of congress, Rethimno 4-6 July 2003, vol. Α': 25-44. Rethimno: Ε.ΔΙΑ.Μ.ΜΕ. (in Greek) Dubreucq, M. (1975). Andreou – 40 ans de sculpture. Paris: Zauffray. Enciclopedia Italiana. (1929). Vol. 6, s.v. Bessarione. Roma. Enciclopedica Cattolica. (1948). Vol. 2, s.v. Bessarione. Vatican City. Épivent, J. L. (1979). Andreou: un éclairement de la vie profonde. Fishman, J. (2004). Diaspora and diaspora and…diaspora. In R. Τsokalidis and Μ. Paparousis (Eds.).Identity issues in Greek Diaspora, language and literature: 27-32. Αthens: Metehmio. (in Greek) French comments about Greek painters – sculptors in Paris. (1962). Artistic News of Tuesday. (in Greek) Gill, J. (1976). The sincerity of Bessarion the unionist. In Miscellanea marciana di studi bessarioni: A coronamento del V centennario della donazione nicena: 119-136.Padua: Antenore. Glykatzi-Ahrweiler, E. (2007). Culture and Hellenism, approaches. Athens: Kastaniotis (in Greek) Goulaki-Voutyra, A. (2004). Constantin Αndreou, exhibiton catalogue. Tellogleio.

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3.

Thessaloniki: Tellogleio Foundation of Arts. (in Greek) Gotovos, A. (2004).National, ethnotic and cultural identity: diasporas, differences and homelands. In M. Damanakis, V. Kardasis, Th. Michalakaki and Α. Hourdakis (eds), History of Modern Greek Diaspora, Research and Teaching: Proceedings of congress, Rethimno 4-6 July 2003, vol. Α'(pp. 50-74). Rethimno: Ε.ΔΙΑ.Μ.ΜΕ. (in Greek) Hirschon, R. (2010). Identity and Greek State: some conceptual issues and paradoxes. In In R. Clogg (Ed)., Greek Diaspora in 20th century, trans. M. Fragkou: 287-323. Athens: Ellinika Grammata. (in Greek) Irmscher, J. (1976). Bessarion als Griechischer patriot. In Miscellanea marciana di studi bessarioni: A coronamento del V centennario della donazione nicena: 175-185. Padua: Antenore. Kalogeras, N. (1893). Markos Eugenikos and Bessarion the cardinal. Patras. (in Greek) Kazazi, S. (1988). Artist of Diaspora, the French prize of sculpture to Constantin Andreou for his work family. Macedonia, 7 December 1988. (in Greek) Kazazi, S. (1994). Andreou – peinture – guaches, exhibition cataloque. Thessaloniki : Eirmos Gallery. (in Greek) Kazazi, S. (1992). Αndreou – Painting – Retrospective 1950-1992, exhibition catalogue. Thessaloniki: Vafopouleio Cultural Culture. (in Greek) Κazazi, S. 1994. ―Colours and rhytms‖. In Αndreou – Painting – Engraving, exhibition catalogue, Thessaloniki: Eirmos Gallery. (in Greek) Kurou, Ach. (1947). Bessarion the Greek. Vol. 1. Athens: Aetos (in Greek) Greek) — , 1949. Bessarion the Greek. Vol. 2. Athens: Aetos (in Greek) L’exposition du sculpteur Andreou: un évènement artistique a Sancerre. (1984). Le journal de Sancerre, 21 May 1984. La rencontre des arts…à la Ville du Bois, exhibiton catalogue. 20 Νοvember 1998. La Ville du Bois, Invitation in settlement of Constanine Andreou’s sculpture named Μaternity. 27 Οctober 2001. Labowsky, L. (1966). Il cardinale Bessarione e gli inizi della Biblioteca Marciana. In A. Paertuzi (Ed.), Venezia e l’ Oriente fra tardo Medioevo e Rinascimento : 159-182. Florence. Lentignac, J. P. (2002). Exposer pour le plaisir…d’exposer. 13 artistes présents au ler salon de la peinture et de la sculpture. La Ville du Bois, 11 avril 2002. Lydakis, S. (1981). Greek sculptors. Modern Greek sculpture. History-typology-dictionary for sculptors, vol. 5. Αthens: Melissa (in Greek) Manousakas, M. (1965). Calls (1453-1535) of Greek scholars of the Renaissance to sovereigns of Europe for the liberation of Greece. Thessaloniki. (in Greek) Mersiadou, D. (1992). Costas Andreou – the artist should be tireless, laborer. Tiletheatis, 14- 20 November 1992. (in Greek)

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3.

