Ο ΔΑΙΜΟΝΑΣ ΣΤΟ ΒΟΥΝΟ


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Ο ΔΑΙΜΟΝΑΣ ΣΤΟ ΒΟΥΝΟ

στη Ν.
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Χρωστάω την παρακάτω παλιά ιστορία στην μητέρα της φίλης Ι.Κ., που την άκουσε από τη μαμά της, που τότε ήταν μικρό κορίτσι περίπου 11 χρονών. Την άκουσα στο φιλόξενο σπίτι τους στον Αρμενιστή το έτος 1995, και άρα, μετρώντας τις γενιές προς τα πίσω, υπολογίζω ότι η ιστορία αυτή συνέβη στα 1915- 1920.

Εκείνη τη εποχή ακόμα, σε κάποιες μακρινές περιοχές της Ελλάδας, και ιδιαίτερα στα νησιά, οι άνθρωποι πίστευαν ότι τα έρημα βουνά κατοικούνται από δαίμονες που βγαίνουν τη νύχτα – δαίμονες επικίνδυνους, εκμαυλιστές, άρπαγες, απατεώνες, σκανδαλιστές, όργανα του σατανά.

Γι’ αυτόν τον λόγο, αν έχετε προσέξει, τα χωριά π.χ. της Ικαρίας, είναι κυκλωμένα από διάφορα μικρά ξωκλήσια. Αυτά βρίσκονται πάντα πάνω στα μονοπάτια στις εισόδους/εξόδους των οικισμών και των καλλιεργημένων εκτάσεων γύρω τους, ενώ τα μακρινά χωράφια είχαν κι αυτά το ξωκλήσι τους το οποίο συνήθως βρισκόταν στο κέντρο τους ή σε άλλη περίοπτη θέση κοντά τους.

Ο λόγος της ύπαρξης τους ήταν μαγικο/θρησκευτικός: οι δαίμονες, πλησιάζοντας και βλέποντας τον σταυρό, τρέπονταν σε φυγή κι έτσι τα δόλια νυκτερινά σχέδιά τους εναντίον π.χ. της σοδειάς, των ζώων ή των ανθρώπων, ματαιώνονταν.
Μιλάμε για μια εποχή που οι άνθρωποι πήγαιναν παντού με τα πόδια και συχνά νύχτωναν στις ερημιές, είτε γυρίζοντας από τους αγρούς, είτε επιστρέφοντας από δουλειές ή ταξίδι. Επίσης πολύ συχνά, όταν ήταν να κάνουν κάποια μεγάλη διαδρομή, έφευγαν από τα σπίτια τους αρκετές ώρες πριν χαράξει – βαθιά νύχτα – όταν οι δαίμονες ήταν ακόμα ξαπολυτοί και ασύδοτοι στα βουνά.

Μια τέτοια ώρα, μαύρα μεσάνυχτα, ξεκίνησε η προγιαγιά της Ι.Κ. από το χωριό Μ. της βόρειας Ικαρίας για να πάει στον Άγιο (*) στην άλλη άκρη του νησιού για να προλάβει το δικαστήριο που θα δικαζόταν μια υπόθεσή της. Πολλοί άλλοι από πολλά χωριά θα πήγαιναν εκείνη τη μέρα στην πρωτεύουσα διότι το δικαστήριο, βλέπετε, ήταν περιοδεύον και οι ημερομηνίες των συνεδριάσεων ήταν αποκλειστικές. Όποιος δεν πήγαινε, έχανε τη δίκη, ή έπαιρνε αναβολή, δηλαδή, πάλι έχανε.

Ήταν μια κρύα αλλά ήσυχη νύχτα του Δεκέμβρη. Οι θύελλες της ισημερίας είχαν περάσει ενώ σε λίγες μέρες άρχιζε το 12ήμερο (*) των Χριστουγέννων. Αρκετοί χωριανοί είχαν ξεκινήσει ήδη να πάνε κι αυτοί στο δικαστήριο, κι έτσι η γυναίκα δεν ένιωθε φόβο. Μάλιστα σήκωσε και πήρε μαζί της την κόρη της για παρέα. Ήθελε κιόλας, όπως έλεγε, “να της δείξει τον κόσμο”, δηλαδή, την πρωτεύουσα και το πλήθος απ’ όλα τα μέρη του νησιού, που θα μαζευόταν εκεί για το δικαστήριο.

