Valley of the Muses by Yannis Bessas

Valley of the

Muses Yannis Bessas

Valley of the Muses narratives of inspiration and creation

Yannis Bessas

diploma thesis

supervisor: Vassilis Pappas School of Architecture University of Patras 2021

At this point I would like to thank the professor and supervisor of the present diploma thesis, Vassilis Pappas, for the valuable comments, guidance and support of the work for its completion. Also, I would like to thank my family, as well as my friends for their unwavering support throughout the work, and those who were there when I wanted to express my frustration, or my joy, as it progressed. Finally, special thanks to Ioannis Peppas for the generous provision of rich photographic material of the Valley of the Muses.

bibliography reference (system APA 6th)

Bessas, Y. (2021). Valley of the Muses [diploma thesis]. School of Architecture, University of Patras

abstract

zusammenfassung

This diploma thesis focuses on the Valley of the Muses, a special archaeological site with a mythological dimension, on the outskirts of Elikonas in Boeotia.

Diese Diplomarbeit beschäftigt sich mit dem Tal der Musen, ein besonderer archäologischer Ort mit einer mythologischen Dimension, am Vorgebirge von Elikonas in Böotien.

The main objective is the consolidation of a spatial study for the Valley that is structured based on the triptych; place –myth –proposal, through a rather personal cartographic attempt and interpretation of topographic objects.

Hauptziel ist die Konsolidierung einer räumlichen Studie für dieses Tal, die auf dem Triptychon aufgebaut ist; Ort –Mythos –Vorschlag, durch einen eher persönlichen kartographischen Versuch und Interpretation der topographischer Objekte.

Thus, driven by a process of recording and mapping of basic components of the space (Elikonas – Valley), then the mythological background of the area is decoded, and based on this the proposal of intervention of spatial scale emerges. Apparently, this spatial analysis is intertwined with the dynamics and identity of the place and develops around the myth of the 9 Muses. The Muses as a source of inspiration and spirituality determine the logic and the structure of the 9 interventions in space.

Angetrieben durch einen Prozess der Erfassung und Kartierung grundlegender Komponenten des Raums (Helikonas –Tal) wird dann der mythologische Hintergrund des Gebiets entschlüsselt und darauf basierend der Vorschlag für eine Intervention im räumlichen Maßstab entwickelt. Offenbar ist diese räumliche Analyse mit der Dynamik und Identität des Ortes verknüpft und entwickelt sich um den Mythos der 9 Musen. Die Musen als Quelle der Inspiration und Spiritualität bestimmen die Logik und die Struktur der 9 architektonishen Interventionen auf das Einsatzgebiet.

At the same time, a general masterplan is created with a strategy for the reconstruction of the members of the Valley with a view to creating a spiritual park of creative ecstasy.

Gleichzeitig wird ein allgemeiner Masterplan mit einer Strategie für den Wiederaufbau der Mitglieder des Tals erstellt, um einen spirituellen Park der kreativen Ekstase zu schaffen.

Α Helikonas 004

Β Valley 020

contents

* abstract | zusammenfassung iv

introduction 001

proposal 062

index 099

bibliography 101

images, map data sources 102 v

introduction Journeys in search of another reality, a new adventure of a spirituality to unknown and distant places, ignoring the place that is right behind us or beside us, the one that is full of stories, memories and meanings that magnetise the wandering –flâneur mind. Although I grew up in Boeotia on the borders of the Valley of the Muses, until recently I did not know a surprising percentage of those testified/ mentioned in this paper, nor had I imagined that this place could be such an intriguing and active object of research and study. Thus, completing my research thesis (Urban Cartographic Explorations), while looking for an area of intervention for my upcoming diploma thesis, I decided to focus on the specific area, since it has not been given the appropriate attention for a place of such significance and interest.

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...after all, what is it that gives birth to inspiration and how does it come to embrace the artist, the creator towards the completion of an artwork… a Muse who bottles creativity in the ‘being’ of an artist?...

both the program structure and the implementation of specific options. The spatial analysis of the second level is based on the following 4 axes; 1. anthropogenic activity (road network, productive structure, human presence, land uses, cultural calendar, etc.) 2. geometric landscape renderings (geometries, basic topographic axes, etc.) 3. natural environment / conditions (hydrographic network, natural landmarks, cultivation fields) 4. mythological / literary context (toponyms etymology, Valley psychogeography, Muses in space)

analysis methodology An analysis methodology is followed, which will generate the logic of intervention and the proposal itself. It is structured based on the triptych: space –myth –and finally, the proposal (idea). More specifically, we locate the selected geographical area and distinguish it in two axes; a) Helicon and b) Valley of the Muses. At the a) level of analysis, we cover a wide range of components of Mount Elikonas, in order to understand its basic identity and characteristics, and finally the character of the area itself. At the b) level of analysis, we delimit the basic area of analysis, which includes the spatial outline of the Valley, looking at this scale the character and qualities of the space that could compose the data of a spatial study. The special conditions encountered there, create fertile ground for systematic mapping of diverse topographic data, which include for instance pressures, tensions and directions of strategy. In this space, in addition, a mythological background emerges, which contributes to the methodology of analysis and consequently offers tensions and strategy for

Indicatively, based on these 4 categories, a multifaceted series of maps and description diagrams of the Valley is created, which in turn unlocks a variety of interactions and relations between the factors of the Valley. An important role in the selection of the thematic object, played my passion for maps and the act of mapping, which led me to search an extensive area for the study, analysis and spatial planning proposal. But also, the thesis is empowered with a more emotional tone, almost a narrative of spatial planning, with the map becoming an essential tool of approach and completion. The analysis of the Valley, and the further development of an ‘algorithm’ (a method of corresponding and pairing each Muse to a geographical point) substantiate the concept of spirituality. Thus, in the end, the nine (9) final proposed points of ‘presence’ for each Muse emerge through the map layering. This map incorporates the nine interventions, depending on the thematic field and the energy of each of the Muses.

