Aigai: Acropolis Monuments Pt.2

Ancient Aigai or Aegae, was a member of the Aeolian dodecapolis, as is mentioned by both Herodotus and Strabo, which was a confederation of the 12 largest Aeolian cities, including Smyrna, Magnesia, Larisa, Temnos, Neonteichos, Kyme, Myrina, Gryneium, Elaea, Pitane, Lesbos, and Aigai.  The Aeolians are believed to have been the first Greek settlers to arrive in Anatolia, around 1000 BC.  Homer tells the tale of how Odysseus, after his stay with the Cyclopes and upon his arrival on the island of Aeolus, was provided a Zephyr, or, western wind to take him home.

The ancient city is nestled on the surrounding slopes of Mount Gun, and about 3 kilometers south of Yuntdagi Koseler village, which takes its name from the mountain chain on which both sit, Yunt.

Ancient Aigai belonged to the Kingdom of Lydia, or, the Lydian Empire, which existed between roughly 1200 BC and 546 BC.  We know the ending date because the Achaemenid Persian Empire defeated the Lydian Empire in this year.  Lydia remained a satrapy of the Persians until the third century BC, when Alexander the Great defeated the Persians, at which time the Kingdom of Pergamon was given the task of administrating these lands.  Aigai would change hands back and forth several more times between the Seleucid Empire, Bythynia and again Pergamon over the following two centuries, until in 129 BC it became part of the Roman Empire.

Approaching the city from the north along the ancient road, high up on the mountain we can see the outer wall of the Market Building (pictured below).  It was under the rule of Pergamon that the Market Building (number 9) and the Temple of Apollo (not on the city plan) were constructed.

Pictured above, the back of the massive Market Building facade or wall that faces the valley.  In the illustration below, we can see this wall facing outward on the left.  With so much of the original 2C BC building intact and its building blocks available or easily restored, I hope this monument will be saved before further collapse takes place.  Various blocks with inscriptions and columns from building are marked and ordered in a depot next to the structure (pictured below).

In a fascinating comparison, and the possibility that this structure may have been modeled after a very similar building with the same purpose, the Market Building at ancient Alinda is certainly a sight to behold, and on an even grander scale.

Moving around to the valley side of the Market Building, we can gain some perspective o the magnificent workmanship that has helped to preserve this structure over the millennia.  Further, one can also see that the tall facade wall is possible one earthquake away from being seriously damaged.  After all, the ancient city was partially destroyed by an earthquake in 17 AD, and eventually received reconstruction funds from the emperor Tiberius.

Debris from the inner walls and arches have collapsed into the shops below, and it certainly is not a stretch to imagine that the pieces of the puzzle are simply waiting to be put back together, much like the monuments at Sagalassos.

As we can see from the illustration, the three floors/stories of the building were constructed out of timber beam and and wooden planks.  

I am not sure if it is correct to presume that the building did not collapse due to fire, but I see no evidence of that.  More likely, in the same manner that the Bouleuterion blocks were slowly picked away for other uses, this building may have been the victim of similar activities.

More likely, in the same manner that the Bouleuterion blocks were slowly picked away for other uses, this building may have been the victim of similar activities.  The inner rooms of the lower floor reveals a collection of the buildings fluted columns, and with the wooden structure removed we can see the street level that faces the West Stoa (pictured above and below).

The Building continues to the northern edge of the terrace in the direction of the Byzantine era church (pictured below).

Directly in front of the Market Building on a terrace that runs out to a ledge overlooking the extent of the valley is the Macellum (round structure pictured below), or meat and fish market, built during the Roman period.

Macellum buildings around the ancient world come in many interesting shapes and sizes, and what is purported to be the first Macellum of the ancient world can be seen at ancient Aezani or Aizanoi.

Leaving this beautiful structure was not easy, as I could have stayed there all afternoon admiring it and the view over the valley.  As it was, I ended up exploring the site for about 6 hours, which in this heat is challenging, not to mention that I cycled all the way to ancient Cyme after I finished.

Now it was time to circle around the acropolis to the south in order to locate the Gymnasium, Theater, and Temple of Athena.  The illustration below makes finding these structures look very easy, however, with little signage to point out the obvious, I had my work cut out for me.

After being scratched and snapped in the face by various twigs while winding my way through the thick overgrowth and tinderbox forest, BAM!  There in front of me was a long flat terrace with a heap of ruins piled in the distance (pictured below).  It must be the Stadium!  Not.

It was the Gymnasium, shown by the U-shaped portico that is open-ended toward the Theater.  Actually, the whole right side of the photo below and on into the distance is one long berm of building members (pictured below).