Meserve, M. (2003). Patronage and Propaganda at the First Paris Press: Guillaume Fichet and the First Edition of Bessarion’s Orations against the Turks(pp. 521-588). PBSA 97: 521-588. Migne, J.P. (Ed.).(1866). Patrologia Graeca, vol. 161. Paris Mohler. L. (1967). Kardinal Bessarion (vol. 1 and 3). Paderborn Mortaki, S. (2014). The Migration of Greek Artists in France from the 19th to the 20th Century. The Case of Constantine Andreou. Athens: Papazisis. (in Greek) Oikonomou, M. (2008). The movement of ideas in France and their impact on Greek artists who lived in this country during the period 1950-1970. Athens: Livanis. (in Greek) Ourliac, P. (1942). Louis XI et le cardinal Bessarion. Bulletin de la Société archeologique du Midi de la France, 3rd ser., 5: 33-52. Palmieri, G. (1895). Lettere del Bessarione relative alla crociata contro il Turco [1460-1472]. Il Muratori 4 : 49-66. Pappas, V. (2005). Cardinal Bessarion’s Epistolae et Orationes contra Turcos. Aristotle University of Thessaloniki (Unpublished MA Thesis). Thessaloniki. (in Greek) Pappas, V. (2014a). The Epistolae et Orationes contra Turcos by Cardinal Bessarion. Philologos 157: 402-415. (in Greek) Pappas, V. (2014b).The first political printed book in Europe: The Epistolae et Orationes contra Turcos by cardinal Bessarion. International Journal of Language and LiteratureVol. 2, No. 3 (September): 37-5 Philis, E. (Ed). (2007). The Greek foundation in the international Campus in Paris. Place of life – place of memory: testimonies of student times. Paris: Fondation Hellenique. (in Greek) Portes ouvertes…á la découverte d’Andreou, Invitation and Programme, Saturday, 25 September 1999. Prenan, E. (2001). Une sculpture en bronze devant la salle de l’Escale. Inauguration d’une oeuvre de Constantin Andreou. Paris : La Ville du Bois Rimpa, D. (n. d.). Greeks in the world: Constantin Andreou – the Greek sculptor – painter who glorifies the name of Greece. (in Greek) Sakellariou, M. (1991). La typologie de la diaspora grecque. In The Hellenic diaspora from antiquity to modern times. Proceedings of the first international congress, Montreal 17-22 April 1988, Athens 26-30 April 1988, volume I: from antiquity to 1453: 15-24. Amsterdam: J. C. Gieben. Sathas. C. (1868). Biographies of Greek scholars from the destruction of the ByzantineEmpire until the Greek Revolution. Athens. (in Greek) Spiteris, T. (1979). Three centuries of Modern Greek Art 1660-1967. Athens: Papyrus. (in Greek) Spyliakou, Th. (1967). Costas Andreou – Biennale of Venice, the scheme exhibition. Ethnos. Athens. Τamvakis, S. (2004). Diaspora and perpetuation of Greek identity. In M. Damanakis, V.

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3.

