From My Time as a CIG Intern

When I got the news that I would be spending my summer in Greece, I was ecstatic. Originally, I impulsively submitted an application to my university’s international program because I had become very engrossed in Greco-Roman classics and ancient philosophy during my first year of university. However, I thought my chances were slim when my program coordinator told me it was the university’s most competitive position, so imagine my surprise in December when I received an acceptance email.

On Lycabettus Hill 

Before my internship at the CIG, I had never even done my own laundry, let alone lived independently. Even as I watched my mom weep beside my stepfather and little sister while I walked through the security line—leaving for the next three months—I couldn’t believe it. I had gotten so used to plans falling through that, even as I landed at the Athens airport and walked out with my massive luggage, I thought I was hallucinating. Clearly, I wasn’t hallucinating, because as soon as I left the airport, reality—and the cold May wind—hit me. My first month took a lot of getting used to: living with flatmates, taking care of myself while working, and living in a country whose language I couldn’t speak were all quite difficult.

The Parthenon 

Working at the CIG made acclimating to Greece easier by giving me a routine. Most weeks, I would explore Athens’ museums, art galleries, and archaeological sites during the weekend. Then, during the week, I would be in the intern office by 9 a.m., where I helped with chores, library work, setting up for events and lectures, and researching sites I had seen over the weekend to post about them on the CIG’s social media. It was during this time that I decided to help restructure responsibilities of the intern position by modernizing the manuals used to pass wisdom obtained by previous interns, as well as our approach to communication through social media. I especially enjoyed experimenting with different types of media and formatting to deduce what people statistically responded to best. Still, I found watching my art bring the CIG more attention the most rewarding.

Traditional Greek wedding attire (Museum Of Modern Greek Culture) 

As a student of political science, most of the archaeological information I now had to interact with was completely foreign to me aside from my basic understanding of classical art, philosophy, and literature. It was very interesting to learn about different aspects of the field, my favourite being the use of archaeology to trace how civilizations developed over time and how war and imperialism in Greece explain its formation as a modern state. I was equally curious and frequently inquired about why the archaeologists I met had decided to pursue their specialties, as well as the reality of living in Athens from locals, as my greatest motivation for coming to Greece had been to familiarize myself with people raised in a culture different from my own.

Socrates & Confucius (Agora) 

The more I learned about Greek history beyond its ancient past as the Athenian city-state that bore elements of modern liberal democracy, the more curious I became about the rest of Europe, and by mid-May, I had planned another trip. This one was to Austria, another state previously ruled by an imperial power that was ousted after WWI and replaced by a—then—collapsing democracy. Though I would be lying if I said I visited Vienna only for its political significance, as I also have a great love of Mozart and Klimt—whose many works are displayed on my bedroom walls.

 

Emperor Charles VI (State Hall of the Austrian National Library) 

 

“Mother with Children” by Gustav Klimt 

 

“Apotheosis of the Renaissance” by Mihály Munkácsy

Travelling to Athens, Vienna, and Rome, and discovering lush greenery and insignificant buildings held up by pillars shaped into classical statues was a massive shock for me, especially as someone accustomed to the GTA, where every suburban house and skyscraper looks limp and lifeless. As for Europe as a whole, I was so satisfied by its walkability that I renounced public transit. As expected, this didn’t pan out well for my feet during my long-weekend trips, when I walked around 50 kilometres in each of the cities I visited—especially Rome, which I also mistakenly visited in mid-July.

Rome was stunning: around—and within—every corner stood heaps of monuments, fountains, and statues. Although I was a melting sardine packed beside hundreds of other tourists, I don’t know whether any interior can measure up to the sublimity of the papal apartments and chapels in the Vatican or St. Peter’s Basilica.

“Ecstasy of Saint Teresa” by Gian Lorenzo Bernini

 

St. Peter’s Basilica 

Gallery of Maps (Vatican Museums) 

But culture isn’t much without history, and history isn’t much without the religions that shaped it. I have always written religion off as a generalized “Other” whose principles I can commend but whose instrumentalization I condemn. However, living in and visiting places where monarchs ruled by divine right, and religion both shaped and was shaped by the conquest and the integration of foreign religions, piqued my interest. This interest grew when I finally decided to read the only physical book I had brought with me: Dostoevsky’s “The Brothers Karamazov”, which I would highly recommend to anybody.

