Thiasos Monografie 11.

1
 «THIASOS Monografie»
Direttori: Enzo Lippolis, Giorgio Rocco
Redazione: Luigi M. Caliò, Monica Livadiotti
Anno di fondazione: 2011

Monica Livadiotti, Roberta Belli Pasqua, Luigi Maria Caliò, Giacomo Martines (a cura di),
Theatroeideis. L'immagine della città, la città delle immagini,
Atti del Convegno Internazionale, Bari, 15-19 giugno 2016, voll. I-IV

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Come citare il presente volume:

M. Livadiotti et alii (a cura di), Theatroeideis. L'immagine della città, la città delle immagini
Atti del Convegno Internazionale, Bari, 15-19 giugno 2016 , Thiasos Monografie 11,
vol. I, L'immagine della città greca ed ellenistica, Roma 2018

Le Monografie pubblicate nella Collana sono sottoposte a referee nel sistema a doppio cieco.
 THEATROEIDEIS
L'IMMAGINE DELLA CITTÀ, LA CITTÀ DELLE IMMAGINI
Atti del Convegno Internazionale, Bari, 15-19 giugno 2016

a cura di Monica Livadiotti, Roberta Belli Pasqua, Luigi Maria Caliò, Giacomo Martines

I. L'immagine della città greca ed ellenistica

Comitato scientifico:
Antonio Armesto (Progettazione)
Roberta Belli (Archeologia classica)
Luigi Maria Caliò (Archeologia classica)
Giampaolo Consoli (Storia dell’Architettura Moderna)
Jacques de Courtils (Archeologia classica)
Enzo Lippolis (Archeologia classica)
Monica Livadiotti (Storia dell’Architettura Antica)
Nicola Martinelli (Urbanistica)
Giacomo Martines (Restauro dei Monumenti)
Anna Bruna Menghini (Progettazione)
Dieter Mertens (Storia dell’Architettura Antica)
Camilla Mileto (Restauro dei Monumenti)
Carlo Moccia (Progettazione)
Elisabetta Pallottino (Restauro dei Monumenti)
Poul Pedersen (Archeologia classica)
Giorgio Rocco (Storia dell’Architettura Antica)
Fernando Vegas López-Manzanares (Restauro dei Monumenti)
 Introduzione

Il Convegno, svoltosi a Bari tra il 15 e il 19 giugno 2016, presso l'aula magna Domus Sa-
pientiae del Dipartimento di Scienze dell’Ingegneria Civile e dell'Architettura e presso la chiesa
della Vallisa, è stato organizzato nell'ambito delle attività seminariali della Scuola di Specializ-
zazione in Beni Architettonici e del Paesaggio del Politecnico di Bari, con la collaborazione
del Dipartimento di Scienze dell'Ingegneria e dell'Architettura dello stesso Politecnico e dello
CSSAR – Centro di Studi per la Storia dell'Architettura.
La call for paper, intitolata Theatroeideis. L'immagine della città. La città delle immagini,
ha subito riscosso notevole interesse e i cinque giorni in cui si è svolto il Convegno sono stati
davvero molto densi. Per la pubblicazione degli Atti, che escono in quattro tomi che insieme
compongono il volume XI della collana delle Monografie di Thiasos edita per i tipi dell'editore
Quasar di Roma, sono pervenute proposte da 135 autori, provenienti da diversi paesi (Italia,
Grecia, Danimarca, Spagna, Turchia) e diverse sedi universitarie ed Enti di ricerca. Come è
regola di Thiasos, tutti gli articoli sono stati sottoposti al vaglio di referee esterni e vogliamo co-
gliere l'occasione per ringraziare tutti del lavoro svolto, che ha incrementato senz'altro la qualità
dell'opera. L'elenco dei referee sarà pubblicato nell'apposita rubrica del sito web della Rivista.
Il convegno si era proposto di indagare il senso dell'architettura e della pianificazione
scenografica nella città occidentale dall'antichità al mondo contemporaneo, sia in relazione alle
scelte architettoniche e progettuali, sia alle funzioni e ai significati sociali e culturali che di volta
in volta la città e la sua società assumono.
Il tema si snoda a partire dalla città ellenistica (vol. I), la quale sviluppa una nuova forma
marcatamente scenografica dell'impianto urbano, che fa dell'impatto visuale il suo punto qua-
lificante; questo si esplica attraverso modi nuovi dell'architettura, più attenta al complesso mo-
numentale che non al singolo edificio, in funzione di una rinnovata visibilità sociale e politica.
Tale città, attraverso prospettive, vedute privilegiate, quinte e fondali, allestisce un'architettura
che si fa scenografia della vita urbana. La progettazione architettonica e urbana diventano così
sempre più il luogo del confronto politico, sociale e culturale, filtrato attraverso le esigenze della
propaganda del potere e dell’affermazione sociale. Alla città romana, tardoantica e medievale è
dedicato il vol. II, che comprende l'illustrazione di diversi casi studio che mostrano quanto la
lezione della città ellenistica sia stata fatta propria anche dal mondo romano.
Alla fine dell’antichità, il Mediterraneo e l’Europa vivono una cultura urbana complessa,
accolta ed elaborata dai periodi successivi. Anche nella città moderna, a cui è dedicato il vol. III,
le forme e i modi del comportamento urbano continuano a confrontarsi con architetture e città
scenografiche in un dialogo sempre più stratificato nel tempo e nello spazio, che arriva fino alle
esperienze delle città contemporanea, alla quale è dedicato il vol. IV.
I diversi filoni che è stato possibile individuare nei contributi presentati hanno riguarda-
to il tema dell'architettura e il suo rinnovamento nelle forme e negli spazi; il cambiamento delle
tecniche costruttive e delle attività di cantiere, la ricerca di forme architettoniche, l'adozione di
nuove spazialità che si distribuiscono tra piazze e percorsi urbani. In tutte le epoche, l'architet-
tura è stata indagata all'interno del rinnovamento urbano, non tanto come momento episodico
o puntuale, quanto come riqualificazione urbana che interessa complessi privati e pubblici. Per
la città contemporanea è per altro emersa una linea di ricerca che riflette sulla progettazione
della città, con proposte che traggono dalle forme della terra il suggerimento per il suo disegno.
Un'interessante sezione è dedicata, nei diversi periodi, alla città cerimoniale e al rapporto
tra spazio e vita sociale: ritualità, feste e percorsi processionali. L'architettura vissuta si forgia di
nuove accezioni e instaura un rapporto dinamico con il sostrato sociale della città. Le cerimonie
a loro volta ricevono importanti significati dai luoghi, dalle architetture e dalle loro immagini.

