The Greek Middlebrow Magazine Μπουκέτο (1924‒46) and its Supplements

This article introduces one of the first popular literary miscellanies published in Greece after the First World War, Μπουκέτο [Bouquet] (1924‒46). The first of its kind in the country, it led the way to a new type of periodical with subject matter ranging from serialized novels to short jokes, along with a modern layout featuring fine and plentiful illustrations. Drawing on Pierre Bourdieu’s theory of the cultural field, the article starts by showing that the magazine was a manifestation of middlebrow culture, combining commercial values with legitimate cultural aspirations and an eagerness to educate the masses. After situating the magazine in the cultural field of Greek periodical publishing and specifying its audience, the article focuses on its supplements, which followed the magazine’s publishing success. These were spin-off publications associated with the magazine, such as Βιβλιοθήκη του Μπουκέτου [Bouquet’s Library] (1924‒36), a series of translated classic novels, the annual Ημερολόγιον του Μπουκέτου [Bouquet’s Calendar] (1926‒33), and pamphlets or pull-outs sewn into the central pages of the magazine. The analysis draws attention to the characteristics, as well as the threads connecting them to the parent publication. The article traces the reasons that triggered the magazine’s subsidiary products and, by extension, the purposes they fulfilled, as well as the way they were used by the magazine throughout its lifespan in an attempt to create a name for itself and engage its readership.

Introduction the magazine's ephemerality, one that could be presented to the readers as a gift, was needed to both serve the desired mission of the magazine and build a lasting relationship with its readership. The first two types of supplements, the book series and the annual issue, were part of the magazine's effort to establish a reputation among Greek popular weeklies. The cultural and educational roles here were more evident, while the format and quality of the later supplements (the books in 1935 or the pull-outs) showed a shift towards economic incentives.
In this article, I first outline the Greek periodical publishing scene of the early twentieth century, including the conditions under which Μπουκέτο was born and its position in the market in relation to older and contemporary periodicals. Some features, such as price, circulation figures, and target audience, will help establish a clear idea of Μπουκέτο's position in the Greek cultural field. The article then traces the appearance of the various supplements in chronological order, while also discussing the specific types, their connection with the parent publication, and how they functioned as strategies used by the magazine to engage its readers. Pierre Bourdieu's theory of the cultural field aids in the definition of the periodical's middlebrow character and provides the angle from which every supplement will be examined.

The Emergence of Popular Mass-Circulation Magazines in Greece
The popular weekly miscellany was a new type of periodical that made its appearance in Greece in the years between the First and Second World Wars.7 Μπουκέτο is considered the most significant among Athenian weeklies by Greek literary scholars, and the one that opened the door for popular magazines for the masses.8 The title alludes to its diverse and inclusive quality, a connotative function also used by the magazine to present itself to the public: 'Well, Μπουκέτο, because it will be indeed a bouquet of fine pieces, delightful and didactic'.9 Moreover, the subtitle Εβδομαδιαία Εικονογραφημένη Φιλολογική Επιθεώρηση [Weekly Illustrated Literary Review] describes the magazine's contents. Although several general-interest magazines existed before, when Μπουκέτο first came onto the market, it defined itself as a groundbreaking publication seeking to revitalize the Greek periodical field while claiming kinship to older publications: 'Before Μπουκέτο, the press was in decline. The glory of Πανδώρα [Pandora], Εστία [Hestia] and Παναθήναια [Panathinaia] was long gone. The weekly magazines, not so fine in content, with paltry appearance, sold hardly eight to ten thousand copies '.10 Πανδώρα (1849-72) and Εστία (1876-95) were two of the most prestigious family-literary periodicals of the nineteenth century that paved the way for the periodical press in Greece. Παναθήναια  belonged to the so-called 'literary and art magazines', pioneered by the periodical Τέχνη [Art] (1898-99), which emphasized literature and the arts, excluded