“The Bishop of Old Patras Germanos Blesses the Flag of the Revolution” by Theodoros Vryzakis 

Ultimately, it is this interest that tied together my experience working at the CIG and living in Athens. Most of the time, I prefer to consume the world with only my eyes, but—as with the active love preached in Christianity—one must act within the world if one wants to make any impact upon it. For the first time in my independent life, I have shown myself that if I give myself to the world, I can change my circumstances, stoking my ambition to care for those within it.

Nicole Kulova, York University intern, summer 2026

The Odyssey in Boeotia? Connecting ancient Eleon with Homer

The biggest news from Hollywood this summer has been about the newest blockbuster film from Christopher Nolan, The Odyssey. In addition to its huge success and popularity, discussion focuses on the historical accuracy of various elements of the movie, sometimes with informed insight and other times with only strong opinion. Often, these discussions fail to recognize that the ‘history’ of Homer’s epic poems is a highly fraught question that scholars, philologists and archaeologists, have been struggling with since antiquity and something that can never be satisfactorily answered because the poems we associate with Homer are creative, evolving works of fiction that are adapted to their audiences. The film and the discussions it has generated provide an opportunity for our archaeological project at ancient Eleon to highlight some of the material connections with have excavated with the ‘worlds’ of Homer.

Publicity photo for Christopher Nolan’s Odyssey (2026)

Ancient Eleon, located in central Greece about 14 km east of Thebes, has been under study by members from the Canadian Institute since 2007 when a regional survey was conducted. The Eastern Boeotia Archaeological Project (EBAP), as we are called, started excavations in 2011 as a synergasia (collaboration) of the Ephorate of Antiquities of Boeotia and the CIG and is currently directed by Dr. Alexandra Charami of the Ephorate and Brendan Burke (University of Victoria), Bryan Burns (Wellesley College) and Trevor Van Damme (University of Warwick). In 2026, the team returned to the elevated limestone ridge on the western edge of the village of Arma, about 14 km east of Thebes, for six weeks of excavations and we found further connections between Eleon and ‘Homer’s world’.

EBAP/Eleon excavation team 2026

Although far from the Troad, the site of ancient Eleon in Boeotia is connected to Troy through two passages in the Iliad that name the site. The first is Eleon’s inclusion in the Catalogue of Ships (appearing in Book 2.500) as one of cities among the Boeotian contingent the leads the Greek forces to Troy at the start of the war. The second passage (10.266–267) offers more specific heroic connections between Eleon and the Homeric heroes, specifically, Odysseus: The boar’s tusk helmet worn by Odysseus is given an elaborate genealogy that connects three generations through a series of exchanges back to Odysseus’ own grandfather, Autolykos, who visited Eleon. At Eleon, Autolykos stole the helmet from the well-built house of Amyntor, the son of Ormenos. This line of Odysseus’ family was also featured in a lost play of Euripides, the Phoenix, with action unfolding in front of the palace of Amyntor at Eleon, according to some commentators. That follows the third mention of Eleon in the Iliad, when Phoenix recounts the dispute with his father, which led him to run away and eventually become part of Achilles’s contingent. He describes the strongly-built courtyard house of Amyntor and the wealth of the family as relatives tried to smooth tensions through feasting:

They singed the hides of many pigs and stretched

the carcasses, that shone with fat, across

the fire for cooking, sacred to Hephaestus.

They drank enormous quantities of wine

from huge wine-jars belonging to my father.

                                                Iliad 9.466-69, Emily Wilson, translator

With this background, we can ask, what are the archaeological indicators that might connect the literary imagination of Homer with the material world we were excavating at ancient Eleon? The site of ancient Eleon has three major periods of Bronze Age activity: pre-Palatial (ca. 17^th-16^th c. BCE), connected to the elaborate burials complex we call the Blue Stone Structure; the Palatial period (15^th to 13^th c BCE), the age contemporary with the elaborate administrative complexes at Mycenae, Pylos and Tiryns and the age of Linear B records (12^th c BCE); and the post-Palatial period, referred in ceramic terms as the LH IIIC period, (12^th-11^th c BCE). The post-Palatial period was relatively short, and a period of resilience in aftermath of wide-spread destructions of major palace centers. At Eleon, it’s the levels dating to the LH IIIC early and middle that provide evidence for the endurance of Mycenaean culture at secondary centers. Elements of all these ages are preserved in the epic poems of Homer.

