⁹ Society and the dimensions of space and time are linked by definition with the case of the appropriation of nature. The historical context of Modernity in the area of Mastorochoria has actually been formed by these changes in the appropriation of nature that created new means of production and established a new social framework (Nitsiakos 2003:14-15).

¹⁰ Cyclical time is a trait of cultures which depend on natural procedures and base their economy on primary production activities that are by definition linked to the seasonal cycle, which also limits their economy to a self-sufficiency model (Nitsiakos 2003:120-121).

¹¹ According to some researchers, the organizational model of painters from Hioniades is an exception. Kitsos Makris argues that those painters continued the structure of ‘fares’, which were social groups formed by patrilineal succession. His research proved that until the end of the 18th century painters originated from just two ‘fares’, Paschalades and Maridades. This particularity was due to the strong livestock traditions (1981:20-24).

¹² A typical form of ‘Boulouki’ of masonry craftsmen was constituted by 1-2 hewers -the best was usually and the ‘Protomastoras’-, 1-2 skilled builders, 2 or more appendices, 1-2 workers that brought stones from the quarries and 3-4 assistant kids. This synthesis changed depending on the scale of the projects they worked for. There were projects that demanded even 50-100 craftsmen (Papageorgiou n.d.:138).

¹³ ‘Protomastores’ were the most talented and skilled craftsmen, regardless of social status. However, being at the top of the professional hierarchy was synonymous to socioeconomic power, which gradually enhanced their status in every relationship (Nitsiakos 2004:38).

¹⁴ This social value of Mastorochoria is also evaluated in accordance with UNESCO criteria of Outstanding Universal Value. Thus, the culture of the craftsmen can satisfy criterion (iii), ‘to bear a unique or at least exceptional testimony to a cultural tradition or to a civilization which is living or which has disappeared’ (UNESCO 2005).

¹⁵ This cultural value of Mastorochoria is evaluated as the social value in UNESCO’s terms (UNESCO 2005).

¹⁶ The symbolic value lies in inscriptions with symbols that protect the house from evil, churches with pictures that offer miracles, sacrifices for the building of bridges and buildings in general. This value is also in accordance with the, UNESCO’s Outstanding Universal Values for world heritage sites, criterion (vi): ‘to be directly or tangibly associated with events or living traditions, with ideas, or with beliefs, with artistic and literary works of outstanding universal significance’. Moreover, as Mara del Tore argues, ‘spiritual values can emanate from the beliefs and teachings of organized religion’ (Rapoport 2010:240; UNESCO 2005; Tore 2002:12).

¹⁷ As already mentioned, Klapsodendro (crying tree), Klapsochorafo (crying land parcel), Derti (heartache), Anathema (curse), Pikrokerasos (bitterness treat), are some of the toponyms of these liminal spaces toady bring to mind the hardship of migration (Nitsiakos 2008:14).

¹⁸ Pyrsogianni has 200 permanent inhabitants and was the administrative centre for the former Municipality of Mastorochoria (Papaioannou 2008:207).