general knowledge material, and addressed a specialized readership.11 According to Dimitris Chanos, one can trace the beginning of the weekly illustrated magazine back to the time before the First World War, Ελλάς [Hellas] (1907-24) being the most representative example. Even though several weekly magazines for a broader audience appeared before Μπουκέτο, none lasted for long nor gained much popularity. The characteristics of the new type of periodical introduced by Μπουκέτο was a lavish cover, plentiful illustrations, and a combination of general interest articles, popular stories, anecdotes, gossip (primarily about Hollywood stars), and advice columns, alongside many literary pieces, both Greek and translated. Fiction was dominant (short stories and serialized novels), but the presence of poetry in every issue was also notable (Fig. 1). The variety of Μπουκέτο's texts catered to an audience of all ages and social classes, and, while it addressed the whole family, the magazine was evidently slanted towards 11 For a comprehensive account of family-literary periodicals, see Martha Karpozilou, Τα ελληνικά οικογενειακά φιλολογικά περιοδικά (1847-1900 [The Greek Family Literary Periodicals] (Ioannina: University of Ioannina, 1991). More on literature and art periodicals can be found in Charalampos L. Karaoglou andResearch Group, Περιοδικά λόγου και Τέχνης (1901-1940): αναλυτική βιβλιογραφία και παρουσίαση [Literature andArt Magazines (1901-1940) women. There were occasional pieces addressed to men (for example, the short-lived column 'How a Man Should Be Dressed' signed by 'The Dandy') or to younger readers (some children's novels and 'The Children's Page'), but the columns on fashion, home, food, and cosmetics appeared regularly (under titles such as 'For You, Our Ladies' and 'The Woman's Page'). From the very beginning, the magazine reached a high number of Greek readers, with sales figures of more than 30,000 per issue, and engaged many fans. These figures were claimed by the magazine itself, which declared that it was even 'surpassing the circulation of nine out of ten newspapers'.12 Unfortunately, no official circulation data exist, but its top position in the market is undisputed by scholars today. The correspondence column and the name lists of contest participants and subscribers all attest to the magazine's large readership. Circulation figures were very important, not only for prestige and direct profit, but also to lure advertisers. This resulted in a dispute between Μπουκέτο and its rival Θεατής [Spectator] (1925-46) in 1929-30, after the latter's rather opportunistic move to issue a distribution agency certificate for its advertisers, claiming a circulation of 41,500 copies. Μπουκέτο's protestation was instant and severe, and, while centered around which magazine outnumbered the other, it showed that precise sales figures were not easy to determine. The first issues sold for one and a half drachmas, a very low price at the time.13 The editors justified this decision by emphasizing the need to reach the lower middle class: 'A magazine like this could be priced three to four drachmas, but Μπουκέτο did not want to be read only by a wealthy readership, but by the poor people alike.'14 Many scholars have argued that pricing was pivotal in the expansion of the magazine industry.15 The strategy of reaching a wider audience through a price reduction -a result of technological innovations in both Europe and the United States -served as an exemplar for Greek publishers, as shown in the editorial note of a new weekly, Εβδομάς [Week] (1927-41). By introducing 'a magazine of impeccable appearance and fine content, in a price range available to all', Εβδομάς attempted modestly to draw a parallel between itself and the low-priced Saturday Evening Post (1821-) in the United States.16 Even the cover design of Μπουκέτο's new rival greatly resembled the emblematic American weekly, allowing for speculation on communication by Greek periodicals with their foreign counterparts. Maintaining an affordable cover price was of utmost importance to the popular Greek miscellanies, indicating their reliance on a mass audience for their prosperity.17 Advertising, of course, was another factor that made low prices possible, and the magazine's protest against the unfair distribution of national advertising budget was greatly enlightening.18 Every price increase (and there were several) was introduced to the readership with an apologetic and explanatory note, appealing to their understanding and devotion, further attesting to an economic imperative.