Excavations in the Northwest quadrant of Eleon has uncovered a multi-room complex dating to the LH IIIC periods (early and middle). The northern section is divided into two large rooms, each of which features a centrally positioned hearth. In the central room we have four post supports surrounding the hearth, in form comparable to, though much simpler than, a Mycenaean palatial megaron. This complex in the Northwest and comparable structures in the further southwest were roofed with large clay tiles, flat pan tiles, covered with half-cylindrical cover tiles. The fired clay roof tiles demonstrate that these were buildings of some significance, requiring a great deal of organized labor for their construction. The buildings likely had a public function, rather than a domestic one. We might even imagine stories of Troy being retold here around the multiple hearths.

NW quadrant Eleon 2019 and roof tile fragments from the SW 2026

In the Southwest quadrant of ancient Eleon, we have architecture at a different orientation than the Northwest and finds which suggest religious activity. Here people may have made offerings of prized possessions, perhaps in gratitude for success in war or hunting. One find in particular suggests this and it is a section of a boar’s tooth with small drill holes in three locations. Two of the drill holes are through raised portions of the tooth, which were likely intended to hold the tusk fragment, fixing it onto a helmet, like the one described by Homer in book 10 of the Iliad. We have a second fragment of a boar’s tusk from nearby as well. While two tusks do not make a whole helmet (it is estimated that thirty boars would be needed for one complete helmet) the fragments we have are evocative.

We thus have tantalizing indications of Homer’s world: large, tile roofed public structures with hearths inside for banquets and story telling and boars tusks likely from a hero’s helmet.

Boar’s tusk helmet from Zafer Papoura Knossos (Heraklion Museum) and boar’s tusk from Eleon showing drill holes

À travers les carnets, la Grèce / Greece through the sketchbooks

Le voyage d’étude en Grèce a offert à notre groupe de l’Université de Montréal une immersion rare dans les paysages et les vestiges qui ont façonné la pensée et l’esthétique du monde antique. D’Athènes au Péloponnèse, les étudiants en architecture et en histoire de l’art ont observé, exploré et surtout dessiné avec une sensibilité remarquable. Leurs carnets témoignent d’un regard attentif, curieux et profondément humain. Ce blog rassemble leurs créations, pour célébrer à la fois leur talent et la beauté intemporelle des lieux qui les ont inspirés.

The study trip to Greece offered our group from the University of Montreal a rare immersion into the landscapes and ancient sites that shaped the thought and aesthetics of the ancient world. From Athens to the Peloponnese, the architecture and art history students observed, explored, and above all sketched with remarkable sensitivity. Their sketchbooks reveal an attentive, curious, and deeply human gaze. This blog brings their creations together, celebrating both their talent and the timeless beauty of the places that inspired them.

« Bonjour! Je m’appelle Clara et je m’apprête à débuter ma dernière année au baccalauréat en histoire de l’art. »

“Hello! My name is Clara, and I’m about to begin my final year of the bachelor’s degree in art history.”

« L’hiver dernier j’ai suivi le cours ART1800 : Techniques et procédés picturaux, où j’y ai découvert un intérêt pour le dessin et l’aquarelle. De mon coup de crayon novice, je me suis donné le défi de continuer mon apprentissage en voyage en peignant et en dessinant les œuvres d’art grecques qui m’interpellaient le plus. Les étudiant.e.s en architecture m’ont été d’une aide précieuse pour aiguiser mon œil et surpasser mes préoccupations perfectionnistes. Merci a elleux! Je continue désormais à remplir mon carnet de croquis dans les grands musées parisiens. » Clara Jacquoudet étudiante au baccalauréat en Histoire de l’art à l’Université de Montréal.

“Last winter, I took the course ART1800: Techniques and Pictorial Processes, where I discovered an interest in drawing and watercolor. With my novice pencil stroke, I challenged myself to continue learning while traveling by painting and sketching the Greek artworks that resonated with me the most. The architecture students were an invaluable help in sharpening my eye and pushing me beyond my perfectionist worries. Thanks to them! I’m now continuing to fill my sketchbook in the great Parisian museums.” Clara Jacquoudet student in the Bachelor’s program in Art History at the University de Montréal.

« Je m’appelle Chaza Rafaee et je viens de terminer ma première année au baccalauréat en architecture à l’Université de Montréal. »

“My name is Chaza Rafaee, and I’ve just completed my first year of the bachelor’s degree in architecture at the University of Montreal.”

