1000 Drachmai 1972, Greece
| in Krause book | Number: 198b |
| Years of issue: | 1972 |
| Edition: | |
| Signatures: | Deputy Governor: Efstathios Panas: (September 11, 1969 - August 9, 1974), Governor: Demetrios Galanis: ( August 7, 1967 - May 4, 1973) |
| Serie: | 1964 - 1970 Issue |
| Specimen of: | 01.11.1970 |
| Material: | Cotton fiber |
| Size (mm): | 158 x 81 |
| Printer: | Printing works department of Bank of Greece (Idryma Trapezis tis Ellados), Athens |
* All pictures marked 
are increased partially by magnifying glass, the remaining open in full size by clicking on the image.
** The word "Specimen" is present only on some of electronic pictures, in accordance with banknote images publication rules of appropriate banks.
Description
Watermark:
The Antikythera Ephebe is a bronze statue of a young man of languorous grace that was found in 1900 by sponge-divers in the area of an ancient shipwreck off the island of Antikythera, Greece. It was the first of the series of Greek bronze sculptures that the Aegean and Mediterranean yielded up in the twentieth century which have fundamentally altered the modern view of Ancient Greek sculpture.
The wreck site, which is dated about 70-60 BC, also yielded the Antikythera Mechanism, an astronomical calculating device, a characterful head of a Stoic philosopher, and a hoard of coins. The coins included a disproportionate quantity of Pergamene cistophoric tetradrachms and Ephesian coins, leading scholars to surmise that it had begun its journey on the Ionian coast, perhaps at Ephesus; none of its recovered cargo has been identified as from mainland Greece.
The Ephebe, which measures 1.94 meters, slightly over lifesize, was retrieved in numerous fragments. Its first restoration was revised in the 1950s, under the direction of Christos Karouzos, changing the focus of the eyes, the configuration of the abdomen, the connection between the torso and the right upper thigh and the position of the right arm; the re-restoration is universally considered a success.
The Ephebe does not correspond to any familiar iconographic model, and there are no known copies of the type. He held a spherical object in his right hand, and possibly may have represented Paris presenting the Apple of Discord to Aphrodite; however, since Paris is consistently depicted cloaked and with the distinctive Phrygian cap, other scholars have suggested a beardless, youthful Heracles with the Apple of the Hesperides. It has also been suggested that the youth is a depiction of Perseus holding the head of the slain Gorgon. At any rate, the loss of the context of the Antikythera Ephebe has stripped it of its original cultural meaning.
The Ephebe, dated by its style to about 340 BC, is one of the most brilliant products of Peloponnesian bronze sculpture; the individuality and character it displays have encouraged speculation on its possible sculptor. It is, perhaps, the work of the famous sculptor Euphranor, trained in the Polyclitan tradition, who did make a sculpture of Paris, according to Pliny. 
Avers:
On the left side is Zeus (Ζεύς, Zeús) from the bronze statue of Zeus, from the Archaeological Museum in Athens.
He is the "Father of Gods and men" (πατὴρ ἀνδρῶν τε θεῶν τε, patḕr andrōn te theōn te), who rules the Olympians of Mount Olympus as a father rules the family according to the ancient Greek religion. He is the god of sky and thunder in Greek mythology. Zeus is etymologically cognate with and, under Hellenic influence, became particularly closely identified with Roman Jupiter.
Lower, centered, is the Great Theatre of Epidaurus.
In a canyon, in 340 BC, an Argos architect Polykleitos the Younger, built, according to Pausanias, the theatre of Epidaurus.
Among all the ancient theatres, Epidaurus theatre is the most beautiful and best preserved. Destined for the fun of the patients of Asklipieio, it had a capacity of 13,000 spectators. It was divided into two parts: A 21-rows of seats part, aimed for the citizens and a 34-rows of seats part aimed for the priests and rulers. The superb acoustics as well as the very well preserved construction, contributed to the creation of Epidaurus Festival S.A., an institution that contributed to the cultural revival of the theatre. Great actors have acted at such as Alexis Minotis, Thanos Kotsopoulos, Anna Synodinou, Thanasis Vengos and the famous Greek soprano Maria Kallas. (www.epidavros.gr)
Denominations in numerals are in three corners, in words centered.
Revers:
The girl from the island of Hydra in the national costume.
On the background is the island Hydra (Ύδρα). It is one of the Saronic Islands of Greece, located in the Aegean Sea between the Saronic Gulf and the Argolic Gulf. It is separated from the Peloponnese by narrow strip of water. In ancient times, the island was known as Hydrea (Υδρέα, derived from the Greek word for "water"), which was a reference to the springs on the island.
As well as one main town, known simply as "Hydra port". It consists of a crescent-shaped harbour, around which is centered a strand of restaurants, shops, markets, and galleries that cater to tourists and locals (Hydriots). Steep stone streets lead up and outwards from the harbor area. Most of the local residences, as well as the hostelries on the island are located on these streets.
On the right side are the stylized flowers. Unfortunately, till now, I could not determine them exactly.
Denominations in numerals are in three corners, in words lower, centered.
Comments:
Interesting fact:
Boy on a Dolphin is a 1957 20th Century Fox romantic film set in Greece and shot in CinemaScope. It was directed by Jean Negulesco and produced by Samuel G. Engel from a screenplay by Ivan Moffat and Dwight Taylor, based on the novel by David Divine.
Much of the film was shot on location on the Greek Saronic Islands, notably Hydra. Establishing shots of Athens, Rhodes and Delos add to the vérité, while matte shots and some interiors were done at Cinecittà in Rome. One scene utilizes the Eastern Orthodox monastery complex at Metéora later used as a location in the James Bond film For Your Eyes Only.
The disparity in heights between the 5 ft 8 in (1.73 m) Loren and 5 ft 6 in (1.68 m) Ladd led to complications in filming. Some of their scenes together required him to stand on a box, while another forced a trench to be dug for Loren when the pair walked along the beach.
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