* Recreate the pilgrim’s experience by building and then traversing a three-dimensional digital reconstructed model of the Sanctuary;

* Articulate the design principles of Samothracian architecture by developing statistical methods and computational tools to analyze the metrics of Samothracian buildings; and

* Develop the i-Site pilot program for communicating and contextualizing this work through a virtual exhibition and blog, www.isamothrace.org, in conjunction with the Michael C. Carlos Museum’s website. ”

(The above is a copy-paste from http://samothrace.emory.edu/ Please visit this site for more information)

3D reconstruction : Hieron to Nike

3D reconstruction : Nike to Stoa

Please remember : © All rights reserved! If you want to use my photos you must ask me first!

Please remember : © All rights reserved! If you want to use my photos you must ask me first!

Please remember : © All rights reserved! If you want to use my photos you must ask me first!

Please remember : © All rights reserved! If you want to use my photos you must ask me first!

Please remember : © All rights reserved! If you want to use my photos you must ask me first!

Please remember : © All rights reserved! If you want to use my photos you must ask me first!

Please remember : © All rights reserved! If you want to use my photos you must ask me first!

Please remember : © All rights reserved! If you want to use my photos you must ask me first!

It is celebrated throughout the world of Ancient Greece for its Mystery religion, a Chthonic cult which was no less renowned than that of the Eleusinian Mysteries. Numerous famous people were initiates, including: the historian Herodotus – one of very few authors to have left behind a few clues to the nature of the mysteries, the Spartan leader Lysander, and numerous Athenians – the cult is mentioned by Plato and Aristophanes.

A period of spectacular development occurred during the Hellenistic period, when it became, after the investiture of Phillip II, a type of Macedonian national sanctuary where the successors to Alexander the Great vied to outdo each other’s munificence. It remained an important cult site through the end of the Roman period – the emperor Hadrian visited, and the writer Varro described part of the mysteries – before fading from history towards the end of Late Antiquity.

Cult of the Great Gods

The identity and nature of the deities venerated at the sanctuary remains largely enigmatic, in large part because it was taboo to pronounce their names. Literary sources from antiquity refer to them under the collective appellation of “Cabeiri” (Greek: Κάβειροι, Kabeiroi), while they carry the simpler epithet of Gods or Great Gods (Μεγάλοι Θεοί/Megaloi Theoi) on inscriptions found on the site.

The Pantheon of Samothrace

The Pantheon of the Great Gods consists of numerous chthonic deities, primarily predating the arrival of Greek colonists on the island in the 7th century BC, and congregating around one central figure – the Great Mother

• The Great Mother, a goddess often depicted on Samothracian coinage as a seated woman, with a lion at her side. Her original secret name was Axiéros. Associated with the Anatolian Great Mother, the Phrygian Cybele, and the Trojan Mother Goddess of Mount Ida. The Greeks associated her equally with the fertility goddess Demeter. The Great Mother is the all-powerful mistress of the wild world of the mountains, venerated on sacred rocks where sacrifices and offerings where made to her. In the sanctuary of Samothrace, these altars correspond to porphyry outcroppings of various colours (red, green, blue, or grey). For her faithful, her power also manifested itself in veins of magnetic iron, from which they fashioned rings that initiates wore as signs of recognition. A number of these rings were recovered from the tombs in the neighbouring necropolis

• Hecate, under the name of Zerynthia, and Aphrodite-Zerynthia, two important nature goddesses, are equally venerated at Samothrace, their cult having been distanced from that of the Great Mother and more closely identified with deities more familiar to the Greeks.

• Kadmylos (Καδμῦλος)The spouse of Axiéros, is a fertility god identified by the Greeks as Hermes; a phallic deity whose sacred symbols were a ram’s head and a baton {kerykeion}, which was obviously a phallic symbol and can be found on some currency.

• Two other masculine deities accompany Kadmylos. These may correspond to the two legendary heroes who founded the Samothracean mysteries; the brothers Dardanos (Δάρδανος) and Éétion (Ηετίων). They are associated by the Greeks with the Dioscuri, divine twins popular as protectors of mariners in distress.

• A pair of under world deities, Axiokersos and Axiokersa, are identified to Hades and Persephone, but do not appear to be part of the original group of pre-Hellenic deities. The legend (familiar to the Greeks) of the rape of the goddess of fertility by the god of the underworld also plays a part in the sacred dramas celebrated at Samothrace; although less so than at Eleusis.