« Ce voyage en Grèce a été une expérience particulièrement marquante pour moi. Voir en personne ce que nous avions étudié en classe – incluant l’histoire de l’architecture grecque, les temples, les châteaux, les sanctuaires, les différents styles architecturaux, les textures, les matériaux ainsi que les méthodes de construction utilisées à l’époque – était réellement fascinant. J’ai également beaucoup apprécié découvrir l’histoire et le contexte propres à chaque site. La manière dont chaque lieu raconte une partie de l’histoire de l’architecture m’a permis non seulement d’enrichir mes connaissances architecturales, mais aussi de m’inspirer pleinement pour mes futurs projets. »

“This trip to Greece was a particularly meaningful experience for me. Seeing in person what we had studied in class — including the history of Greek architecture, temples, castles, sanctuaries, architectural styles, textures, materials, and the construction methods used at the time — was truly fascinating. I also greatly enjoyed learning about the history and context specific to each site. The way each place tells a part of the story of architecture allowed me not only to deepen my architectural knowledge, but also to find genuine inspiration for my future projects.”

« Durant ce voyage, réaliser des croquis a été très important pour moi. Le dessin m’a permis de capturer des détails architecturaux tout en observant les sites d’une manière différente, en prenant le temps de remarquer des éléments que l’on aperçoit parfois moins lors d’une simple visite. Pour moi, ces dessins sont à la fois des souvenirs de ce magnifique voyage et un moyen de mieux comprendre l’architecture, son histoire et les traces qu’elle laisse à travers le temps. » Chaza Rafaee étudiante au baccalauréat en architecture à l’Université de Montréal.

“During this trip, sketching was very important to me. Drawing allowed me to capture architectural details while observing the sites in a different way, taking the time to notice elements that can sometimes be overlooked during a simple visit. For me, these sketches are both memories of this wonderful journey and a way to better understand architecture, its history, and the traces it leaves through time.” Chaza Rafaee student in the Bachelor’s program in Architecture at the University de Montréal.

« Les compositions classiques suggèrent des arrangements réguliers, des proportions reconnaissables, une symétrie bilatérale, des points de vue frontaux forts, bref, une certaine rigidité dans la composition géométrique. Ces a priori pourraient être induits par les figures canoniques néoclassiques comme le Capitole de Washington et l’urbanisme entourant le National Mall jusqu’au Lincoln Memorial, ou à une autre échelle, l’articulation des villas palladiennes. »

“Classical compositions suggest regular arrangements, recognizable proportions, bilateral symmetry, strong frontal viewpoints, in short, a certain rigidity in geometric composition. These assumptions might be influenced by canonical Neoclassical figures such as the Washington Capitol and the urban layout surrounding the National Mall up to the Lincoln Memorial, or, on another scale, the articulation of Palladian villas.”

« Alors en visitant les sites séculiers et sacrés grecs, j’aurais cru y apercevoir des systèmes orthogonaux stricts, des grilles de mesures et des modules normalisés et peu de place à l’accident. Après tout, la Grèce antique demeure réputée pour son développement des arts, des sciences, des mathématiques, de la géométrie, de la juste mesure. C’est ce que suggère d’ailleurs le terme « classique » : un juste milieu des qualités, caractéristique d’une référence incontournable servant de modèle. »

“So, when visiting Greek secular and sacred sites, I expected to find strict orthogonal systems, measurement grids, standardized modules, and little room for accident. After all, ancient Greece remains renowned for its development of the arts, sciences, mathematics, geometry, and the pursuit of precise measure. This is, after all, what the term “classical” suggests: a balanced set of qualities, characteristic of an essential reference serving as a model.”

« Or, bien que j’aie pu observer fondamentalement un langage visuel et formel ubiquitaire, riche et sophistiqué, la planification des sites semblait pour le moins arbitraire : les décalements des bâtiments, les arrêts et détours dans les parcours et les changements d’angles et de plans se multiplient ; l’implantation acquiert des caractéristiques semblables à un développement organique, spontané, et surtout, pittoresque. »

“Yet, although I did observe a fundamentally ubiquitous, rich, and sophisticated visual and formal language, the planning of the sites seemed rather arbitrary: building offsets, pauses and detours along pathways, shifts in angles and planes multiplied; the layout took on characteristics akin to organic, spontaneous, and above all picturesque development.”

