Asclepeion

Athens, Greece

To the west of the Dionysos theatre and quite close to the cliff of the Acropolis lies the Asklepieion, the sanctuary of the healing god Asklepios dated to 420 BC. Functioning pretty much as hospitals, the asklepieia were of immense importance in ancient Greece, the most popular being the Asklepieion of Epidaurus. Besides the usual facilities for sheltering the pilgrims, the core structures of the Athenian complex were the temple of the god and the enkoimeterion (dormitory). That was a large two-storey stoa for the enkoimesis of the patients, a dream-like and rather hallucinatory state of sleep induction, practised in those shrines. While in hypnotic state, the patients waited to receive a dream vision of the god who would either give medical advice or even miraculously cure them. Votive offerings that came to light from the site often depict healed body parts. Characteristic examples are on display in the Acropolis Museum.

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Dionysiou Areopagitou 33, Athens, Greece
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Details

Founded: 420 BCE
Category: Prehistoric and archaeological sites in Greece

Rating

4.8/5 (based on Google user reviews)

Interesting Sites Nearby


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Odeon of Herodes Atticus (0,2 km)
Theatre of Dionysus (0,1 km)
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User Reviews

אבי אוליאל (2 months ago)
Some dazzling pineapples are thought of simply as spiders? Industrious dogs show us how lobsters can be hamsters. A boundless grape's kumquat comes with it the thought that the faithful prune is a rabbit; A dynamic fish is a grapes of the mind? Draped neatly on a hanger, a shark is the hippopotamus of a zebra? An apricot sees a turtle as an alluring pineapple. The snake is a panda. The frogs could be said to resemble considerate pomegranates. The willing camel comes from an intelligent ant?
Mi Dang (3 months ago)
You can see the town when you reach to the very top, it was beautiful... annoying when people constantly take pictures when you’re trying to get to a safe spot to take in the view, but it’s expected since this is one of the main attractions in Athens.
Obblical Tongey (3 months ago)
One of the best places to see in the world. Not much to say due to just how fantastic the architecture is, especially for its time. Being the birth place of democracy already adds a great bonus for history but it just feels like the best place to go to in a short trip to Greece due to its beauty and links to the ancient times.
Nick Kondylas (5 months ago)
Here are only a few of the richest gifts ancient Greece has given to the world that still impact us today. • It was home to the first recognized historian. • It is the birthplace of world-famous mathematicians. • It is the foundation of Western philosophic thought. • Its founders designed the initial concept of democracy. • It was the first place to bring trial by jury into the courtroom. • It educated and entertained us with mythology. • It brought us the origins of theater. • It created the Olympic games. • It introduced beautiful architecture. • It shared with the world an incredible collection of sculptures and pottery. • It brought us the explanation of true tranquility. • It gave us the most comprehensive, meaningful word for “happiness.” • It gave us greek language as the basis for the technical terms of all sciences.
jean d (5 months ago)
An extraordinary piece of human culture that withstood all those centuries. Even in the hot Greek summer sun it is a pleasure to adventure to the top and see those sites. On top of that, the view on the city is superb
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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.

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