Periodical Supplements and the Middlebrow
Sensing that there was a growing market of readers craving the material it provided, and having secured a remarkable circulation, Μπουκέτο steadily increased the number of pages per issue. The first few issues ran to sixteen pages, growing to fifty (and sometimes more) when the magazine was at its peak (the late 1930s). In addition, Μπουκέτο expanded its publishing business by launching new spin-offs such as books, an annual issue, and pull-outs -the latter usually intended to be bound in a separate volume.19 These supplements can be seen from two different angles: as commodities affiliated with a popular magazine that depended on economic profitability and as cultural products of a magazine aspiring to entertain and educate. They were a constituent part of the parent publication, and that association needed to be kept intact in the eyes of the public. As Claes notes, supplements should be advocates of the parent magazine's aesthetic and ideological principles, resulting in 'customer binding '.20 As I outlined in the previous section, Μπουκέτο was part of a system of large-scale production intended for a wide and diverse public, which also included, by its own account, people of 'average education'. For this reason, its contents tried to compromise between 'high' culture and the taste of the majority, balancing somewhere in the middle. A characteristic example is the running of Goethe's Faust in fourteen instalments, with the explanatory title 'an immortal masterpiece in a literary popularization'. Poetry, a form much cherished and promoted in Μπουκέτο, is another illustrative example, but here it kept a clear distance from the avant-garde and, especially, surrealism: 'We do not condemn surrealism […] but a magazine addressing a broad audience wants poetry accessible to all, poetry that can be understood, or "felt".'21 According to Pierre Bourdieu, middlebrow cultural manifestations depend on reciprocity, have expansive ambitions, and rely greatly on cultural legitimacy, avoiding any experimentation that might cause controversy.22 These strategies were used by Μπουκέτο to establish its position as a Greek cultural artefact and create a vast and loyal readership. Thus, for example, all published books were 'popular' novels by renowned writers whose positions in the literary field would ensure the work's success.23 References were made to the novels' worldwide appeal (selling 'millions of copies'), which guaranteed audience approval and allowed Greek readers to participate in a universal reading community. As for reciprocity, the notion of 'giving' surfaced in many of the magazine's announcements and small editorial notes as an opportunity to implicitly praise the merit of such a publication ('it is, so to speak, a priceless gift. Make sure your friends will take delight in it too.').24 Great expectations and obligations were inherent in that offer, as in any gift. Marcel Mauss notes that the act of giving establishes a connection, as it 'engages, 19 Bookbinding was also available on Μπουκέτο's premises, as indicated in many advertisements. 20 Claes,p. 206 links magically, religiously, morally, juridically, the giver and the receiver'.25 Moreover, the magazine repeatedly emphasized the high quality of the supplements by pointing to their cultural capital. Nobel laureates or members of the French Academy, for example, were distinctly mentioned. The analysis that follows will focus, in order of appearance, on three different types of supplements issued with Μπουκέτο: the first book series Βιβλιοθήκη του Μπουκέτου, started in December 1924, and a second series, which appeared a few years later, in 1935, without a separate title; the annual Christmas issue, Ημερολόγιον του Μπουκέτου ; and the pull-out sheets, which appeared on a regular basis from 1934-36 and after 1945. I will show how the strategies identified by Bourdieu were adopted in these supplements and shaped them as products of middlebrow periodical culture.

Βιβλιοθήκη του Μπουκέτου [Bouquet's Library]. The Book Series
The book, already a 'cultural emblem' by the nineteenth century, became an important and prestigious commodity in Greece in the early 1920s.26 It thus made sense for a magazine that was trying to establish itself to take advantage of the cultural capital inherent in books. The proprietor of Μπουκέτο had his own printing business and provided services to other publishers. This infrastructure surely facilitated the magazine's first publishing step, a series of supplements, consisting primarily of translated novels, presented under the name Βιβλιοθήκη του Μπουκέτου [Bouquet's Library]. Even though they were first intended to run monthly, eventually just nine volumes appeared between December 1924 and early 1926. Two more Greek novels were included in the 1930 series. Finally, a second series of books appeared in 1935, but without a distinct series title; now all were presented as the magazine's publications -more precisely, as publications of both Μπουκέτο and Οικογένεια. I believe that the time of release of the first books, shortly before the merging of the two magazines, says a lot about the difference between the two series; Οικογένεια was absorbed by Μπουκέτο, indicating that the offer of new books was probably an attempt to revitalize a business on the brink of decline. One has to keep in mind that, in the course of a decade, the magazine had changed, and so had the Greek press market. The emergence of the first Greek genre fiction magazines, such as Μάσκα [Mask] (1935-38) and Ρομάντσο [Romance] , to name the most popular, must have influenced Μπουκέτο's dynamic, as did economic conditions.27 The differences between the first book releases and the last indicate different motives and, consequently, a slight shift from cultural to economic incentives, as I will demonstrate later.
