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reflected
Contaxaki's expertise in ancient Greek and European authors. However Contaxaki admits in the preface of the work that due to unforeseen events she was unable to present the volume to the Universal Exposition. In 1857, Contaxaki passed her work to Charles Spence, the United States Envoy
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In the early 1850s
Contaxaki produced a one-off volume containing hand painted artworks of Greek monuments and locations accompanied by historic quotations and translations of the same, along with plant specimens collected at the historic sites depicted in those illustrations. She produced this
131:. She would go on to live with the couple and would later be employed as a teacher at their school. During her time at the Hill Memorial School, Contaxaki met and socialised with many of the friends and acquaintances of the Hill's, including with the British ambassador in Athens,
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In the 1840s
Contaxaki returned to Crete and became active in Cretan politics. She was known to the leading Cretan political figures and her home, situated near the Bishop's residence, became a location for political discussions and meetings. She became a close acquaintance of
168:. The donation was regarded at the time as, and was intended to be, a diplomatic act between Greece and Washington. The Smithsonian accepted the volume and in their Annual Report published in 1858 detailed the events surrounding its donation.
143:, the Governor General of Crete in the 1850s and along with Bishop and the British Consul Ogley, supported Veley Pasha's governance of Crete. In the 1860s, Contaxaki would teach the Turkish author, musician and poet
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The political influence of
Contaxaki began to fade in the late 1850s when Veley Pasha and the British Consul Ogley left Crete and Charles Spence left Greece. By the late 1870s she found herself in
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in 1855. In creating the work she organised six Greek artists to produce the illustrations. These artists are named on the page preceding the illustrations.
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Extraordinary and
Minister Plenipotentiary to the Sublime Porte, and requested that he pass it on to the United States Secretary of State to present to the
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231:"The Journey of Elisavet Contaxaki's Classical Bouquet from Crete to Washington, D.C.: the historical and political context"
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358:"Greek Wild Flowers: Dialogues and Diplomats on the Parthenon and the Athenian Acropolis in the nineteenth century"
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in 1824 during the war of
Independence. In the early 1830s, she was sent to Athens to be educated by Frances and
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The
International Context of the Greek World in the 19th Century: Klassiki Anthodesmi, a “Classical Bouquet”
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was held in April 2016. Attendees studied the volume and the context around which it was created.
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living in poverty. She died in 1879 and her burial was paid for by the
British Consulate.
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Her volume and its impact continues to be studied. A one-day conference entitled
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as well as for participating in the Cretan counter-revolutionary movement.
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Annual Report of the Board of
Regents of the Smithsonian Institution
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315:. University of Wisconsin – Madison. G. Willis. p. 40.
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Legacies of ancient Greece in contemporary perspectives
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262:. Thomas M. F. Gerry. Wilmington, DE. 2022.
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386:"Report on the present of Miss Contaxaki"
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328:"Childhood wanderings in Crete"
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127:at their school, the
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362:blog.library.si.edu
101:Elizabeth Contaxaki
455:People from Chania
149:İsmail Hakkı Pasha
133:Admiral Lord Lyons
105:Classical Bouquet,
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151:, Greek.
145:Leyla Saz
111:Biography
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