Kardasis, Th. Michalakaki and Α. Hourdakis (Eds.), History of Modern Greek Diaspora, Research and Teaching: Proceedings of congress, Rethimno 4-6 July 2003, vol. Α': 45-48. Rethimno: Ε.ΔΙΑ.Μ.ΜΕ. (in Greek) Trèhet, B. (1991). Samedi 19 mai, ouverture du XVIe Salon du Château du Logis à Brécey, La Gazette, 12 mai 1991. Valis, N. (2009). Brief timeline of Constantin Andreou’s life (1917 – 2007), sculptor – painter – engraver. In Costas Andreou «Post Mortem», exhibition catalogue, Αthens: Eugenidou Foundation. (in Greek) Vast, H. (1878). Le cardinal Bessarion. Paris Ventoura, L. (1994). Immigration and nation, transformations in collectivities and social status. Athens: Mnimon. (in Greek) Vlachos, E. (1966). An annotated bibliography on Greek Migration. Αthens: Social Sciences Center. Zakuthinos. D. (1954-55). The problem of the Greek contribution to Renaissance. Scientific Annals of the Faculty of Philosophical School of University of Athens 5:126-138. (in Greek)

Biographical note Dr. Sapfo Mortaki

Adjunct Faculty Tutor in Hellenic Open University, Department of Studies in European Civilization

Scientific Associate in Technological Institution of Central Macedonia, Greece, Department of Design and Clothing Technology

(Corresponding author)

Email: [email protected]

Tel.: 0030 6944333394

Dr. Sapfo Mortaki is an art historian and a museologist. She has studied History and Archaeology at University of Ioannina and she holds an MA in Museum and Artefact Studies from Durham University UK and an MA in Continuing Education from the Open University in Cyprus. She attained her PhD title in Art History from the School of Philosophy of Aristotle University of Thessaloniki. She was a postdoctoral fellow at the same University. She has worked in the Telloglion Foundation of Art, the Folklife and Ethnological Museum of Macedonia-Thrace and the Directorate of Museums, Exhibitions and Educational Programs of the Hellenic Ministry of Culture and Athletics, where she participated in the organization of exhibitions, educational programs and also in editing exhibition catalogues. She has taught Art History and Museology in Adult Education, the Technological Educational Institute of Patras and Harokopio University of Athens, where she is conducting postdoctoral research. She is an adjunct faculty tutor at Open University of Cyprus and the Hellenic Open University. Currently she teaches Art History in the Technological Educational Institution of Central Macedonia. She has published articles in scientific journals and has participated in academic conferences. Her book on the migration of Greek artists in Paris in the 19th and the 20th century was published in 2014 from Papazisi publishers. She is a member of the Hellenic Committee of ICOM, the Society of Greek Museologists and the Greek Association of Art Historians.

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3.

Dr. Vasileios Pappas

Adjunct Lecturer in University of Thessaly, Greece, Department of History, Archaeology and Social Anthropology

Email: [email protected]

Tel.: 0030 6955198098

Vasileios Pappas received his PhD in Latin Philology in 2010, from Aristotle University of Thessaloniki (Department of Philology, sector of Classics). Dr Pappas’s PhD Thesis is entitled: The Latin knowledge of Demetrius Daniel Philipides († 1832): the translations of Trogus and Florus (Grade ―Excellent‖, Supervisor: Professor D. Nikitas). His MA Thesis is entitled The Epistolae et Orationes contra Turcos of Cardinal Vessarion (2005), (Grade ―Excellent‖ (10), Supervisor: Professor D. Nikitas). His Bachelor (2003) is in Classical Philology from the same University. Dr Pappas conducted postdoctoral research for the evolution of paraclausithyron in Latin love elegy at the Ionian University (Supervisor: Ass. Professor V. Vaiopoulos) and for the universal artificial language of Daniel Philippides at the Aristotle University (Supervisor: Professor D. Nikitas). He has published a book entitled The Stratagems of Sextus Iulius Frontinus: Introduction, translation and commentary (in Greek, 2016) and papers in international and Greek journals. He has participated in international and Greek Conferences. He has worked as adjunct lecturer at the University of Cyprus (Department of Classics) and as scientific associate at the Centre of Greek Language (Thessaloniki, Greece). In the current time he works as adjunct lecturer at the University of Thessaly (Department of History, Archaeology and Social Anthropology). His scientific interests lie at Latin love elegy, Roman historiography, poetry of Late Antiquity, Latinitas οf post-byzantine scholars, neo-Latin poetry and lexicography.