Greece - Korina Miller [136]
Today visitors are more likely to flock to the site for its amazingly well-preserved theatre, which remains a venue during the Hellenic Festival for Classical Greek theatre (along with other more modern plays, opera and music), first performed here up to 2000 years ago. The site occupies a glorious setting amid pine-clad hills. Not surprisingly, Epidavros is a protected under the World Heritage listings.
If visiting Epidavros on your own by car, do not be confused by the sign to P Epidavros (Paleia Epidavros) – this means Ancient Epidavros. To confuse matters more, the so-called ‘small theatre’ used for some festival performances is located here; the ‘large theatre’ referred to on festival programs is at the main site (see below), signed as Theatre of Edipavros.
History
Legend has it that Asclepius was the son of Apollo and Coronis. While giving birth to Asclepius, Coronis was struck by a thunder bolt and killed. Apollo took his son to Mt Pelion where the physician Chiron instructed the boy in the healing arts.
Apollo was worshipped at Epidavros in Mycenaean and Archaic times, but by the 4th century BC he had been superseded by his son. Epidavros became acknowledged as the birthplace of Asclepius. Although the afflicted worshipped Asclepius at sanctuaries throughout Greece, the two most important were at Epidavros and on the island of Kos. The fame of the sanctuary spread, and when a plague raged in Rome, Livy and Ovid came to Epidavros to seek help.
It is believed that licks from snakes were one of the curative practices at the sanctuary. Asclepius is normally shown with a serpent, which – by renewing its skin – symbolises rejuvenation. Other treatments provided at the sanctuary involved diet instruction, herbal medicines and occasionally even surgery. The sanctuary also served as an entertainment venue and every four years, during the Festival of Asclepieia, Epidavros hosted dramas and athletic competitions.
Sights
THEATRE OF EPIDAVROS
Today it’s the 3rd-century theatre, not the sanctuary, that pulls the crowds to Epidavros. It is one of the best-preserved Classical Greek structures, renowned for its amazing acoustics; a coin dropped in the centre can be heard from the highest seat. Built of limestone, the theatre seats up to 14,000 people. Its entrance is flanked by restored Corinthian pilasters. It’s used for performances of Ancient Greek drama during the annual Hellenic Festival.
SANCTUARY
The ruins of the sanctuary are less crowded than the theatre. In the south is the huge katagogeion, a hostelry for pilgrims and patients. To the west is the large banquet hall in which the Romans built an odeum. It was here that the Festival of Asclepieia took place. Opposite is the stadium, venue for the festival’s athletic competitions. This is one of several areas under reconstruction; at the time of research one side was completed.
To the north are the foundations of the Temple of Asclepius (covered by earth at the time of research for impending excavations) and next to them is the abaton. The therapies practised here seemed to have depended on the influence of the mind upon the body. It is believed that patients were given a pep talk by a priest on the powers of Asclepius, then put to sleep in the abaton to dream of a visitation by the god. The dream would hold the key to the healing process.
East is the Sanctuary of Egyptian Gods, which indicates that the cult of Asclepius was an adaptation of the cult of Imhotep, worshipped in Egypt for his healing powers. To the west of the Temple of Asclepius are the remains of the tholos (built 360–320 BC); the function of which is unknown.
Set among the green foothills of Mt Arahneo, the air redolent with herbs and pine trees, it’s easy to see how the sanctuary would have had a beneficial effect upon the ailing. Considering the state of Greece’s current health system, perhaps the centre should be resurrected.
At the time of research, some of the buildings, including