Μάνα και κόρη πήραν τον δρόμο λοιπόν στο φως της άστρων, κι ανηφόριζαν, όλο ανηφόριζαν για το βουνό. Περνώντας από τις τελευταίες αγροικίες, έκαναν τον σταυρό τους στο εκκλησάκι του Ταξιάρχη – τελευταίο φύλακα της χριστιανικής επικράτειας – και μπήκαν στα βαθορούμανα που έζωναν τις βουνοκορφές. Στην κορυφή ενός λόφου, στάθηκαν μαζί με άλλους στο ξέφωτο, μίλησαν λίγο – ένα μικροσκοπικό αλλά κατάμαυρο συννεφάκι στον ουρανό ήταν κάπως ανησυχητικό – σταυροκοπήθηκαν πάλι και ξαναξεκίνησαν.

Στον δρόμο, άλλοι βαδίζοντας γρήγορα, άλλοι πιο αργά, η αρχική ομάδα διαλύθηκε λίγο-λίγο, κι οι δυο γυναίκες βρέθηκαν να βαδίζουν μοναχές τους. Κανένας λόγος, όμως, ανησυχίας. Μόνο αυτό το μικρό μαύρο συννεφάκι που έμοιαζε κολλημένο στο ίδιο σημείο από πάνω τους, τι σημάδι να ήταν; Ευτυχώς, από τη μεριά της Σάμου, στην ανατολή, το σκοτάδι της νύχτας είχε σπάσει – μόλις αχνόφεγγε μια χαρακιά. Σε δύο ώρες θα ξημέρωνε.
Φτάνοντας στα οροπέδια, κατάκορφα στον Αθέρα, έφεξε τόσο ώστε άρχισαν επιτέλους να βλέπουν λίγο το δρόμο μπροστά τους. Ωστόσο, εκείνη ακριβώς τη στιγμή, το συννεφάκι μεγάλωσε, μεγάλωσε κι άλλο, τα αστέρια χάθηκαν, χάθηκε και το χάραμα, έγινε πίσσα σκοτάδι.

Η πρώτη αστραπή ήταν ξερή. Η δεύτερη όμως έφερε μια μονοκόμματη γερή βροχή – νερό με τους κουβάδες.

Η μάνα, ξέροντας τα κατατόπια, τραβήχτηκε με την κόρη της και κρύφτηκαν κάτω από μια καμάρα – θολωτό βράχο σαν σπηλιά, γνωστό σε όλους τους διαβάτες. Έβλεπαν το νερό απ’ έξω να πέφτει σαν κουρτίνα, τις αστραπές, τους κεραυνούς…
– Μάνα, τι να γίναν οι άλλοι;
– Σε κάποια καμάρα θα είναι κι αυτοί.
– Θα χάσεις το δικαστήριο, μάνα.
– Μόλις κόψει θα ξεκινήσουμε. Δεν θ’ αργήσει.

Πραγματικά, όσο γρήγορα κι άγρια είχε ξεκινήσει η μπόρα, τόσο γρήγορα έκοψε, κι έγινε μια ήσυχη σταθερή βροχή. Μάνα και κόρη ξεμύτισαν από την καμάρα, όμως εκείνη ακριβώς τη στιγμή άκουσαν δυνατό ποδοβολητό. Κάποιος ερχόταν τρέχοντας.

Στο φως της χαραυγής, και πότε-πότε, μιας μακρινής αστραπής, φάνηκε μια σκοτεινή αντρική φιγούρα που πλησιάζει γοργά, βγάζοντας ήχους σαν βογγητά, με το περίγραμμά της να φέγγει με κάτι σαν λαμπερή άχνη που γυάλιζε.
– Ιησούς Χριστός νικά και όλα τα κακά σκορπά!
– Μάνα, τι είναι; Ποιος είναι;
– Δαίμονας! Κρύψου!

Η κόρη όμως δεν υπάκουσε αλλά έμενε να κοιτάζει έκθαμβη τον δαίμονα που ερχόταν καταπάνω τους αχνιστός. Μέσα στο μούχρωμα η μορφή του φαινόταν πια καθαρά. Κράταγε κάτω από τη μασχάλη του ένα πακέτο και ήταν γυμνός – ολόγυμνος!