Introduzione 7
 Durante le feste e gli altri eventi pubblici, la città è percepita per sinestesia anche attraverso
odori e suoni.
Sono inoltre emersi alcuni temi 'trasversali', che hanno sviluppato, nelle diverse epoche,
aspetti particolari dell'immagine che la città vuole offrire di se stessa. Tra questi, particolare
risalto ha naturalmente avuto il tema della città teatroide, sviluppato per diverse realtà di epoca
ellenistica, tra cui in particolare Alicarnasso, il cui Mausoleo è stato per altro tema di una spe-
cifica sezione che ne indaga la fortuna fino al Rinascimento. Diversi contributi hanno invece
affrontato il tema delle città portuali e della veduta privilegiata che esse offrivano all'approdo,
sviluppando la narrazione sia in relazione alla città antica sia a quella moderna e contempora-
nea. Il caso di Pompei è stato poi oggetto di ricerche che vanno dall'analisi di complessi monu-
mentali antichi, analizzati dal punto di vista della loro visibilità, alla restituzione dell'immagine
che il restauro può fornire, fino alla fortuna di cui la città antica poté godere nel XIX secolo
come fonte di ispirazione di un ricco filone di 'ricostruzioni ideali'. L'architettura per la messa in
scena di spettacoli teatrali è stata poi un'altra delle linee di ricerca che si possono rintracciare in
modo diacronico nei quattro volumi che compongono l'opera.
Infine, un ulteriore importante filone di indagine è stato quello della restituzione dell’im-
magine della città e dei suoi monumenti attraverso attività di recupero o restituzione virtuale,
volte entrambe non solo alla salvaguardia dei beni architettonici, ma anche alla restituzione
dell'immagine originaria degli spazi e dei monumenti che li compongono; inoltre, in diversi
contributi, l'immagine della città viene ricostruita filologicamente attraverso l'analisi delle vedu-
te e della cartografia storiche. Nel caso degli interventi di restauro, si tratta di scelte progettuali
non ridotte alle sole valutazioni dell'analisi storica, ma volte anche alla definizione di metodi di
rappresentazione idonei alla comprensione e divulgazione delle indagini effettuate.

Nostra intenzione era di trattare il tema dell'immagine della città in modo diacronico e
interdisciplinare, come si evince per altro dalla stessa composizione del Comitato Scientifico,
e riteniamo che, con la partecipazione di storici dell'architettura, archeologi, storici dell’arte,
storici della musica, architetti progettisti, architetti restauratori, l'obiettivo sia stato sostanzial-
mente raggiunto.
I curatori

8 Theatroeideis. L'immagine della città, la città delle immagini, Thiasos Monografie, 11, vol. I, 2018
I. L'immagine della città greca ed ellenistica
 Vol. I - Sommario

Vol. I. L'immagine della città greca ed ellenistica

Introduzione 7

Spazi e architetture della scenografia urbana e santuariale in età ellenistica 13

Caliò L.M., Dalla polis immaginata all’asty delle immagini. Percorsi di analisi dell’immagine di città nel
mondo antico 15
Rocco G., La stoà come elemento generatore di spazi urbani scenografici nella città tardoclassica ed elleni-
stica 47
Filimonos M., Patsiada B., οὔσης τῆς πόλεως θεατροειδοῦς ….Αncient testimonies and excavation finds from
Rhodes 67
Pedersen P., The description of Halikarnassos by Vitruvius – the text and the physical remains 89
Berti F., Masturzo N., Iasos fra età classica ed età ellenistica: l’agorà e l’area della Porta Est. Ricostruzioni e
nuovi assetti monumentali 109
Bianchi F., Masturzo N., Trasformazioni urbane di età classica ed ellenistica: i casi di Iasos e Bargylia in
Caria 131
Gülbay O., İreç M., Apollonis. Educational and Military Images of a Hellenistic Lydian City 153
Gerogiannis G.M., Larisa. L’immagine di una città scomparsa, memorie dal sottosuolo 161
Acciani A., De Venuto T., Di Liddo G., Pompei: l’immagine di un emporio tra Roma, Sicilia ed Asia
Minore 177
Campagna L., Lo sviluppo della città ellenistica in Sicilia. Alcune considerazioni a partire dal caso di Tau-
romenion 193
Monte G., Urbanistica e architettura pubblica a Solunto: nuove considerazioni e confronti con altri centri
della Sicilia medio e tardo ellenistica 211
Fino A., La piazza che non c’è. Fondali e quinte sceniche nelle strade della città ellenistico-romana 227
Ciancio A., L’organizzazione dello spazio urbano in alcuni abitati della Puglia centrale fra VI e III secolo a.C. 243
Palmentola P., Gli spazi pubblici nella Monte Sannace ellenistica 257
Del Monte R., Altamura. Ricostruzione del sistema territoriale e urbano 265
Errico F., Persistenze messapiche negli organismi urbani a continuità di vita in Terra d’Otranto 281
Cante M., L’area sacra di Sasso Pisano e le sue acque salutari. Ricostruzione della Stoà 295

Lo spazio cerimoniale nella città antica 307

Puglisi D., Costruire paesaggi rituali: territorio, urbanizzazione e palazzi nella Creta minoica 309
Vallarino G., Gli innominati e i visibili. Comunità urbana e individui nella scrittura della città greca: il caso
di Gortina di Creta 319
Bellia A., Musica, spazio e rito nelle città greche d’Occidente: il caso di Selinunte 329
Todisco L., I colossi di Lisippo e la spettacolarizzazione del divino a Taranto 343
Ferrara F.M., Alessandria sull’Athos: immaginario e immagine delle capitali dinastiche di epoca ellenistica 357
Ismaelli T., Teatralità ed illusione nell’architettura ellenistica di Cirene: il santuario di Apollo 373
Davoli P., Soknopaiou Nesos: a case study of a ceremonial town in the Graeco-Roman Egypt 393

Elenco degli autori e dei loro contributi (voll. I-IV) 409

Sommario 11
Spazi e architetture della scenografia urbana e santuariale in età ellenistica
 …. οὔσης τῆς πόλεως θεατροειδοῦς ….
Αncient testimonies and excavation finds from Rhodos
Melina Filimonos, Vassiliki Patsiada*

Keywords: Rhodes, Hippodamus, landscape architecture, terraces, sanctuaries, urban layout, Lindos,
Kamiros.

Parole chiave: Rodi, Ippodamo, architettura del paesaggio, terrazze, santuari, pianificazione urbana,
Lindo, Camiro.