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shape of boeotia

Here where a desolate glance blows the stones and agave Here where time’s footsteps sound deep Where great clouds open into golden cherubim Above the metope of the sky Tell me where eternity began Tell me what is the sign you ache for And what the lot of the helminth Oh earth of Boeotia shined by the wind What has become of the orchestra of naked hands beneath the palaces Of the mercy that rose like sacred smoke Where are the gates with ancient singing birds And the dang that dawned the terror of peoples When the sun was entering as triumph When fate writhed on the lance of the heart And fratricidal warblings took fire What has become of the immortal March libations Of Greek lines in the water of verdancy

Men advanced Filled with pain and dream Acrid image! Ennobled by the wind Of a summer storm that leaves fireblond Traces on the lines of hills and eagles In the lines of your palm’s destiny What can you regard and what can you wear Dressed in the music of grasses and how can you proceed Through heather and through sage To the arrow’s final point On this red earth of Boeotia In the desolate marching song of boulders You’ll kindle golden sheaves of fire You’ll uproot the evil fruitfulness of memory You’ll leave a bitter soul in the wild mint!

Odysseus Elytis, Orientations, 1961

Foreheads and elbows were wounded Time rolled pink from so much sky

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1. topographic structure The valley is characterised by Mount Helikonas, which is a natural landmark of the general area and of course includes the entire area of the valley itself. (Britannica, 2012) The name derives from the helical, spiral arrangement of its mountain peaks (Valavanidou, Iakovidou, n.d.), while already from the times of the Greek geographer and traveller of the 2nd century BC. Pausanias, Helikonas is described as the most fertile mountain in Greece. (Pausanias, v. 28.1)

Α Helikonas

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Ηelikonas dominates in the western part of Boeotia, while it consists of parallel chains of mounts, so it is connected to Kirfi, the end of mount Parnassos (2,457 m) in the north. To the south it is enclosed by mount Kithaironas. These mountainous chains extend in different directions, one of which is northwest and joins mount Lafystion and southeast joining Sphingion. forming a natural boundary between Boeotia and Fokida. It is not an independent mountain, in the sense that it is composed of individual separate smaller massifs conjoined by lowlands 500 –700 m high, covering an extensive area of approximately 35 km long and 30 km wide. The highest peak is Paliovouna (1,748 m) In ancient times, near the summit of Motsara was located the altar of Elikonius Zeus, or for others an ancient fire –beacon made of massive stones and a little further away the spring of Hippocrene, (Dome, 2004: 735) for which there was a myth that it gushed to the exact point where Pegasus hit the rock with his hoof. The first written source that refers to the mountain complex of Helikonas comes from the poetic speech of Hesiod (8th century –7th century BC), who invokes the Elikoniades Muses as a source of poetic inspiration in the lands of the homonymous mountain. Helikonas, as a sacred residence of the Elikoniades Muses, was identified with poetry and harmony and acquired a huge character as a symbol in the ancient greek reality, but also several centuries later. The adjective ‘helikonius’ referred to everything related to poetry and the Muses, while Homer used it to characterise Hermes, Apollo and Poseidon (‘helikonius anax’). (Dome, 2004: 735)

Carte des régions grecques antiques de Béotie, de l’Attique et de Phocide

01. Gustav Droysen, 1886

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Β Valley

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1. general structure

2. brief historical structure

In the eastern foothills of Mount Helikonas, near the settlements of Askre and Neochori in Boeotia, is located the Valley of the Muses. It is naturally delimited by general geomorphological elements, such as massifs and hills. More specifically, from the north to the left, we find Sanida hill and the Christos plateau, the torrent of Olmeios and the site named Koursara, in the west the site Chaliki and Koromilia and in the south the summit of Helikonas named Motsara, site Pezoulia and the mountain neck Marandali closing to the east with Marteros, the settlement of Askre and Paliovoros hill.

The history of the Valley of the Muses dates back to the early Bronze Age and up until the 17th century A.D. There is a constant human presence and activity within the outline between modern Askre and the Pyrgaki site. (Bintliff, 1996: 196) The archaic and classical Ascra had reached the zenith of prosperity with the maximum size in area and population (ca. 1300 people), while in the post–Roman (5th –6th century A.D.) and the early Byzantine period (7th –8th century A.D.) despite the difficult conditions and the state of uncertainty of the time, the settlements of Ascra and the neighbouring Thespies continued to exist and still survive. (Bintliff, 1996: 197, 200)

Thus, the valley is considered as a rather ‘introverted’ and internal cavity of the Thespian country, where numerous springs gush and several waterways flow through. Thus, it is described as a highly fertile and fertile area, where agricultural and agricultural activity dominates. Administratively it is situated within the municipality of Aliartos –Thespies on its southern borders with the municipality of Thiva of the regional unit of Boeotia.

Askre loses its ancient place name in the middle of the Byzantine period and appears under the name Zaratoba, with slavic etymology and influence. A medieval core is located at Episkope and based on archaeological approaches and studies, there were individual structures, such as farms, infrastructure complexes throughout the Valley, as well as near the site of the ancient Sanctuary of the Muses. (Bintliff, 1996: 203) From the middle of the 15th to the 16th century, extensive traces of overgrown canals are to be seen in several parts of the Valley, as well as a stone overshot–wheel in its central point. (Bintliff, 1996: 207) During the Ottoman period, it was a very prosperous and flourishing valley for the conditions of the time and probably comparable to the classical era status in terms of population and land uses. (Bintliff, 1996: 207)

The archaeological features and the historical background of the Valley are of exceptional importance, a fact that renders this valley a recognised archaeological site, albeit without the appropriate infrastructure or a decent programme organisation. (Hellenic Government Gazette Α.Α.Π. 134 - 27.04.2012) In the wider area, fragmentary excavation activities have been carried out since the 19th century, which confirmed and revealed the existence of the Sanctuary of the Nine Muses within the Valley. Somewhere at these foothills, lived the great poet Hesiod, around the 7th century B.C. and wrote his noted, significant works such as ‘Theogonia’ (Θεογονία) and ‘Works and Days’ (Ἔργα καὶ Ἡμέραι). 017

This condition, however, does not continue during the 17th century, when the valley sank into decline. At the end of the 19th century, the settlement of Askre was adequately restored, reaching about 925 inhabitants, and the valley returned to the epicentre of the local production and economic activity. The highlight of the historical retrospect is probably the declaration of the Valley as an archaeological site in 1985.

