Part 2
_P_ is a building also of the Roman Period, and evidently contained baths. There are traces of a hypocaust. The remains of hot air or hot water pipes are abundant, and certain curious apse-like recesses in the walls, containing a seat and terminating below in a bath or deep basin, were evidently a form of sitzbath. When we remember that the French have lately discovered at Delphi no less than three extensive bathing establishments, adjacent to the walls of the precinct on the east, west, and south sides respectively, it is not surprising that we should find at least two such buildings at Epidauros. A part of this Roman bath-house is seen in the distance in Plate XIII.
_Q_ in Plate I is a quadrangular building between the Temple of Artemis and the South Portal. Round three if not four of its sides were rooms, as in the case of the great four-quadrangle building; many remains of columns are seen. Its purpose is doubtful. Probably it is the Colonnade of Kotys which Pausanias mentions. (It is to be hoped that no shrine of the dissolute Thracian goddess of that name existed here.)
This Colonnade of Kotys we know was originally built of sun-dried brick, and may perhaps originally have had wooden columns. Sun-dried brick, so common in many parts of Greece to-day, was often used in ancient times for important purposes, as, for example, in the building of the Heræon at Olympia. When this somewhat perishable material was covered with a fine hard cement, which resisted the heaviest rain, walls so constructed became wonderfully durable. The Colonnade of Kotys was rebuilt during Roman times. Some of the roof tiles discovered lately bear the name of Antoninus. Cavvadias suggests that the small temple γ is that of Themis.
_R_ in Plate I is a colonnade which extended east and west nearly at right angles with the Roman Baths _P_ described above. Plate XIII shows the remains of this colonnade, also a small open aqueduct with basins in its course about eleven yards apart. This small water channel reminds the visitor of a similar one existing in front of the Echo Colonnade at Olympia, the latter contains one or two basins like those shown in the plate. This view shows in the distance the Roman baths (_P_).
Adjoining this colonnade on the north-east is a large quadrangle _S_, formerly bordered on its four sides by columns. Its length east and west was about double its breadth north and south. Was this another hostel?
_T_ is believed by M. Cavvadias to be the Temple of Aphrodite, a Doric structure only excavated in 1892. An inscription discovered on the spot speaks of the sanctuary of Aphrodite; not far from it was found a statue of the goddess in Parian marble, a most beautiful figure now preserved in the Museum at Athens. Plate XIV is an attempt to represent this figure as it now exists. The ancient cemetery of the Hieron was near the point marked ε in Plate I.
_U_ in Plate I is an Ionic building, the present condition of which is shown in Plate XV. It may be a temple external to the precinct, or it may, as others suggest, be the Northern Propylæa or Ceremonial Gateway. The latter appears the more probable explanation; by this entrance the pilgrims who came from the port of Epidaurus would approach the Sanctuary. Note the small well in the foreground.
_V_ is a Roman building of unknown purpose, and _W_ represents a barrier which probably was the northern wall of the precinct. A wall protected the sacred enclosure on every side, “Τὸ δὲ ἱερὸν ἄλσος τοῦ Ἀσκληπιοῦ περιέχουσιν ὅροι πανταχόθεν,”[3] says Pausanias, but fully one-half of this barrier has yet to be found. It will be noted that, as at Olympia, many important buildings are external to the precinct.
Plate XVI represents a side view of the theatre (which is not shown in the outline plan Plate I).
The Great Theatre situated to the south of the precinct was built about the year 450 B.C. by Polykleitos, the architect of the Tholos. Pausanias, who was a great traveller, tells us it was the most interesting of all the theatres existing in his time, and to-day any one who is familiar with the theatres of Greece and the Greek colonies will say that this is more impressive than any of the others. The Koilon or auditorium consisted of fifty-five rows of marble seats, with twenty-four lines of stairs. The space for the chorus is, according to the ancient system, circular, and in the centre doubtless stood an altar of Bacchus. The stage was elevated nearly twelve feet, the proscenium being enriched by splendid sculpture. The acoustics of the theatre are perfect; a sound little louder than a whisper uttered on the stage can be heard in every part. The theatre is so placed on the slope of Kynortion that the occupants of the major part of the auditorium had a charming view (over the top of the stage) of the mountains to the north and of the whole range of beautiful buildings of the Hieron.
