Acropolis of Lindos
Hello! My name is Yannis. I am a local Rhodian and have been a tour guide for over 15 years. Together, we will visit the Acropolis of Lindos, a must-see attraction for anyone visiting the beautiful island of Rhodes.As you climb to the top, you will be rewarded with a breathtaking panoramic view that overlooks the stunning town of Lindos. The view from the top shows the crystal-clear waters of the Aegean Sea and the white buildings scattered around the town. The climb can be challenging, but it's worth it for the stunning views that you will encounter. Once you reach the top, you will feel like you are on top of the world. So let's go in and experience the beauty of this ancient site and its fantastic view!As you arrive at the gate of the lower fortifications of the Acropolis, you'll find a ticket booth on your right by the entrance. Validate your ticket to the barriers and walk straight ahead. Climb up the stairway and reach the plateau. Find a comfortable spot, turn to your right and look towards the bedrock. This is where our journey into ancient history starts.
Stop 1 - Introduction
All city-states in the ancient Greek world featured strongholds on the summit of a steep hill close to the city center. This one right here is no exception, as it crowns the modern town which has been built over the ancient ruins of Lindos. The most prominent period in the history of the Lindos dates to the 6th century B.C. when the tyrant of the town, Cleobulus, restored the earlier temple of Athena Lindia.According to Greek mythology, Danaos built the temple after having fled Egypt with his 50 daughters and arrived on Rhodes under the guidance of the Goddess Athena. Danaos was welcomed with honor by the locals, and so he chose to found a temple of the Acropolis dedicated to Athena. Thus, she became the patron Goddess of Lindos.So, the people of ancient Lindos revered Athena as their patron deity, and she played a significant role in the religious and cultural life of the city. The temple was one of the most important religious sites in the ancient city and served as a center for religious ceremonies and offerings to the goddess.Athena was also regarded as the protector of cities and was believed to offer guidance and support to her worshippers in times of war and conflict. The people of Lindos likely sought her favour and protection, especially considering the strategic location of their city on the island of Rhodes.Today, while the ancient worship practices have long since ceased, the historical significance of Athena in Lindos remains an important aspect of the town's cultural heritage, attracting tourists and history enthusiasts to explore the ancient temple and the fascinating mythology associated with the goddess.
Stop 2 - The Relief of a Semi-Circular Bench
Once past the barrier and on the plateau, proceed closer to the carvings on the bedrock.This is a very common type of honorary monument for Lindos known as an Exedra. This monument was carved into bedrock, and as you can see it is equipped with a bench that circumscribes the whole of the chamber, with a niche at the back just above the bench. At the center of the chamber, also known as the hemicycle, a rectangular base has been cut off in its biggest section. On that base once stood a statue erected by the family who commissioned this monument, and another one was placed in the niche. Unfortunately, we know nothing of that monument, only that it dates to around the 3rd century B.C.Exedra was designed to serve various functional and aesthetic purposes.In public buildings like theatres or basilicas, semicircular exedras often provided seating areas for distinguished individuals, such as magistrates, priests, or honored guests. These elevated seating niches allowed them to have a prominent view of the events or proceedings taking place in the central area. Exedra also served as spaces for meetings, discussions, or philosophical gatherings. In ancient times, scholars and philosophers would use exedra as a place to exchange ideas and engage in intellectual discourse. At the same time, these semicircular benched were often adorned with sculptures, reliefs, or decorative elements that added to the overall aesthetic appeal of the building. These decorative features showcased the artistic skills of the time and conveyed important cultural or historical messages. From an architectural standpoint, exedra was used to create symmetrical and balanced designs, especially in buildings with circular or semi-circular layouts. They helped to break up the monotony of straight walls and added visual interest. In some cases, it was designed with acoustic considerations in mind. The curved shape of the niche could help to direct and enhance the sound, making it easier for speakers or performers to be heard by the audience.