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3. geographic structure

version is even more prevalent, and seems to confirm the myth that wants the river to traverse the Valley of the Muses and render it a fertile area.

Topographic references of the valley are already found in the work of Hesiod and continue with the geographical descriptions of the traveller –writer Pausanias. He describes a relatively defined topography around the modern boundaries of the valley, while his precise descriptions allowed the reconstruction of the ancient greek classical topography.

Olmeios (Xirorrema/ Lophis) The second main torrent of the area is Olmeiοs or Xirorrema or Lophis. The variations in the name lie in the existence of multiple sources that override each other, but also inaccurate descriptions that created confusion in the topographic and geographical placement. On some old maps, but also in the maps of HMGS (Hellenic Military Geographical Service) it is depicted with a flow towards the Kopaida plain, coinciding with the torrent Lophis, while in some maps it is placed inside the valley as a tributary of the Permessos.

It is a natural elongated low cavity, as its name suggests, surrounded by hills and mountains from the north, south and west, while it is open to a low–lying area to the east by the settlements of Askre and Neochori. In 1985, with a ministerial decision a polygonal area was declared as an archaeological site, the ‘Valley of the Muses’, and then it was precisely delimited with geographical definition in 2012. However, this outline is a strict boundary that fragments the natural and topographical coherence of the area. For this reason, it is handled (in the thesis) as a wider area of general extent from the settlements of Thespies and Mavrommati in the east to the settlement of Evangelistria in the west. The major topographic elements are the rivers Permessos, Olmeios, the springs Hippocrene and Aganippe, as well as the archaeological cores around the shrine (Vomos) and the ancient amphitheatre, and finally the sites of the ancient settlements of Ascra (Pyrgaki) and Keressos.

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Permessos (Termessos, Archontitsa, Askris torrent) There are two different versions for the location of this torrent. The first describes it to originate from the Aganippe spring near the ancient theatre of the Muses, and to run through the southwestern part of the Thespies –Thisve plateau and after a route of about 30 km. disappear into a swampy sinkhole near the settlement of Domvrena. (Buck, 1979: 4) According to the second version, Permessos is flowing toward the (boeotian) Kifissos river, while it follows rather a northeastern direction, crossing the settlement of Aliartos and ending up in Kifissos. The first

Pyrgaki (anc. Ascra) It is a conical mountainous hill with the homonymous peak in the northern part of the valley, starting from the upper bank of Permessos and reaching 620 m. altitude. On its foothills, the ancient settlement of Ascra, presumably is located, meanwhile at the top there are the ruins of a Hellenistic tower and mark the existence of an ancient citadel and fortress of the same settlement. Below, there is a wall of polygonal masonry. (Buck, 1979: 10) Askre has been the conservatory, where Thamyris, Linus, Mousaeus and Orpheus sang those poems created by the ancient orphic poetry. It follows from these that in the boeotian conception the Muses were not abstract ideas. Maybe there was something real in Askre, a mysterious school of poetry, from which Hesiod was taught and introduced into epic poetry. (Peppas, 2007: 74) Paliovoros At the eastern boundaries of the valley, is situated Paliovoros hill with an altitude of 548 m. To the south of the hill, there is a medieval tower, at the site named Pýrgos, where according to one theory, the ancient site of Keressos is located. This point at the starting point of the valley, offers panoramic view over the whole area with a supervising character. The etymology of the name (Paliovóros) is of particular interest, as analysed in a following diagram.

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Aganippe The Aganippe spring (Ἀγανίππη) is located in the south of the valley, by the site Skopia on the outskirts of Helikon, at an altitude of ca. 700 m. The sacred spring was considered a creation of the Muses, as it was dedicated to the nine deities and according to mythology, the spring gifted poetic inspiration and an inexhaustible spirituality, to the one who tasted its divine water. Pausanias (ca. 140 A.D.) mentions the following in his writings: ‘‘On Helikon, as you go towards the Grove of the Muses the spring Aganippe is on your left. They say Aganippe is a daughter of Termessos who also runs on Helikon. On the straight road to the grove there is a portrait of Eupheme engraved on a stone. She was the Muses’ nurse they say’’ (Pausanias, 29.3/5) According to a myth, on that slope of Helikonas, a priestess (Hiereia) with divinatory abilities arrived from Pisidia of Ionia, and settled there, offering her oracular abilities using the sacred ‘nama’ of the spring, which highlighted the source itself as the ‘tutelary’ of the human mind. (Peppas, 2007: 218) Hippocrene The spring Hippocrene (aka. Kryo Pigadi) is found in the west of the Valley, a little lower from the Motsara peak, about 200 m. downhill, in an atrium at an altitude of about 1280 m. (Peppas, 2007: 83) Hippocrene is characterised by a special mythological context, since as its name suggests (meaning ‘Horse’s Fountain’), it was created at the point where Pegasus hit his hoof on the ground, and immediately water gushed. (Dome, 2004: 735) It was also a particularly beloved place for the nine deities, since the nine daughters bathed their hair and bodies in the fountain waters. According to Frazer’s writings: ‘‘To reach the farfamed Hippocrene (‘the Horse’s Fount’) from the sanctuary of the Muses we ascend the steep eastern side of Helicon over moss-grown rocks, through a thick forest of tall firs. After a toilsome ascent of about two hours, we emerge from the wood upon a tiny open glade of circular

shape, covered with loose stones and overgrown with grass and ferns. All around rises the dark fir–wood. Here, in the glade, is Hippocrene, now called Kryo Pigadi, or ‘cold spring’. It is a well with a triangular opening, enclosed by ancient masonry. The clear ice–cold water stands at a depth of about ten feet below the coping of the well. But it is possible to climb down to the water by means of foot–holes cut in the side, or by holding on to the sturdy ivy, which, growing from a rock in the water, mantles the sides of the well. The coldness and clearness of the water of this perennial spring are famous in the neighbourhood, especially among the herdsmen, who love to fill their skin bottles at it’’ (Frazer, 1900: 358) Searching in the artwork gallery, we realise that this particular spring had an important presence in paintings, displayed as a sacred water fountain of the Muses, a place where ancient priestesses gathered and indulged in an artistic ecstasy.