Plate XVII represents the view taken from the top row of seats. Note the circular chorus space, the remains of the “four quadrangle building,” and glimpses of the Hieron beyond. While witnessing here the sublime tragedies of Æschylus or Sophocles, or such a comedy as the _Plutus_ of Aristophanes (in which, as you will remember, great fun is made at the expense of Asklepios and his priests), the contrast afforded by glancing from the stage to the blues and purples of the mountains, the verdancy of the grove, and the beautiful forms and colours of the group of temples would be most pleasing. The Greeks were acute in perceiving and taking advantage of subtle sources of pleasure like this, and I believe that the sites of many of their theatres were chosen so as to secure for the audience this double pleasure. The Theatre of Delphi is a conspicuous example of this provision, as also is that of Tauromena. This theatre has been said to seat 12,000 spectators; according to my own rough computation, it unquestionably will hold over 9,000 without crowding.
Before quitting this theatre it may be remarked that Dr. Dörpfeld’s interesting and attractive theory of the occupancy of orchestra and stage equally by the players in a Greek drama, is difficult of application in this individual case, in consequence of the great difference in level—eleven or twelve feet—between the two. So great a disparity of surface would, as most people think, seriously interfere with the unity of the representation, even if flights of steps connected orchestra and stage.
_X_ in Plate I represents part of the Stadium, which is about six hundred feet long. Here are remains of at least fifteen rows of marble seats. Probably foot races took place here as well as other forms of athletic exercise. All the maps of the Hieron represent the eastern end of the Stadium as semicircular, but so far as one can judge, the latest excavations indicate that it was square, and therefore I have so represented it.
Assuming that the fifteen rows of seats extended from end to end on each side, and allowing a foot and a half for each person, the Stadium would seat twelve thousand spectators on its two sides, without computing the seats at the ends.
Plate XVIII represents the excavation at the end adjacent to the Hieron. _Y_ in Plate I (shown also in Plate XVIII) is either the starting place or the goal. _Z_ is a subterranean passage probably communicating with the precinct.
An inscription (found in 1896) mentioned by Mr. Frazer, shows that a hippodrome also existed at the Hieron.
On Mount Kynortion, some distance south of the great theatre, stood the temple of the Maleatean Apollo. The remains are so fragmentary that it is difficult to devise a conjectural restoration.
II. The Asklepieion at Athens
Before saying anything about the ritual and the treatment of the sick at the Hieron, it will be well to turn to the Asklepieion at Athens, and examine briefly the structural arrangements there. Situated on the south side of the Acropolis, at an elevation of perhaps eighty feet above the plain, adjoining on the east the theatre of Dionysus, the locality was probably as healthy as any the immediate neighbourhood of Athens could supply. The heat no doubt was great in summer, but we may conclude that a grove of large trees afforded grateful shade to the sick.
Plate XIX represents the remains of the Stoa or Portico of Eumenes (so called) lying to the south of the Acropolis. To the extreme left is seen the temple of the Nike Apteros, and on the summit of the Akropolis the Parthenon. Between the Stoa and the rock of the Akropolis is situated the Asklepieion. The accompanying outline plan, No. XX, is an attempt to give some idea of the arrangement of buildings within the precinct. The buildings were to a certain extent an imitation, on a smaller scale, and on a limited area, of those at the Hieron of Epidauros. Remains of what were probably a temple of Asklepios and Hygieia, of doric architecture, also a supposed temple of Themis, and a shrine of Isis, exist, while smaller shrines of Serapis, Kore, Hypnos, Herakles, Panakia, Demeter, and other divinities have left no distinct traces. There are considerable remains of a large eastern portico or abaton of pentelic marble, from which is reached a circular chamber in the rock containing the sacred well. Some of the masonry here seems to me to be of late Roman date.