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Ο ΔΑΙΜΟΝΑΣ ΣΤΟ ΒΟΥΝΟ

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Η μάνα σκέπασε τα μάτια της κόρης της με τα χέρια της. Πες την προσευχή σου, την διέταξε, και σάωσε. Είναι σίγουρα οξαποδώς, κάτι έχει κλέψει, το πάει στην τρύπα του. Αν δεν μας πάρει χαμπάρι, θα πάει στον αγύριστο, θα φύγουμε κι εμείς, να βρούμε τους άλλους.
– Μάνα, γιατί είναι γυμνός; Γιατί φέγγει έτσι;
– Σάωσε, λέω! Δεν είδες τίποτα. Λέγε την προσευχή σου!

Τέλος πάντων, χάθηκε ο δαίμονας πίσω απ’ τα βράχια, πέρασε λίγη ώρα, κι η μάνα κι η κόρη ξεκίνησαν δειλά-δειλά να περπατούν μέσα στο ψιλόβροχο. Άλλωστε είχε πια σχεδόν ξημερώσει. Έτσι πηγαίνοντας, βρεγμένες, λασπωμένες, τρέμοντας από το κρύο, αλλά κι απ’ τη φρίκη, έφτασαν στ’ Απερίχου κι είδαν από μακριά τα εκκλησάκια των χωριών ίσα κάτω. Εκεί στάθηκαν κι έκαναν τον σταυρό τους κι ήρθε λιγάκι η καρδιά τους στη θέση της. Στο μεταξύ η βροχή σταμάτησε κι ένας λαμπρός πρωινός ήλιος φώτισε το χειμωνιάτικο τοπίο των βουνών και το ήρεμο βαθυγάλανο πέλαγος.

Κι έτσι έφτασαν στον Άγιο – και μάλιστα στην ώρα τους. Στο Διοικητήριο ο κόσμος είχε μαζευτεί και ο γραμματέας διάβαζε τον κατάλογο των υποθέσεων της ημέρας. Όμως τι εμφάνιση ήταν αυτή που είχαν όλοι; Οι πάντες βρεγμένοι ως το κόκκαλο, λασπωμένοι, βρώμικοι, άλλοι σκεπασμένοι με τσουβάλια, άλλοι ξυπόλητοι με τα καλά τους παπούτσια στο χέρι – είχαν βλέπεις φάει όλη τη βροχή στον δρόμο. Κανείς δεν είχε κάνει πίσω, να βρει απάγκιο, να γυρίσει στο σπίτι του. Δεν έμπαινε θέμα να χαθεί μια δικάσιμος! Το περιοδεύον δικαστήριο, εξάλλου, ήταν και ένα σπουδαιότατο κοινωνικό γεγονός. Εκεί μάθαινες όλα τα νέα – “μάθαινες τον κόσμο”.

Εκεί λοιπόν που περίμεναν τη σειρά τους η μάνα κι η κόρη, βλέπουν να βγαίνει από το κτίριο ο πρώτος που δικάστηκε η υπόθεσή του. Ήταν γνωστός τους, γείτονας από το ίδιο χωριό – χαρούμενος διότι, ως φαίνεται, η δίκη του πήγε καλά. Ήταν νέος, μεγαλόσωμος, στιβαρός, και πράγμα πολύ παράξενο, δεδομένων των περιστάσεων, έδειχνε άψογα ντυμένος με το κυριακάτικο κοστούμι του σιδερωμένο και τα παπούτσια του γυαλισμένα, τέλεια, σαν καινούρια.