During our on–site visit to the valley, we observed its structure and geographical composition and thus create maps that highlight this complexity through overlapping and reinforcing composition. Through this mapping and in situ recording, but also the study of Hesiod’s descriptions, design and architectural interventions emerge with the mythological and literary map as the main tool.

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4. archaeological structure The helikonian area is undoubtedly permeated with a long and rich historical and archaeological dimension, and as displayed in the timeline diagram of the valley, several times it was in the epicentre of archaeological study and research mainly by foreign travellers and archaeologists. The chronicle of the Valley of the Muses, to a large extent, consists of research excursions and archaeological excavations in the area, especially between the 15th and 20th century, since these are the most important actions in terms of highlighting and revealing its archaeological wealth. Pausanias informs us about the existence of artistic masterpieces, those that survived from the abduction or destruction by the Romans, who recorded them during his tour, in the 2nd century A.D. Their destruction continued during the period of the spread of Christianity, where in the best scenario the damaged parts of the monuments were used as building material for the construction of orthodox temples. (Tzanimis, 1992: 408 –409) We distinguish two main periods of research, during which foreign travellers and archaeologists visited the valley of the Muses; one covers the last quarter of the 17th century (1670 –1700) and the other in the first half of the 19th (1800-1850), while the French archaeologists are the pioneer excavators of the Valley, even if the excavations were carried out in a non–professional and hasty way due to on–site difficulties. (Tzanimis, 1992: 410 –414)

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In 1806, military W. M. Leake visits the Valley and explores the area in detail in order to locate the sanctuary of the Muses, while eventually locating a marble column with the names of the winners of the ‘Mouseia’ Games inside the church of Ayios Nikolaos, which he considered to be the ancient shrine. In his journal he provides valuable information about the surrounding area. (Tzanimis, 1992: 411 –412) After Leake, the Valley was visited by travellers, such as Ulrichs, M. M. Conze and Michaelis and C. Bursian, who writes·

‘‘The location of the grove of the Muses is this irrigated field, covered with trees and bushes, where the myrtle dominates with a rich vegetation, which is surrounded by the eastern slopes of Helikon, where we still see the ruined church of Ayios Nikolaos and many other chapels, including that of Ayia Paraskevi that is not abandoned.“ (Decharme, P. Notice sur les ruines de L’Hieron des Muses dans l ’Helicon, p. 170) (Tzanimis, 1992: 408 –409) Between 1865 and 1866, Decharme’s diligent field research with Petit de Julleville uncovered the ruins of the Valley and they themselves attempted to excavate those ruins. (Tzanimis, 1992: 412) In 1878, 123 ‘collected’ pieces of antiquities are recorded in activities of archaeological content, headed by the local teacher Epameinondas Koromantzos. (Tzanimis, 1992: 418) During the decades 1880 and 1890 there is a more vibrant interest around the archaeological structure of the valley. More specifically, in 1882 excavations were carried out with Panagiotis Stamatakis in command of, and between 1888 –1890 by the French School of Athens. They confirmed and unveiled the existence of the Sanctuary of the Muses in Helikonas, but the results of these excavations have not been published. (Buck, 1979: 9–10) In the 1980s the Bradford –Cambridge Boeotia Project expanded intensive archaeological research into the wider area between Thespies, Aliartos and the Valley of the Muses. (Bintliff, 1996: 193) At the end of Bintliff’s research, at least 53 different sites of archaeological presence have been identified, of all historical periods, some of which, however, are presumptive or unconfirmed. (Bintliff, 1996: 194)

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archaeological findings The findings of the excavations include the ancient amphitheatre, an altar apparently dedicated to the Muses, an Ionic stoa, the platform (crepidoma) of the temple of the Muses and finally a base for the statues of the Muses. At this particular site there was no settlement, only it was used as a sanctuary. (Buck, 1996: 9 –10) Mouseia (Games, Festivals) In the 3rd century B.C., the famous Mouseia were founded. The celebration of the Mouseia Games was organised every 5 years in the area of the valley by the Thespians in honour of the Muses and of the intellectual creation. Initially it was a theatrical (belonging to thymele) competition similar to those of the Pythians, where poets and musicians from all over Greece gathered in order to participate in respective events. The competitions included trumpet games, epic poetry, rhapsody, guitar (cithar), flute, satirical poetry, tragedy and also comedy acting, while the contestants were trumpeters, flutists (auletes), citharists, pipers, preachers, poets, as well as comedians, panegyric–writers and poets of the ‘new’ comedy and tragedy style. In the 2nd and 1st century B.C. to the events of the games were added contests of praise for the Roman emperor and are now renamed as ‘Megala Caesarea’, since the Roman emperors are honoured firstly. The winners of these events dedicated their prizes, which were mainly tripods, to the adjacent Sanctuary of the Muses. Among those was standing the tripod and the statue of the poet Hesiod as a reminder of his victory in a musical competition in Chalkida. (odysseus.culture.gr, n.d.), (hsiodos.gr. Μouseia, n.d.)

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03 –05. Paul Jamot, 1888 –1890

pictures of archaeological findings εfa these pictures display the intense archaeological wealth discovered in the valley area, by the French P. Jamot and his collaborators, during research activities and surveying. A great amount of them, however, were reportedly detached and abducted from the valley, then transported abroad during the same period

05.