« À la première année du bac d’architecture, nous sommes encouragés à analyser l’espace grâce au croquis. Armé de mon carnet et de crayons, je tentais de comprendre l’implantation, la relation entre les bâtiments et l’expression formelle générale des lieux. Par le relevé au pas, par la promenade, par de longs moments méditatifs, j’ai voulu saisir l’esprit du site et réfléchir aux règles de composition sous-jacentes régissant le déploiement des systèmes : c’est la nature des études de cas plus techniques. D’autres fois, paralysé par le sublime ou simplement ennuyé pendant dix minutes d’attente de l’autobus, je sortais mon carnet et ma plume pour composer un sketch rapide. »

“In the first year of architecture school, we are encouraged to analyze space through sketching. Armed with my notebook and pencils, I tried to understand the site layout, the relationship between buildings, and the general formal expression of the places. Through pacing measurements, walking, and long meditative moments, I sought to grasp the spirit of the site and reflect on the underlying compositional rules governing the deployment of its systems: this is the nature of more technical case studies. Other times, paralyzed by the sublime or simply bored while waiting ten minutes for the bus, I would pull out my notebook and pen to compose a quick sketch.”

« De nos jours, la pratique de la photographie reste plus accessible que jamais, et c’est une chance fantastique. Alors quelle est la place du croquis? L’intérêt reste qu’il encourage au plus long moment de pause. Il nécessite une certaine concentration et une meilleure observation des détails de la Nature de chaque chose ; l’apprentissage s’intègre finalement de façon durable. »

“Today, photography is more accessible than ever, and that is a fantastic opportunity. So what place does sketching still hold? Its value lies in the longer pause it encourages. It requires a certain concentration and a sharper observation of the details and the Nature of each thing; the learning ultimately becomes deeply integrated.”

« Deux mois plus tard, au moment où j’écris ce texte, mes croquis me rapportent à des moments précis du voyage, à des souvenirs vivides dans mon esprit : parfois à des logiques architectoniques uniques, parfois simplement à des moments heureux avec un groupe de voyageurs étudiants/enseignements fantastiques. » Émile Goyer étudiant au baccalauréat en Architecture à l’Université de Montréal.

“Two months later, as I write this text, my sketches bring me back to precise moments of the trip, to vivid memories in my mind: sometimes to unique architectonic logics, sometimes simply to happy moments shared with a group of wonderful student travelers and teachers.” Émile Goyer student in the Bachelor’s program in Architecture at the University de Montréal.

The Anglophone Summer School 2026

From May 17 to June 6, 2026, the Canadian Institute in Greece welcomed 22 students from universities across Canada for its annual Anglophone Summer School. Combining lectures with visits to archaeological sites and museums, the program offered participants the opportunity to experience firsthand the monuments and landscapes they had previously encountered only in textbooks. The first and third weeks of the course combined lectures at the Canadian Institute with guided visits to major archaeological sites and museums of Athens and Attica. The second week was dedicated to a field trip across the Peloponnese, allowing students to explore key archaeological monuments firsthand. Throughout three weeks of travel across Attica and the Peloponnese, classroom discussions came to life as students explored the monuments, museums, and cultural heritage that have shaped the history of Greece.

The program started on May 17 with a welcome dinner, giving students the opportunity to meet one another before embarking on their journey through Greece. Lectures began the following morning at the Canadian Institute, introducing many of the themes that would accompany the group throughout the program. During the first week, morning lectures explored topics including Bronze Age Greece, the Acropolis, the topography of ancient Athens, and Greek pottery and sculpture. Each afternoon, students stepped beyond the classroom to experience these subjects in the places where history unfolded. 

The first excursion took the group to the summit of Mount Lycabettus, where panoramic views provided an introduction to the topography of Athens. Over the following days, students visited the Acropolis and the Acropolis Museum, admiring, among other monuments, the Parthenon and the Erechtheion, while considering their architectural, historical, and cultural significance. Visits to the Classical and Roman Agoras offered insight into the civic, political, and commercial heart of the ancient city, while the National Archaeological Museum provided the opportunity to examine masterpieces spanning thousands of years of Greek history. A day trip to the island of Aegina concluded the week, where students explored the Temple of Aphaia before enjoying free time by the sea, followed by a free day to discover Athens. 

On May 25, the group departed for the Peloponnese, where the program shifted from lectures to an intensive week of visits across some of Greece’s most important archaeological sites. The journey started at the Sanctuary of Demeter at Eleusis before crossing the Corinth Canal to visit Acrocorinth and Ancient Corinth, whose Temple of Apollo remains one of the city’s most recognizable monuments. 