“Καλημέρα κουμπάρε” του λέει η μάνα. “Ήρθες στον Άγιο αποβραδίς; Εδώ ξημερώθηκες;”
“Όχι δα” λέει αυτός. “Ξεκίνησα κι εγώ σαν κι εσάς – νύχτα ήταν ακόμα. Όμως άργησα λίγο και δεν σας βρήκα στον δρόμο”.
“Και πως και δεν βράχηκες; Κοίτα εμάς, τα χάλια μας…”
“Α, ναι. Που λες, εκεί που περπατούσα κι άρχισε να βρέχει, λέω, πάει το καλό μου κοστούμι, πάνε τα παπούτσια. Κοιτάζω γύρω μου, μόνος μου είμουν, τα βγάζω όλα, τα κάνω πακέτο κι αρχίζω να τρέχω. Τρέχοντας, λέω, θα φτάσω πιο γρήγορα και θα μένω και ζεστός. Έτσι, σου λέω, έπεφτε και έφευγε η βροχή από πάνω μου σαν σύννεφο καθώς έτρεχα. Μόνο που στον ανήφορο, λίγο πριν το διάσελο, εκεί που είναι η καμάρα – την ξέρεις – λαχάνιασα κι άρχισα να κοντανασαίνω. Κι ο ιδρώτας πολύς, πάρα πολύς. Σαν καπνός έβγαινε απ’ το δέρμα μου. Μα που να σταματήσω; Είχα, βλέπεις, φοβηθεί και λιγάκι. Μου είχε φανεί σαν να έφεγγα, ένα πράγμα, σαν να έβγαζα φως (*).
Οι δαίμονες, λέω, θα ΄ναι, με βάζουν σε πειρασμό. Έκανα τον σταυρό μου και συνέχισα. Στα χωριά τ’ Απερίχου έβαλα τα ρούχα μου, στη Λευκάδα έβαλα τα παπούτσια μου, και να ‘μαι!”

– Να χαίρεσαι κουμπάρε, έχεις μυαλό! Αλλά να φοβάσαι τους δαίμονες, δεν το δέχομαι, κοτζάμ άντρας! Αυτά είναι ψέματα που λένε οι κατσικοκλέφτες για να κάνουν τις δουλειές τους με την ησυχία τους τη νύχτα…

Εκείνη τη μέρα στο καφενείο της πρωτεύουσας η εντεκάχρονη τότε γιαγιά της φίλης μου Ι.Κ. ήπιε το πρώτο της κονιάκ. Την ίδια ώρα η μάνα της κοπάνησε μονορούφι ένα τριπλό!

Άγγ. Κ.

(*) Άγιος Κήρυκος, “Άγιος” για συντομία, η πρωτεύουσα της Ικαρίας.
(*) Το διάστημα μεταξύ της Γέννησης και των Επιφανείων, όπου πλήθος μεγάλων Χριστιανικών εορτών, θεωρείται επίσης περίοδος μαγείας και θαυμάτων.
(*) Δυσεξήγητο ηλεκτρικό φαινόμενο, όχι όμως σπάνιο σε νύχτες καταιγίδων. Βλέπε, π.χ. “Φωτιές του Αγίου Έλμου”.

Διάβασε αυτήν και άλλη μία ιστορία στο φέησμπουκ:


Πατώντας στο πορτραίτο, βλέπεις άλλα δημοσιεύματα του Άγγ. Κ. ως φιλοξενούμενου σε αυτό το ιστολόγιο.

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Σάββατο, 25 Δεκεμβρίου 2021

Next post : «Νότια Σκέψη»

Previous post : «Drapetomania or Paradise invented»
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SLOW ASTERN


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Jeff Soan’s Ikaria 1974 – Ayia Kiriaki
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‘Slow Astern’ is a position on the engine telegraph located inside the bridge of a ship. It’s purpose is to transmit the orders of the captain to the engine room below decks. ‘Slow astern’ means ‘slowly backwards’. In Greek it is ‘ΟΠΙΣΘΕΝ ΗΡΈΜΑ’. I am using this nautical term as a metaphor to say ‘slowly back to the past’ or if you wish, «a calm and sobber throwback in time».Hello!
In case some readers thought that all I love about my favorite island is nature, I hope this post will make them change their minds. Because, connected with that nature, inside that nature, befriended with that nature, a very peculiar civilization developed and lived for centuries until the introduction of fossil fueled engines, motor roads, electricity, market economy and finally, tourism.
Jeff Soan’s Ikaria 1974 – avli Speaking about Ikaria, due to its isolation and geomorphology always some steps back in development, this civilization which presumably dated from the Age of Stone, ended as incredibly late as the 1960s. Jeff Soan’s Ikaria 1974 – porta
Jeff Soan a wood carver and toy maker from England, whose work is often inspired from traditional arts and crafts from around the world, visited the island in 1974, just in time to catch the last gleam of the old Ikarian culture.

The right man in the right time, Jeff Soan drew and described what he saw in his tiny sketchbook and several decades later he published all that in his webpage.
How lucky was I to discover it!

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Jeff Soan’s 30 artifacts from Ikaria 1974
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The original site has dropped off but somehow, I managed to save a few paragraphs. The sketchbook page scans, however, are still on!