Hesiod

[Hesiod] Hesiod, from Cyme. As a youth, he was brought up by his father Dius and his mother Pycimede in Boeotian Ascra. He is said in genealogies to be the son of Dius, the son of Apelles, the son of Melanopus, who some say is the grandfather of Homer the founding father, making Hesiod and Homer first cousins once removed and each a descendant of Atlas. His poems are as follows: Theogony, Works and Days, Shield, Catalogue of Female Heroines in five books, Dirge for a certain Batrachus, his lover, concerning the Idaean Dactyls, and many others. He died while a guest of Antiphus and Ctimenus, who, by night, thinking that they were killing their sister’s seducer, killed Hesiod unintentionally. According to some he was older than Homer, according to others, a contemporary. Porphyry and most others judge him to be younger by a hundred years, so that he would precede the first Olympiad by only thirty– two years. (Souda (or Suidae), 2017: 723)

The poet Hesiod is a very important figure for the Valley and its literary topography, since he was born and spent most of his life in Ascra. The date of his birth is impossible to be defined precisely, however it is approximately estimated between 750 and 720 B.C. He was supposed to have spent his youth engaging in animal husbandry, bucolic farming, as well as helping his father with various agricultural activities. He should have been taught in particular, numerous local traditions about gods and heroes, that were not only related to Boeotia, but also to many other parts of the hellenic area. Such traditions could be the subject of rhapsodic poetry in neighbouring Thespies, while rhapsodic competitions could also take place in the nearby Sanctuary of the Muses on a regular basis. (Girgenis, 2015: 34– 35) He also becomes the first poet in the history of European poetry to write an autobiography. (Girgenis, 2015: 36) In parallel Hesiod was initiated, as well as introduced by the Muses in bucolic contexts. (Girgenis, 2015: 48) Hesiod’s vision of the Muses was sometimes seen as the poetic personification of the qualities of the poetic art, the symbolic presentation of his inspiration, and sometimes as a form of a shamanistic experience. (Girgenis, 2015: 24) His poem ‘Works and Days’ is dedicated to the basis of the archaic hellenic economy, rural life, while offering practical instructions for the efficient cultivation of the land with semblances of sententious wisdom. (Girgenis, 2015: 9) ‘Theogonia’ responds to the programmatic statement of the Muses that, when they wish, they can express truths and not lies that look like truths (verses 27–28). (Girgenis, 2015: 11) Theogonia holds a special place in the ancient greek literature, as it constitutes an extensive catalogue of innumerable names of gods, nymphs and mortals. (Girgenis, 2015: 12) In this very writing, is also presented the myth of the 9 Muses, which will be an instrument for the development of our proposal.

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5. producing structure The boeotian rural landscape demonstrates interesting changes in the modern period, due to intense anthropogenic interventions, such as the drainage of lake Kopaida. However, the proximity of Boeotia to the major Athenian centre submits the Boeotian land in the role of supplier for goods like water, vegetables, industrial items, a fact that induces extended and continuous changes or transformations in the urban and rural landscape. (Oikonomou, 2011) In the rural map of the helikonian land, we note the following three main producing activities, which are also the backbone of the economic activity of the wider area. 1. viticulture (wine production) This boeotian region has always been a land of wine production, while according to the Homeric hymn ‘In Dionysus’, according to a tradition of various contradictions) the ancient god of wine, Dionysus, was born in Thiva (Thebes). (Hard, 2003: 172) The area is famous for the special varieties of white wines, mainly the varieties ‘Savvatiano’ and ‘Roditis’. From these, especially from Savvatiano comes the popular ‘retsina’ (resinite, amber), which is associated with the recent history of wine in Greece. (Transnational Education & Development Company –TRANSCOOP, 2017: 35) Specifically, due to the special climatological and geological elements of the soil, the area of the Valley has a long tradition in viticulture and wine production, from the time of Hesiod (6th century B.C.). The microclimate of the area in combination with the diverse composition of the vineyards that climb up and embrace the slopes of Helikonas is a strong basis for remarkable wine production. In the area of Askre alone, at the moment operate three wineries, named Ktima Mouson (Muses Estate Zacharias), Samartzis and Lepeniotis. 029

Mouchtaro (dry, mild, red, conservation for 2 –3 years, 13% alc.) (House of Wine, n.d.) In recent years, older grape varieties, such as Mouchtaro, are revived through the systematic effort of local winemakers with remarkable wine results. One such case is ‘Mouchtaro’, a rare red variety, which owes its revival to Zacharias family of Askre, which saved the homonymous counterproductive grape and cultivated it in the valley. Its colour is a bright purple, with high acidity, while it has a special and recognisable aroma. (Georgopoulos, 2018) 2. stock –farming The history of the boeotian land in modern times is characterised by the movement and establishment (either temporary or permanent) of nomadic and semi–nomadic groups engaged in livestock. Stock–farming and agriculture have been coexisting, which is defined by elements of complementarity and competitiveness in terms of land claims. (Oikonomou, 2011) From the beginning of the 19th century, until nowadays, both the lowland areas of Thiva and Livadeia, as well as the mountainous, inaccessible areas (Zagaras, Helikonas) had a livestock character. Stock–farming also supported the self–consuming nature of the boeotian economy. Herds of sheep and goats move (in winter, and summer pastures) either within the boundaries of the community (domestic, spatial or herd stock), or to the mountains (direct transitional livestock) or to the lowlands and coastal (reverse transitional). Livestock was, and is, based on the household group, which takes on all the work of animal husbandry, as well the production and trade of products through a clear sharing of labour by sex and age. (Oikonomou, 2011) 3. olive cultivation Many times, in this very landscape, a dynamic evolution of agriculture is reflected, regarding the continuation of the cultivation of products, but also their identification with certain areas. Thus, some areas of Boeotia, for instance the western part of the plain of Thiva, i.e. the areas of Domvrena, Ellopia and Xironome, up to Askre are characterised as olive–producing since the first

half of the 19th century. (Oikonomou, 2011)

06. Giorgos Katsaggelos The Valley of the Muses, n.d.

The olive variety known as ‘Megaritiki’ thrives (it is cultivated mainly in Megarida of Attica, but it also extends to Boeotia). It is an oil olive fruit and table food green or black. The oil content of the fruit is around 28% and potentially with more intensive cultivation it can reach up to 35%, while it is considered a productive and cold –resistant olive variety. (Oikonomou, 2011)

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6. mythological structure Hesiod introduced the concept of the mythological dimension and the genesis of the gods in his work, and consequently a number of mythological creatures such as the Nine Muses, Pegasus, the god Dionysus and others, all related to the wider area of Helikonas and the denoted valley. The Nine Muses The nine Muses were ancient greek deities, patrons of artistic creation and source of inspiration for any creative activity. In general, there is little information and references about the Muses, that is beyond the basic characteristics analysed below. One can say that there is a veil of mystery and dubiety around their lives and actions, as they are mythical creatures with a special atmosphere covering their existence, due to the character and the meanings produced by them. The strong semiology that surrounds their myth, in essence, is a key–axis of approach to the proposal and analysis. There are at least 3 different versions regarding their number, their names and their worship, depending on the geographical location and the written sources. (Atsma, n.d.) In the long run, though, one version prevailed, the one consulted followed in the present thesis. Based on this, their number is 9, and their names are first submitted by Hesiod in ‘Theogonia’.