Plate XXI represents the Asklepieion as seen from the western end, and plate XXII from the east. The building inscribed “western abaton” in plan No. XX may have been a supplementary abaton or a priest’s house or a covered gymnasium. A grove existed, perhaps occupying the space between the Stoa of Eumenes and the temples, or situated in a large vacant space to the west.
On an elevation above and close to the abaton is a curious well-like structure, surrounded by marble columns, which perhaps was the serpent pit.
Plate No. XXIII represents the remains of this curious and mysterious structure. I examined the masonry carefully to see if a direct communication between this supposed snake pit and the abaton could be traced, but failed to find it. If the purpose of the Tholos at Epidauros is that suggested above, viz., a place of sacrifice to the sacred serpents, may we not have here also the remains of a Tholos or Thymele on a small scale? Possibly the four marble bases are those of columns surrounding an altar to which the serpents ascended from their pit beneath, to receive the sacrificial cakes of the worshippers, who themselves stood beneath a roof carried by these columns. This of course is a mere hypothesis.
The grove contained great numbers of statues, busts, ex-votos, and inscriptions. The theatre of Dionysos close at hand was doubtless frequented by the sick as a diversion. The stall occupied by the priest of Asklepios, with his name on it, is still in excellent preservation, as seen in plate XXIV. He sat in the first rank, in a most honoured position, with his back to the setting sun, next to the priest of the Muses. The Panathenaic stadium, three-quarters of a mile away, doubtless was also frequently visited by the convalescents from the Asklepieion.
LECTURE II
We now pass on to consider the ritual of the Asklepian shrines and the accommodation and treatment of the sick who frequented them.
It is convenient, first, to consider the Hierarchy. They consisted of the Hiereus or Hierophant, the priest, who was the head official. He was appointed annually, and he appears to have been frequently re-elected. From the Athenian inscriptions we know that sometimes he was a physician, sometimes not; so also it was with the subordinate officials. The priest was the general administrator, and had a share in the financial government of the temple. The Dadouchoi, or torch-bearers, were probably subordinate priests; the Pyrophoroi, or fire-carriers, among other functions, lighted the sacred fire on the altars; the Nakoroi or Zakoroi, whose duties in the temple are uncertain, sometimes were physicians; the Kleidouchoi, or key-bearers, who perhaps were originally a class of superior door porters, but who appear later to have assumed priestly functions; the Hieromnemones seem to have had purely secular duties, and in common with the Hiereus had charge of all receipts and payments; all were under the rule of the Boule of Epidauros. The Kanephoroi (or basket-bearers) and the Arrephoroi (or carriers of mysteries or holy things) were priestesses. We read in some of the inscriptions of servants or attendants who ministered to the sick, and carried those who were unable to walk. Did these women in any degree act as nurses? It is possible, but no definite information on the subject is given.
There were certain officials, also, who attended to the sacred dogs; the serpents are not thus far known to have had such guardians. We read also of bath attendants.
There was also a special religious society termed the Asklepiastai.
Turning now from the priests to the suppliants: these, we find, came from all parts of the Greek world, and from what ancient writers tell us their numbers appear to have been great. Where were they housed? Some, of course, dwelt in the abaton, the women probably in one part and the men in another, for a wall divided the East from the West abaton; but, as I have already pointed out, not more than 120 could find beds there at a time; perhaps the invalid was only housed there at first, and when he began to improve was drafted off to a hostel. Assuming that all the buildings which I have suggested to be hostels were such, they could not accommodate more than some four or five hundred patients. Perhaps we may assume that such was the usual number attending at ordinary times, while at the great festivals many thousands assembled. Whether this large number were lodged in tents or temporary wooden buildings, or otherwise, is uncertain.