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Jeff Soan’s Ikaria 1974 – ponticossJeff Soan’s Ikaria 1974 – holely rocks in Ayios FokasJeff Soan’s Ikaria 1974 – Ayios YannisJeff Soan’s Ikaria 1974 – Ayios KirikosJeff Soan’s Ikaria 1974 – kalamiaJeff Soan’s Ikaria 1974 – manites
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Here they are, 30 of them, all together. As I took the liberty to load everything on my blog, if you click on the thumbnails, you will be able to see the sketchbook pages in large size. Under each page I have added captions containing typed transcriptions of Jeff’s amazing handwritten notes – admirable evidence of his deep understanding of the artifacts and objects described as well as of his respect for the age-old civilization Jeff Soan’s Ikaria 1974 – ghatato which they belonged.
I share the same feelings with him.
You see, I don’t only love nature in Ikaria!

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But let Jeff speak now:

«Ikaria is a Greek island situated in the North Eastern Agean group, close to Samos and the Turkish mainland. I drew and took notes on the things I saw there».

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Pages from a sketchbook

«In 1973 Barbara and I met, fell in love, and decided to leave England early in the spring of 1974 in order to travel to Greece. The intention was to spend a year living Greek life. I had visited mainland Greece, a place called Narantziza, a few years previously and was desperate to return to pick oranges and lemons in the autumn, it seemed such an exotic thing to do. A friend had told me of a windy island in the North Eastern Agean group that he had visited and after a few weeks acclimatising and pulling urchin needles out of our feet we undertook the 12 hour ferry sailing out to Ikaria.»

Jeff Soan’s Ikaria 1974 – ELETRIVION: Today olives are pressed for oil in modern automated presses. Above is shown the age-old method of crushing olives in...

The Olive
(elliess)
«The Olive Tree lives to a great age becoming gnarled and twisted during growth. Olives are borne on the wood of the previous year’s growth. Every part of the tree is used – the olives themselves for oil and eating, the leaves are fed to animals, the wood for bowls and utensils. The wild shoots can be used in making woven baskets – and whatever is left over for the fire in the cold winter months.
The olive tree spreads its roots far into the rocky soil and prevents land erosion. Terraces formed on sloping ground for an olive grove hundreds of years ago remain as terraces, the roots preventing natural land slip.»

Jeff Soan’s Ikaria 1974 – olive press: Today olives are pressed for oil in modern automated presses. Above is shown the age-old method of crushing olives in preparation for pressing. It consists of a large slab of stone...

«Olive trees require little or no attention during the year. Occasional pruning prevents them from going wild – the wild shoots obtained are extremely supple – perfect for basketwork. The olives ripen from November until January and are picked from the ground and lower branches. The fruit higher up in the tree is either left until it eventually falls, or is knocked off with a long stick and collected with a sheet underneath. Branches crack easily so they aren’t climbed.»

Jeff Soan’s Ikaria 1974 – large foorno with chimney: Large oven constructed of broken ‘pithari’ and red clay. The main bulk usually protrudes from the end or side of the house. The main construction shown above, is effected by first placing...

Large foorno with chimney
«A large oven is constructed from bricks, broken pithari, tiles and red clay to stick it all together. It often extends from the side of the house. The oven is made by first placing sticks covered by ferns and then earth on top to form a flat hemispherical shape. Broken pots and bricks are then cemented with red clay over the top of this dome. An access arch is formed in the wall of the house and a chimney above the door. The dome is insulated further with red clay and pot fragments and filled in with earth. A roof is constructed over it to protect from the rain. The interior floor is of red clay. Six or seven hours firing is required to harden the clay. When the correct temperature is reached glass bottles will melt inside and these can be used to give a smooth bottom. Six to twelve loaves may be baked at a time depending on the size.»

Jeff Soan’s Ikaria 1974 – pithari: Storage pots (pithari) are formed from red clay. The various sizes but usually large, used for...