Stop 3 - Relief of a stern from a Rhodian galley
Right next to the exedra, there is another carving on the rock. Move a few steps to your right in order to see it clearly.The relief depicts the stern from a Rhodian galley.In antiquity, the island of Rhodes was known for its skilled shipbuilders and seafaring traditions. The Rhodians were renowned for their naval prowess and the design of their warships, which played a significant role in various historical naval battles.A relief of a stern from a Rhodian galley would typically be a carved or sculpted representation of the ornate and decorative features found at the back of these ancient ships. These carvings were often intricate and served both practical and aesthetic purposes.The stern of a ship was an essential part of its identity, and the carvings on the stern often carried symbolic elements representing the city or state to which the vessel belonged. They might include symbols of gods, mythical creatures, or other significant cultural references. The stern was also a crucial structural element that helped protect the ship's rudder and other important components. Carvings and decorations on the stern would sometimes incorporate functional elements that served to strengthen and protect the ship. The level of ornamentation and craftsmanship on the stern could be an indication of the ship's importance or the wealth and prestige of its owner. Elaborately decorated sterns were often associated with powerful and influential individuals or states. In naval battles, the carvings on the stern could help allies and crew members recognize their own ships amidst the chaos of battle.This one that we are looking at right now, according to the inscription, was sculpted by one of the most famous artists of the time, Pythocritos. Pythocritos was the son of Timochares, also a sculptor, and came from Eleutherna Crete. Back then, many renowned artists were given important commissions far from their hometowns. Such was the case for Pythocritos who was called to honor one of its admirals, Agesandros with this elaborate sculptural monument. Thus, Pythocritos carved the stern of a Rhodian galley. The relief is carved so deeply because at that point there also stood a statue of Nike. The fact that this monument was chosen to be set next to the staircase leading to the temple of Athens is an indication of the eternal honor Agesandros received from the community of Lindos.The stern of the Rhodian galley was Rhodes, a rather popular base for statues representing the goddess Nike. Nike was the personification of victory and was virtualized in Ancient Greece as a goddess with wings who would appear at the end of a battle in order to crown the victor since that was the outcome of a divine will. Among the most famous statues depicting the goddess Nike is the Nike of Samothrace, today held in the Louvre Museum in Paris. The interesting thing about that statue is its base. Nike, in case you have already visited the Louvre, stands on the stern of a ship which has been very elaborately carved, just like the relief that you are gazing at right now. The Nike of Samothrace was dedicated by the Rhodians to the Pan-Hellenic temple of the Great Gods in Samothrace, Both the statue and its base were most likely completed by Rhodian artists.
Stop 4 - The Monumental Staircase
Leaving behind the two carvings, turn to face the staircase. Right in front of you, these 77 steps will lead you to the summit of the Acropolis. Don’t be intimidated, take a deep breath and start walking, but take a good look around while you do so.If you did take a good look at the staircase, then you will have noticed on the left side yet another staircase also going up. Two staircases at the same point… but why? The one on the left was the ancient staircase leading to the Acropolis, while the one you are on right now, is the medieval staircase that replaced the latter. The left one is cut out of the rock and was part of the renovation to the temple carried out by Cleobulus the tyrant of Lindos in the mid-6th century B.C. The medieval staircase, built of porous limestone blocks, was part of the remodeling of the Byzantine castle that stood on the rock of the Acropolis which the Hospitallers, owners of Rhodes, renovated after 1309. Amazing huh? Two similar means of ascending yet so distant in time!The physical labor of ascending a staircase had several symbolic meanings in ancient times. In Ancient Egypt, the Book of the Dead speaks of a staircase that the soul had to ascend in order to meet the Gods. Later on, in Christianity, a ladder leading to heaven was a trope for the monastic stages each monk had to accomplish by going from one’s ego to divine unity. In other ancient civilizations too, the staircases symbolize anything bridging the earthly and heavenly realms. Here, in the Acropolis of Lindos, this long staircase plays both a literal and metaphorical role. It was the processional pilgrimage that devotees needed to take in order to meet the goddess, and it was a spiritual journey from themselves to wisdom, as Athena was the goddess of wisdom.