First, we need to delve into the relationship of this supplement with the parent publication, one of the four generic signifiers for supplements identified by Demoor and Macdonald.28 This connection remained strong, as Μπουκέτο aspired to keep the readership engaged. In the case of the Library, the relationship was reinforced through the method of acquisition. By being introduced as monthly supplements, the Library allowed the magazine to offer annual, biannual, or quarterly subscriptions to those interested in obtaining the publications: 'hasten to subscribe, as the print run would be defined by the number of subscriptions.'29 The principle behind this move is further explained in the following statement: 'Many of our friends ask why the books of our Library are not sold in bookstores. We inform them that our books are monthly supplements published exclusively for our friends, who can procure them from our offices.'30 The books that were produced in 1935 also reinforce their unity with the parent publication; together with a small fee, coupons that needed to be cut out of the magazine were required, and the books were to picked up from the offices only (those in the rest of the country should visit the local distribution agencies). The magazine was trying not to disrupt the connection with its readership, as these supplements reinforced what Dillane describes as the 'dynamic interplay of sameness and difference' that 'structures the periodical's relations with readers and facilitates the swift, regular production of the object for consumption'.31 This was achieved by links between these spin-offs and the magazine's contents (such as the reappearance of familiar authors or even the same works). Readers were reassured that they were getting something familiar, already tested and approved, and the magazine's advertisements relied much on what Anne-Marie Thiesse calls the 'rhétorique de l'identique' ['rhetoric of the identical'].32 Book publishing focused around two features: literary value and material presentation, two very important factors for a middlebrow magazine with high aspirations. The aim of the series was to provide the Greek public with 'novels of World Literature that have been translated in all languages, sold millions of copies worldwide, and the authors' name alone guarantees their value'.33 To fully comprehend the literary worth of those first supplements, we should look at some of the translated works: popular French novels such as Le Capitaine fantôme (1862)  The literary prestige of the series was further reinforced by the declaration that translations had been done by prominent Greek writers (however, the title page of Le Capitaine fantôme bears only the initials of the translator, which can easily be traced back to assistant-editor Mitsos Papanikolaou). Another mark of importance is the fact that 29 'Η Βιβλιοθήκη του Μπουκέτου', Μπουκέτο (29 June 1924) most were introduced to Greek readers for the first time.35 In addition, the magazine stressed the importance of appearance, as well as the luxury and finesse with which the books were crafted. The announcements described them as neat and elegant editions (probably all hardbound) and included the author's portrait, biography, and a review of the novel.36 According to Anthony Enns and Bernhard Metz, material elements are critical for the reception of books, as they 'reflect or even determine their cultural status'.37 The materiality of this series, therefore, indicates the magazine's primary motive as a cultural agent.
The new books issued in 1935 were presented as an offer to the magazine's readers, 'free' of charge.38 (Fig. 2) Yet, the quality of those later supplements was inferior. Some of the novels had already been serialized in Μπουκέτο, such as La Colombe (1850) by Alexandre Dumas père (1802-70) and Le Bossu (1857) by Paul Féval; two were popular romances by Delly; and a few were older works already familiar to the Greek public, such as Lamartine's (1790-1869) Graziella (1852) and Abba Prevost's (1697-1763) Manon Lescaut (1731) (in three and four different Greek editions respectively).39 Apart from the lack of novelty, the materiality of these works was also a sign of the magazine's decline. The attention to detail and the quality of Μπουκέτο's Library were lacking; there were no hard covers nor any surrounding textual material, such as portraits and notes. Nevertheless, other characteristics of middlebrow culture were present, such as the unclear distinction between 'high' and 'low' culture, and the mixture of older and prestigious authors with modern and popular ones, which was very common during that period.40 At the same time, one cannot help but notice the glibness and the re-use of material, which point to a presumed turn towards economic profit at the expense of cultural enhancement.