Storage pots (pithari)
and ‘Pithari’ foorno
«Formed from red clay. The various sizes but usually large, used for storing wine and olives. Often buried in the ground or built into a terrace, and surrounded with earth and stones. The lid is often a circular slate with a hole cut in it to take a brushwood handle. Often found in groups near the wine press. Any decoration near the top is simple as they were made not to stand to be built in and covered. They can be used to make ‘beehive’ shaped oven.
A pithari oven is constructed by laying a pithari on its side and packing round with broken pots, tiles and red clay. It is covered with earth and stones as insulation and made weatherproof. The inside is first filled with sand to a level coinciding with the lip, then red clay is packed on top to a height that gives maximum use of floor space and height (usually just below centre). The clay is left to harden and then fired to a high temperature using brushwood. Ground glass can then be sprinkled to give a smooth bottom. After firing the ashes are pulled to the front and a stone placed over the door of the oven. In addition a lower door may be let in to apply extra heat during cooking.»

Jeff Soan’s Ikaria 1974 – tools for bread making: PSOMΊ - Bread and tools for making it.

Tools for bread making:
«1) Bracken bunched and tied to the end of the stick to brush small bits of charcoal (pana or panisma).
2) Wooden spade for manoeuvring dough and bread (psomophtiaro).
3) Scraper are for pulling ashes to the front of the oven.
4) Bread mould carved from half log.»

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Jeff Soan’s Ikaria 1974 – wooden stamps for pitta 2: Impressions from carved wooden stamps used to form designs on the round flat church bread or ‘PITTAS’. The wood used is...

PSOMΊ
(bread)
«The bread made by the majority of the islanders is a sour dough, that is dough which has been left to absorb wild yeasts. A portion of each week’s dough is kept back for future use, stored in a suitable container to prevent too much drying (a half coconut shell is excellent for this) on the night before baking and the dough is mixed with a little water at blood at temperature and covered with sifted flour. A mark is usually made in the surface of the flour (often a cross). It is covered with a cloth and left overnight in a warm place. In the morning the yeast / flour mix will have risen. It is made into a soft dough by adding water and kneading well. The required amount of sifted flour is added. By dipping the hands inJeff Soan’s Ikaria 1974 – wooden stamps for pitta 1: Impressions from carved wooden stamps used to form designs on the round flat church bread or ‘PITTAS’. The wood used is...to a bowl of warm water and constantly on kneading the mix for at least an hour, the yeast is distributed throughout the mix and air introduced. The dough is then formed into flattened spheres and a handful of dough kept back for future use. The dough is covered with flour and placed into cloth lined baskets.
This is then covered with blankets and kept in a warm place for four hours or until the dough has risen. The furnace is prepared by burning brushwood (anima is best for this) for at least half an hour. The inside of the furnace turns a sandy white when the correct temperature is reached. The ashes are pulled to the front and the interior brushed clean. A suitable flat stone is placed on the ashes inside to prevent hot charcoal falling on to the bread when the door is closed. The dough is then flopped on to the psomophtiaro so that its bottom in the basket becomes the top of the loaf. They are then slid into the furnace and left to cook. When the top surface is brown the loaves are stacked to the sides of the furnace to cook on the bottom a little. After removing the loaves the oven is at a temperature suitable for cooking meals, pastries, etc.»

Jeff Soan’s Ikaria 1974 – paximadi: Rusks … dough. When the bread is ready the slices are cut right through and left in the furnace for 24 hours or until furnace is cold. They may be stored indefinitely as they do not mould. Too hard to be...

Rusks
(paximathi)
«Unused and stale bread is cut into thin strips soaked a little and baked for many hours as the oven cools. They may be stored indefinitely as they do not mould. They are too hard to be eaten directly but are dunked in soup, goat’s milk, or tea.»

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eff Soan’s Ikaria 1974 – aloni: Large, circular, stone floor with upright slates around the perimeter. Usually situated at the base of...

ALLONI
(Threshing floor)
«Large, circular, stone floor with upright slates around the perimeter. Usually situated at the base of a number of terraces where wheat is grown. The whole wheat is spread evenly around the perimeter and a mule, donkey, horse of even cows is made to walk around, for a number of hours, while a man leads and coaxes from the center. The wheat is turned occasionally during the process. Threshing a grain crop can be completed in a day by the above process. Although very little wheat is now grown on the island, in those days very large crops were produced; the extraordinary number of ‘pezoulia’ (terraces) bear witness to this.
Manual labour was reduced by introducing a brake at the center with a tube-like top into which a wooden arm could be fitted and the animal controlled in this way.»

Jeff Soan’s Ikaria 1974 – water conservation reservoir: The method above of damning and reserving water is the most common on the island. Walls are built at a...

