In the hall of the archaic Acropolis, the visitor can see the first changes in the position of some exhibits in the permanent exhibition. Acropolis Museum. After all, good educators also invite him to pick up the thread from the very beginning. Changes are being made gradually and relate to the placement of exhibits, says “K” general director of the museum, Nikos Stampolidis.

The route from the Shepherdess to the Daughters, some of which were in a different order, and the horsemen following them, leads to a new thematic section – the working people. Here are three earthenware vessels on loan from the Museum of Fine Arts, Boston.

Improvements were needed so that visitors could understand how history developed from 570 B.C. until 480 BC, emphasizes Mr. Stampolidis: “We make ‘port-stations’ at the exhibition. We still have work to do. When the “stations” from one section to another are completed, we will get a themed exhibition with professions. That’s why we also brought vases from Boston. Because they are associated with the emergence of the Cleisthenian Republic, which now allows the economic and social representation of professions such as potter, scribe, craftsman, butcher, shoemaker and as offerings to the great temple of the goddess. Until then, only aristocrats devoted themselves to the goddess Athena.

A short story about the professions in antiquity – an exhibition. In the center is the Daughter of Antinora. Of the scribes, the most impressive is the scribe sitting on a stool (difro), who writes on tablets that were attached to his knees. The top of the head is a copy of the original in the Louvre. Officials, perhaps secretaries, for others, keepers of the treasures of the goddess Athena.

The visitor observes the tribute of gnafe (fabric bleach) by Simon and the washerwoman Smicity as a tithe (1/10th of their earnings). The works reflect the social and professional self-confidence that artisans and artisans began to acquire during the period of the nascent republic (after 508 BC). Details of vases from the Boston Museum fascinate the public. An Attic red-figure hydria (490 BC) depicts a carpenter drilling a hole in the lid of a large box, a scene associated with the Danae myth. The black-figure amphora (500-490 BC) with the image of a shoemaker outshines. A shoemaker cuts the leather soles around the feet of a young customer who is standing on a table. On the other hand, a blacksmith is preparing to forge a metal bar.

The knife, raised, ready to cut the thigh of a large animal, laid out on a workbench and held on the other side by a small helper, is a black-figure oinohoe depicting a butcher at work. As repayment of the loan, the Acropolis Museum will send Daughter number 670 to Boston.

From today, the pretty “Venus in a Bikini” coming from the Archaeological Museum of Naples (until 28/5) has taken a place in the Acropolis Museum and then will go to the Ancient Eleftherna Museum.