The photo below of the terrace wall above the Gymnasium  is not mine, but comes from a signboard at the site.  I decided that I did not have enough time to climb up the hill in order to locate it.

As you can see in the photo below, the route up the hill did not look appealing, so I pressed on.  Notice the beautiful triglyph/metope in the center of the photo.

Further along the terrace next to the Gymnasium we arrive at the Gymnasium Bath, which is also in ruin.  

The vaults that supported the bath complex are visible, and should not me mistaken for the vomitorium of the Theater, which is not to much farther along on the same terrace (pictured below).

Continuing on along the terrace, and where an upper terrace wall rises above the exposed vomitorium, we arrive at the Theater (pictured below).  Unfortunately, the theater seating cannot be seen, as the monument has yet to excavated, though there are a number of large blocks strewn on the soil covered slope.  We can only hope that there truly are some sections of the cavea remaining.

Pictured above, the vomitorium standing exposed much like it has since it was sketched in the 19 C AD (pictured below).

Judging from the attention to detail and fineness of the interior of the vaulted passages, this was a Roman theater of top design and expense.

Of particular interest are the window openings that were designed into the structure in order to light the lengthy passages, as seen in the illustration above in the right side of the sketch.

Pictured above, the photo shows the window without using a flash, and one can understand how coming into this passage from the brightness would leave the crowds blindly falling over themselves.  With the help of a flash, the design of the window can be seen, with the inner portion flanged open in order to allow a maximum amount of light to enter the chamber.

Pictured below, the stage building has been reduced to a pile of rubble, though there is no telling what may be hiding below it.

Here, I am standing on what should be the analemma, which is the top of the theater seating, while below, the whole of the ruined stage building can seen.  By the way, if I look hot in this photo, I'm not, I'm pleasantly scorched!!

Rising above the Theater is a massive wall, most likely designed to support the upper terrace, and probably to add a defensive aspect to the southern slop of the city.  Moreover, this would not be the first ancient city to utilize a theater as an extension of the defensive wall.  The windows in the vomitorium may also be used like the windows incorporated into a defensive tower.

Somewhere on top of that wall is the Temple of Athena, now all that needs to take place is a climb.

The picture below shows the most exposed part of the Temple of Athena.  Unfortunately, it also has yet to be excavated, and with daunting task of fighting the wild bush, Helios in retreat with the road only half traveled, I decided to make my own retreat.  With the job unfinished, I will return on a later date to find the Temple of Apollo, photograph the Stadium, which is situated quite a distance below the theater, and to explore the acropolis with a finer eye.

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Aigai: Curse of Apollo Khresterios Pt.1

Photos by Jack A. Waldron 

This was the first time I ever encountered an ancient site sign so far from the actual site, after all, I was still in Manisa, some 25 kilometers from ancient Aigai, as a crow flies, and as I would discover, much further as a bike climbs.  I can now say, that if I believed in curses, this would be the experience that would chuck me over the edge into belief, but naw, I'll just write it like that.  

You see, this is the second time for me to write this story, and perhaps due to a curse from Apollo Khresterios himself, I accidentally deleted the first draft, which I had spent a whole day writing on a sweltering July afternoon.  Perhaps he was angered by my ill temper shown to site guard pictured below, or, maybe because I failed to find his sanctuary upon my visit, regardless, here I am, late into the night writing it again.

The ill temper part of the story came in the late evening after I had set-up camp.  I had climbed the steep mountain roads from Manisa all day, with not a direction sign in sight after passing the first back in the city, some five hours before I'd see my next.  The sun was nearly below the horizon and I was feeling good enough to snap the photo of the camp, which you see above.  I like to gorilla camp, so I was keep my head down when a donkey would pass, but then I heard the hooves of rubber on gravel come to a halt.  Here comes Clint, sunglasses still on, pistol at the ready.  'Hey, you can't camp here!"  We're pictured below the following afternoon with our arms around each other.  I was half a kilometer outside the site guard house, and one kilometer below the site, it was getting dark and I was getting ready to sleep!  Just as we were speaking a goat herder passed with his goats heading up the mountain toward the ancient city.  I pointed and asked, 'What about him?'  Clint just shrugged his shoulders.  I refused to leave.  He stomped away in a huff of dust.