Abstract:
The city of Rhodos, capital of the unified Rhodian state, was founded in 408 BC on the northernmost tip of
the island, at a site virtually uninhabited until that time and thus suitable for putting into practice the most
modern town planning system at the time, created by Hippodamus of Miletus. At the same time the landscape
itself, rising gently from the coves of the east coast towards the west, dictated the combination of the strictly
linear hippodamian division system with the arrangement of the streets, sanctuaries, public buildings and
houses in successive terraces. The city was planned from the start as a monumental entity. It was delimited
by natural defensive boundaries and the layout of the major roadways followed the natural terracing of the
sloping landscape. In this way the city presented the image of an entity, where no building obstructed the free
view towards the harbours and the open sea, creating impressive visual effects for the inhabitants and for the
visitors arriving to its harbours. This scenic effect culminated on the acropolis hill, with buildings of religious
and public function, which were arranged in successive steep terraces and were combined with underground
grottoes and planned interventions on the natural landscape. The sanctuary of Asklepios, also known from
literary sources for its terraced layout, was recently located at the foothill of the acropolis, and its description
was confirmed. The same impressive arrangement was already known to scholars from the great Rhodian
sanctuaries at Lindos and Kamiros. The paper presents excavation finds of the last 60 years, which verify the
testimonies of ancient writers about the “theatroid” layout of the city of Rhodos. Significant evidence of similar
theatroid space arrangement has come to light in the excavation of the extended Rhodian necropolis, where the
natural terracing and the landscape formations had also been exploited in antiquity.

La città di Rodi, capitale dell’unificato stato rodio, fu fondata nel 408 a.C. all’estremo nord-occidentale
dell’isola, in un sito virtualmente fino a quel momento non abitato e quindi adatto a mettere in pratica i più
moderni principi urbanistici dell’epoca, ideati da Ippodamo da Mileto. Allo stesso tempo, l’orografia naturale,
che si alza gradatamente dalla costa orientale verso Ovest, suggerì la combinazione della griglia regolare
ippodamea con la sistemazione di strade, santuari, edifici pubblici e residenze in terrazzamenti successivi. La
città fu pianificata fin dall’inizio come un’entità monumentale. Era delimitata e difesa da confini naturali e
la giacitura delle strade maggiori seguiva i terrazzamenti naturali del terreno in pendenza. In questo modo
la città presentava un’immagine unitaria, in cui nessuno degli edifici ostruiva la veduta verso i porti e il mare
aperto, creando suggestivi effetti visivi per gli abitanti e per i viaggiatori che arrivavano dal mare. L’effetto
scenografico culminava con la collina dell’acropoli, con gli edifici pubblici e religiosi disposti su successivi terraz-
zamenti, in un paesaggio caratterizzato da grotte naturali insieme ad interventi di regolarizzazione del pen-
dio. Il santuario di Asklepios, noto da fonti letterarie per la sua disposizione su terrazze, è stato recentemente
localizzato alle pendici dell’acropoli, confermando la sua descrizione. La stessa suggestiva sistemazione era già
nota agli studiosi per via dei grandi santuari terrazzati rodii di Lindo e Camiro. Il presente contributo pre-
senta i risultati degli scavi degli ultimi 60 anni, che confermano la testimonianza delle fonti antiche riguardo
al disegno “teatroide” della città di Rodi. Significative conferme dell’aspetto “teatroide” della città sono giunte
dall’esplorazione archeologica delle estese necropoli, che appaiono aver abilmente sfruttato le possibilità offerte
dal paesaggio e dai terrazzamenti naturali.

* Dr. M. Filimonos-Tsopotou, Honorary Director of Antiquities, Ephorate of Antiquities of the Dodecanese, melin-
[email protected]; Dr. Vassiliki Patsiada, Honorary Head of the Department of Classical Antiquities, Ephorate
of Antiquities of the Dodecanese, [email protected]. The Authors are indebted to Fotini Zervaki and Irene
Nikolakopoulou, who revised their English text.
 Fig. 1. Restored Diodorus Siculus attributes to the city of Rhodes the epithet “theatroeides” twice. At
plan of the classical first he mentions that during the great flood of 316 BC, the water filled the lower city, around
city of Rhodes (after the Market and Dionysion, since the city was theatroeides (19, 45, 3-4): “θεατροειδοῦς δ᾽ οὔσης
Filimonos 2004). τῆς ‘ Ῥόδου καὶ τὰς ἐγκλίσεις τῶν ὑδάτων κατὰ τὸ πλεῖστον εἰς ἕνα τόπον ποιουμένης εὐθὺς τὰ ταπεινὰ
τῆς πόλεως ἐπληροῦτο, τῶν μὲν ὀχετῶν διὰ τὸ δοκεῖν παρεληλυθέναι τὸν χειμῶνα κατημελημένων,
τῶν δ᾽ ἐν τοῖς τείχεσιν ὀβελίσκων συμφραχθέντων. τοῦ δ᾽ ὕδατος παραδόξως ἀθροιζομένου πᾶς μὲν ὁ
περὶ τὸ δεῖγμα καὶ Διονύσιον τόπος ἐπεπλήρωτο, πρὸς δὲ τὸ ’ Aσκληπιεῖον ἤδη τοῦ λιμνάζοντος τόπου
προσιόντος ἐκπλαγεῖς μὲν ἦσαν ἅπαντες, πρὸς δὲ τὴν σωτηρίαν διαφόροις ἐχρῶντο κρίσεσιν”. The
inhabitants were terrified as the water threatened the Asklepieion, which was apparently located
higher. The second passage (20, 83, 2) refers to the great siege of Rhodes by Demetrios Poliorce-
tes in 305/4 BC: “οἱ μὲν γὰρ στρατιῶται τῶν ‘Ῥοδίων διειληφότες τὰ τείχη τὸν ἐπίπλουν ἐκαραδόκουν