• During a later period this same myth was associated with that of the marriage of Cadmos and Harmony, possibly due to a similarity of names to Kadmylos and Electra.

The whole of the sanctuary was open to all who wished to worship the Great Gods, although access to buildings consecrated to the mysteries was understood to be reserved for initiates.

The most common rituals were indistinguishable from practice at other Greek sanctuaries. Prayer and supplications accompanied by blood sacrifices of domestic animals {sheep and pigs} burnt in sacred hearths (ἐσχάραι / eschárai), as well as libations made to the chthonic deities in circular or rectangular ritual pits (βόθρος / bóthros). A large number of rock altars were used, the largest of which was surrounded by a monumental enclosure at the end of the 4th century BC .

The major annual festival, which drew envoys to the island from throughout the Greek world, probably took place in mid-July. It consisted of the presentation of a sacred play, which entailed a ritual wedding (hieros gamos); this may have taken place in the building with the Dancer’s Wall which was built in the 4th century BC. During this era the belief arose that the search for the missing maiden, followed by her marriage to the god of the underworld, represented the marriage of Cadmos and Harmony. The frieze on which the Temenos is indicated may be an allusion to this marriage. Around 200 BC a Dionysian competition was added to the festival, facilitated by the construction of a theatre opposite the great altar . According to local myth, it is in this era that the city of Samothrace honoured a poet of Iasos in Caria for having composed the tragedy Dardanos and having effected other acts of good will around the island, the city, and the sanctuary.

Numerous votive offerings were made at the sanctuary, which were placed in a building made for the purpose next to the great altar . Offerings could be statues of bronze, marble or clay, weapons, vases, etc. However, due to Samothraces location on busy maritime routes the cult was particularly popular and numerous often very modest offerings found their way there: excavations have turned up seashells and fish hooks offered by mariners or fishermen who were likely thanking the divinities for having protected them from the dangers of the sea.

The Initiation

A unique feature of the Samothracean mystery cult was its openness: as compared to the Eleusinian mysteries, the initiation had no prerequisites for age, gender, status or nationality. Everyone, men and women, adults and children, Greeks and non-Greeks, the free, the indentured, or the enslaved could participate. Nor was the initiation confined to a specific date and the initiate could on the same day attain two successive degrees of the mystery. The only condition, in fact, was to be present in the sanctuary.

The first stage of the initiation was the myèsis (μύησις). A sacred account and special symbols were revealed to the mystes (μύστης); that is to say the initiate. In this fashion, Herodotus was given a revelation concerning the significance of phallic images of Hermes-Kadmylos. According to Varro, the symbols revealed on this occasion symbolized heaven and earth. In return for this revelation, which was kept secret, the initiate was given the assurance of certain privileges: Hope for a better life, and more particularly protection at sea, and possibly, as at Eleusius, the promise of a happy after life. During the ceremony the initiate received a crimson sash knotted around the waist that was supposed to be a protective talisman. An iron ring exposed to the divine power of magnetic stones was probably another symbol of protection conferred during the initiation.

The preparation for the initiation took place in a small room south of the Anaktoron , a type of sacristy where the initiate was dressed in white and was given a lamp. The myèsis then took place in the Anaktoron (literally the House of the Lords), a large hall capable of accommodating numerous already initiated faithful, who would attend the ceremony seated on benches along the walls. The initiate carried out a ritual washing in a basin situated in the southeast corner and then made a libation to the gods in a circular pit. At the end of the ceremony, the initiate took his place seated on a round wooden platform facing the principal door while ritual dances took place around him. He was then taken to the north chamber, the sanctuary where he received the revelation proper. Access to this sanctuary was forbidden to non-initiates. The initiate was given a document attesting to his initiation in the mysteries and could, at least during the later period, pay to have his name engraved on a commemorative plaque.

The second degree of the initiation was called the épopteia (ἐποπτεία), literally, the “contemplation”. Unlike the one year interval between degrees which was demanded at Eleusis, the second degree at Samothrace could be obtained immediately after the myèsis. In spite of this, it was only realized by a small number of initiates, which leads us to believe that it involved some difficult conditions, though it is unlikely that these conditions were financial or social. Lehman assessed that it concerned moral issues, as the candidate was auditioned and required to confess his sins. This audition took place overnight in front of the Hiéron . A foundation was recovered here which could have supported a giant torch; generally speaking, the discovery of numerous lamps and torch supports throughout this site confirms the nocturnal nature of the initiation rites. After the interrogation and the eventual absolution awarded by the priest or official the candidate was brought into the Hiéron, which also functioned as an épopteion, or “place of contemplation”, where ritual cleansing took place and sacrifice was made into a sacred hearth located in the center of the “holy of holies”. The initiate then went to an apse in the rear of the building, which was probably intended to resemble a grotto. The hiérophante (ἱεροφάντης / hierophántês), otherwise known as the initiator, took his place on a platform (bêma), in the apse where he recited the liturgy and displayed the symbols of the mysteries.