I wish I could say that that was the end of the story, but Apollo had different plans for me.  I was near asleep when the lights started flashing from ever direction, or so it seemed from inside the tent.  The trucks came climbing, and the voices started rising, and I was surrounded, 'Hey!  You!', I heard a voice demand.  I poked my head out of the tent and said, 'What *#%$!_!!+ is going on?'  About eight guys had come out to greet and evict me from my plot.  The goon squad consisted of a couple village elders, two or three local Jandarmon (military police), some local guys looking for a bit of excitement, and Clint, still with his sunglasses on, I swear!  I refused.  This situation slowly escalated into a threat, that if I didn't leave, I would be forcefully removed along with my gear.  The sketch of ancient Aigai below is by Richard Bohn in 1889.

I finally threw in the towel, but not without a cursing of my own.  I am not sure if they got tired of witnessing just how long and tedious it is to pack a tour bike, or, if they just got tired of listing to me, but after about twenty minutes, one of the village elders said, 'Just stay'.  'What?!  After you idiots made me empty and tear down my tent in the pitch black night!?  Fine!!'  I continued to curse them as they walked away in shame.  I slept like an angel to smell of goat dung, heaven on earth!  As you can see from the photo above, Clint and I kissed and made-up the following afternoon.

Pictured below is the beginning of the ancient road that leads up to the ancient city.  I can honestly say, that had the night before not left a bad taste in my mouth, besides the goat dung, I would have relished this experience even more, because rarely do you have without any doubt, a three-thousand year old road at your feet.  There are no pavement stones at this point, just dust.

This may in fact be the first gate along the road into the ancient city.  As you can see, there are a set of step on the right, while carts may have passed on the left.  From here, we begin to see some rough pavement stones, though we know from excavations that there two layers of pavement stones.

What may be an earlier stone pavement of the Hellenistic period is constructed of rounded stone, while what is possibly the newer Roman pavement is built of flat sculpted stone (pictured below).  Or perhaps, it is just a matter of as we approach the city and the Necropolis, the pavement quality was improved.

The green circle in the city map below marks the general area we are now in, which is the beginning of the Necropolis.  Most ancient cities located a necropolis along the main entrance into city in order to honor their deceased and display their values of respect, power, richness and lineage.

The Roman sarcophagus pictured above is a fine example of honoring the deceased with wreaths of victory and inscriptions of the their accomplishments.  Pictured below, a less elaborate sarcophagus, but with no less expense spared for its position along the road to the city.

Pictured below, two sarcophagi are interned below surface, long ago raped and robbed of their valuables, replaced with the bodies of the more recently deceased, and robbed yet again.

The lids of the sarcophagi pictured above may very well have been repurposed like those pictured below, are the cap stones of walls along the ancient road.

Yet another example of the usefulness of sarcophagi lids, pictured below, a gathering of monument feet protected from the elements by the guardians of the deceased.

Symbolism played a large role in the accent world, and any visitor to a city such as Aigai would have been met by the very powerful messages conveyed to them by the signs they encountered upon entering the city (pictured below).

A tholos, or, circular tomb, such as the pictured below, would have been the resting place of multiple family members, and not of a poorer family within the city, but of a quite wealthy one.

Further, the tomb would have been elaborately decorated in fine detail, such as we see on the architrave/frieze pictured below.

Bulls heads draped with garlands and shields of victory set the narrative of the prominent family member interned within (pictured above and below).

From the ancient road that approaches the city from the north, we gain a wonderful view of the valley and the river that flows through it, and waters the fields that gave the inhabitants the monuments we come to admire today.

As the road comes closer to the city, it turns to the west and begins a steeper ascent toward the acropolis.  Along the way to the entrance to the city we come to the terraces that once supported the North Baths.

 The wall pictured below is hiding a secret, and that would be the vaults that are just visible, and which supported the now destroyed North Bath complex.

 As can be seen in the illustration below, Aigai was built on terraces out of necessity due to the slow uphill slopes that it expanded upon.  Most likely, during its expansion, the city grew down the slopes, thus requiring the construction of more terraces.

The photo below is a view looking back down where the road has climbed from, and as you can see, this is no small area to cover.  The wall pictured on the right is the support wall for the North Baths.

As we reach the turn back east toward the city, we are approaching the New 'Roman' Gate.  Due to the construction of the North Bath, the older Iron Gate lost its path into the city, so the New Gate was constructed to take its place.

Pictured above, the city walls rise above the approach to the New Gate.  This was an easily defendable position for the soldiers guarding the gate and the city.

As shown in the illustration above, this is what the New Gate looked like based on the construction members that are still laying in situ around the area (pictured below).

A section of the well preserved architrave (pictured above) is still laying at the foot of the once grande gate.  The triglyph/metopes section of the gate, also in an excellent state of preservation are sitting near by (pictured blow).

