The stories behind unnoticed places in the centre of Athens – part B

Where were the “Sotiria” – the public urinals – located in the ancient Agora? Under which Christian temple can the ancient temple of Heavenly Aphrodite be found? Where was the magnificent Pantheon situated? Join us on an enlightening walk through the city center as we discover known and unknown tales about monuments, churches, and statues.

The Church of All Saints: Built atop the ancient temple of the Celestial Aphrodite

The small Byzantine All Saints Church is nestled at 39 Tsocha Street (near Ambelokipi metro stop), just a few meters from the southeast corner of the Panathinaikos Stadium. Due to the terrain’s slope, it’s situated about two meters below the road surface, making it easy to overlook. However, it harbors a fascinating history that dates back to ancient times. In 1815, during her visit to Athens, the Princess of Wales, Caroline, funded an excavation at the temple’s site. This led to the discovery of marble doves, indicating that the site once housed a sanctuary dedicated to the Celestial Aphrodite, the goddess of pure love and family (the dove was her sacred bird). The location also featured a spring with cool water. The temple’s walls incorporate ancient architectural elements, many bearing inscriptions, and its windows are richly adorned. The current temple was constructed on these ancient ruins in the 11th century. In antiquity, the site hosted a sacred grove (“Kipoi”), a spring, and an altar to the goddess, where offerings were made during the feast of the Arreforians. This altar remains to the left of the present-day temple. It was here that “secret gifts” to the goddess were placed, primarily during the feast of the Arryphorians or Arretophores. During this feast, two young girls aged 7-11 would journey from the Parthenon carrying gifts from Pallas on their heads. They would bring these to the “katavasion”, the underground spring of Aphrodite in Kipoi, take other gifts from there, and return to the Acropolis. This symbolic act connected the deities of love and wisdom. With the rise of Christianity, particularly after 300 AD, this sanctuary fell into decline. In its place, a temple dedicated to All Saints was erected. Later, an entire monastery, the Monastery of the Holy Confessors, was built around the small temple. Foreign travelers’ historical accounts reveal that by the 19th century AD, the temple was already in a state of decay. As a result, religious services were primarily held in the surrounding area, attracting many Athenians. It is even said that before the Greek Revolution, the church was frequented by Ottoman Turks who came to worship and receive holy water. In 1922 AD, the archaeologist G. During the first systematic excavation of the temple, Sotiriou discovered a largely ruined structure, with only the eastern and northern sides still intact. Numerous monk graves were uncovered, some of which still exist today in a crypt north of the church. The tomb of the monk Theophylactos was also found in a sarcophagus on the west side. The temple was restored to its current form in 1956.

The Sleeping Alexander Ypsilantis on the Field of Areos

The full-length statue of Alexander Ypsilantis, situated in front of the Holy Temple of Taxiarches on the Field of Areos, is of the Sleeping Woman type: a deceased figure reclining on a decorated sarcophagus (coat of arms, wreaths, etc.). This is the only instance of a male figure depicted in the Sleeping Woman style in Greece. The identity of the honored individual is a topic of debate. Literature sometimes refers to him as Alexander and at other times as Dimitrios Ypsilantis. However, an inscription on the eastern front of the sarcophagus, at the monument’s rear, reads: ALEXANDER HIGHLANDER / GENERAL COMMISSIONER OF THE / HEAD OF THE FRIENDLY SOCIETY. The monument bears no artist’s signature, and literature cites 1869 as the year of its creation. Its attribution to Leonidas Drossis is based on the artist’s archive at the National Gallery, which includes a work named ‘Ypsilantis’, according to his son, owned by the Polytechnic. The monument was originally located in the Polytechnic’s garden, but it was moved due to protests over its unsuitability for the site and incidents of vandalism since 1927. In 1964, it was relocated to its current site, where the cenotaphs of Alex. That same year, the cenotaph was moved to a location that also held the cemetery of Alexis Praidis, the Ierolochites of 1821, and those who fell at Domokos in 1897. On October 27, 1964, the remains of Alexander Ypsilanti were retrieved from Vienna and placed in the monument, likely when the inscription was added. However, an 1843 letter from Christian Hansen suggests that he also worked on the Ypsilanti monument. Some believe the work was done by Ioannis Vitsaris.

St. Elisha: The Church of Alexandros Papadiamantis in the Court of Miracles

The Logothetis Mansion is situated in Monastiraki, across from Hadrian’s Library, at 14 Areos Street. Today, all that remains of this Athenian mansion from the Turkish occupation era are an archway, a fountain, an exterior stone staircase leading to the upper floor, and a courtyard encircled by later buildings. Nestled within the courtyard of the old Chomatianos-Logothetis family home, stands the chapel of Agios Elishaios. This modest, single-aisled basilica with a wooden roof, estimated to date back to the 17th century, also belonged to the family. It was first documented in the 1832 plan of Athens by Schaubert and Kleanthi. One wall of the church was built against the mansion’s staircase. Many of its construction materials, along with its unembellished decorations, were sourced from various centuries and older monuments – a common practice in church architecture of that time.

The church is linked to the figures of Alexandros Papadiamantis and his cousin Alexandros Moraitidis, both from Skiathos, who spent solemn vigil hours singing there. Papadiamantis was the right-hand chanter, Moraitidis the left-hand one. This strong bond between the cousins and the small church was used as a key argument in articles and letters of the time to prevent its demolition. Papadiamantis’ charisma drew notable literary figures like Zacharias Papantoniou, Pavlos Nirvanas, Yannis Vlachogiannis, and Gerasimos Vokos to attend services just to hear him sing.