Stop 5 - The semi-circular bench of Pamphilidas
The staircase leads up to a gate. Upon entering the gate, follow the footpath you see marked out and walk into a vaulted chamber of some meters. On either side of the walls, you see bases of statues and offerings that were amassed from the excavations in the Acropolis. After walking through the first vaulted chamber, do not proceed straight ahead, but rather take a left turn and walk some meters to the second vaulted chamber. Go past that chamber as well and move towards a semi-circular bench.Pamphilidas, son of Telesarchos, had served as a priest of Athena Lindia sometime in the 3rd century B.C. Every year, members of eminent townspeople were elected to the office of the priest of Athena. Thus, the office of Pamphilidas suggests that he was a highly esteemed and significant member of the community of Lindos. The honorary monument dates back to 215 B.C. This exedra, compared to the relief you saw on the bedrock, is a free-standing monument and for that, it has been built on a foundation of porous limestone blocks, while the rest of the monument is built of grey and white marble blocks. As you will notice, the surface of the upper course of the marble masonry has quite a few notches and grooves. These are the marks left by statues that once decorated the exedra. At least three statues sat on top of it which suggests that the family of Pamphilidas had at least three of its members serve as priests of Athena Lindia!The office of the priest Athena was the most important civic office in the city of Lindos. Thus, the names of those who served as priests of Athens were recorded on a marble catalogue known as the Lindian Chronicle. This register was situated on either side of the entrance in the pronaos, the part of the temple that precedes the sekos – the holy interior where the statue of the goddess was. The catalogue was a part of a commemoration that was held for all those members of the Lindian demos that had contributed to the communal feast and for that deserved to be always remembered before the goddess and before the participants in the celebrations. The Lindian Chronicle was initiated not long after the founding of the city of Rhodes.
Stop 6 - The Late Hellenistic terrace
Now turn your back to the exedra of Pamphilidas and look at those chambers in front of you. There are two sides of interconnected vaults and in the middle a staircase. Take a look at either side before you climb up those stairs.What you see in front of you is evidence of a way of evening the rough surfaces of the rock. Rather often on rocky grounds, the surface was not suitable for the simplest of things, from walking to holding a procession. That’s why there was a need to even the surface by making terraces. These artificial plateaus practically multiplied the available space and facilitated walking and gathering on the summit of the Acropolis. But they also offered ground for the accommodation of even more buildings. On this occasion, the extended plateau was built in the 1st century B.C. It reformatted this last part of the rock with a large terrace that accommodated cisterns and storerooms for votive offerings.From a functional point of view, the terrace sets a visual mark between the built and natural environment and is a unique feature of landscape architecture. The Hellenistic period was an era of extreme fame for the temple since it had reached more audiences outside the island of Rhodes. During the Hellenistic period, Rhodes established a notable maritime state that included not only the nearby islands but had expanded to the opposite coasts of Asia Minor, namely in the areas of Caria and Lycia. That mainland constituted the inland country of Rhodes and was known as the Rhodian Peraia. The Rhodian state's extent and its sanctuaries' fame required massive remodelling. The undertaking of such building projects reflects the prosperity and economic affluence of Rhodes. The construction of the terrace expresses this concern towards the significance of the sanctuary and its smooth function. But let’s get closer to the temple, shall we?
Stop 7 - The Great Hellenistic Portico
Climbing up the stairway of the terrace, reaching the upper level, you will face the Hellenistic Portico.By the end of the 3rd and beginning of the 2nd century B.C. major building projects had reshaped the former classical layout of the acropolis. One of these was the great Hellenistic portico that you see in front of you. The portico or stoa is a building that accentuates the monumentality of the acropolis and gives a flair of grandeur. The stoa consists of two L-shaped wings, each with a temple-like façade at the end, and in the middle, there’s another stairway. The temple-shaped wings were connected via a series of columns that created a colonnaded façade in front of the stairway. Remember that the Stoa repeats the plan of the Propylaea, which we will see later. This is not a random selection but gives emphasis to the sacred ground that starts beyond the entrance of the Propylaea. At the same time the stoa, being the lengthiest building in the acropolis, blocked the view to those unprepared visitors who wanted to enter the temple.
Stop 8 - The Church of Saint John
Where you stand, you can see a church.In the early 4th century A.C., Christianity was established as the official religious system of the then-late Roman Empire. The support for one religious system that the Roman Emperor Constantine showed led to the gradual fading and decline of the ancient cults. Sometime in the later 6th century A.C., the Acropolis ceased to exist as an ancient temple, and a church was founded on the Acropolis. Today, this church, discovered only during excavations, no longer exists. That early church was the predecessor to the partially-standing building you see. This remodelling of the vital cult centres of the ancient world into fortresses with shrine churches in their precinct was a frequent feature of the Byzantine period. One of the most famous examples of such a transition from the ancient cults to Christianity is the Acropolis of Athens, where the temple of Parthenon was turned into a Christian church dedicated to the Virgin Mary.The church of Saint John is the oldest surviving, albeit in a partial state of preservation, building on the acropolis today. It has taken up half of the eastern part of the late Hellenistic terrace. According to evidence, the erection of the church could be placed approximately at the end of the 12th century. It employs the most common architectural type for churches in Byzantium, the so-called cross-in-square. These churches were typically domed, with the dome situated at their center.