The following day students immersed themselves in the world of the Mycenaeans through visits to the Late Bronze Age citadels at Mycenae and Tiryns. Entering the tomb of Atreus, walking through the Lion Gate, exploring the palatial remains, and standing beneath the Cyclopean fortifications brought Bronze Age Greece vividly to life. The day concluded with an exploration of Nafplio’s old town and a visit to the medieval Palamidi Fortress, adding another chapter to the region’s long and fascinating history. 

The journey continued to Epidaurus, where students explored the Sanctuary of Asklepios, one of the most important healing centres of the ancient Greek world, and tested the remarkable acoustics of its theatre, which continues to host performances today. At ancient Nemea, they visited the sanctuary of Zeus and its museum before learning about the region’s long-standing wine-making tradition while enjoying a tasting of local wines at the Bairaktaris Winery. 

Travelling south, the Summer School visited the Archaeological Museum of Sparta before exploring the medieval city of Mystras, with its many churches, Frankish castle, and the recently restored Palace of the Despots. The day concluded with a free afternoon in the city of Kalamata.

The following two days focused on Messenia, beginning with a visit to Ancient Messene, where students explored one of Greece’s best-preserved ancient cities including its Theatre, Stadium, Agora, and Asklepieion.  The trip continued to the west coast of Messenia, where the group visited the Castle of Pylos and its museums, which display material from important archaeological sites in the region as well as underwater discoveries from across Greece. Students also learned about the Battle of Navarino, a decisive event in the Greek War of Independence. The visit to the archaeological site of the Palace of Nestor, the best-preserved Mycenaean palace, was followed by a stop at the impressive medieval fortress of Methoni, and well-deserved time at the beach in front of the fortress. The next day the group continued north to Ancient Olympia, birthplace of the Olympic Games, where students explored the sanctuary of Zeus and practiced running at the ancient stadium. 

The final week began with the journey across the Rio-Antirio bridge to visit the Panhellenic Sanctuary at Delphi, at the foot of Mount Parnassus, home to the famous Oracle of Delphi, whose pronouncements influenced political and religious decisions throughout the ancient Greek world. The spectacular mountain landscape provided a dramatic setting for one of the most important sanctuaries of the ancient Greek world. A stop at the fortress of Eleutherai brought the group back to Athens, and the next day students presented the results of their on-site projects and reflected on their experiences of sites visited along the trip. The final trip took students to the Sanctuary of Artemis at Brauron and the Sanctuary of Poseidon at Cape Sounion. 

The Summer School concluded with a farewell dinner in the picturesque neighbourhood of Anafiotika in Plaka. After three weeks of shared discoveries, lively discussions, long bus rides, and unforgettable archaeological sites, students said goodbye carrying not only a deeper understanding of Greece’s past, but also friendships and memories that will remain long after the journey home.

Reflecting on the Summer School, many students emphasized that the program offered far more than the opportunity to visit famous archaeological sites:

"The trip was absolutely amazing! It was surreal to see all the ancient sites I've been learning about in class for years and walk the same paths as the Ancient Greeks. The bus trips through the countryside were lovely, the food was delicious, and swimming in the Mediterranean was fantastic. I also made really great friendships with people I would never have met otherwise. I am so glad I went!"

Another student reflected on the diversity of experiences the Summer School offered:

"Overall, my experience on this trip has been amazing! I tried new foods, tasted local wines, met new people who I now consider friends, and saw places I never thought I would get to experience in person. One of my favourite stops was the island of Aegina, with its beautiful landscape and the impressive Temple of Aphaia and Sanctuary of Apollo."

La découverte du monde égéen antique : L’école d’été 2026 des Cyclades et de la Crète, Partie 2 / The Discovery of the ancient Aegean : The 2026 Cyclades and Crete Summer School, Part 2

Par / by Marianne Locas-Ouimet

Du 10 au 29 mai, les étudiants ont voyagé entre Athènes, les îles des Cyclades et la Crète afin d’étudier l’histoire et l’archéologie de la Grèce antique.

From the 10th to 29th of May, the students traveled from Athens into the Cycladic Islands and then to Crete, in order to study ancient Greek history and archeology.