68 Theatroeideis. L'immagine della città, la città delle immagini, Thiasos Monografie 11, vol. I, 2018
τῶν πολεμίων, πρεσβῦται δὲ καὶ γυναῖκες ἀπὸ τῶν οἰκιῶν ἀφεώρων, οὔσης τῆς πόλεως θεατροειδοῦς,
πάντες δὲ τό τε μέγεθος τοῦ στόλου καὶ τὴν αὐγὴν τῶν ἀποστιλβόντων ὅπλων καταπληττόμενοι περὶ
τῶν ὅλων οὐ μετρίως ἠγωνίων.”The king of Macedonia sailed with his great fleet in front of the
city, spreading terror to old men and women who were looking from their houses, since the city
was shaped like a theatre.
The first archaeologist who tried to define the meaning of the term “theatroeides” was
Ioannis Kondis, to whom we owe the restoration of ancient Rhodes city plan1. Already in 1954,
Kondis remarked that the term “theatroeides” should not be confused with the typical curved
formation of the theatre, but with the visibility due to the natural or artificial inclination of the
ground2.
Rescue excavations carried out from 1948 till today on the site of the modern city of
Rhodes confirmed the ancient testimonies and allowed us to reconstruct the image of the the-
atroid Hellenistic city, which, according to the orator Aelius Aristeides (Ροδιακός 1-8), main-
tained its beauty and urban formation until the middle of the 2nd c. AD.
The city of Rhodes, the new capital of the Rhodian state, was founded in 408 BC on the
northern tip of the island, through the actual synoecism of the three ancient city-states, Lindos,
Ialysos and Kamiros, after the political synoecism which had taken place in 411 BC3: “οἱ δὲ τὴν
‘ Ῥόδον νῆσον κατοικοῦντες καὶ Ίηλυσὸν καὶ Λίνδον καὶ Κάμειρον μετῳκίσθησαν εἰς μίαν πόλιν τὴν
νῦν καλουμένην ‘ Ῥόδον.” (Diod. 13,75,1). As in most similar cases only a number of the inhabi-
tants of the old cities moved to the new urban centre4. The old cities maintained their territorial
boundaries and local councils5. In the meantime, all Rhodians participated as equal citizens in
the government of the new federal state. Testimonia and archaeological finds6 prove that the
new capital was planned immediately after the formal political union of the Rhodian state to
serve as the seat of the political authorities and the federal fleet.
The site of the new city was privileged. Situated at a strategic crossroads of maritime
routes, at the nearest location to the Carian Chersonese, it allowed the construction of more
than one harbours, “good for any weather”, to protect the increasing naval facilities and serve the
maritime trade7. The natural terrain, level in the north and east, close to the ports, rose forming
gentle slopes to the south and west, culminating on the acropolis plateau at a height of 110 m.
The city, soon after its foundation, was not densely populated, according to the narration
of Diodorus (19,45,1) about the first of the three floods which occurred in the 4rth c. BC: “….
ὡς ἂν τῆς πόλεως οὔσης νεοκτίστου καὶ διὰ τοῦτο πολλὴν εὐρυχωρίαν ἐχούσης,…” 8 As proved by
the excavations and the discovery of the classical fortification wall, it occupied a more restricted
area, roughly at the northern level part of the promontory, where the main natural harbours
were formed. An extended flat terrain to the southeastern part of the city, as far as the Rodini
stream, had been left outside the city limits9 (fig. 1). It is most probable that there was provision
for future expansion of the town since only a small number of graves dating to the end of the

1 Kondis 1954a, pl. I, II; Kondis 1958a.

2 Kondis 1954a, pp. 6-8. For the same subject, see Caliò 2005, pp. 91-101; 2012, pp. 374-378.
3 Van Gelder 1900, p. 83; Pugliese Carratelli 1951; Berthold 1984, pp. 20-22; Gabrielsen 2000; Niel-

sen, Gabrielsen 2004; Badoud 2015, p. 23.

4 Gabrielsen 2000, p. 189, writes: “… the construction of the capital seems not to have been immediately followed

by a significant demographic event”.

5 Papachristodoulou 1989, pp. 54-56; Papachristodoulou 1999a.
6 The finds from the city dated to the first half of the 4th c. BC are scanty, due to the continuous use of the same

site for habitation for 24 centuries. See Kondis 1961-62; Fatourou 1963b; Konstantinopoulos 1967b;
Konstantinopoulos 1968b; Triantafyllidis, Hoepfner 2013, p. 111. On the other hand the finds from
the necropoleis dated to the end of the 5th – first half of the 4th c. BC are plenty and testify for the existence of an
organised settlement, see Jacopi 1932-33; Fatourou 1963a; Salta 1999; Paleologou 2002-05. All references
in Patsiada 2013a, p. 51, note 111. Recently Caliò 2005, p. 96, and Caliò 2012, p. 362, argued: “La creazione
della sympoliteia da parte delle tre poleis presinecistiche subito dopo la rivoluzione oligarchica non presuppone infatti
una vera e propria fondazione”.
7 Blackman, Knoblauch, Yiannikouri 1996; Blackman 1999; Filimonos 2004, pp. 46-70; Manous-

sou-Ntella 2014, pp. 301-312; Bouras 2014, pp. 671-673; Manoussou-Ntella 2016.
8 Kondis 1958a, p. 156; Owens 1991, p. 59.
9 Filimonos 1994; Hoepfner 1999a, pp. 299-300; Filimonos 2004, pp. 41-42; Caliò 2005, p. 98; Caliò

2012, pp. 363-364.

Melina Filimonos, Vassiliki Patsiada, …. οὔσης τῆς πόλεως θεατροειδοῦς …. Αncient testimonies and excavation finds from Rhodos 69
 5th- first half of the 4th c. BC was unearthed
in this area10. On the contrary, the early
cemeteries on this part of the city were or-
ganised immediately south of the stream of
Rodini, which became the natural moat of
the Hellenistic fortification. The cemeteries
consist of stone-lined cist graves with gabled
roofs11, identical with the late Archaic and
early Classical graves excavated in Camiros
and mainly in Ialysos12 (fig. 2). This con-
jecture reinforces the assumption that the
first inhabitants of the new city came from
Ialysos, native land of the prominent family
of Diagoridai who played a key role in the
creation of the new Rhodian state13.
The urban plan of Rhodes is attribu-
ted by Strabo the Geographer to the same ar-
chitect who planned Piraeus, Hippodamus of
Miletus (14.2.9): “ἡ δὲ πόλις ἐκτίσθη κατὰ τὰ
Πελοποννησιακὰ ὑπὸ τοῦ αὐτοῦ ἀρχιτέκτονος,
ὥς φασιν, ὑφ’ οὗ καὶ ὁ Πειραιεύς”. Therefore
Rhodes is chronologically the last city at-
tributed to the most famous theoretician
in city planning in Antiquity, after Piraeus
and Thourii14. The Hippodamian layout
of Rhodes, as proved by rescue excavations
executed in the modern town during the
last 60 years and depicted in the plans of
I. Kondis, Gr. Konstantinopoulos and W.
Hoepfner, was based on the “major rectan-
gles”, measuring approximately 280 m in
length, north-south, and 201 m, that is a
stadium, east-west15 and presents many af-
finities with the plan of Thourioi, as restored
Fig. 2. Rhodes. Cist after the recent excavations16. The rectangles were defined by wide avenues (πλατεῖαι) and in the
grave of the first residential zones they were divided into smaller blocks by narrow streets (στενωποί) (fig. 3).
half of the 4th c. BC. In these major rectangles the public and sacred buildings of the Classical town were ad-
Diakidis plot. justed and fully incorporated. Near the great harbour, in the area today occupied by the Medi-
eval town, were located the agora and Deigma, the display centre17. On a rocky hillock, where
the palace of Grand Master stands today, the temple of Helios, the new patron deity, was pro-

10 Zervoudaki 1970, pp. 500-505; Filimonos 2004, pp. 34-36, fig. 9, pl. 1a-b; Bairami 2001-04; Patsiada

2013a, pp. 34-35.