Probably multitudes of vigorous and able-bodied persons came to the festivals, and many of them may have been lodged six miles away at the town of Epidauros, or in villages or hamlets adjacent. The ten or twelve thousand who filled the Theatre or the Stadium cannot have been exclusively sick people. It seems probable that numbers of athletes and multitudes of Greeks who merely wanted a holiday and a little excitement came to the Megala Asklepieia as they came to the Isthmian or the Olympic games. Setting aside, therefore, all visitors of this class, who probably brought gains to the Sanctuary, and for whom accordingly space was provided in the Theatre, Stadium, and Hippodrome, I pass on to consider the suppliants proper.
The patient on arrival probably had an interview with the priest or other official, and arranged about his accommodation with one of the Hieromnemones, or other secular person. He performs certain rites, bathes in the sacred fountain, and offers sacrifices under the direction of the Pyrophoros; the poor man gives his cake only, the rich his sheep, pig, or goat, or other offering in addition. The votive tablets frequently show the cakes (πόπανα) being presented, or the sheep, pig, or other animal. Where the ceremonial purification took place is uncertain. A deep well exists in the eastern abaton. A stone dropped struck the water in a fraction over three seconds, as I found after repeated trials. The well is therefore over 144 feet deep. Possibly the water used in the ritual was derived hence, but more probably the place of purification has yet to be found. “Only pure souls may enter here,” was inscribed over the entrance of the temple of Asklepios.
Pausanias speaks of a fountain beautifully roofed and decorated, “κρήνη τῷ τε ὀρόφῳ καὶ κόσµῳ τῷ λοιπῷ θέας ἀξία.”[4] Can this have been the bath of Asklepios marked L in my plan? Traces of a large basin remain there.
When night comes the sick man brings his bed-clothing into the abaton, and reposes on his pallet, putting usually some small gift on the table or altar. The Nakoroi having come round to light the sacred lamps, the priest enters and recites the evening prayers to the god, entreating divine help and divine enlightenment for all the sick assembled there; he then collects the gifts which had been deposited on altars and tables; later the Nakoroi enter, put out the lights, enjoin silence, and command everyone to fall asleep and to hope for guiding visions from the god. The abaton was a lofty and airy sleeping chamber, its southern side being an open colonnade. It is singularly like the ‘shelter balcony’ or _Liegehalle_, now used in treating phthisis. This provision of abundance of pure fresh air for the sick by day and night, which is so beneficial now, was undoubtedly so then also, and probably brought much credit to the god and his shrine.
According to the inscriptions the god frequently appeared in person, or in visions, speaking to the sick man or woman concerning their ailments. Whether these visitations were merely hallucinations in individuals whose imaginations had been excited, or whether some priest in the dim light, accompanied by a serpent, acted the part of Asklepios; whether the patient was put under the influence of opium or some other drug provocative of dreams; or whether, by some acoustic trick, the priests caused the sick to hear spoken words which they attributed to the deity, it is difficult now to say.
The valley of the Hieron was the habitat of a large yellow serpent, perfectly harmless, and susceptible, like most snakes, of domestication. Pausanias tells us it is found in the Epidaurian country alone. I am afraid it is now extinct, though it has been seen during the present century. A number of these creatures dwelt in the sanctuary, perhaps in the vaults of the Tholos. They were reverenced as the incarnation of the god. The sick were delighted and encouraged when one of these creatures approached them, and were in the habit of feeding them with cakes. The serpents seem to have been trained to lick with their forked tongue any ailing part. The dog also was sacred to Asklepios, and the temple dogs in like manner were trained to lick any injured or painful region of the body.
It will be remembered that in the _Plutus_ of Aristophanes, the blind Plutus enters the abaton of the Asklepieion at Athens in order to be cured. Asklepios with his daughters, Iaso and Panakeia, appear in person; they whistle to the sacred serpents, which at once approach, lick the blind eyes, and vision is restored.
