The classical
temple.

At the same time, the co-existence of many architectural elements of different dates makes it difficult to date the temple with certainty and threatens to precipitate any theory that has been formulated to interpret its multitude of peculiarities. The temple is considered by several scholars to be a pre-Parthenon building, with some parts of it completed at the end of the 5th century BC. However, it is certain that in the same place there was a cult sanctuary and a temple of the archaic times.

For Greece, the Temple of Apollo Epicurius was the first monument to be included in 1986 in the list of UNESCO’s world cultural heritage.

The interpretation of the epithet “Epicurius” is given by Pausanias, according to which Apollo, during the Peloponnesian war, helped (healed) the Phigalians to deal with an epidemic disease, a devastating epidemic and they built the Classical temple at Bassae to express their gratitude to the god. The archaeologist K. Kourouniotis, during the excavation of the temples on the top of Kotilo, found an inscription in which Apollo is referred to with the epithet Vassitas, formulating the opinion that this was the god’s epithet before 420 BC when he was given the epithet Epicurios.

Hypothetical representation

Drawing by F. Taylor., 1882

The architect of the temple.

According to the traveler Pausanias, the temple of the Apollo Epicurius was the work of Iktinos, the Athenian architect of the classical era, already famous for the leading and emblematic architecture of his city, the Parthenon, and other buildings, such as the Telesterion of Eleusis. Despite the objections expressed by some scholars, it seems that the information is correct and most likely the famous Athenian creator actually worked in the isolated and remote area of Bassae in Arcadia.
After all, his partner in the miracle of the Acropolis, the sculptor Phidias, just a few years before, had delivered his masterpiece to the commissioners of Elis, the gold and ivory cult statue of Zeus that was housed in the temple of the greatest of the gods in the sanctuary of Olympia. Phidias settled and worked for at least ten years in Olympia, why not Iktinos in Phigaleia. Chronologically, the period of the heyday of Iktinos coincides with the construction of the temple, the years between 420-400 BC. Professor of art and archeology at Columbia University William B. Dinsmoor, has argued that Iktinos may have worked at Bassae in the years before 447 BC. the year of the initiation of the construction of the Parthenon.
only an experienced and pioneering architect, could conceive and design such an inspired building, the perfect version of the Doric style, and combine the archaic, conservative elements with innovative inventions, which will give new impetus to Greek architecture.

“….. The floor plan of the temple (its tracery as it was called in antiquity) could be characterized as a “choreography” of contrasts as the long wings of standard width alternate with the short “wings” of twice the width, the spacious and richly decorated pronaos which is juxtaposed with the narrow and austere opisthodomos (rear cella), while the uniquely shaped cella is combined with a simple in architecture, small-scale, adyton …” *

Konstantinos Papadopoulos
Civil Engineer, Dr

Ephorate of Antiquities of Ilia
Head of the Department of Archaeological Works and Studies
Head of the Restoration project of the Temple of Apollo

* excerpt from the book:
Papadopoulos K. “The Temple of Apollo at Bassai. The Least Known of the famous monuments of ancient Greek Architecture”.
Hellenic Ministry of Culture
Ephorate of Antiquities of Ilia
Pyrgos 2023

The orientation of the temple from north to south instead of the usual one from east to west, has caused dichotomies and various interpretations by the scholars, which go as far as formulating the vague theory, certainly not scientific, that the building rotates!

The temple of Archaic times, also oriented N – S in the same area, to the south of the classical temple and the smaller building located on its foundations, testify that there was an associated deep-rooted cult and tradition. Other temples in Arcadia have the same unusual orientation from N to S, such as the temple of Athena in Alifira and of Athena Soteira and Poseidon in Asea.

The two dominant theories seeking to interpret this approach, one from a constructional point of view and the other from a religious point of view: the archaeologist K. Kourouniotis argued that the choice of the location of the temple was dictated by the need to save space and due to technical limitations. The architect F.A. Cooper, who thoroughly studied the monument, noticed that during the summer solstice, when the sun rises, it casts its light inside the abyss, and even in the specific position where the cult statue of Apollo was probably erected. This explains the door-like opening on the eastern side that allowed the statue to be illuminated.