11 Fantaoutsaki 2001-04. On the tombs excavated in Rhodes city, dated to the end of the 5th-first half of the 4th c.

BC, see Patsiada 2013a, p. 51, fig. 13, note 111.

12 On the tombs in Ialysos, see Jacopi 1929, pp. 7-8, fig. 203, 260-261. On Camiros Jacopi 1931, fig. 120, 153, 314.
13 Bresson 1979, pp. 149-161; Konstantinopoulos 1997.
14 The personal involvement of Hippodamos in the city planning of Rhodes was disputed. Today it seems more

probable, since his career is now dated to the second half of the 5th c. BC, see Burns 1976, pp. 421-425; Gill 2006,
p. 15; Greco 2009, pp. 115, 117.
15 Hoepfner, Schwandner 1994, pl. 41; Filimonos forthcoming; I. Kondis identified major rectangles in the

urban plan of Rhodes, measuring 201 x 201, that is one stadium, see Kondis 1956a, pp. 109-111, fig. 1; Kondis
1958a, pp. 148-151.
16 Greco 2009. The affinities in the urban plan of the two cities were emphasised by I. Kondis in his pioneer article,

Kondis 1956a. See also Shipley 2005, p. 384.

17 Morricone 1949-51, pp. 359-360, note 2; Konstantinopoulos 1986, p. 216; Hoepfner, Schwandner

1994, pp. 63-64; Konstantinopoulos 1994-95, p. 78; Michalaki 2007, p. 74.

70 Theatroeideis. L'immagine della città, la città delle immagini, Thiasos Monografie 11, vol. I, 2018
bably erected18. Lower by the sea, the temple of Aphrodite19 and the sanctuary of Dionysus20, Fig. 3. Rhodes. Plan
famous for its works of art, were situated. On the northeastern end of the city the sanctuary of of the Hellenistic
Demeter, the Thesmophorion of Rhodes has been excavated21, whereas on the southern part, city.
on a gentle slope, the Asklepieion has been recently unearthed22 (fig. 3).
The Hippodamian plan also included from the beginning the natural acropolis, located
to the west, where the sloping terrain ends. Although the architectural remains of the acropolis
date to the period after the earthquake of 227 BC, this prominent place was undoubtedly from
the beginning the seat of the main religious and cultural activities of the city23.
Two tragic events marked the beginning of the urban development and monumental
reconstruction of the town: the siege of Demetrius Poliorcetes in 305/4 BC and the great earth-
quake of 227 BC. After the felicitous end of the siege, the Rhodians celebrated their victory with
the erection of the huge statue of their protector god Helios, the famous Colossus of Rhodes,

18 For the site of the temenos, see Morricone 1949-51, p. 360, note 1; Karousos 1973, p. 70; Konstanti-
nopoulos 1997, pp. 71-82; Michalaki 2007, p. 71. For different approaches, see Hoepfner 2003, pp. 33-42;
Vedder 2015, pp. 29-39.
19 Rocco 1996a; Livadiotti, Rocco 1999, pp. 115-116.
20 Karousos 1973, pp. 42, 67; Maiuri 1928, p. 46, fig. 29; Konstantinopoulos 1994-95.
21 Zervoudaki 1988; Giannikouri 1999.
22 Papachristodoulou 1999b; Fantaoutsaki 2004.
23 On the chronology of the temples on the acropolis see Hoepfner 1999b, pp. 56-57; Livadiotti, Rocco 1996,

pp. 12-20.

Melina Filimonos, Vassiliki Patsiada, …. οὔσης τῆς πόλεως θεατροειδοῦς …. Αncient testimonies and excavation finds from Rhodos 71
 most probably at his sanctuary, dominating over the military harbour24. A stronger, more ela-
borate, fortification wall was constructed, expanding to enclose also the flat uninhabited area
to the southeast of the city25. Rhodes acquired its fifth, south harbour and a complete drainage
system26. During the 3rd c. BC the wide arterial roads, oriented north-south, continued in
the new expansion of the city. But the new east-west streets seem to deviate from the initial
Hippodamian grid, in order to ensure larger residential insulae for the construction of wealthy
private houses. In the southern part two important sanctuaries were now built: the temple of
Isis by the eastern shore27, and the lower Gymnasium, the celebrated Ptolemaion, erected in
honour of Ptolemy First of Egypt, for his help during the great siege28 (fig. 3). Both buildings,
described by ancient authors, were discovered and identified in the last decades.
The eastern foothills of the acropolis, the “highest parts” according to the ancient wri-
ters Aelius Aristeides (6, 4-5) and Diodorus (19, 45), were excluded from habitation in the
initial town-plan29. After the earthquake of 227 BC, residential insulae began to extend also
to this area. The economic wealth of the Rhodian citizens, a result of commercial activities,
created the necessity for spacious and impressive private dwellings30. The east slope of the
acropolis was undoubtedly a privileged place offering great view, fresh air and plenty of natural
water; here the dimensions of a private house may coincide with an entire insula, measuring
90 x 47 m31.
In this area the original Hippodamian plan was also applied and the major rectangles had
identical dimensions. The application of the geometric grid on the slope required the construc-
tion of successive terraces, several of which were artificially built by means of retaining walls32.
These walls followed the east limits of the long streets, oriented north-south. The difference in
height between the terraces could be small, as for example between the streets R 26 and R 26a
where the difference is only 70 cm33, but generally the terrace walls ranged in height from 1.20
to 2.20 m.34 Such terraces have been unearthed west of the ancient street R 3835.
A strong terrace wall was built to retain the main street R 27, 16.10 m wide, one of the
two main arteries of the city, leading towards the central necropolis and the countryside36. In
1955 the construction of the modern Themistokli Sofouli street, which accurately follows its
ancient predecessor, gave the opportunity to I. Kondis to excavate the ancient street in a length
of 400 m37 (fig. 4). Part of the terrace wall came to light, at a length of 51 m and a height of
2.70 m, between the streets R 5 and R 13. The wall had been repaired during the Medieval and
Ottoman periods and is still preserved (fig. 5).
The streets oriented east-west followed the hilly terrain. Characteristic example is the
modern Pindou street, which, at its higher part, follows exactly the course of ancient street R 5,