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According to one of them, and the most prevalent, they were daughters of Mnemosyne or Armonia and Zeus, while according to the other, daughters of Gaea and Uranus. (Hard, 2003: 204) The myth describes that they have been born on mount Olympus, but have lived in the unique land of Helikonas, in mountainous Boeotia, in what we call the Valley of the Muses, where they engaged in their artistic adventures. It was in these very lands that Hesiod had an ecstatic experience of inspiration, through which he composed his well–known poems.

Their names were (in lexical order, analysed further below) Polyhymnia, Urania, Terpsichore, Melpomene, Thalia, Calliope, Euterpe, Clio and Erato, and they appear for the first time in the works of Homer and Hesiod (‘Theogonia’). (Hard, 2003: 204) The particular thematic field of each Muse, the art or science that represented and protected spiritually, was identified during hellenistic times, with some variations and additions, as follows:· 1. Polyhymnia She is the Muse of Hymnal Poetry to the gods and Mimic Art. Her name means in two versions that she praises many people (πολύς ὕμνος) or that she commemoratively mentions many in history (πολλῶν μνήμη). Her symbols were the lyre, while she is almost always depicted skeptically, with her finger on the lips or gazing at the sky implying deep contemplation and spirituality. 2. Urania She is the Muse of Astronomy, but also the protector of the Celestial Bodies, while her symbols are the celestial sphere and a pair of compasses. She is depicted crowned with pearls or stars and a diadem (frontlet) usually in a deep blue dress, inspecting around a sphere or observing the stars. According to a legend, he had an affair with the god Dionysus, from whom Hymenaeus was born, and with the god Apollo, from whom Linus was born. 3. Terpsichore She is the Muse of Dance and Lyrical Poetry, and bears a lyre or a harp as symbols. Her name implies that she was entertained by dancing and drew pleasure from the choral experience. She is often credited with inventing the dance, the harp, and mental education. She is usually depicted laurel–crowned, with a simple frontlet carrying a harp, while dancing ecstatically almost floating above the ground.

4. Melpomene She is the Muse of Tragedy and the Melody of Music, with symbols the tragic theatre vizard, buskins (cothurns), sword, scepter or vine wreath, while she is often credited with the invention of the barbiton (barbitos). She was named Melpomene from the greek word ‘molpé’, because through her people celebrated (with song and dance) all the Virtuous. She is usually depicted holding a tragic mask, a symbol of ancient drama, melancholy or even angry, at the same time crowned with a scepter. 5. Thalia She is the Muse of Comedy and has as her symbols a comic theatre vizard, or a wreath from ivy. The discovery of Geometry, Architecture and Agriculture are also often attributed to her. Hence her name, which means that plants ‘blossom, flourish’, or that the ones been praised by the (her) poems, prosper for many centuries. She is usually depicted with a comic vizard in her hands, smiling or even with a discreet smirk, and crowned with ivy leaves and in some renderings with a green coat. 6. Calliope She is the Muse of Epic Poetry and Philosophy (or Rhetoric). Her symbols are a tablet with pens (cartouche). She was considered first in the hierarchy among the Muses, with a higher rank accompanying the gods and kings to impose justice and order with her parsimony. She was named Calliope because of her impressive beautiful appearance, and in a variation, she was also called Kalliepeian (kallos + epos) because of the invention of Poetry. It is reported that Calliope had an affair with the god Apollo, from whom Ialemos, Orpheus, Hymenaeus were born, while another version of an ancient writer claims that Calliope gave birth to Orpheus when she came in contact with the divine river Oiagros. 7. Euterpe She is the Muse originally of Music, and in the course of time became the also the Muse of Flute

and Elegiac Poetry, while she is symbolised by a double flute. She is usually depicted holding in hand or playing the flute (a double), surrounded by other musical instruments and the god Apollo, who accompanies her in song and music. According to a myth, she had an affair with the river Strymon, with whom she gave birth to Ressos (Renus), king of Thrace. 8. Clio She is the Muse of History and carries symbols such as a trumpet, hourglass, manuscript or book or papyrus, or even a box of papyrus. The history was called Clio, because it refers to ‘cleos’, that belongs to the heroes of the past, who are recounted to us by the writers through their manuscripts. According to mythology, Clio blamed Aphrodite for falling in love with Adonis. Aphrodite retaliated by leading her to Pieros’ house and made her fall in love with him. Clio and Pieros gave birth to Hyacinthus. It is usually depicted with a laurel wreath, with which the winners of the ancient games were crowned, as cited by historians. 9. Erato She is the muse of Erotic Poetry Love in general, while she bears the lyre or flute or bow, while she is almost always depicted sitting with a rosette (roses), accompanied by the winged god Eros. She is considered the inventor of love poems, and at the same time the patron saint of poetic music. Its name comes from ancient greek ‘eros’ (ἐρέσθαι) Apollonius of Rhodes begins the third chapter of the fourth part of the ‘Argonautica’ with the following verses· ‘Come now, Erato, stand by my side, and say next how Iason brought back the fleece to Iolcus aided by the love of Medea. For thou sharest the power of Cypris, and by thy love– cares dost charm unwedded maidens; wherefore to thee too is attached a name that tells of love.’ 046

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Finally, special emphasis is given to the creation of a programmatic spatial organisation framework, a regulatory plan. The placement of the programmes based on the myth of the 9 Muses and the correspondences Muses –landscape, with a general plan sets specific restructuring strategies of the whole valley and proposes 9 intervention points with respect and sensitivity to such a fragile environment. Main purpose of composing the masterplan is to create a background for further actions and design proposals. For example, the transformation of the valley into an active spiritual park, under specific conditions and requirements can fuel the interest of reviving the archaeological site, even its inclusion in a wide network of archaeological sites (Askre – Thespies –Thiva), or its integration into sustainable ecotourism proposals in the area of Helikonas.

objectives The main objective is for the whole valley to be showcased and function as an open–air museum, a mythological museum landscape with exhibits and exhibitors. An amalgam of contemporary and ancient art under the inspiration and guidance of the 9 Muses. An experiential museum, not only an exhibition of existing work, but mainly a field based creative act. At the same time, the 9 interventions are spatially placed in the valley in such a way, that its mythological past is highlighted and revealed, while the hesiodic experience of inspiration is revived. Potential creators and inspirers will wander through the landscape, looking for their own personal Muse, resulting in the familiarisation and appropriation of the valley by every contingent user (flâneur, farmer).

