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The stately 1950s Nafplia Palace Hotel facing west-northwest across the Bay of Argolis.
The crag on which it sits is so steep that you have to enter it through an elevator at the end of a tunnel in the rock.
© 2005 E. Brundige
Illustration for my Ancient Greece Odyssey, Part 5: Mycenae, Tiryns, Nauplion.
The Argolid Peninsula (eastern part of the Peloponnesus) in the foreground; Attica in the background; and the Isthmus of Corinth connecting them. Was amazed to be able to identify the geography from the plane!
Epidaurus (Modern Greek: Ἐπίδαυρος) was a small city (polis) in ancient Greece, at the Saronic Gulf. The modern town Epidavros (Επίδαυρος), part of the prefecture of Argolis, was built near the ancient site.
Epidaurus was independent of Argos and not included in Argolis until the time of the Romans. With its supporting territory, it formed the small territory called Epidauria. Reputed to be the birthplace of Apollo's son Asclepius, the healer, Epidaurus was known for his sanctuary situated about five miles (8 km) from the town, as well as its theater, which is once again in use today. The cult of Asclepius at Epidaurus is attested in the 6th century BC, when the older hill-top sanctuary of Apollo Maleatas was no longer spacious enough.
There were two other similarly named Greek cities. One Epidaurus, colony in Illyria and another Epidaurus, Limera in Lakonia.
The asclepieion at Epidaurus was the most celebrated healing center of the Classical world, the place where ill people went in the hope of being cured. To find out the right cure for their ailments, they spent a night in the enkoimitiria, a big sleeping hall. In their dreams, the god himself would advise them what they had to do to regain their health. Found in the sanctuary, there was a guest house for 160 guestrooms. There are also mineral springs in the vicinity which may have been used in healing.
Asclepius, the most important healer god of antiquity, brought prosperity to the sanctuary, which in the 4th and 3rd century BC embarked on an ambitious building program for enlarging and reconstruction of monumental buildings. Fame and prosperity continued throughout the Hellenistic period. In 87 BC the sanctuary was looted by the Roman general Sulla, and in 67 BC, it was plundered by pirates. In the 2nd century AD, the sanctuary enjoyed a new upsurge under the Romans, but in AD 395 the Goths raided the sanctuary.
Even after the introduction of Christianity and the silencing of the oracles, the sanctuary at Epidauros was still known as late as the mid 5th century, although as a Christian healing center.
Theatre
The prosperity brought by the Asklepieion enabled Epidauros to construct civic monuments too: the huge theatre that delighted Pausanias for its symmetry and beauty, which is used once again for dramatic performances, the ceremonial Hestiatoreion (banqueting hall), baths and a palaestra. The theater was designed by Polykleitos the Younger in the 4th century BC. The original 34 rows were extended in Roman times by another 21 rows. As is usual for Greek theatres (and as opposed to Roman ones), the view on a lush landscape behind the skênê is an integral part of the theatre itself and is not to be obscured. It seats up to 15,000 people.
The theatre is marveled for its exceptional acoustics, which permit almost perfect intelligibility of unamplified spoken word from the proscenium or skênê to all 15,000 spectators, regardless of their seating. Famously, tour guides have their groups scattered in the stands and show them how they can easily hear the sound of a match struck at center-stage. A 2007 study by Nico F. Declercq and Cindy Dekeyser of the Georgia Institute of Technology indicates that the astonishing acoustic properties are either the result of an accident or the product of advanced design: The rows of limestone seats filter out low-frequency sounds, such as the murmur of the crowd, and amplify/reflect high-frequency sounds from the stage.
Epidaurus (Modern Greek: Ἐπίδαυρος) was a small city (polis) in ancient Greece, at the Saronic Gulf. The modern town Epidavros (Επίδαυρος), part of the prefecture of Argolis, was built near the ancient site.
Epidaurus was independent of Argos and not included in Argolis until the time of the Romans. With its supporting territory, it formed the small territory called Epidauria. Reputed to be the birthplace of Apollo's son Asclepius, the healer, Epidaurus was known for his sanctuary situated about five miles (8 km) from the town, as well as its theater, which is once again in use today. The cult of Asclepius at Epidaurus is attested in the 6th century BC, when the older hill-top sanctuary of Apollo Maleatas was no longer spacious enough.
There were two other similarly named Greek cities. One Epidaurus, colony in Illyria and another Epidaurus, Limera in Lakonia.
The asclepieion at Epidaurus was the most celebrated healing center of the Classical world, the place where ill people went in the hope of being cured. To find out the right cure for their ailments, they spent a night in the enkoimitiria, a big sleeping hall. In their dreams, the god himself would advise them what they had to do to regain their health. Found in the sanctuary, there was a guest house for 160 guestrooms. There are also mineral springs in the vicinity which may have been used in healing.