The depreciation of the book series can be understood in the context of the socio-economic and political changes in 1930s Greece. Although books retained their high social status, the 'book crisis' was a phenomenon throughout Greece, as in many European countries during the interwar period, as a result of the general economic crisis. Moreover, weekly magazines were among the many factors considered responsible for the decrease interest in books in Greece. Accusations were plenty, from their role in 35 The works were not translated into Greek before and very few Greeks were able to read foreign texts in their original text at the time, mainly members of the upper class that could also afford such an expensive commodity. A valuable tool for older translations is K. G. Kasinis  intellectual deprivation to the antagonism created by newspapers and magazines that would benefit from the tax-exempt status of newsprint, which offered them cheap raw material for their books.41 Not only Greek publishers, but also many Greek novelists, especially those not affiliated with any periodical, were demanding financial backing for Greek literary production and book publishing against unfair competition from the press. Finally, the Ioannis Metaxas dictatorship (1936-41) fulfilled their demands, and law 23/1936 forbade newspapers and magazines from selling books.42 This hostile environment toward magazine publishing of the early 1930s helps us to better understand the shift made from the Library to the second series of published books and their use by the parent publication. Launched in the field of popular weeklies in mid-1920s, Μπουκέτο took advantage of the general prosperity and novelty it offered in order to captivate people's interest. Endowed with success, it felt confident in taking further steps: Μπουκέτο, aiming for the broader and most moral education of the Greek reading audience, and by taking advantage of its phenomenal success, decided it was proper to release each month several masterpieces by great writers. Published in elegant, well-printed, and well-bound volumes, they constitute Μπουκέτοs Library.43 It began serving Greeks' 'desire for more', as the progress and prosperity allowed the middle-class households to taste new standards of living: 'The only way for a pleasant summer is by getting Μπουκέτο's Library volumes. Wherever you are, in the countryside, traveling, by the sea, or even if you stay in town, the Library will be your best companion.'44 Indeed, Demoor and Macdonald observe that 'seasonal supplements were published to provide extra reading during leisure time, when desire and need would be most easily tapped into'. I will explore this one next, as it is a very characteristic example.45

Ημερολόγιον του Μπουκέτου [Bouquet's Calendar]: The Annual Issue
The Ημερολόγιον του Μπουκέτου [Bouquet's Calendar] was an annual volume published around Christmas, from 1926 to 1933, producing eight volumes in total. It followed a long tradition of annual publications by various Greek entities (associations, journals, publishing companies, other professionals, or organizations) that endeavoured to offer a general account of the year's literary and artistic production in Greece. 46 According to the title page, it was a festive issue, a combination of lavish illustrations and high-quality literary pieces, mainly by prominent Greek authors. (Figs 3, 4) Those collaborations were particularly highlighted by the magazine when it announced the subject matter of the initial annual issue, and took pride in its originality: The Ημερολόγιον, which has already been released, is going to be something you have never seen before, something that will astonish you, something you will not be able to part with. Totally artistic, multi-coloured, multi-paged. With the collaboration of all the Greek intellectuals, exquisite pictures, elegant illustration, exceptional translations, a million things, with original scores by our excellent composers. There are no words to describe all this.47 The new supplement, in order to establish itself among Greek readers, needed to take advantage of cultural capital inherited not only in names, but also in specific art forms; the presence of musical scores and works of drama, highlighted in several announcements, indicates a tendency towards an artistic profile and, ultimately, an interest in appealing to a more sophisticated middlebrow public. As for the key feature of originality, this was further accentuated by one distinguishing element: a copyright statement at the beginning of every annual issue declared that all pieces by Greek authors were original and that any reproduction without permission was forbidden. Original works were given primacy, which is also evidenced by the fact that Μπουκέτο paid less for translated pieces (almost half the price per page, as a letter by a collaborator reveals) than for original writing in Greek. This emphasis on originality is remarkable, given limited attention to copyright in Greece; the first comprehensive copyright law was enacted in 1920. 48 In Μπουκέτο, restrictions regarding intellectual property appeared after 1928, and only for a few serialized pieces, such as the biography of Aspasia Manos, widow of the late king Alexander of Greece. Significantly, Μπουκέτο presented the annual issue as a book rather than a periodical: 'No book has ever been sold, has become a best-seller, as much as Ημερολόγιον', concluding that Ημερολόγιον was more than a special issue, it rather approximated a book.49 Despite this closeness to book publication, Ημερολόγιον greatly resembled Μπουκέτο in terms of material form and content, thereby evoking familiarity in its devoted audience. The annual issue had the same aesthetic quality as its parent publication regarding vignettes, fonts, illustrations, and layout. The literary pieces chosen for publication in both the magazine and the supplement indicate the same Figs 3 and 4 Ημερολόγιον του Μπουκέτου. Cover of and page title of volume 5 (1930).
