Epidavros Travel

Epidavros
The Sanctuary of Asclepius Little indeed is left of the most important sanctuary, which was formed mainly during the 3rd and 4th centuries B.C.
In the centre of the enclosure stood the temple dedicated to the healer god Asclepius himself.
Surrounding it were colonnades where the sick could rest and take cures (one such being known as the Avaton or Enkimitirion where patients would spend the night seeing visions of Asclepius in their dreams and thus become cured) as well as places of worship among which the Tholos, designed by the architect Polyklitos Junior and renowned for its decorative sculptures.
Outside the enclosure stood the dwellings of the priests, the doctors, a gymnasium, baths, etc. The stadium To the S.W. of the sanctuary was the 5th century B.C. stadium in which athletic and musical contests were held every four years.
At the S.E. end was the Katagogion, by far the largest building in the entire compound. It served as a guesthouse with no less than 160 rooms for visitors who were healthy. In Roman times, hot baths were added to the faculties available.
The open-air theatre stands to the S.E. and is the best-preserved theatre in the whole of Greece. It was the work of the architect Polyklitos Junior (4th century B.C.), seats 14,000 and has amazingly good acoustics.
Museum this exhibits pieces from the Tholos and the temple of Asclepius, gypsum casts from pediments (sculptures by Timotheos), Roman portrait statues, inscriptions, medical and surgical instruments and ex-votos.
Many of the Inscriptions are, in fact, prescriptions for medicines and descriptions of cures, valuable texts, without doubt, as far as the history of medicine is concerned and sometimes amusing as well.
The Sanctuary of Epidavros is one of the most significant religious and therapeutic centers of Ancient Greece. The sanctuary was dedicated to worshipping the God, Asklepios, whose adoration brought him from Thessaly to the city of Epidavros in the 6th century B.C. A hospital was gradually appended to the sanctuary for the ill in addition to a Spa. Every four years (nine days following the Isthmia celebration) gymnastics and drama competitions took place in this area in order to honor Asklepios. Asklepios’ splendor lasted throughout, the course of Ancient Times approximately. It did, however, undergo a second prosperous phase during the 2nd century B.C. upon, Pausanias’ visit, a traveler. The excavations within the Epidavros area began in 1879 and continue today within various sections of the area. Until now, the archaeological mattock has discovered a plethora of structures: the Tholos, the Gymnasium, the Palaestra, the Stadium, the «Katagogeion» Hotel, the Thermae, and the Temple of Artemis . The structures however, that stand out within the area are the Temple of Asklepios and the Ancient Epidavros Theatre.
The Doric Temple of Asklepios was built during the period 380 – 375 B.C. by the Architect Theodotus. In its construction, Corinthian poros stone was utilized, excluding of course the sculptures and the decorated areas as well as the waterspouts, which are made of marble. A trench tracing the length of the wall was located on its right side, which was not unusual to the hospitals treating the ill whilst it was also a significant instrument in the ritual for advice. Later, they filled it with dirt. The Temple’s interior contained an ivory and gold statue of Asklepios that was the work of artist from Paros, Thrasimides. In 1988, UNESCO enlisted the monument in its World Heritage List of Monuments.
The Epidavros Theatre was built in the 4th century B.C. by the Architect and Sculptor, Polikleitos Junior. He is renowned for his exceptional – practically perfect – acoustics, exhibited by the Theatre. He is also famous for the actors’ dialogues and the Chorus that played in the orchestra. The Orchestra is clearly heard from the highest Theatre seats above. The Orchestra, along with the Chorus as was usual in those days, is similar to all other theatres in that it is circular and was constructed from dirt (a characterizing trait of theatres of the Hellenistic Period). Also, the Orchestra’s basis contained a drainage trench (2 meters in width) that assisted in collecting rainwater. It is the only theatre in which the Orchestra has been preserved and is in such excellent condition. The Altar, however, has not been preserved, which was located in the center of the Orchestra. The koilon (its right side has been rebuilt) maintains an occupancy rate of 14.000 spectators.