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Thus, this contact will lead to the further prominence and promotion of the archaeological site of the valley in a wider cultural context, as an active core of historical memory, but also of contemporary inspiration, a source of creativity and artistic ecstasy.

general objective of this work A more general objective (of the thesis as a whole) is to investigate and compile a methodology of spatial analysis and proposal based on the spiritual and mythological characteristics of a place. In other words, the myth (9 Muses) can offer dynamics of intervention in a landscape and consequently the meanings produce and create special relations of composition and layout. Our aim, then, is to apply a study that is based on the mythological background of an area and then unfolds a narrative of spatial relations and interactions.

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basic design and placement principles At each of the 9 final intervention points of each Muse, an 81 x 81 m grid is applied, consisting of 9 smaller 9 x 9 m squares, which afterward are divided into 9 sub–squares 3 x 3 m. All the numbers mentioned are multiple and depend mathematically on the primary number of Muses, number 9. Furthermore, the importance and use of the bottom lexarithm, that is the sum of the results of the numerical renderings of specific words. For example, the word ‘Polyhymnia’ has a lexarithm of 1081, but a bottom lexarithm of 1 (1 + 0 + 8 + 1 = 10 → 1 + 0 = 1). In this way, all possible dimensions, distances, and sizes of the intervention structures have a bottom lexarithm, the number 9. For example, a structure inscribed in aν 18 x 18 m rectangle, has a side length of 18 metres, i.e. bottom lexarithm 1 + 8 = 9, an area size of 324 m2, which 3 + 2 + 4 = 9.

programmes and layout logic

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The basic programmes and functions of the spatial proposal, emerge from the myth of the 9 Helikonian Muses. These, in their own mysterious way, come and infuse in the place appropriate and compatible elements for the pairing of each Muse with a certain place. As displayed in the corresponding analysis diagram of the Muses, each has her own character and energy. Thus, we employ architectural programmes and uses that appertain to the thematic field of each Muse.

The next topic is the deployment logic on this 81 x 81 grid. The placement and layout are starting from the central point of the grid and deploys radially toward its ends. This central point symbolises the core of inspiration of a potential creator. According to the data and standards of the valley analysis, a more appropriate placement of the structures that will support the selected programmes is organised with two dominant guidelines; a) harmony of the placement on the grid b) spatial commitments in relation to the topography and the unique characteristics of each point

For example, Polyhymnia (1) as the Muse of hymnal poetry and mimic art refers to a spiritual, sacred programme, as well as a workshop of mimic art and pantomime. The strong archaeological dimension that is detected there, however, leads us to a solution based on the integration and absorption of archaeological findings, both in form, programme, and placement.

The previous analysis creates tensions and directions toward the organisation of space, as well as the sentiment and ‘energy’ of each Muse, in turn produce forces of placement, that are conceived only by the experience of the place and its psychogeography, as shown in the following maps (valley analysis).

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9 points of intervention The 9 Muses, through the unfolding of the myth, ‘accompany’ us to 9 proposed points of intervention. These points have been revealed and highlighted as suitable and compatible through both the previous valley analysis, and the mapping algorithm (Muse –point indexes). Each compiles a series of compatibility elements, either topographically or historically, or even mythologically (presence of a Muse). In the same context of creation and with my personal ‘Muse’, an attempt was made to morphologically search and compose the architectural form of the 9 interventions, through sketches and rough drawings. A series of sketches was created, which give a direction to the architectural synthesis and express the basic design principles, as well as the desired view of the constructions on the 9 x 9 grid. In the course of experimentation with form and spatial composition, the 9 different sequences of volumes and structures emerge through their mutual interaction and the ‘flow’ of solids on the grid. The structures are presented in an abstract way, that leaves room for rather free interpretation and synthesis.

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with its tributaries and Olmeios torrent), 2 archeological interest –research zones, 9 intervention zones, and 2 construction zones (adjacent settlements of Askre and Neochori). At the same time, a strategy of reconstitution of the members of the valley is attempted. That consists of the following 6 steps· 1. reconstruction and reprogramming of routes and movement arteries (3 classes: central, rural, intervention routes) 2. configuration of land use zones and programme structure based on seasonal characteristics (summer –winter)

regulatory plan of spatial placement

3. development of a system of stop and resting points as support to the network of movement courses to– and from the interventions

The general regulatory plan for intervention in the landscape of the Valley is structured in two axes;

4. ecological –sustainable acupuncture at 4 points of environmental pressures, such as the banks of Permessos and the torrent at Episkope

the 9 individual interventions and the general regulatory plan –masterplan

5. regulation of programmatic functions and redistribution of land uses and zones

Due to the peculiarity of the Valley of the Muses, as an active archaeological site, which at the same time demonstrates intense agricultural activity, but also a general human presence, it is necessary to categorise and strategically plan land uses for the optimal management of the valley. By defining some zones of use, not only the character of the special places of the Valley is protected, but also the orderly coexistence of its members is ensured.