Moving beyond the New Gate, we come to the older Iron Gate (pictured below).  The ruined portion of the pavement is the result of a drainage ditch that runs from a large cistern just beyond the Bouleutarion and West Stoa, which are another 200 meters inside the gate.

There are several paths leading to the Iron Gate, however, it was the main road into the city that was disrupted by the building of the North Baths.  Pictured above, a view looking into the city through a section of the Iron Gate, while below, a view looking back at the entrance.

Immediately to the east of the entrance is a conclave of houses/shops, that are in a remarkable state of preservation, which may be due to the area remaining in use through and beyond the Byzantine period.

In these shops we can see work stations and platforms for carrying out numerous activities, such as metal and leather works, votive casting, jewelry production and so on.

Excavations carried out in 2006 found altars beneath the floors within two of the buildings, which had placed on either side of them terracotta figurines of Aphrodite with winged Eros, dating from the 2-1C BC.  In a third shop was found a statue of a woman that had been originally dug up by treasure hunters.

Veering left into the complex down the slope we come to an extended terrace which is home to a 12th-13th C Byzantine chapel (pictured below).

Returning to the path that leads into the city from the iron gate, within a hundred meters we come to the Bouleuterion (pictured below).  Unfortunately, the fencing surrounding the building was sending the signal, 'Do Not Enter', and having had enough of that from the previous evening, I did not enter.

It is reported that the Bouleuterion was partially destroyed in the earthquake of 17 AD, and though the building and its collapsed roof may have been included in the restoration sponsored by the emperor Tiberius, excavations from 2006 revealed that at some point the building was left in ruins.

Buried under the ruins in the orchestra of the Bouleuterion was a paired male and female statue group that played a specific purpose in their placement within the council house, they are Hestia Bolai (the ideal male and female).  An inscription on the statues records the artist as Hippias of Pergamon.

Further investigation into the Bouleuterion and the surrounding villages of the area revealed that many of the collapsed stone blocks had been repurposed into ten of the mosques in the area.  As reported, attempts were underway to have the blocks returned to the site.

On the south side of the Bouleuterion is the West Stoa (pictured below), which is an extension of the same structure and part of the wider Agora, that includes the magnificent Market Building.

Continuing on along the slope path we come to the Cistern that would have provided the area its water supply, and that would have continued through the drainage system down to other cisterns in other sections of the city (pictured below).

You may be wondering why the title of this post is Curse of Apollo Khresterios?  Well, perhaps it's my attempt to appease Apollo for my failure to locate his sanctuary at Aigai, for which I playfully suspect a bit of bad luck with regard to this ancient city and, this post.  However, as with other sites, where I have failed to locate and photograph important monuments, I will return in the future to complete my mission.  This past June, I did just that by returning to the Phrygian valley, Midas City, and several other high mountain ancient cities, all of which I will post in the future.  But, returning to Apollo, here is a warm-up!

According to research I have undertaken since my visit to Aigai, the Temple of Apollo Khresterios is located about 1.5 kilometers east/southeast of the city.  When approaching the city from the north/northwest through the Necropolis, instead of turning west up the incline, continue straight ahead below the Market Building into the Kocacay valley for about 1.5 kilometers.  At least, that is my understanding.  When looking at the city plan above, the temple should be south of the Stadium (number 18).

Pictured above is an old photo of the Temple of Apollo Khresterios, which like other such important sanctuaries is located near a naturally occurring source of water on flat area, such as the sanctuaries at Didyma and Klaros.  An inscription identifies the temple, and apparently, that little respect was shown to the Apollo by Philetairos of the Kingdom of Pergamon (Source: Aigai, A Mountain-City in Aiolis, Sukru TUL, Ege Publications, 1995, Sh.35-37).

The temple is of the peripteros type in the Ionic order, with six columns across its front and back, and 12 columns along its sides, that measure approximately 7.5 meters in height.  The reliefs consist of bulls heads and wreaths, and there is an inscription that indicates that the temple of Apollo Kresterios was erected by Governor Servilius Poplius Isauicus during the period Valinin stayed in Asia, 48-46 BC, and further, a sculpture of the Proconsul discovered in the Temple of Athena above the Theater may date the structure to the late Hellenistic period (Source: Aigai, A Mountain-City in Aiolis, Sukru TUL, Ege Publications, 1995, Sh.35-37).  Pictured below, a photo (not mine) of the massive door frame and entrance into the cella, a section of the pediment and fluted column members.

*All photos and content property of Jack A. Waldron (photos may not be used without written permission)

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