By Dimosthenis Vasiloudis

The ancient world was home to many awe-inspiring monuments and sanctuaries, places where humankind paid homage to its deities. Among these, the Sanctuary of Amyklaios Apollo in Laconia, Greece, stands out, primarily because of its colossal throne dedicated to the god Apollo. This article delves into the history, architecture, and cultural significance of this sanctuary and its iconic throne.

Background and Historical Context

The Sanctuary of Amyklaios (Amylases) Apollo is located on a hill in Amyklae, which is about 5 kilometers south of Sparta. According to ancient sources and traditions, the worship of Apollo in Amyklae dates back to prehistoric times, with the god being worshiped alongside Hyacinthus, a divine hero of local mythology. Over time, the significance of the sanctuary grew, especially during the Archaic and Classical periods.

The Temple of Amyklaios Apollo is said to be the source of the belief that Apollo preferred Hyacinth, the youngest son of Amykla and Diomedes. During a duel of archery between the two, Apollo accidentally murdered him with the disc. A further version of the story says that the wind deity Zephyrus, who was in love with and envious of Hyacinth, purposefully pushed the disk of Apollo onto his head, causing Hyacinth to die. Hyacinth, a beautiful flower, is reported to have grown where the blood from the wound flowed. In Amyklae, where Hyacinth was laid to rest, a strange structure with apartments and galleries dating back to the sixth century BC was erected above his shrine.

excavations of the site

The Sanctuary of Amyklaios Apollo (also known as the Sanctuary of Hyacinth and Apollo) was considered one of the most important and beautiful monuments in ancient Greece.

Archaeologist Christos Tsountas originally excavated the sanctuary between 1989 and 1990, exposing a constructed wall and the temple's courtyard. A. Furtwaengler, an archaeologist, and E. Fiechter, an architect, continued the excavation in 1904. A. Skias continued the excavations in 1907 and moved the church of Agia Kyriaki, where the throne of Amyklaios Apollo was discovered. In reality, studies have revealed that the sanctuary's materials were used to construct Agia Kyriaki's complete church. E. Buschor and W. von Massow continued work on the excavation in 1924.

A massive marble threshold was discovered inside the Prophet Elias Church in Sklavochori. There have been 15 antique architectural elements, statues, or capitals discovered in the same church (plus one more in Agioi Theodoroi). Architectural remnants from the throne that had been integrated were also discovered in the church of Agios Nikolaos.

The Colossal Throne and the Cult statue

The most distinguished element of this sanctuary is the colossal throne, a construction that many ancient travelers wrote about, though sadly, today only remnants exist. Pausanias, the 2nd-century AD traveler and geographer, provided a detailed account of this structure in his Description of Greece.

This throne was neither a simple seat nor exclusively intended for seating. Standing over 10 meters high, it was an amalgamation of intricate sculptures and reliefs depicting gods, heroes, and mythical creatures. This made the throne not just an artistic marvel but also a narrative structure, telling tales of divine and heroic feats. Its sheer size and grandeur were so overwhelming that it often led many to mistakenly identify it as a tomb or monument.

Archaeological excavations have revealed fragments of this throne, including parts of sphinxes, griffins, and various other figures that once adorned it. These remnants give us a glimpse of the sanctuary's past glory and the artistic craftsmanship of the age.

The columnar figure of Apollo was positioned in the middle of the enormous throne. The statue, according to Pausanias, was made up of three pillars that stood roughly 14 meters tall. The figure had a helmet on his head and held a spear and a bow in each hand. The throne was created towards the end of the sixth century BC by the Magnesian artist Vathiklis, who was from Asia Minor. Four female figures—two Charites and two Ores (Hours)—supported the building's right and left façades. Before the throne was constructed, the statue was said to have been here for at least fifty years, according to scholars. At the Archaeological Museum of Sparta, Doric and Ionian elements of the mixed style are currently on display. The vertebrae of the columns, the floor and ceiling slabs, the door pilasters, the epistyle portions, and other details stand out.

All attempts to depict the throne up until this point have been based on Pausanias' description. His evidence indicated that the throne had the appearance of a single large bench, with the already-present cult statue of Apollo standing prominently in its middle. This served as both a pedestal for the cult statue and an altar for Hyacinth. It was put precisely over her grave. The visitor states clearly that Bathykles of Magnesia completed all of the remaining design and configuration work for the shrine in addition to building and decorating the throne.

There have been numerous attempts to depict the intricate shape of the throne, including the fantastical depictions created by Quatremere de Quincy in 1814, Theodor Pyl in 1852, Ludwig Ruhl in 1854, and Adolf Furtwängler in 1893. These depictions were first put together by Ernst Fiechter and more recently by Amalia Faustoferri, along with other efforts to replicate the legendary elements of the ornamentation. One thing that unites all of the proposed changes to the monument is the portrayal of Pausanias' descriptions in the open design suggestions. The indication of a hypothetical portrayal differs depending on the circumstances and the aesthetic standards in effect at the time the submission is made. However, it should be observed that no matter how closely the depictions resemble the enormous cult monument of the God, the essential notion of the seat always wins out.

The two alternate Fiechter plans from 1918 were the first to receive support from all the architectural ruins discovered during excavations or resulting from the destruction of the hilltop church. The Hellenistic Pergamon altar may have been modeled after the seat that Ernst Buschor and Wilhelm von Massow designed in 1927. In 1976, Roland Martin endorsed views that were comparable to those of Fiechter.

The supporting base (krepida) of the throne has been identified as the only remaining piece of the foundation wall constructed using the isodomon technique, which is situated at the summit of the hill to the south of the church of Ag. Kyriaki. The preserved "krepida," which is 4 m long and 1 m high, is built from rectangular, poros stones in its lowest levels, while its upper surface displays a line of blocks made of dark marble.

Architectural and Cultural Significance

The design and conception of the colossal throne exemplify the architectural and artistic innovations of the Archaic period. The blending of natural and mythical elements in its construction reflects the zeitgeist of the time—a society deeply rooted in its religious beliefs and traditions.

Beyond its architectural wonder, the Sanctuary of Amyklaios Apollo, and particularly the throne, served as a focal point for religious gatherings. The annual Hyacinthia festival, dedicated to both Apollo and Hyacinthus, saw a plethora of activities, from musical contests to horse races. During these celebrations, the colossal throne would have been the centerpiece, a testament to the intertwined relationship between mortals and the divine.

The Sanctuary Today

Today, what remains of the sanctuary offers a powerful reminder of the past. While the colossal throne is no longer intact, the site's ruins and fragments are invaluable to archaeologists and historians. Efforts to protect and study the site have provided valuable insights into the religious practices, art, and architecture of ancient Laconia.

The Sanctuary of Amyklaios Apollo and its iconic colossal throne are more than just relics of the past. They are symbols of human aspiration, of the blend of artistry and faith, and of a society's reverence for its deities. As we reflect on these ancient marvels, we're reminded of the timeless human desire to connect with something larger than ourselves and to leave behind legacies that echo through the ages.