The chief engineer in charge of the restoration project and a long-time researcher of the temple Dr. Konstantinos Papadopoulos, in his recent book The Temple of Apollo in the Arkadian Bassae (Ministry of Culture – Ephorate of Antiquities of Ilia, ATHENS 2021) argues that “…. these elements (orientation and entrance door) served cultic purposes and more specifically the “communication” of Zeus from the Lykaion with Apollo in Bassae. …… in addition to their visual connection, the Lykaion and Bassae were “connected” in ancient times with sacrificial acts. The fact that no altar has been discovered in Bassae (to date), combined with the fact that there was no temple (only an altar) in the Lykaian sanctuary, reasonably gives rise to the thought that it is possible that sacred ceremonies were held simultaneously in the two places. In any case, the “connection” of the two places through a sacrificial act is witnessed by Pausanias“.

The professor of archeology N. Gialouris, attempting an interpretation of the cultic needs served by the unusual orientation of the temple, argued that they are connected with Apollo’s close relationship with the North and in particular with the “Hyperboreans’ land”. According to the myth, the god comes every summer from the “northern” lands, bringing fruitfulness and flourishing to the earth and departs in autumn. This conception of the descent of the god from north to south was thought to be the reason for the orientation of the temple, certainly recalling the dominant myth of Persephone and her joint worship with Demeter which refers to the change of seasons.

The temple was made of local sedimentary limestone of a light gray color, while marble from Tainaro was also used for its individual structural elements and parts.
In the area bordering the monument and at a short distance, various mining sites of the limestone building material of the ancient temple have been identified.

In these quarries, on the slopes of Kotilion, along with the known technique, the quarrying of perimeter channels and the use of wedges for the final detachment of each piece there was another which was applied and included the use of drills, mainly along discontinuities in the stratification of the rock.

The first formation of their desired shape took place at the mining site. The pieces were then transported to the building site of the temple, either on wooden stretchers, or on wooden rollers, or even on carts pulled by animals. There, the stone architectural members received their final configuration shortly before or even after their placement in the temple, as long as it allowed access to the surfaces being shaped, so as to reduce to a minimum the risk of damage especially to their edges during their transport.

Levers, ropes and wooden cranes were used to lift and move the stones, as evidenced by the “lever holes” (grooves) and “elbows” (protrusions) that are still visible on their surfaces today.

The roof was covered with marble tiles, and marble was also used for the ceilings of the north and south porticoes and the pronaos. Marble elements inside the cella included capitals, sculpted metopes and the Ionic frieze. The marble used in the temple of Bassae came from a quarry in Cape Tainaro.

According to the scholars, the precious and heavy marble was transported by sea to the mouth of the river Neda in the Cyparissia gulf, where it was transferred to smaller vessels. These sailed against the flow of the river, towards the hinterland, and having come as close as the level and speed of the waters allowed to Phigaleia, they were again loaded onto animals to end up in Bassae.

For the placement of the temple, extensive site shaping and preparation work had to be done which included the removal of the natural rock in some areas and embankment in others that presented inclination.

The result was to create a flat surface measuring 75 X 40 m. along the north–south axis on which the temple was founded and still stands today. These configurations, where in fact three steps had to be built on the western side of the temple’s platform, are reminiscent of the configuration of the space for the Parthenon to sit on the rock of the Acropolis of Athens.

The floor of the temple, the last level of the platform, known in architectural terminology as a stylobate, because the columns (pillars) of the temple rest on it, reminds scholars of a kind of rectangular canvas, which they encounter for the first time, above and inside of which all the architectural elements of the temple are included.

After recent studies, it seems that the genius architect had planned the entire temple in detail, before the construction of the highest layer of its foundation.

However, it is also plausible that during the construction of the monument there were variations and adaptations to new needs and data.

For the placement of the temple, extensive site shaping and preparation work had to be done which included the removal of the natural rock in some areas and embankment in others that presented a slope.

The result was to create a flat surface measuring 75 X 40 m. along the north–south axis on which the temple was founded and still stands today. These configurations, where in fact three steps had to be built on the western side of the temple’s platform, are reminiscent, according to the observations of experts, of the configuration of the space for the Parthenon to sit on the rock of the Acropolis of Athens.

The floor of the temple, the last step of the platform, known in the terminology of architecture as a pilaster, because the columns (pillars) of the temple rest on it, reminds scholars of a kind of rectangular canvas, which they encounter for the first time, above and inside which includes all the architectural elements of the temple.

Both the foundation of the nave (mainly the temple) and the peristyle are quite elaborate with layers of well-hewn stones that allows them to fit together well.

Indeed, after recent studies, it seems that the genius architect had planned the entire temple in detail, before the construction of the highest layer of its foundation.

