Fig. 7. Byzantine style brooch of enamelled 18 carat gold. Similar to a piece found in Rome. 
7th century AD.
LAVORO, MARIA N. POULKOURA-VOUTIRA

Fig. 8. Post-Byzantine Neohellenic cross in 18 carat gold decorated with filigree and patriarchal crown wrought from sheet gold. Chain of 22 carat gold. 
From the family collection of AGAPITOS POULKOURAS

Fig. 9. Necklace with "daisies and pomegranates" in 22 carat gold. Inspired by Hellenistic pieces and executed in the techniques of that period. Handmade strap chain.
From the family collection of AGAPITOS POULKOURAS

Fig.10. Byzantine style ring and brooch of 18 carat gold decorated with enamel and pearls

Fig.11. & 12. Byzantine stylebracelet and earrings of 18 carat gold.
Decorated with filigree and precious stones, rubies and emeralds.

Fig. 13. Bronze Age cruciform figurine (3200-2500 BC).
Exact copy of a piece in a private collection. 18 carat gold.
CONSTANTINOS G. KOUNALAKIS

Fig. 14. Necklace of Byzantine inspiration,
in 18 carat gold. Cylindrical beads decorated with granulation, lentoidand spherical spacers.
CONSTANTINOS G. KOUNALAKIS

Fig. 15. Minon-Mycenaean collection 1957. Jewellery inspired by Late Minoan and Mycanaean ornaments with beads in various materials, techniques and shapes - spherical, biconical or in the form of seed and fruits.
ILIAS LALAOUNIS.

Fig. 16. 1983 ILION collection. Necklace in 18 carat gold, inspired by the Treasure of Troy.
ILIAS LALAOUNIS.

Fig. 17. Jewellery of 18 carat gold, as well as silver-gold or silver, inspired by ancient Greek tradition (ram, Mycanaean spiral, Classical and Hellenistic motifs etc).
COSTAS ELEFTHERIOU

Modern Jewellery from 1940 onwards

In the first phase of this a second period, the German Occupation, the Germans' demand for souvenir ,jewellery kept Greek silver- and goldsmiths active. According lo information from silver- and goldsmiths working al that lime, A. Poulkouras, J. Roussanidis and others, this was the stimulus that set some jewellers thinking about `tourist' jewellery and prompted them to make corre- sponding ornaments. Mainly of silver, these included representations of the Acropolis and various other mementoes of Greece, such as tsarouchia (traditional pigskin shoes with pompoms.

In the sphere of silver- and goldsmithing numerous anonymous craftsmen not only laboured with love and enthusiasm but also initiated the younger generation into the secrets of their art, among them Nikos Lambrinidis who has taught many the art of intaglio. Further research will surely show that a milieu of anonymous master craftsmen with profound knowledge of silver- and goldsmithing never ceased to exist even when it seemed that all had been forgotten. Katerina Thanopoulou for instance created truly exquisite pieces of jewellery inspired by Greek folk art and tradition, encouraging many to turn their attention to the artistic wealth of Greek folk jewellery.

The creative endeavour and spirit of Greek silver- and goldsmiths are represented by Ilias Lalaounis, whose declaration as a member of the Academie des Bcaux Arts, of the Institut de France, not. only brought the art of Greek silver- and goldsmithing to the fore on the international stage, hut also imposed the art of jewellery-making as a high art, combining the traditional bases of a workshop handicraft with the preconditions of artistic creation (imagination, creativity, originality etc.), while at the same time utilizing technological achievements as a valuable aid.

During this peroid the lively movement in silver- and goldsmithing, which had already begun in the 1950s in parallel with the development of tourism, continued apace. Tourists visiting the important archaeological museums were impressed by the jewellery exhibited in their cases. According to Ilias Lalaounis.

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