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The regulatory plan proposes the definition of zones for specific land uses, such as 5 cultivation zones, zones of mild intervention and agricultural activity, 2 water flow zones (Permessos river

6. proposed programmatic, architectural interventions in 9 selected points according to each Muse in response to the regional analysis (as presented above)

routes strategy Once the distribution and placement of the 9 Muses at the level of the valley has been completed, arises the necessity to connect and interact with them through a well–structured network of pathways. Thus, a network of movement axes is organised with 2 categories· a) walking paths and

light vehicles (bicycles, four–wheeled motorcycles) and b) routes for agricultural vehicles Existing axes of movement, after being recorded and classified, are reformed and reprogrammed. With this logic, possible connections emerge and a dynamic network is enriched by a system of stop –resting points, but also new routes are opened to support network connections, where necessary. The movement axes are reprogrammed according to the following logic. Those that play a central role in the valley (central arteries) function as access axes throughout its area and to all uses (to and from interventions, agricultural activity). Then an access –connection network is created between the 9 interventions from pedestrian or light vehicle routes. These axes are for exclusive use for visitors flâneurs of the 9 Muses (interventions). Around the river Permessos, the existing axes are reprogrammed to create a riverside path for the flâneurs (moving inbetween the interventions) thus decongesting the movement of agricultural machinery near the fragile water ecosystems. The remaining axes function as rural access roads to the cultivated lots by the local community. However, they can also be used by visitors and flâneurs in a potential course of exploration and spiritual search through the valley.

In the end, such a complex and multidimensional place emerges as a landscape of balance and spiritual inspiration, for contemporary artists or even the simple planets who are looking for their personal Muse

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D Dionysus

029, 045

E Episkope

017

Erato

046, 057

Euterpe

046, 055

F G

index A

page number

Aganippe

021, 024

Aliartos

017, 021, 025

Apollo

005, 045, 046

Ascra, Askre

017, 021, 028, 029

Helikonas

005, 021, 024, 025, 027, 028, 045, 046

Hesiod

005, 017, 021, 024, 027, 028, 029, 045

Hippocrene

005, 021, 024

Homer

005, 028, 045

I J K

B 017, 025, 028, 029, 045

Boeotia

Keressos

021

Kifissos

021

C 099

Calliope

046, 054

Clio

046, 056

Lophis

017, 021

Terpsichore

045, 051

Melpomene

046, 052

Thalia

046, 053

Mouchtaro

029, 031

Theogonia

017, 028, 045

Mouseia

025, 027

Thespies

017, 021, 025, 027, 028

Muses

005, 021, 024, 025, 027, 028, 045, 046

Thiva

017, 029

N Neochori

017, 021

O Olmeios

045, 050

Urania

017, 021

P Paliovoros

017, 021

Pausanias

005, 021, 024, 025

Permessos

021

Pyrgaki

017, 021

Valley, of the Muses W Works and Days (Erga kai Imerai)

Xirorrema Y

Sanctuary, of the Muses

017, 028

005, 017, 021, 024, 025, 027, 029, 045

Zeus

017, 021

005, 045

017, 024, 025, 027, 028

T Termessos

021

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bilbiography

Oikonomou, A. (2011). Agricultural and livestock economy in Boeotia of modern times. Encyclopaedia of the Hellenic World. Boeotia. http://www.ehw.gr/l.aspx?id=12866 Pausanias. Description of Greece (translation) Tataraki, A. (1992) Kaktos Publications

Askre Friends of Progression Club ‘Hesiodos’. (n.d.). Mouseia. https://www.hsiodos.gr/ΚοιλάδατωνΜουσών/ΆλσοςΜουσών/Μουσεία.aspx

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paintings (page 048) Edmond Aman –Jean (1858 –1936) /Esiodo che ascolta le ispirazioni della musa (ca. 1890) arte: uno sguardo alla pittura del XIX secolo e del primo ‘900. (n.d.) https://www.deartibus.it/drupal/content/ esiodo-che-ascolta-le-ispirazioni-della-musa Hendrick van Balen the Elder, Jan Brueghel the Elder, Joos de Momper /Minerva visits the Muses (ca. 1700 –1750) Google Arts & Culture. (n.d.) https://artsandculture.google.com/asset/minerva-visits-the-muses-joos-de-momper-ii-hendrick-van-balen-i-and-jan-brueghel-i/tQFP-me8vu138A?hl=en Jacopo Tintoretto (1519-94) /The Muses (1578) The Royal Collection Trust. (n.d.). https://www.rct.uk/collection/405476/the-muses

images/ paintings/ map data sources muses analysis images 01. G. Droysen, Map of Boeotia, Attica, Phocis. Historischer Handatlas Wikimedia Commons. (n.d.). https://commons.wikimedia.org/wiki/File:Map_of_Boeotia,_Attica,_and_Phocis.jpg 02. personal archive of the author 03 –05. photographic archive of I. L. Peppas, credited from the archive of the French School of Athens. French School of Athens, EfA. https://www.efa.gr/en/ressources-documentaires/bibliotheque/catalogue 06. Katsaggelos, G. (n.d.). in Valavanidou, Α., Iakovidou, O. Routes on Helikonas. p. 10 page 023 album: photographic archive of I. L. Peppas *proposal all the drawings, sketches, diagrams and maps are personal material of the author

Claude Lorrain (Claude Gellée) (1604–1682) /Apollo and the Muses on Mount Helicon (1680) Museum of Fine Arts Boston. (n.d.). https://collections.mfa.org/objects/31442 François Lemoyne (Le Moine) (1688–1737) /Four Muses (u.d.) Artnet. (n.d.). http://www.artnet.com/artists/fran%C3%A7ois-lemoyne/the-muses-of-poetry-and-music-with-attendant-133V4Ejw4cj7sUUVIiF1AA2 René –Antoine Houasse /Story of Minerva: The Muses Showing Minerva Hippocrene Waters of the River that Brings Out Pegasus (1696) Useum. (χ.η.). https://useum.org/artwork/Story-of-Minerva-The-Muses-Showing-Minerva-Hippocrene-Watersof-the-River-that-Brings-Out-Pegasus-Rene-Antoine-Houasse-1696

map data About Muses and Terpsichore (n.d.). Corinthians Cultural Club ‘Terpsichore’. https://terpsichore.org.gr/index.php?option=com_content&view=article&id=61&Itemid=67 Airbnb. https://www.airbnb.com/s/Boeotia--Greece/ Askre Friends of Progression Club ‘Hesiodos’. (n.d.). https://www.hsiodos.gr/ Biard, G., Kalliontzis, Y., Charami, A. (2017). La base des Muses au sanctuaire de l’Hélicon. Bulletin de correspondance hellénique, 141 (2), pp. 697 –752. https://doi.org/10.4000/bch.577

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