Despite protests from many architects and archaeologists, the church was largely demolished during the Nazi occupation by its later owner, Hercules Kazakos, a grandson of the Chomatianos-Logothetis family. Kazakos feared the church would be declared a listed monument, hindering his ability to ‘exploit’ it for his ‘own benefit’. The property was later seized by the Ministry of Culture and assigned to the Museum of Greek Folk Art. The chapel remained in ruins for many years until the Society for Papadiamantic Studies undertook its restoration in 2003. In 2005, the first wake in memory of Papadiamantis was held in the newly restored chapel.

“The singers, Alexandros Papadiamantis and Alexandros Moraitidis, twin storytellers and sensitive writers from Skiathos, were devout Christians. Papadiamantis, who also worked at “Acropolis”, was transformed during his sacred duties. An aura of pure joy illuminated his shaggy figure with its curly black beard and vibrant crown. Unrecognizable from his usual sullen demeanor at the office, he seemed to transcend the priestly comparison during these hours.” The author of “Nostalgus” sang with fervent passion, his voice intensifying as he punctuated the rhythm by forcefully tapping the edge of the pew. Yet, he maintained the sanctity of the temple, stepping in when anyone strayed from their path or duty. It was then that Papadiamantis transformed into a stern admonisher, rebuking with fervor. Conversely, the author of “Decapitation” embodied a more humble demeanor, seemingly lost in a dream of religious enlightenment and devotion. Leaning on the pew, he stretched out his bald head, adorned with a long black beard, a smooth forehead, and a prominent nose. With his eyes closed, he softly chanted a verse. The sight of these two divinely inspired writers from Skiathos was awe-inspiring. It was admirable how they not only vividly depicted religious scenes and ecclesiastical episodes in their stories, but also embodied a humble, sacred conviction and good conscience. They were masters of such ceremonies and festivals, splendid defenders of the most authentic Byzantine tradition, which some have imprudently attempted to distort under the guise of ethnicity and warped music. “Vigil to St. Elisha”, Gerasimos Vokos (1894)

Pantheon: The Monumental Edifice of Hadrian

Fifty meters above Hadrian’s Library and the Roman Forum, ascending Hadrian’s Street, at number 80, you’ll discover ruins from various eras, ancient structures unveiled layer by layer. Among them, the remnants of an enormous edifice, at least 85 meters long, stand out. This building is attributed to the Philhellene Emperor Hadrian and was identified in 1968 as the Universal Sanctuary of the Gods, the Pantheon. Some believe it was the Panhellenion, another Hadrianic edifice, which served as a gathering place for representatives of city-states. As Athens predates Hadrian, the foundation of this monumental building contains remnants of older structures from the late Hellenistic and early Roman periods. The excavated plot encompasses all of these. On its northern side, there’s also a section of the Late Roman wall (267 AD), which includes an addition by Emperor Justinian — a fortified tower (with a surviving five-meter-high section) and a beautiful marble gate. These can be seen on the west side of the adjacent building. The excavation uncovered the remnants of the Virgin Mary of Miseraliotti, also known as Chrysaliotissa, from the 17th century. These were discovered in the basement of a 19th-century building, which subsequently lent its name to the historic street.

Vespasian: The Ancient Public Latrine

Located northwest of the Tower of the Winds and northeast of the eastern portico of the Roman Forum, the Vespasian latrines were built in the latter half of the 1st century AD. Their purpose was identified in 1940 by the architect Anastasios Orlandos. These were public restrooms, catering to the bustling crowd that visited the commercial center of Athens daily. They were named after the Roman Emperor Vespasian (69-79 AD), who constructed similar facilities in all the major cities of the Empire (Corinth, Thessaloniki, Ephesus, etc.). Additionally, he levied a tax on every user, who had to pay upon entry. When his son, Titus, criticized him for generating revenue from such a foul source, Vespasian held a coin under his nose and asked him, “Does it stink?” He then uttered the phrase “Pecunia non olet,” which means “money has no smell.” The Vespasian was a rectangular structure with a long anteroom and an almost square hall featuring marble benches with round holes on all four sides. A deep inclined channel beneath the benches carried waste to the main city drain, aided by a continuous flow of water from the springs on the northern slope of the Acropolis. The roof was covered around the edges, leaving only the central rectangular atrium open for lighting and ventilation. The ancients referred to the latrines as “Sotiria,” a term that was also used in the 19th century, as in the Zappeion Megaron (1888), where rooms after number 20 were labeled “00,00” with the explanation that they were “Sotiria,” designated for men on the right and women on the left. Interestingly, there were no partitions between the holes where users sat. Indeed, friends often sought to gather in the “relief rooms” around the same time. This allowed them to engage in conversation, discuss current events, and share gossip as a group while attending to their needs.

Reference Books:

Monastiraki-Plaka, The Neighborhoods of the Gods, Artemis Skumbourdi, Pataki Publications

The Sculptures of Athens, Outdoor Sculpture 1834-2004, Zetta Antonopoulou, Potamos Publications

Athens, Tracing the city through history and literature, Thanasis Yochalas-Tonia Kafetzaki, Estia Bookshop Publications

Agalmatena Lily, Minas Papageorgiou, Daidaleos Publications