The experienced builders and craftsmen of antiquity provided for the static shielding of the building by applying a layer of clay of suitable thickness and consistency interposed between the natural rock and the foundation stones.

The fact that after twenty-five centuries the monument is standing, despite the subsidence caused by the significant erosion – washing away of the clay layer by rainwater, is proof of its construction efficiency and success.

The colonnade (or peristyle) surrounding the rectangular and elongated core of the temple, the cella, consists of six Doric columns on the narrow sides and fifteen on the long sides, for a total of 38 columns. This proportion of the columns gives an elongated aspect to the temple, which is characteristic of archaic temples. The peristyle stands on the stylobate, the upper part of the crepidoma, with dimensions of 38.24 X 14.48 m., which in turn is located on the “euthynteria” of the temple with dimensions of 39.87 X 16.13 m.
The crepidoma (steps) of the temple consists of three levels, built according to the ashlar fine stone masonry.
The four arcades (porticos) formed between the colonnade and the walls of the cella are called ptera (wings). On the two narrow sides of the temple of Bassae, the dimensions of the ptera are wider compared to the ptera on the east and west sides, which resemble elongated corridors.

The colonnade (or peristyle) surrounding the rectangular and elongated core of the temple, the cella, consists of six Doric columns on the narrow sides and fifteen on the long sides, for a total of 38 columns. This proportion of the columns gives an elongated aspect to the temple, which is characteristic of archaic temples.

The wing is located on the stylobate, the upper part of the crepidoma, with dimensions of 38.24 X 14.48 m., which in turn is located on the “euthynteria” of the temple with dimensions of 39.87 X 16.13 m.

The krepidoma (steps) of the temple consists of three levels, built according to the ashlar fine stone masonry.

The four arcades (porticos) formed between the colonnade and the walls of the cella are called ptera (wings). On the two narrow sides of the temple of Bassae, the dimensions of the ptera are wider compared to the ptera on the east and west sides, which resemble elongated corridors.

In the classical period, the number of columns on the long sides is usually twice that of the narrow ones, increased by one (ie 6 X 13 columns). According to scholars, it seems that Iktinos, when designing the temple of Bassae, had as a model the archaic temple of Apollo in Delphi (6th century BC). This theory comes as an attempt to interpret, for example, the deviations from the measures that had prevailed in the classical era, such as the greater distances recorded between the columns on the narrow sides of the temple compared to those on the long sides, or the number of columns, which was usually 6 X 13.

The height of the columns is 5.97m and their lower diameter is 1.12 m. Rare, if not unique, is the case of the variation of the diameter of the columns of the north side; they have a diameter of 1.16 m, which makes them thicker than the rest.

The columns in their upper part have three superimposed circumferential grooves, and the capitals, above their sub-neck, have three annulets.

In their upper part, the pilasters had a slightly prominent capital.

These two columns are thinner than the columns of the peristyle.

Two transverse walls divide the interior into the pronaos, the cella with its adyton, and the opisthodomos.

The floor of the cella is slightly elevated in relation to the floor of the wing.

Both in the pronaos and in the opisthodomos, above the pilasters and the intermediate columns, there was an entablature with an architrave and a Doric frieze.

The frieze was formed by seven triglyphs and six metopes, which should have had relief representations, according to the model of the temple of Zeus in Olympia. This relief decoration must have been of great artistic value, as can be seen from the admittedly few fragments that were saved and are exhibited in the British Museum. According to Professor Brian Madigan, the subject depicted by the metopes of the pronaos was probably the return of Apollo to Olympus from the Hyperborean land, while the corresponding metopes of the opisthodomos depicted the abduction of the daughters of Leucippus, king of Messenia, by the Dioscuri.

The pronaos is deeper than the opisthodomos, while their ceilings had marble coffers. Between the pilasters and columns of the porch there were railings while a large door, 2.63m wide. it allowed communication with the cella.

Blouet, Abel – Ravoisié, Amable 

One of the most characteristic features of the monument is the interior arrangement of the cella. Instead of the expected tripartite structure, i.e. a P-shaped colonnade usually surrounded the cult statue, creating three aisles (corridors), in the cella of the temple of Apollo Epicurius there are five pairs of Ionic semi-columns connected vertically to the walls of the cella, with the exception of the southernmost pair joining the walls at an angle of 45 degrees. Spacious niches are thus formed along the walls, a structure that resembles the interior of the archaic temple of Hera in Olympia (600 BC). It is uncertain whether this choice was dictated by some cultic or religious tradition, in terms of spatial planning, however, the use of semi-columns instead of colonnades allowed for the best utilization of the comfortable and spacious interior corridor. If the typical structure of the cella of the classical era temples had been preferred, the central space would have been limited and narrow.