Stop 9 - The Propylaea
Turn your back to the church and walk towards the stairway that you saw in the middle of the Stoa. Climb up the stairway and you will find yourself on the third level of the Acropolis. When up, you will notice that in this part there is nothing standing. Look carefully at the ground. You will see that it is actually designated a rectangular building with two uneven wings. You are actually standing inside the ghost of the Propylaea.Propylaea were an integral part of the layout of the ancient Greek temples, which were built to seclude the most holy spaces from the outside world. The word in Greek is composite and consists of the prefix “pro” (meaning before) and the word “pyle” which means portal or door. Thus, in a modern interpretation, we could call the Propylaea a spacious gateway or entrance hall. It was an impressive architectural element that welcomed visitors and marked the transition from the outside world to the sacred and significant space of the Acropolis.The Propylaea of Lindos was some 36 meters long, somewhat shorter than the Hellenistic stoa you passed through, and that made it the second largest building on the Acropolis. In terms of layout and style, you should visualize it exactly like the Stoa, as we mentioned while we were there – Two temple-shaped wings and a collonaded façade in the middle. Five doors that were set up in the back wall of the building controlled the entrance to the temple. It was here that the visitors and devotees cleansed and purified themselves before they were considered fit to enter.A series of strict rules prevented many considered impure from entering the temple of Athena. Someone was considered fir for entering if he did not carry weapons, was dressed decently, had his head covered and was either barefoot or sandalled. Even the sandals had to be white and not made from horse leather. Apart from these general rules that applied to anyone before the entrance, other rules included abstinence from sexual intercourse for 41 days before arrival. The same time applies if a member of one’s family had passed away. If you had paid a visit to a house with a newborn, you should wait seven days before you were considered pure and able to access the temple. But, if you had had sexual intercourse with a prostitute because the latter were deemed sacred servants of Aphrodite, you were allowed to enter after a day had passed. Go figure!You have probably noticed that the Propylaea has a composite form. The temple-shaped facades were used as small shrines for other deities worshipped at the Acropolis. Past the five portals, the north part of the Propylaea was L shaped, and three rooms were probably used for symposia, storing the most expensive offerings and other related purposes. The building of the Propylaea ended at the eastern end, where the temple of Athena lay.Let’s go ahead to our last stop.
Stop 10 - The temple of Athena Lindia
Leave behind the Propylaea and move some meters towards the temple that you see in front of you. Go past a stoa attached to the temple and move to the temple’s rear side.You have reached the highest point of the acropolis, its southeast corner, where the temple of Athena was founded some two millennia ago! Without having to endure purification, you have enjoyed a pilgrimage to the most important ancient acropolis of Rhodes and perhaps experienced the same feeling as all those visitors and devotees that celebrated Athena Lindia. You stand before the temple of Athena Lindia. As you can see, this is a relatively simple type of temple, a Doric four-columned front and back with a simple room, known as a cella, in its interior that was divided into the pronaos in the front and the opisthonaos at the back. The temple was razed to the ground in ancient times, but during the excavations, the architectural elements that were unearthed at the site were put back, and the rest of it is a restoration of the 20th century for the temple to be easily identifiable.Cleobulus, who we mentioned earlier, was one of the most influential figures in the history of Lindos. He is only sparsely known from historical sources. He was a renowned poet and philosopher, apart from a political leader. He is known to have done on the Acropolis the renovation of the temple of Athena Lindia sometime in the mid-6th century, which gave it new splendour. The mid-6th century B.C. new temple of Athena Linia was decorated after a victorious war in which Cleobulus led against the Lycians with the shields of the defeated. The shields were placed in sets of four on each of the narrow columned facades of the temple’s front and back. In the late 4th century, a disastrous fire caused extended damage to the temple of Athena. After that, the demos of Lindos decided to renovate the whole monumental layout of the Acropolis by building a new temple, new Propylaea and a new Hellenistic stoa all of which you saw earlier. This remodelling was the final one and the one that the restorations of the Acropolis have partially reconfigured.I hope you have found our tour helpful in uncovering the history of the Acropolis of Lindos! In case, you are wondering how to find the exit, just go back the way you came!Spend your time exploring the island's rich history, beautiful landscapes, and vibrant culture. For more audio tours navigate our app or take a step forward and join one of our live guided tours at www.keytours.grEnjoy Rhodes and the warmth of its Mediterranean charm.