Asclepius, the most important healer god of antiquity, brought prosperity to the sanctuary, which in the 4th and 3rd century BC embarked on an ambitious building program for enlarging and reconstruction of monumental buildings. Fame and prosperity continued throughout the Hellenistic period. In 87 BC the sanctuary was looted by the Roman general Sulla, and in 67 BC, it was plundered by pirates. In the 2nd century AD, the sanctuary enjoyed a new upsurge under the Romans, but in AD 395 the Goths raided the sanctuary.
Even after the introduction of Christianity and the silencing of the oracles, the sanctuary at Epidauros was still known as late as the mid 5th century, although as a Christian healing center.
Theatre
The prosperity brought by the Asklepieion enabled Epidauros to construct civic monuments too: the huge theatre that delighted Pausanias for its symmetry and beauty, which is used once again for dramatic performances, the ceremonial Hestiatoreion (banqueting hall), baths and a palaestra. The theater was designed by Polykleitos the Younger in the 4th century BC. The original 34 rows were extended in Roman times by another 21 rows. As is usual for Greek theatres (and as opposed to Roman ones), the view on a lush landscape behind the skênê is an integral part of the theatre itself and is not to be obscured. It seats up to 15,000 people.
The theatre is marveled for its exceptional acoustics, which permit almost perfect intelligibility of unamplified spoken word from the proscenium or skênê to all 15,000 spectators, regardless of their seating. Famously, tour guides have their groups scattered in the stands and show them how they can easily hear the sound of a match struck at center-stage. A 2007 study by Nico F. Declercq and Cindy Dekeyser of the Georgia Institute of Technology indicates that the astonishing acoustic properties are either the result of an accident or the product of advanced design: The rows of limestone seats filter out low-frequency sounds, such as the murmur of the crowd, and amplify/reflect high-frequency sounds from the stage.
From this place known nowadays as Porto Heli, in Argolis, 2600 years ago a little ship set sails and went to the land of Kares in southwest Asia Minor where its passengers founded the city of Alikarnassos (nowadays Bodrum), in which Herodotus -father of History- was born.
This modest pyramid in Argolis is the best preserved of the few visible in Greece. With its internal chamber and entrance passage, it's hard to avoid the obvious interpretation of it as a tomb. It is mentioned by the traveller and writer Pausanias (2nd century AD) as being associated with legends of some 3000 years previously. However, many modern scholars date it to merely 4th century BC.
To my untutored eye the masonry is in the same "cyclopean" style as the bronze age Mycenean era sites that we also visited. This is the best preserved face. It shows one horizontal joint that seems to be level all round the structure (here just above the top of the grass), above which the masonry gets more erratic. One half of this face shows blocks laid in roughly horizontal courses; the other half has blocks dressed into irregular shapes in an apparent jumble. The blocks also get smaller towards the top, which no doubt contributes to the top of the structure being missing.
Off the tourist trail but not hard to find. One other solitary photographer turned up just after me and we did a sort of dance round it, keeping out of each other's shots.
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Epidaurus (Modern Greek: Ἐπίδαυρος) was a small city (polis) in ancient Greece, at the Saronic Gulf. The modern town Epidavros (Επίδαυρος), part of the prefecture of Argolis, was built near the ancient site.
Epidaurus was independent of Argos and not included in Argolis until the time of the Romans. With its supporting territory, it formed the small territory called Epidauria. Reputed to be the birthplace of Apollo's son Asclepius, the healer, Epidaurus was known for his sanctuary situated about five miles (8 km) from the town, as well as its theater, which is once again in use today. The cult of Asclepius at Epidaurus is attested in the 6th century BC, when the older hill-top sanctuary of Apollo Maleatas was no longer spacious enough.
There were two other similarly named Greek cities. One Epidaurus, colony in Illyria and another Epidaurus, Limera in Lakonia.
The asclepieion at Epidaurus was the most celebrated healing center of the Classical world, the place where ill people went in the hope of being cured. To find out the right cure for their ailments, they spent a night in the enkoimitiria, a big sleeping hall. In their dreams, the god himself would advise them what they had to do to regain their health. Found in the sanctuary, there was a guest house for 160 guestrooms. There are also mineral springs in the vicinity which may have been used in healing.
Asclepius, the most important healer god of antiquity, brought prosperity to the sanctuary, which in the 4th and 3rd century BC embarked on an ambitious building program for enlarging and reconstruction of monumental buildings. Fame and prosperity continued throughout the Hellenistic period. In 87 BC the sanctuary was looted by the Roman general Sulla, and in 67 BC, it was plundered by pirates. In the 2nd century AD, the sanctuary enjoyed a new upsurge under the Romans, but in AD 395 the Goths raided the sanctuary.