24 For the different theories concerning the site of the monumental statue, see Gabriel 1932; Zervoudaki 1975;
Moreno 1999, p. 194; Hoepfner 2003; Manoussou-Ntella 2010, pp. 588-592, fig. 6-10.; Badoud 2011, pp.
151-152; Manoussou-Ntella 2013, pp. 92-93; Michalaki 2013a, pp. 21-28. Vedder 2015.
25 Filimonos 2004.
26 Kondis 1958a, pp. 152-153; Konstantinopoulos 1990, pp. 209-210; Owens 1991, pp. 59-61; Hoepfner,

Schwandner 1994, pp. 59-62.

27 Fantaoutsaki 2007; Fantaoutsaki 2011.
28 Filimonos, Kontorini 1989.
29 Filimonos 2003, p. 37; Patsiada 2013b, p. 49 with note 10.
30 Patsiada 2013b, pp. 59-69.
31 Dreliossi 1996.
32 Kondis 1958a, pp. 146, 151, who defines the east-west width of the terraces to 50 m; Kondis 1958b, p. 238.
33 Dreliossi 1996, p. 182.
34 As for example the terrace wall which coincides with the east limit of the ancient street R 30a, in its southern part,

is 2.20 m high, see Konstantinopoulos 1965. See also Kondis 1958a, pp. 150-151; Patsiada 2013b, p. 49,
note 13.
35 See the following streets, laid out in successive terraces: R 26c: Fatourou 1964, and Dreliossi 2000, p. 1118.

R 26: Sotiropoulou plot, Kondis 1958b, p. 238; Filimonos, Dreliossi 2000, p. 116; Dreliossi 1998b. R 27b:
Kondis 1956c, pp. 219-220. R 27a: Kaninia 1994, p. 765. R 28a: Konstantinopoulos 1966, p. 449.
36 For the continuation of the street R 27 in the necropolis, see Patsiada 2013a, pp. 39-40, fig. 3.
37 Kondis 1954b, pp. 340-347; Kondis 1955; Kondis 1958a, pp. 151-152.

72 Theatroeideis. L'immagine della città, la città delle immagini, Thiasos Monografie 11, vol. I, 2018
 Fig. 4. The ancient
street R 27 during
its excavation in
1954-1955.

Fig. 5. Retaining
wall, east limit of
the street R 27. Its
upper part dates
to the Ottoman
period.

Melina Filimonos, Vassiliki Patsiada, …. οὔσης τῆς πόλεως θεατροειδοῦς …. Αncient testimonies and excavation finds from Rhodos 73
 Fig. 6. Ancient
street R5 (modern
Pindou street), lea-
ding to the temenos
of Zeus Polieus and
Athena Polias on
the acropolis.

with a width of 4.20 m. The preserved foundations of the façade walls along both sides of the
street indicate that in its initial phase R 5 was stepped38. Later it was altered in order to facilitate
traffic (fig. 6).
Terraces existed also in the southern part of the city, where the Asklepieion was situated
and almost flooded in 316 BC, according to the narration of Diodorus (fig. 3). The sanctuary
was built on at least two successive terraces, according to an inscription dated to the 3rd c. BC39.
The Rhodian sanctuary is considered the model for the Asklepieion of Kos, which dates to a
century later40. Recent excavations defined the limits of the sanctuary with certain accuracy:
street R 15 on the north, where the propylon should be situated, R 39a on the east, R 29b on
the west and on the south the street R 17, which is constructed on the terrace above41. The
north limit of street R 17 coincides with a strong retaining wall, surviving at a height of 4.50
m, reinforced by eight square built pillars situated every 2 m (figs. 7, 8). This imposing terrace
wall formed the back wall of the sanctuary at its upper terrace, where the temple and a big stoa
were situated42. A similar retaining wall, now restored, delineates from the south the temenos
of Artemis on the acropolis (fig. 9).
As R 17 continues to the east, it defines to the north a rocky hill, where another sanc-
tuary was situated, probably dedicated to Cybele43. A spacious staircase of eight stone steps
occupied the whole width of the crossroads R 39b, south of its intersection with R 1744 (fig. 10).
Another staircase, situated at the street R 18 led to the same sanctuary from the eastern part,
just after its intersection with street R 3045. On the eastern rocky side of the hill, facing street R
30, a series of niches were revealed46 (fig. 11). Similar niches and small altars were excavated on
the summit of the hill, next to a water-supply tunnel. The rocky hill, wooded in antiquity, was
evidently not only a sacred precinct but also one of the public groves of the city.

38 Kondis 1951, pp. 238-245.

39 Pugliese Carratelli 1952-54; Papachristodoulou, Dreliossi 2014.
40 Kondis 1956b.
41 Papachristodoulou 1999b; Fantaoutsaki 2004.
42 Terraces existed also to the south of the sanctuary, as revealed in the excavation of Sarris plot, Fantaoutsaki

1993, pp. 515-516, plan 3, pl. 157a-b; Fantaoutsaki 1994, pp. 769-770; Patsiada 2013b, p. 51, note 20.
43 Zervoudaki 1971; Patsiada 2013b, pp. 57-59.
44 Zervoudaki 1970, pp. 511-513; Patsiada 2013b, p. 57, fig. 17.
45 Filimonos 1988.
46 Patsiada 2000.

74 Theatroeideis. L'immagine della città, la città delle immagini, Thiasos Monografie 11, vol. I, 2018
 Fig. 7. Retaining
wall along the south
limit of the
Asklepieion.

Fig. 8. Elevation of
the retaining wall
on fig 7.

Fig. 9. The retain-

ing wall along the
south side of the
"Artemision" on the
acropolis.

The avenue/plateia R 30, oriented north-south, was situated at the end of a high ter-
race, retained by a strong wall, replaced today by a modern one (fig. 12). The artificial layout
of the terrace was necessary for the construction of the extensive square building of Ptole-
maion, measuring one stadium on each side, delineated by the streets R 30, R 18, R 32 and

Melina Filimonos, Vassiliki Patsiada, …. οὔσης τῆς πόλεως θεατροειδοῦς …. Αncient testimonies and excavation finds from Rhodos 75
Fig. 10. Staircase on
street R 17 leading
to the sanctuary of
Cybele.