Collection of the Library of the Hellenic Parliament preferences and shared contributors. From 1926From to 1933 Greek authors appearing in Μπουκέτο also contributed to Ημερολόγιον. The most characteristic examples are the poets belonging to the so-called generation of the 1880s, a group of Greek poets who differentiated themselves from the romantic tradition and supported the use of demotic (i.e. the vernacular) language in their poetic work. This generation's leader, the national poet Kostis Palamas , is at the top of the list, with a total of twelve poems. The presence of poetry, a highly esteemed literary genre, endowed the publication with cultural value. Prestigious names were an important factor for cultural legitimacy. Apart from the subject matter, legal restrictions and collaborations that clearly aimed at a higher cultural level, other ways that Ημερολόγιον used to foster the readermagazine relationship need to be considered. A central idea underlying this relationship was reciprocity. An announcement in the new annual issue specifically employed the term μπουναμάς [bunamás], an Italian loan word adopted into the Greek language which was used for gifts given at Christmas and New Year's Eve.50 What gift could Μπουκέτο expect in return for providing such an issue? Loyalty, of course -and more readers from all social milieux: '[Ημερολόγιον] should be in every aristocratic lounge, in every Greek house, whether rich or poor.'51 It is also important to mention the inclusion of the whole family in the ideal readership that could benefit from Ημερολόγιον: 'Do you want to get the best present for your children, your family and friends? Do you want to offer them something pleasant, diverting, educative, positive and cheap alike?'52 The intellectual, recreational, and economic benefits are the best advocates for this middlebrow supplement. As with the book supplements, Ημερολόγιον came at an extra charge; this, according to Claes, suggested that the publishers had faith in this spin-off 'to be able to provide for itself '.53 The time of appearance (less than two years after Μπουκέτο hit the market) and its highly artistic value demonstrate that the annual issue was not just aiming at economic profitability for the publishers, but also cultural legitimacy, 'making a name' for Μπουκέτο.54

The Pull-Out Sheets
Another extra was the folded pull-out sheets stitched into the centre spread, which could easily be detached and later bound into volumes. These contained two kinds of content, either text (mostly fiction) or pictures, and appeared at intervals. In June 1934, a new series of five 'literary masterpieces' to be published on separate folded sheets (eight pages each) was announced: Amok (1922) by Stefan Zweig (1881-1942), La Bataille (1909) by Claude Farrère (1876-1957, Verlaine tel qu 'il fut (1933) by François Porché (1877-1944), Le Journal d'une femme de chambre (1900) by Octave Mirbeau (1848-1917, and The War of the Worlds (1897) by H. G. Wells (1866G. Wells ( -1946. A second frontispiece was included to be used as a personalized book cover, adding to the book's perceived cultural value. Two years later, in March 1936, a weekly 'appendix of Μπουκέτο-Οικογένεια' was introduced with the title 'Scrapbook of Greek Women' and including themes that alternated from week to week; one addressed feminine interests and the other featured film news and the 50 In modern Greek both the bonamas and bunamas are encountered, which probably indicates that the words were introduced in Greece from either standard Italian ( Claes,p. 204. 54 Bourdieu,p. 75. lives of Hollywood stars. They were yet another effort to keep the publication alive and flourishing, aiming at, and leaning on, two major factors: a prevailing female readership and the most popular entertainment of the time.55 The pull-out extras ceased for almost a decade and reappeared in 1945, when Μπουκέτο was trying to recover from the destruction caused by war, and a continuing publication of twenty-one-yeas. The innovative product was a sixteen-page popular romantic novelette attached in the centre spread. Most of the stories were self-contained, with the exceptions of Daphne Du Maurier's (1907-89) Rebecca (1938 (in four parts, adapted from a recently screened film), Max du Veuzit's (1876Veuzit's ( -1952 Moineau en cage (1936) (in seven parts), and Octave Feuillet's (1821-90) La Veuve (1884) (in two parts, also an adaptation). Again, the advice was to bind them together and thus compile a series of short romances. A compromise between middlebrow demand for the widespread popular romance stories of the time (the cases of Delly and Max du Veuzit are the most characteristic) and the seduction of the wide screen was perfectly achieved in those post-war supplements.56 As the editor of a similar magazine revealed a few years later, the method of adding detachable pages was used by Greek publishers to prevent the passing of issues from one reader to another, and thus avoid a decline in sales. It also gave the impression of a 'treat' and of something new, a 'routine breaker'.57 The commercial imperatives behind those post-war extras seem obvious here, but Μπουκέτο was an older periodical and a respect for legitimacy to some extent still governed its actions. Despite the