Even after the introduction of Christianity and the silencing of the oracles, the sanctuary at Epidauros was still known as late as the mid 5th century, although as a Christian healing center.
Theatre
The prosperity brought by the Asklepieion enabled Epidauros to construct civic monuments too: the huge theatre that delighted Pausanias for its symmetry and beauty, which is used once again for dramatic performances, the ceremonial Hestiatoreion (banqueting hall), baths and a palaestra. The theater was designed by Polykleitos the Younger in the 4th century BC. The original 34 rows were extended in Roman times by another 21 rows. As is usual for Greek theatres (and as opposed to Roman ones), the view on a lush landscape behind the skênê is an integral part of the theatre itself and is not to be obscured. It seats up to 15,000 people.
The theatre is marveled for its exceptional acoustics, which permit almost perfect intelligibility of unamplified spoken word from the proscenium or skênê to all 15,000 spectators, regardless of their seating. Famously, tour guides have their groups scattered in the stands and show them how they can easily hear the sound of a match struck at center-stage. A 2007 study by Nico F. Declercq and Cindy Dekeyser of the Georgia Institute of Technology indicates that the astonishing acoustic properties are either the result of an accident or the product of advanced design: The rows of limestone seats filter out low-frequency sounds, such as the murmur of the crowd, and amplify/reflect high-frequency sounds from the stage.
In the introduction to this album, first published in 1916, the author,Ernst Reisinger, states his intention of offering a work that is not strictly a travel account but that will strengthen the bonds between Greece and Germany. With ninety photographs by himself, F. Boissonnas and Van Lüpke, and reproductions of engravings by V.M. Coronelli, E. Dodwell, J. Stuart and N. Revett, and L.-E.-S.-J. de Laborde, as well as scholarly texts by L. Ross, E. Curtius and others, which treat the subject of Greece in depth, Reisinger aims to offer a token of love to the Greek people. He collected his material from libraries in Munich and Berlin during the First World War. Many reproductions in the volume come from photographs in the Prussian Photographic Archive in Berlin and present rare views (of around 1910) of mainly continental Greece and the islands.
On browsing through the album, we come upon views from Athens and Attica, Corinth, the Argolid, Arcadia and Messinia, Epirus, Mount Athos, the Ionian Islands, Aegina and the Cyclades. It is moving to see the Isthmus of Corinth, Bassae, Sparta and Mystras, Methana, Tiryns, Eleusis and Epidaurus, Hosios Loukas, Meteora, the Byzantine churches in Arta, Melos, Tempe, Paros, Agrinio and Amphissa, in unbiased shots from the first decade of the twentieth century. It should be noted that the photographs of Corinth were taken before the excavations of the American School, and those in Olympia and Delphi before the restoration of the respective temples at these archaeological sites.
Written by Ioli Vingopoulou
İlk baskısı 1916 yılında yapılan kitap, kendi fotoğraflarından ve Fr. Boissonnas ile Van Lüpke'nin 90 fotoğrafı, V.M. Coronelli, Ed. Dodwell, J. Stuart & N. Revett, L.-E.-S.-J. de Laborde'dan gravür kopyaları, L. Ross, Er. Curtius ve başka yazarların kaleminden çıkmış metinlerle tamamlanıyor. Reisinger malzemesini I. Dünya Savaşı sırasında Münih ve Berlin kütüphanelerinden derlemişti. Burada yer alan fotoğrafların birçoğu Berlin'deki Prusya fotoğraf arşivinden kaynaklanıp özellikle Yunanistan'ın anakara kısmından ve de adalardan tahminen 1910 yılına ait nadir görüntüler sergilemekte.
Albümde Atina, Attika, Korint, Argolis, Mesinia, Epir, Aynaroz, İyon adaları, Egina ve Siklad adalarından manzaralar görmekteyiz. Korint kanalı, Vassai, Sparta, Mistras (Mezistre), Methana, Tirins, Eleusis, Epidaurus, aziz Luka manastırı, Meteora, Arta, Milos, Tempi'deki bizans kiliseleri, Paros adası, Agrinio ve Amfisa'yı gösteren bu resimler 20. yüzyılın ilk yıllarında tarafsız bir anlayışla çekilmiş olması açısından derin izlenimler yaratıyorlar. Korint'te çekilmiş olan planlar Amerikan Arkeoloji Okulunun yaptığı kazılardan önceye ve Olympia ile Delfi'de çekilmiş olan planlar bu arkeolojik sitlerde bulunan antik tapınakların restorasyonundan önceki zamana rastlar.
Yazan: İoli Vingopoulou
Early morning on the bay in front of ancient Asine.
Asine is mentioned by Homer as one of the cities that supplied ships for the Trojan war and they are said to have set off to Troy from this bay under the command of Diomedes.