Après la découverte d’Athènes, de Paros et de Délos, le groupe de l’école d’été du circuit Cyclades et Crète a poursuivi sa route vers Santorini.

After discovering Athens, Paros and Delos, the Cyclades and Crete Summer School  continued towards Santorini.

Dès notre arrivée, la route en épingle qui grimpe au sommet de la falaise nous a offert une vue à couper le souffle (pour celles qui ont eu le courage de regarder !). Cette visite a été l’occasion d’admirer cette île magnifique, emblématique des Cyclades, et de plonger dans la civilisation de l’Âge du Bronze grâce à la découverte d’Akrotiri, site jadis enseveli sous les cendres d’un volcan. Certains ont profité de leur temps libre pour contempler la vue sur la caldeira, d’autres ont sillonné les ruelles étroites, tandis que d’autres encore ont visité l’exposition sur l’histoire des femmes dans l’Antiquité au musée archéologique de Fira. Coup de cœur pour les fresques vivantes et colorées du musée préhistorique de la capitale !

As soon as we arrived, the winding road climbing to the top of the cliff offered us a breathtaking view (for those who dared to look!). This visit gave us the chance to admire this magnificent island, an emblem of the Cyclades, and to immerse ourselves in Bronze Age civilization through the discovery of Akrotiri, a site once buried beneath volcanic ash. Some took advantage of their free time to enjoy the view over the caldera, others wandered through the narrow streets, while still others visited the exhibition on the history of women in Antiquity at the archaeological museum of Fira. A special favorite was the vivid and colorful frescoes in the prehistoric museum of the capital!

Par / by Kadeeja El Barkouki

Après une traversée sur une mer houleuse (où nous avons dû défendre ardemment nos sièges sur le bateau !), nous sommes finalement arrivés à destination : la Crète!

After a crossing a rough sea (during which we had to fiercely defend our seats on the boat!), we finally arrived at our final destination: Crete!

Par / by Sonia Thibeault

Notre dernière semaine de voyage a amené les étudiants à parcourir l’île de Minos du nord au sud et d’est en ouest : des montagnes aux gorges d’Imbros, des musées incontournables comme celui d’Héraklion aux trésors de petits musées jalonnant la magnifique route de la Messara, de l’Antiquité minoenne aux monastères byzantins, des palais grandioses comme Phaistos aux sites prisés des férus d’archéologie comme Gournia, sans oublier les plages et les eaux cristallines de Matala.

During the final week of our journey, the students explored the island of Minos from north to south and from east to west: from the mountains to the Imbros Gorge; from must-see museums such as the Heraklion Museum to the treasures of the small museums scattered along the magnificent Messara route; from Minoan antiquity to Byzantine monasteries; from the grand palaces of Phaistos to archaeological gems beloved by enthusiasts such as Gournia; and, of course, the beaches and crystal-clear waters of Matala.

Par / by Sonia Thibeault

Les coups de cœur ont certainement été le site archéologique de Knossos, dont les reconstitutions d’Evans ont au moins le mérite de faire revivre la monumentalité des centres de pouvoir minoens, les grottes de Sfendoni, où nous avons admiré chauves-souris et stalactites, les kilomètres de marche dans les gorges d’Imbros, ainsi que la charmante ville de Chania, dernière étape de notre périple crétois.

The highlights were certainly the archaeological site of Knossos, whose reconstructions by Arthur Evans succeeded in bringing back to life the grandeur of the Minoan centers of power; the Sfendoni Cave, where we admired bats and stalactites; the many kilometers of hiking through the Imbros Gorge; and the charming city of Chania, the final stop on our Cretan journey.

Par / by Élizabeth Fortier

Après une dernière nuit en mer, nous avons profité d’une ultime journée libre à Athènes avant de nous retrouver pour une soirée de clôture à l’Institut canadien, le temps d’un bilan, puis de festoyer dans une taverna traditionnelle pour les derniers au revoir !

After one final night at sea, we enjoyed a last free day in Athens before gathering for a closing evening at the Canadian Institute—a time to reflect on the trip and take stock of our experiences—followed by a celebration in a traditional taverna for our final goodbyes!

Par / by Kadeeja El Barkouki

Ce magnifique voyage a été riche en découvertes, en exploration de l’histoire et en amitiés pour cette superbe cohorte 2026 !

This wonderful journey was filled with discoveries, exploration of history, and friendships for this outstanding Class of 2026!

 

Par / by Roxane Dansokho & Lena Bach