Water conservation reservoirs
«Most rivers will dry up completely during the summer months. What little water is left in larger rivers tends to disappear underground or meander so much over the riverbed that it is absorbed. The method above of damning and reserving water is the most common on the island. Walls are built at a suitable site on the riverbed and a watertight finish obtained by placing a large flat stones up right against the wall on the waterside. The joins are sealed with clay and grass or cement. The drain and plug are simply a large stone let in to an opening with whole board into it, in which fits a branch. The rate of flow is controlled by using different sized branches. To seal completely the largest sized branch is used and packed around with leaves and mud The reservoir is situated above a number of gardens which it serves. Water is allowed constantly to seep out to the next reservoir situated further down the river valley. When required, water is directed into irrigation channels on either side of the valley.»

Jeff Soan’s Ikaria 1974 – terraced fields with olive trees and gardens

Gardens
(gkipos)
«Very little land in the valleys is flat of course and so workable areas are formed by stepping on the land into terraces (bezoulia) earth is piled up around small areas to form trenches with removable openings for of grass and flat stones. Each trench is filled with water by opening the door and stopping the flow to the next trench. When filled to the brim the door is closed and the same procedure adopted for the following a trench. When all the trenches on one level are filled the water is allowed to flow to a lower terrace. Fertiliser can be placed in the openings where the water flow will carry and eventually distribute it among the plants. The amount of water applied in this way in one session is sufficient to meet the plants needs for one week. The more usual plants grown in this way are string beans, sweet corn, peppers, aubergines, tomatoes, courgette, cucumber and a number of salad crops, vlita and horta

Jeff Soan’s Ikaria 1974 – NEROMILOS 1: From the days when much wheat was grown on the island – a ‘neromilos’ was an alternative to the ‘anemomilos’ (windmill). Motive power was obtained by water entering...

NEROMILOS
Watermill
«From the days when much wheat was grown on the island – a ‘neromilos’ was an alternative to the ‘anemomilos’ (windmill).
Motive power was obtained by water entering a 30 foot tower and being constricted at the bottom, thus emerging under pressure.
Water is stored in a large reservoir upstream and when released flows down an irrigatJeff Soan’s Ikaria 1974 – NEROMILOS 2: The water emerges under considerable pressure onto one side of the paddle wheel effecting the required circular motion...ion channel and into the top of the tower.
The diameter of the chimney at the top of the tower is 3 feet gradually decreasing in diameter, and finally curving until its horizontal and only 6 inches in diameter. The water emerges under considerable pressure onto one side of the paddle wheel effecting the required circular motion…»

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«The main body of water exits at the front of the mill house and the remainder eddies and emerges at the side. The shaft of the paddle wheel is directly connected to the upper mill-stone. The paddles themselves numbering about 25 are hollowed out from a small log. They are called ‘koutalli’ (spoons).»

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Jeff Soan’s Ikaria 1974 – NEROMILOS 3: In the millhouse itself is the above arrangement. Grain is fed to the hopper situated above the millstones...

«In the millhouse itself is the above arrangement. Grain is fed to the hopper situated above the millstones – the amount entering the hole in the top stone controlled by an adjustable feeder.
Ground flow exits through a hole in the lower stone and into the flour trough. The brakeJeff Soan’s Ikaria 1974 – NEROMILOS 4: Inserted in the top section of the water tower is this pentagonal plaque carved from rough marble. Note the occurrence of 5 – the pentagon... probably deflected the flow of water away from the paddles.
With the decline of the population and thus the decline of home grown wheat the mill lost business and finally ceased to operate in 1953.»

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Jeff Soan’s Ikaria 1974 – kamini: In the wilder, more exposed parts of the island huge quantities of ‘marmaron’ – marble is to be found which was used for the production of ‘asvesti’ – lime and whitewash. At a suitable site...

KAMINI
Lime kiln
«In the wilder, more exposed parts of the island huge quantities of ‘marmaron’ – marble is to be found which was used for the production of ‘asvesti’ – lime and whitewash. At a suitable site (an area where there was plenty of wood available) one of the above structures would be built from large rocks incorporating a narrow ledge around the base, inside. On this ledge small pieces of marble would be laid at an angle all around. On the next layer, slightly larger pieces are laid at the opposite angle herring bone fashion (‘psarococalo’).
Continuing in this way a dome structure is built up on the inside and this forms the lining of the kiln. The kiln is continuously fired for 36-48 hours – the inside temperature reaching 3000°C.»