During the Roman era, towards 200 AD, the entrance to the Hiéron was modified to permit the entrance of live sacrificial offerings. A parapet was constructed in the interior to protect the spectators and a crypt was fitted into the apse. These modifications permitted the celebration of the Kriobolia and the Taurobolia of the Anatolian Magna Mater, which were introduced to the épopteia at this time. The new rites saw the initiate or possibly only the priest in by proxy, descend into a pit in the apse. The blood of the sacrificial animals then flowed over him or her in the fashion of a baptismal rite.

The Samothrace site may appear to be somewhat confusing at first glance; this is due to a combination of the unusual topography and the two century long period over which the site was developed. The sanctuary occupies three narrow terraces on the west slopes of mount Hagios Georgios, separated by two steep-banked torrents. The entrance is in the east through the Ptolemy II propylaeum, also known as the Ptolémaion , which spans the eastern brook and functions as a bridge. Immediately to the West, on the first terrace, there is a somewhat circular paved depression, containing an altar in the centre, which was undoubtedly a sacrificial area; although the precise function of this place has not further been determined.

A winding path descends towards the main terrace, between two brooks, where the main monuments to the cult can be found. A large tholos, the Arsinoéion, or Arsinoé Rotunda , the largest covered round space in the ancient Greek world (20 m in diameter), may have served to welcome the théores, sacred ambassadors delegated by cities and associations to attend the great festivals at the sanctuary. The decoration of rosettes and garlanded bull’s heads leads some to believe that sacrifices may have also taken place here. The rotunda was built on an older building of which only the foundation has remained.

Right at the opening of the path leading to the sanctuary, one finds the largest building, the Building of the Dancer’s Frieze , sometimes called the Temenos, as it corresponds to a monumental enclosure marking a much older sacrificial area. There is a great deal of variance in reconstructed plans for this portion of the site. It is in essence a simple court preceded by an ionic propylaeum decorated with the well-known dancer’s frieze. The celebrated architect Scopas may have been the designer.

The most important building of the cult, the épopteion, is located to the South of the Temenos. This building bears the inscription of Hiéron. It is not known who dedicated this building, but given the magnificence was likely a royal. It is some type of temple, but there is no periptery (surround of columns) and only a single prostyle. (partly restored – see photo above). The architectural ornamentation of the facade is noteworthy for its elegance. The interior boasts the largest unsupported span in the ancient Greek world – 11 metres. The South end of this building is an apse (fr: abside inscrite), which constitutes the most sacred portion. This apse may represent, according to R. Ginouvès a grotto for conducting chthonic rituals. The main altar, and the building for displaying votive offerings, are located to the West of the Hiéron.

The Anaktoron, the building for greeting the myèsis is located North of the Arsinoé Rotunda, though the version currently visible dates to the imperial era.

The third and final terrace, West of the spiritual centre of the sanctuary, is primarily occupied by votive buildings such as the Miletean Building, so named as it was dedicated by a citizen of Miletus , and the Néôrion, or naval monument . The banquet hall is also here . Three other small Hellenistic treasures are not well known . Overlooking the central terrace, the space is above all dominated by a very large portico (104 m long ) which acts as a monumental backdrop to the sancutary, above the theatre.

It is in this area of the site that the most recent traces of occupation can be found: a square Byzantine fort in effect built of treasure; as it re-used building material from the original site.

A Macedonian national sanctuary

« And we are told that Philip, after being initiated into the mysteries of Samothrace at the same time with Olympias, he himself being still a youth and she an orphan child, fell in love with her and betrothed himself to her at once with the consent of her brother, Arymbas. »
(Plutarch, Life of Alexander [1], II, 2)

According to Plutarch, this is how Macedonian king Phillip II met his future spouse Olympias, the Epirote princess of the Aeacid dynasty, during their initiation to the mysteries of Samothrace. This historical anecdote defines the Argead dynasty‘s allegiance to the sanctuary, followed by the two dynasties of the Diadochi; the Ptolemaic dynasty and the Antigonid dynasty who continually attempted to outdo one another in the 3rd century BC,during their alternating periods of domination over the island and more generally the Northern Aegean.

