As was emphasized during the events held following the completion of the project, the Archive of the Greek Community, and later the Archive of the Hellenic Institute of Venice, constitutes one of the most valuable cultural assets to have been digitized in recent years. The archival holdings date from 1498 to 1954 and document the history of the Greek Brotherhood in the city of the lagoons, as well as that of the broader Greek population under Venetian rule. These records, however, are far more than the documentation of routine administrative procedures—they are living history.
Thirteen years after the Fall of Constantinople (1453), the great wave of exodus from the Byzantine capital—a migration that would permanently alter the course of European history—carried thousands of scholars, philosophers, and theologians to the Italian peninsula. They brought with them precious ancient Greek manuscripts in what may be regarded as the first great “brain drain” to the West. They were followed by heirs of the Byzantine Empire, architects and mosaic artists, painters, craftsmen, aristocrats, members of the imperial court, descendants of noble families, former soldiers, and many others. Venice became their principal destination, owing both to its extensive maritime trade network and to the presence of an already established Greek confraternity. This community would soon develop into one of the most important strongholds of the Greek diaspora and the foremost center of Hellenism in Italy before the Greek War of Independence of 1821.
The formal establishment of the first Greek Community in Venice in 1498, at a time when approximately 5,000 Greeks lived in the city, and the construction of the Orthodox Church of St. George a few decades later, mark what historians describe as a milestone in the history of Hellenism. It was the first organized Greek community, founded some 333 years before the establishment of the modern Greek state.
For five centuries, the Greeks of Venice have maintained a continuous presence, preserving the language, the faith, the educational tradition, and the identity of Hellenism. From the late fifteenth century onward, they played an active role in every major period of the nation’s history. Following the end of the Second World War, the movable and immovable property of the Greek Community, together with its few remaining descendants, was transferred to the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice. Today, the Institute stands as the historical continuation of that Community, preserving its legacy across both time and place.
Occupying a place of distinction in the new digital portal—as in the cultural heritage of the Greek Community as a whole—is the Alexander Romance, the celebrated and uniquely illustrated fourteenth-century Byzantine manuscript by Michael Damaskinos, Theodoros Poulakis, and the Cretan School (Codex 5, Narrative of Alexander, Pseudo-Callisthenes). The manuscript contains 250 remarkable miniatures embellished with gold leaf, depicting—and imaginatively narrating—the life and legendary exploits of Alexander the Great. Comprising 193 parchment folios bound into twenty-three quires (measuring approximately 32 × 24 cm), the codex recounts the principal events of Alexander’s life. He is portrayed not merely as the ancient Macedonian king but as a Byzantine emperor and protector, embodying the cultural legacy of Hellenism while leading campaigns beyond the boundaries of his empire as both a military leader and a just ruler. The Alexander Romance is a work of imaginative literature that achieved worldwide renown and has been translated into eleven languages. The manuscript’s extraordinary illustrations vividly portray Alexander’s birth and upbringing, his military campaigns, battles, sieges, encounters with foreign rulers, and his death. It is also presented on the digital platform through an interactive application. The Institute also preserves a further forty-seven manuscript books, forty of them in Greek, all of which have now been digitized in their entirety.
At the top of the digitized and documented images and artifacts are the works of Michael Damaskinos, the distinguished Cretan painter of the 16th century, who managed to ideally combine the strict Byzantine tradition (maniera greca) with the innovations of the Italian Renaissance and the Venetian School (maniera latina) during the period he lived in Venice. The digital archive also presents the entire collection of Orthodox art inherited by the Institute from the Greek Community. This includes masterpieces of Byzantine iconography, such as the icons brought from Constantinople in the 15th century by Anna Palaiologina Notaras, as well as dozens of works by well-known painters: Georgios Klontzas, Emmanuel Lambardos, Victor (painter), Franghias Kavertzas, Theodoros Poulakis, Ioannis Moskos, and Emmanuel Tzanes and Konstantinos Tzanes, among others. This collection allows every visitor to follow the evolution of Cretan painting from the 15th to the 17th century and to be taken on a journey from Byzantium to Crete and Corfu during those centuries. Also available on the same website are impressive icons by unknown artists, such as The Descent into Hades (late 14th century, unknown Constantinopolitan painter), The Dormition of the Virgin (second half of the 15th century, unknown painter from a Cretan workshop), and The Ascension (second half of the 15th century, unknown painter from Candia).
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GNA; AMNA; YT:ARL





































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