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ΤΡΙΠΕΛΑΓΟ

By the first decade of the 20th century, photography in various guises had become commonplace for the urban sophisticates of the larger Greek cities and towns; in the hands of the more prosperous classes it even became a popular hobby, leading in some cases, such as that of Mary Paraskeva, the daughter of Crimean millionaire Ioannis Griparis, to a substantial and valuable body of work. In the countryside, however, many people had never as yet seen themselves portrayed in a photograph; to do so was still a rare, even an uncanny experience. Even once it became feasible, perhaps after a professional photographer set up shop somewhere reasonably accessible, photographic portraiture was limited to a very few of life’s major milestones: birth sometimes, certainly if at all possible marriage, and the inevitable group photograph of parents, grandparents and children. An additional spur was provided by immigration; in many of the poorer…

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