R 20-2247 (fig. 13). The second gymnasium of Rhodes was constructed at the beginning of the
3rd c. BC, within the expansion of the city and it was intended for the training of children and
youths. Ptolemaion and the two sanctuaries of Cybele and Asclepius constituted a new group
of public buildings, devoted to religious, cultural and leisure activities, fully integrated in the
landscape and the orthogonal plan of the Hippodamian city and easily communicating with the
agora to the north and the acropolis, through the street R15 (fig. 3).
Immediately to the north of this sector of sanctuaries, a wide zone, running east-west,
between two major avenues, R 14 and R 15, led from the lower part of the city to the acropo-
lis48. The short distance between these two streets, only 90 m, deviates from the regularity of
the layout of the wide arterial streets. A significant part of this long sector seems to have been
also devoted to public and religious life: a large Doric temple occupied the low hillock to the
east, as evidenced by the huge column drums reused in the Byzantine fortification49 (fig. 14).
The agora of the city should be placed immediately to the west, as testified by the discovery of
public roman buildings50. In the west part of this zone, at the foot of the acropolis, Pantheon,
an open-air sanctuary dedicated to All Gods, was established soon after the siege of Demetrius,
in 305/4 BC51.
Excavations in the south region of the city have brought to light low terracing in the
same housing block: the Hellenistic house situated north of the intersection of streets R 30 and
R 20a was 60 cm lower than the neighbouring house to the west52. In this way, the general pic-

47 Filimonos, Kontorini 1989.

48 Hoepfner, Schwandner 1994, pp. 57, 63-64; Hoepfner 1999a, pp. 298-299.
49 Hoepfner, Schwandner 1994, p. 66; Hoepfner 1999b, p. 54, pl. 13b. Column drums were reused in two
parts of the Byzantine fortification, which have been unearthed by Pythagora street, see Kondis 1951, pp. 225-234
and Doumas 1973-74, pp. 957, 959, pl. 723c.
50 Michalaki 2007, pp. 74-77, pl. 43-51.
51 Kantzia 1999; Karantzali 1994; Zimmer, Bairami 2008, pp. 23-24; see also Patsiada 2013b, pp. 55-57.
52 Fantaoutsaki 2000, p. 1128.

76 Theatroeideis. L'immagine della città, la città delle immagini, Thiasos Monografie 11, vol. I, 2018
 Fig. 11. Niches cut
in the bedrock.
East side of the hill
of the sanctuary of
Cybele.

Fig. 12. The modern

retaining wall along
the east side of the
street R 30 (modern
M. Konstantinou
street).

ture of the city was shaped not only by the planning of streets on successive terraces but also by
the arrangement of public buildings and private houses on terraces integrated in the Hippoda-
mian rectangles, ascending from the lower part of the city up to the slopes of the acropolis. This
layout fully corresponds to the description of Aelius Aristeides who emphasises the unity of the
city: “…τῆς δ᾽ ἄλλης πόλεως οὐδὲν ἕτερον ἑτέρου ὑπερέχον, ἀλλὰ διαρκῆ καὶ ἴσην τὴν κατασκευὴν
οὖσαν, ὡς γένοιτ᾽ ἂν οὐ πόλεως, ἀλλὰ μιᾶς οἰκίας.”( Ροδιακός, 6).
The terracing layout of Rhodes, as displayed in the Hellenistic period, ended on the low
hill of the acropolis, which was the culminating point of the urban landscape 53 (fig. 15). The

53 Kondis 1952, pp. 547-572.

Melina Filimonos, Vassiliki Patsiada, …. οὔσης τῆς πόλεως θεατροειδοῦς …. Αncient testimonies and excavation finds from Rhodos 77
 Fig. 13. Restored
plan of the Ptole-
maion gymnasium.

Fig. 14. The Byzan-

tine fortification
wall, built in part
with column
drums of the
“Agora temple”.

extensive flat plateau ended with an abrupt precipice at the

north and the seaward cliff at the west. At the brow of the cliff
the fortification wall was erected54. Besides the monumental
zones of sacred and public buildings, many of the terraces still
distinguishable were “full of open spaces and groves”, according
to Aelius Aristeides (Ροδιακός 5-6). The highest terraces were
reserved for the erection of the large temples.
At the northern and most prominent spot of the acro-
polis, with panoramic view to the opposite coast of Asia Mi-
nor and the Rhodian Peraea, the temple of Zeus Polieus and
Athena Polias was situated, inside a temenos55 (figs. 15, 16).
At the east façade of the temenos a long stoa was erected, me-
asuring 93 m56. Considering the lower level of the foundation
of the stoa we can presume that the other sacred buildings of
the temenos and the temple on the top were built on successive
terraces. Two streets, R 5 and R 10, led from the lower city to
the sanctuary, the upper part of which in front of the propylaea
followed the steep slope.
Τhe most significant sacred and public buildings were
grouped in the middle of the acropolis plateau57 (figs. 15, 17,
18). The upper gymnasium of the city was situated on the low-
er flat terrain, between streets R 15 and R 17 (fig. 3). Of this
square building, each side measuring one stadium, only the
stylobate of its south colonnade has been excavated58 (fig. 19).

54 Filimonos 2004, pp. 70-72.

55 Maiuri 1928, pp. 46-48, fig. 30; Konstantinopoulos 1990, p. 212;

Michalaki 2013b, pp. 82-83.

56 Kondis 1952, pp. 553-559, fig. 1; Rice 1995, p. 387, fig. 3, 4; Patsiada

2013b, pp. 51-53.

57 Konstantinopoulos 1990, pp. 211-212; Michalaki 2013b, pp. 90-95.
58 Kondis 1952, pp. 563-571; Hoepfner 2002, pp. 69-70, figs. 87, 90.

78 Theatroeideis. L'immagine della città, la città delle immagini, Thiasos Monografie 11, vol. I, 2018
 Fig. 15. Aerial pho-
to of the acropolis
plateau: 1. temenos
of Zeus Polieus and
Athena Polias;
2. temenos of Apollo
Pythios;
3. Artemis temple?
4. Stadium; 5. Ode-
ion; 6. Gymnasium.

Fig. 16. Plan of the

temenos of Zeus
Polieus and Athena
Polias (after Kon-
dis 1952, pl. 1).