lower status of the last novelettes, an ambition for book owning resurfaced, as loose leaves were destined to turn into something valuable and more permanent.58 One final type of pull-out that should be mentioned was a 'coloured centerfold' that appeared in several periods, sometimes under the title 'Our Gallery'. As the subtitle Weekly Illustrated Literary Review distinctly indicates, Μπουκέτο relied heavily on illustrations, both to illustrate the text and as an adornment, one of the most distinguishing features of the first popular weeklies. These images were cultural enhancers, as the incorporation of an artistic illustration in the text was able to 'transform the cultural status' of a literary work.59 This is why Μπουκέτο, apart from using various reproductions of vignettes and illustrations of older and foreign magazines, employed artists like Kleovoulos Klonis (1900?-88) and Gerasimos Grigoris (1907-85) to adorn its literary pieces, mainly short stories and serialized novels. The illustrations offered as pull-outs started in October 1924, but they were not a permanent feature, serving more the need of a supplement to create desire for its high quality.60 In a preceding announcement, the magazine introduced new festive issues, with multicoloured artistic pictures ideal for framing.61 It is all too obvious that there was a parallel with the endorsement of book binding; the magazine promoted the supplements as cultural 55 Unsurprisingly, the two are closely connected, as the film fan magazine was 'the first of its type to be directed to a predominately female audience'. objects to be preserved, thus reshaping the supplement's inherent ephemerality.62 (Figs 5,6) The illustrative plates became regular in late 1938, with the reproduction of paintings by both historical and more contemporary artists (Thomas Gainsborough [1727-88], Antoine Calbet , and Jean-Baptiste-Camille Corot , to name but a few) and some reproductions of contemporary artistic photographs. By revealing financial data about these illustrations, Μπουκέτο further attempted to increase its artistic value. An illustrative example is the declaration that a 'significant amount of money' was spent securing a reproduction of El Greco's The Crucifixion for the Holy Week issue.63 These pull-outs are a perfect example of a middlebrow manifestation: by not charging extra, they created the obligation of recompense, by utilizing the 'gift' concept. Luxury, artistic value, and colour were qualities stressed on every occasion. Thanks to modern technology, everyone was able to become the owner of a piece of art, the popularization of which through mass circulation magazines and advertising made it more appealing to the majority.64 Although financial constraints prevented ambitious publishing steps, the need for innovation and constant revamping was imperative in fighting competition and gaining loyalty. The later pull-outs demanded less intellectual effort than the books and the annual issue, relying upon technology to offer, once again, traditional artwork of aesthetic appeal that would become the perfect decoration for the modern Greek home.

Conclusion
It did not take long for Μπουκέτο to establish a dominant position in the Greek popular press. It had all the means to become a prosperous publication: modern equipment, competent collaborators, a dedicated readership, and artistic ambition. As statistics played a critical role and the market was extremely competitive, the objective was to create loyalty and gain more buyers; new supplements appeared to reinforce the appeal of a middlebrow publication addressing a wide and diverse audience. Moreover, the magazine's desire to 'indulge and educate' the Greek audience was sacredly fulfilled through certain spin-offs, which were promoted as unique and of high quality, while still popular enough to not affront the 'average' reader's expectations. Sameness between the parent magazine and the supplements was maintained on many levels. As the result of the magazine's publishing success -and demanding extra cost and effort -the supplements appeared mainly during the magazine's most booming period, that is, until the late 1930s. One cannot help but notice the gradual degradation of the incidentals offered, which parallels the magazine's decay, by the early 1940s. The reasons could be many: a weary audience looking for something new, fierce competition, and, of course, the financial and social instability of the era.
Amongst all these changes, we see signs of a magazine turning into a publishing company, full of assertiveness and cultural ambitions. Μπουκέτο was clearly concerned with the intellectual and moral welfare of its readers, as much as with their amusement. The supplements were connected to the magazine's functions as both cultural institution and (most evident in the later extras) commodity. By functioning as a culture bearer for all classes, Μπουκέτο had to rely on cultural legitimacy and constantly strove to satisfy consumer demand: 'Readers should not forget the effort made and the sacrifice suffered 62 Claes,p. 208  Although not an extra plate as the other pull-outs, these pages illustrate the magazine's intention to provide a decorative object. Collection of the Library of the Hellenic Parliament