In the accompanying sketch of the abaton, Plate XXV, a miracle is in progress in the foreground. A lame man comes to the altar, he offers his sacrifice, the Pyrophoros lights the sacred flame, the Dadouchos or Nakoros enjoins silence while the holy serpent licks the affected part. The abaton is nearly empty, as it is the daytime, but one or two bedridden patients watch the miracle with interest.
In the inscriptions the phrase ἰάσατο τῇ γλώσσᾳ, referring to the serpent, is met with, and also in reference to the dogs κύων τῶν ἱαρῶν ἐθεράπευσε τῇ γλώσσᾳ.
Many of the _malades imaginaires_, who to this day are the support of the quack, and a cause of embarrassment and difficulty to the scientific physician—who desires above all things to be honest—doubtless visited Epidauros.
The priest wearing the holy chaplet would take such a person (as probably he took all suppliants) into the temple, and cause him to present himself before the image of the god; libations were poured, prayers and sacrifices offered, and rites of an impressive kind enacted. Hymns and pæans were sung to the music of the double flute. The sick man was caused to lay his hand solemnly and reverently on the altar of the god, and then on the part of his own body presumed to be affected; if there were really nothing the matter, he was proclaimed to be miraculously cured by the god, and doubtless his imagination was so impressed that he often himself believed in the cure.
If the patient were young, sacrifices were doubtless offered at the shrine of Artemis-Hekate, and perhaps in all cases the procession of priests and suppliants visited the Tholos (which you remember was the Thymele or sacrificing place) and offered sacrifices there perhaps to the serpent, the incarnation of the god of healing; or the train of votaries ascended Mount Kynortion to the shrine of the great Apollo.
The suppliants spent the day in rest or exercise, as was most agreeable to them. It must be remembered that the precinct was as beautiful as the noblest works of Greek art could make it; moreover large and lofty trees formed a shady grove, protecting from the sun’s heat, while the soft breeze and the sweet pure air of the mountains formed in themselves a potent agency for the restoration of health. The patient had much around him to please and interest—beautiful buildings, rich with sculpture and with colour, statuary figures and groups representing Asklepios and other divinities or subjects from the old Greek mythology in marble and bronze.
Plate XXVI represents a head of Asklepios (from the Asklepieion at the Piræus), to which the genius of the sculptor has given an expression of sorrow and sympathy, as though the god were grieving over the sufferings of mankind.
Plate XXVII shows a full-length figure of the god, found at Epidauros, accompanied as usual by the serpent. Artistic reliefs, hermæ, and full-length figures of noted priests and physicians, and of individuals eminent in art, philosophy, literature, or history; also ex-votos, stelæ, and tablets recording the marvellous cures effected by the god, coloured bas-reliefs, encaustic paintings, shrines, exedræ, decorative vases and fountains, beautified and added interest to the precinct.
Shelter-seats, arranged in semicircles, of beautiful white marble, were so placed as to avoid sun or wind; they were convenient for converse, or for listening to a reader or a musician.
Plates XXVIII and XXIX represent the remains of two of these seats at the Hieron; close to the former is seen a large pedestal on which probably an equestrian statue formerly stood.
Many shrines and chapels to subsidiary deities existed, as, for example, to Hygieia, Themis, the Egyptian Apollo, Helios, Selene, Epione (the wife of Asklepios), Zeus, Poseidon, Minerva, Hera, Demeter and other Eleusinian deities, Dikaiosyne, Lato, Hypnos, Eileithyia, and others not as yet identified. The diminutive figure of Telesphoros, in his capacity of god of Convalescence, is not seen here so often along with Asklepios on ex-votos and coins, as at Pergamos and some other Temples.
Plate XXX represents a number of small figures of Hygieia and of Asklepios from the Hieron.
Every devout Greek who came as a suppliant to Asklepios would find here also a shrine of his own favourite deity.