The gymnasium and the ancient street R 26 to the east of it were located on a terrace, 2.5 m
high59. On the same terrace to the west, there were the stadium, the odeion60 (fig. 20) and the
library well known by inscriptions61, constituting a group of functionally related buildings, de-
voted to physical and cultural activities.
On the high, sheer terrace above the stadium, retained by successive walls reconstructed
by the Italian archaeologists, the temple of Apollo Pythios was erected (fig. 21), the largest
temple in Rhodes62. A monumental staircase placed along its east-west axis gave access to the

59 Filimonos, Dreliossi 2000.

60 Livadiotti, Rocco 1996, pp. 20-26. For the stadium, see also Zervoudaki 1973-74; Valavanis 1999.
61 For the library see Papachristodoulou 1986; Papachristodoulou 1990; Hoepfner 2002, pp. 68-72.
62 Lauter 1972, p. 50; Konstantinopoulos 1973, pp. 129-133, pl. H, 151, 152a; Rocco 1996b, pp. 12-17.

Melina Filimonos, Vassiliki Patsiada, …. οὔσης τῆς πόλεως θεατροειδοῦς …. Αncient testimonies and excavation finds from Rhodos 79
Fig. 17. The temenos
of Apollo Pythios
and below it the
stadium and the
odeion.

Fig. 18. Plan of the

sanctuaries and
other buildings in
the central plateau
of the acropolis
(after M. Paolini
1938).

temple (fig. 18). A smaller sanctuary to the north was probably dedicated to Artemis63 (fig.
18, 21).
The extensive use of terracing by means of high retaining walls is reminiscent of the con-
figuration of the sanctuaries of goddess Athena in Camiros and mainly in Lindos64. These two
major Rhodian sanctuaries, after their final monumental arrangement, are characterised by the

63 Rocco 1996b, pp. 17-20, fig. 31-34; Livadiotti, Rocco 1999, p. 116. For different approaches, see Hoepf-
ner 2003, pp. 33-42; Vedder 2015, pp. 57-68.
64 Konstantinopoulos 1968a, pp. 117-118; Lauter 1972, pp. 49-51; Hellmann 2006, p. 206; Lippolis, Roc-

80 Theatroeideis. L'immagine della città, la città delle immagini, Thiasos Monografie 11, vol. I, 2018
 Fig. 19. Gymnasium
on the Acropolis.
The stylobate of the
south colonnade.

Fig. 20. The Odeion

and above it the
terrace walls on the
east façade of the
temenos of Apollo.

Fig. 21. The temple

of Apollo Pythios
and the enclosure of
“Artemis” sanctuary.

imposing theatrical layout of their stoas on successive terraces, culminating at the temple of
Athena, as well as by their harmonious adaptation to the landscape65.
The natural landscape is also utilised, but in another, more picturesque way, by the un-
derground grottoes of the Rhodian acropolis (fig. 22), which, by artificial formation, exploita-
tion of the preexisting water supply system and sculptured decoration inside niches, became
sanctuaries of the Nymphs and other deities66.
Exploitation of terraces and implementation of landscape architecture are also evident
in prominent areas of the Rhodian necropolis. Along the main civic roads, which continued
through the necropoleis to the countryside, the monumental tombs utilised the sloping terrain
and were placed in successive terraces. In some cases physical terraces were accentuated by rus-
tic ashlarwork, while elsewhere relief representations with funerary symbolism, grave stones or

co 2011, pp. 381-383. On Camiros, see Di Vita 1990; Caliò 2001, pp. 103-104; Caliò 2003. On Lindos, see
Gruben 2001, pp. 449-459; Lauter 1986, pp. 106-108; Pollitt 1986, pp. 230-233; Lippolis 1996, pp. 52-53.
65 Arrangement in terraces characterized also the city of Camiros in the archaic period, see Caliò 2005, pp. 101-

105; Caliò 2012, pp. 368-371, and most probably Lindos.

66 Walker 1979, pp. 56-81; Rice 1995; Neumann 2012; Michalaki 2013b, pp. 83-90; Patsiada 2013b, pp.

66-69. Most recently, see Neumann 2016, pp. 5-70.

Melina Filimonos, Vassiliki Patsiada, …. οὔσης τῆς πόλεως θεατροειδοῦς …. Αncient testimonies and excavation finds from Rhodos 81
 Fig. 22. Under-
ground grotto
-Nymphaeum on
the northern
plateau of the
acropolis.

other grave monuments were carved (figs. 23, 24). In areas of natural beauty, such as the valleys
of Rodini and Makry Steno, impressive grave monuments and cave sanctuaries were located on
the slopes67.
The layout of Rhodes, based on the systematic exploitation of the gentle slopes to the
north and west of the city, dates to Hellenistic times, according to archaeological evidence.
The profile of the landscape determined the formation of the city, accentuated by the artificial
construction of natural terraces, adapted not only to the geometrical grid of the Hippodamian
city, but also serving the general scenographic effect of the city plan68. The city embraced the
three harbours to the east, where buildings serving naval, commercial, public and religious
needs were installed. Low hillocks and rocky outcrops which disrupted the rhythmical suc-
cession of the terraces were exploited for the erection of the most important sanctuaries, as
the temples of Helios and the temple of the agora, Asklepeion and the open air sanctuary of
Cybele. The terraces were not as high as in Pergamon, but rose gently towards the south and
the west to the acropolis, “like a ripple”, according to the characteristic phrase of I. Kondis69.
On the natural plateau of the acropolis, surmounting the city, more impressive and imposing
architectural settings were organised, similar to those of the acropolis of Lindos and Kamiros.
By the extensive use of terracing, Rhodes presented the image of an entity, where no
building obstructed unlimited view towards the open sea, providing impressive visual effects for
both the inhabitants and the visitors arriving to its harbours, fully corresponding to its charac-
terisation as “theatroid”.

67 Lauter 1972, pp. 52-58; Patsiada 2013a, pp. 43-49, fig. 6-10.
68 Kondis 1958a, p. 146.
69 Kondis 1952, p. 552.

82 Theatroeideis. L'immagine della città, la città delle immagini, Thiasos Monografie 11, vol. I, 2018
 Fig. 23. Central ne-
cropolis. Rock-cut
terrace façade.

Fig. 24. Rodini,

central necropolis.
Rock-cut terrace
with carved archi-
tectural façade.

Melina Filimonos, Vassiliki Patsiada, …. οὔσης τῆς πόλεως θεατροειδοῦς …. Αncient testimonies and excavation finds from Rhodos 83
 Bibliographical abbreviations
Badoud 2011 = Badoud N., Les Colosses de Rhodes, CRAI 2011, I, pp. 111-152.
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