Jeff Soan’s Ikaria 1974 – HEROMILOS: Found in most, if not all, older houses. Made of hard, composite rock. The lower slab set permanently into a stand diagonally across a corner...

MILOS – Domestic mill
HERΌMILOS – Hand-mill
«Found in most, if not all, older houses. Made of hard, composite rock. The lower slab set permanently into a stand diagonally across a corner of the room at a suitable working height. Wheat grain is poured with the left hand into the central hole and the top slab swung around the central pivot in an anti-clockwise direction by the loose-fitting wooden handle.
The upper stone is grooved on its underside in shallow spiral rays to facilitate a constant flow of flour all around the mill. A leather washer also helped in maneuvering the rather heavy top slab.
There being no suitable stone on the island for grinding, all millstones were imported, usually from Turkey – most coming from an area now known as ‘MILOS’.
An alternative groove design – herring bone (‘psarococalo’) found on a large, heavier hand mill.»

Jeff Soan’s Ikaria 1974 – hastri: A simple [..?] of clay which functions as a beehive and encloses all the popular wisdom and the Ikarian tradition. That is ‘Hastri’. It first...

HASTRI
Clay pot beehive
«Α simple […?] of clay which functions as a beehive and encloses all the popular wisdom and the Ikarian tradition. That is ‘Hastri’. It first appeared hundreds of years ago in the Ikarian laboratories of clay. Contemporary methods have managed to substitute it completely. Many people of the island still use it with an ardent wish and faith in tradition.
Thus ‘Hastri’, symbol of a unique era, constitutes the most vivid proof of the Ikarian experience in honey which offers a discreet taste in our life.»

Jeff Soan’s Ikaria 1974 – dipper and siphon for wine: The must is then transferred to large ‘pitharis’ under shelter. These have stone lids with brushwood handles to allow air to escape. The fermenting...

KRASHI
(Wine)
«…The must is then transferred to large ‘pitharis’ under shelter. These have stone lids with brushwood handles to allow air to escape. The fermenting (the Greeks say ‘boiling’) must is left from 4-8 weeks before being transferred to more convenient containers.
Gourds used as, left – dipper, and right – with bamboo additions as siphon.
Fresh grape juice, boiled with ashes from the fire and flour added makes a delicious jelly sweet called ‘mustalevria’. Instead of ashes a slice of bread is sometimes put in to cut some of the sweetness.
Many varieties and qualities of wine are produced which fall into three categories: 1) ‘Mavro’ (black) which is a deep red, rich wine, 2) A rosé type lighter wine, 3) Retzina which is wine preserved by the addition of resin.
In addition, water-wine is made which is ready to drink two weeks after treating.
The wine is at its best at Christmas time.»

Jeff Soan’s Ikaria 1974 – anemomilos: A familiar sight on many hilltops of the island – the ruins of an anemomilos – windmill. The useful machinery...

ANEMOMILOS
(Windmill)
«A familiar sight on many hilltops of the island – the ruins of an anemomilos – windmill. The useful machinery inside was taken out of all of them after they ceased to operate. All, being in exposed positions, soon deteriorated in the strong winds. Ikaria’s former name (one of many) was ‘Anemoessa’ (windy).
Plastered and whitewashed with thatched roofs and with numerous triangular sails – they must have been a fine sight in earlier days. The remaining clues inside are few. A spiral staircase inside gave access to the spindle/axe and gear mechanism. Holes in the surrounding wall at knee-level probably supported the mill stones.»

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That was all from Jeff’s «Ikaria-1974».
I hope that was not too boring. If so,
here is some more or less relevant stuff:

Old Ikaria pictures on carousel via Eleni's blog article: 'I shall foot it' In Eleni's blog, article 'The lost village adventure' Hiking in easten Messaria, Ikaria island Greece - a set of pictures by the local hiking club Hiking in HINTERLAND - a set of pictures by the local hiking club

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Tuesday, October 26, 2008

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Comments

(1 total)

  • Eleni from_anotherplanet

Interesting! I suppose this for you is called

«Everyday life on a Greek island in Late Neolithic»

^^’ 🙂

Tuesday October 26, 2008 – 06:10am (PST)

Wheat, oil, wine, vegetables, water. Yes, and occasionally some baked meat in the oven:-)

Thursday October 28, 2008 – 09:57pm (EET)
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