The purpose of the adyton has not been fully interpreted, but it is thought to have had a cultic significance. It is hypothesized that every morning the sun’s rays entered through the door and illuminated the cult statue of the god or possibly an altar placed inside the adyton. In fact, the two lever holes near the transverse wall that separates the adyton from the cella, it is possible that they supported the pedestal of the cult statue.

Historical accounts are scanty and are limited to the testimony of Pausanias who saw a large bronze statue of Apollo Epicurius 12 feet high in Megalopolis set on an impressive plinth. It had been brought there from Bassae when Megalopolis was founded, around 369 BC. in order to decorate the new city. In 1812, life-size marble fragments of hands and feet had come to light, in front of the Corinthian column. It is therefore possible that the statue that was brought to Megalopolis was the one that was placed in the adyton, opposite the eastern opening. Various drawings of scholars have survived, some of whom place it near the western wall, in the eastern corner of the adyton, in front of the Corinthian column, or even inside the cella.

Perhaps even when the original statue was moved to Megalopolis, the gap was filled by a new life-sized one that was made of wood but had marble extremities (an acrolithic statue).

The archaeologists Panagiotis Kavvadias and Nikolaos Gialouris distanced themselves quite a bit from the above theories, arguing, Kavvadias on one hand, that the bronze statue that Pausanias saw in Megalopolis stood somewhere in the surrounding area of ​​the temple of Bassae and that there was only a cultic xoanon in the temple, and Gialouris on the other that the column itself was the non-figurative representation of the deity and there was no statue inside the temple. This view is based on ancient cults of pillar worship found in Arcadia (e.g. Tegea), where an architectural element (column, stylus or post) was worshiped instead of a cult statue of the respective deity.

Kavvadias’ view that perhaps the statue with its pedestal was placed outside the temple near the north-east corner is also supported by the scholar and restorer of the monument K. Papadopoulos, interpreting an elongated, particularly large boulder as the pedestal of a bronze statue ( or statues, due to its great length).

The first drawing of the Corinthian capital was made by K. H. von Hallerstein (1811-1812), while the Estonian Otto Stackelberg, who supervised the 1812 research work in Bassae, reported :

«… The base of one column, the only one with a capital with carved leaves (apparently meaning the Corinthian capital) was no longer attached to the perimeter pilaster, but had been moved from its position. The capital was next to the column, in the cella, where there were also more Ionic capitals of semi-columns, scattered among the pieces of the larger coffered panels of the ceiling, which preserved clear traces of the painted decoration.…»

The capital’s basket had one or two rows of acanthus leaves at the bottom, from which sprouted shoots that went up to the abacus and formed the four corners. Between them was a pair of volutes crowned by an anthemium. At the top the capital ended in an abacus with a curvature in the center.

It is considered the earliest known Corinthian capital in Greek architecture, the existence of which eloquently demonstrates the innovative ideas and the willingness of the architect of the Temple of Apollo Epicurius to experiment, who does not hesitate to use a plant motif, the acanthus leaves, thus going outside the strict, traditional rendering framework of the stylized form of the colonnade, Doric and Ionic.

The early Corinthian capital does not survive intact. The surviving fragments and the detailed drawings made during the early nineteenth-century investigations are essential evidence for its reconstruction.

The scientific debate about the birth of the Corinthian order in Bassae and the interpretation of its differentiation from the rest of the capitals of the temple, Ionic and Doric, continues.

Human intervention in the form of detaching the metal links of the building material for reuse elsewhere, but also the natural phenomena, sometimes at great intensity (earthquakes, extreme weather conditions) caused the collapse of the roof and the general deterioration of the monument .

Sixteen centuries of silence and oblivion passed after the visit of Pausanias in the 2nd century AD, until the age of enlightenment and European travelers, when the monument once again comes to the fore of history.

In many of the engravings of the 18th and 19th centuries, we can detect the romantic way in which European scholars and scientists depict the deserted, mysterious due to the frequent fog and bucolic landscape of the Bassae, but also their admiration for the eponymous monument, a worthy representative of the achievements of the classical spirit and culture of Greece.

Apollo Epicurius at Bassae

Ch. R. Cockerell, The temples of Jupiter Panhellenius at Aegina and of Apollo Epicurius at Bassae near Phigaleia in Arcadia, London 1860