Ancient Epidavros Asklepios - Archaelogical Museum Athens

Epidavros the Ancient Greek healing destination was dedicated to the god of medicine and healing,  Asklēpiós (to cut open).  The amphitheater renown for its acoustical properties is used in the summer for productions offered by the Athens Epidavros Festival.  I left Anna high in the seats and proceeded to the stage below.  Despite a fairly large crowd, I decided to declare a line from Shakespeare, Henry V in Act IV Scene iii 18–67. ... "We few, we happy few,". Speaking in a full voice, I heard my words instantly met by a profound, cushioning reverb more robust than I imagined it could be.

I chose to explore this site with a stereogram of seats with backrests carved into the rock in the near middle of a row that runs clear across the entire theater.  There are also seats with backrests in the first row.  It seems that there were some "haves" then as well as now.

The Temple and extensive grounds have been gradually restored in a program beginning in the 1980's. Many of the valuable artifacts originally found inside the Temple are now to be found at the Archaeological Museum-Athens, an amazing treasure-trove of Mycenean art work (gold cups) and items from Epidavros Asklepios.

Mycenean  Gold Cups

Created in the beginning of the Classical Period of Greek sculpture (ca. 480–300 BCE), this elegant and balanced figure is the embodiment of beauty, control, and strength.


Thought to represent the mightiest of the Olympian gods, Zeus (or less likely Poseidon), this monumental bronze sculpture was found in two pieces at the bottom of the sea off the Cape of Artemision in the 1920s. Zeus is shown in full heroic nudity with his left arm and foot thrust dynamically forward in the direction of his foes, while his right leg and arm are raised and slightly bent, implying movement. Zeus is the militant protector ready for action and would have originally been holding a thunderbolt (or trident, in the case of Poseidon).

Meant to be seen from one ideal vantage point—standing facing the vast and muscular torso—this three-dimensional figure demonstrates complete mastery of anatomy. From the intense expression on his face, the bulging veins of his feet, and the variegated transitions between muscles, Zeus appears to be rendered from a human model. However, on closer examination, it is clear that aspects have been simplified and proportions expanded to give the figure the exemplary body worthy of his divine status. The sculpture, which presents its subject as superhuman rather than suprahuman, is in keeping with the Greek conception of gods as immortal and immensely powerful, yet subject to the personality flaws and unpredictable emotions of mortal beings.

The Greek word for image, agalma, means “delight,” and a sculpture like this would have been created for the delight of not only Greek citizens, but also the gods. This statue was probably created as a votive for a temple dedicated to Zeus. In presenting such works as offerings, the Greeks attempted to appease their gods, earning divine assistance or favor in return.