The first sovereign of whom epigraphic traces remain was the son of Philip II and half-brother of Alexander, Philip III of Macedon, who would be the principal benefactor of the Sanctuary during the 4th century BC: he probably commissioned the Temenos by 340 BC, the Main Altar in the next decade, the Hiéron by 325 BC, as well as the Doric monument and the border of the eastern circular area; these dedicated in his name as well as that of his nephew Alexander IV of Macedon, who jointly ruled from 323 BC to 317 BC.

The second surge of major construction commence started in the 280′s with the Arsinoe II Rotunda, which may date from the period (288 BC–281 BC) when this daughter of Ptolemy I was married to the Diadochi Lysimachus, then king of Macedon. Widowed after his death in battle in 281 BC, she married her half-brother, Ptolemy Keraunos and later her brother Ptolemy II in 274 BC. Of the monumental dedication which surmounted the door, only a single block remains, and it is thus not possible to determine the complete inscription. Ptolemy II himself had the Propylaeum built across the entrance to the sanctuary: the powerful Ptolemaic fleet which allowed him to dominate the bulk of the Aegean up to the Thracian coast, and the construction at Samothrace bear witness to his influence.

The re-establishment of the Antigonid dynasty on the Macedonian throne with Antigonus II Gonatas, soon lead to a clash for maritime supremacy on the Aegean: Antigonus Gonatas celebrated his victory at the naval battle of Kos by dedicating one of his victorious ships to the shrine by 255 – 245 BC; displayed in a building constructed on an ad hoc basis on the West terrace; the Néôrion (site plan number 6). It may have been inspired by another Néôrion, at Delos, probably built at the end of the 4th century BC, which he re-used and dedicated to another of his ships at the same time.

The naval war between the Ptolemaics and the Antigonids continued intermittently through the second half of the 3rd century BC, until Philip V of Macedon, the last Antigonid king to attempt to establish a Macedonian thalassocracy, was finally beaten by an alliance between Rhodes and Pergamon. A monumental column was dedicated to him in front to the large stoa of the upper terrace by the Macedonians by 200 BC. It was very probably during one of these episodes that the monumental fountain containing a ship’s prow of limestone and the famous Winged Victory were built (cf. photograph and site plan number 9). This could actually be a dedication from Rhodes rather than Macedon, as analysis of the limestone used for the prow and the type of vessel indicated that it came from Rhodes.

The sanctuary became the final refuge for the last king of Macedon, Perseus of Macedon, who went to the island after his defeat at the Battle of Pydna in 168 BC and was there arrested by the Romans.

Site exploration

Fascination with mystery religion aroused a continuing interest in the site though the 17th and 18th centuries. Following the spectacular discovery of the Victory statue – now in the Louvre – by French consul Charles Champoiseau (posted to Adrianople) in 1863, the French team of Deville and Coquart carried out the first archeological explorations of the site in 1866. The Austrian A. Conze was next to explore the site in 1873 and 1876: he cleared the Ptolémaion and the stoa, and carried out some superficial digs at the Hiéron, the Arsinoéion as well as the Temenos. This work was published in two rich volumes of a quality tremendous for their time. In accordance with an agreement with the Turkish government, the Austrians shared their discoveries: numerous architectural fragments went to the Kunsthistorisches Museum ofVienna, while others where sent to Gallipoli and then on to the Archeological Museum of Istanbul — part of this material unfortunately disappeared during transport. Champoiseau returned in 1891 to look for the blocks which formed the ship’s prow upon which Victory had been installed in Paris, and at this time discovered the theatre. The École française d’Athènes and the University of Prague (Salač and Chapouthier) also carried out joint work between 1923 and 1927, before the Institute of Fine Arts (at New York University) started their first excavations in 1938, which uncovered the Anaktoron. Interrupted by the war, during which time the site suffered greatly as a result of Bulgarian occupation, they returned in 1948 and continue to the present. In 1956 a partial reconstruction (anastylosis) of the Hiéron facade was carried out.”

(Wikipedia information about Samothrace Temple Complex. Visit the original article to see more information and site plans.More from Wikipedia)