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 OLD LANDS

Old Lands takes readers on an epic journey through the legion spaces and times
of the Eastern Peloponnese, trailing in the footsteps of a Roman periegete, an
Ottoman traveler, antiquarians, and anonymous agrarians.
Following waters in search of rest through the lens of Lucretian poetics,
Christopher Witmore reconstitutes an untimely mode of ambulatory writing,
chorography, mindful of the challenges we all face in these precarious times.
Turning on pressing concerns that arise out of object-oriented encounters, Old
Lands ponders the disappearance of an agrarian world rooted in the Neolithic,
the transition to urban styles of living, and changes in communication, move­
ment, and metabolism, while opening fresh perspectives on long-term inhabit­
ation, changing mobilities, and appropriation through pollution. Carefully
composed with those objects encountered along its varied paths, this book
offers an original and wonderous account of a region in twenty-seven segments,
and fulfills a longstanding ambition within archaeology to generate a polychronic
narrative that stands as a complement and alternative to diachronic history.
Old Lands will be of interest to historians, archaeologists, anthropologists, and
scholars of the Eastern Peloponnese. Those interested in the long-term changes
in society, technology, and culture in this region will find this book captivating.

Christopher Witmore is professor of archaeology and classics at Texas Tech

University. He is co-author of Archaeology: The Discipline of Things (2012, with
B. Olsen, M. Shanks, and T. Webmoor). Routledge published his co-edited Archaeology
in the Making in 2013 (paperback 2017, with W. Rathje and M. Shanks). He is also co­
editor of the Routledge series Archaeological Orientations (with G. Lucas).
 OLD LANDS
A Chorography of the Eastern Peloponnese

Christopher Witmore
 First published 2020
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
52 Vanderbilt Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2020 Christopher Witmore
The right of Christopher Witmore to be identified as author of this work has been
asserted by them in accordance with sections 77 and 78 of the Copyright,
Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any
form or by any electronic, mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information storage or retrieval system,
without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks,
and are used only for identification and explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
A catalog record has been requested for this book

ISBN: 978-0-8153-6343-9 (hbk)

ISBN: 978-0-8153-6344-6 (pbk)
ISBN: 978-1-351-10943-7 (ebk)

Typeset in Perpetua
by Swales & Willis, Exeter, Devon, UK
For L iz, El i , and Liam
 CONTENTS

Acknowledgements ix
Author’s note xii
Preface xiii

Prologue: the measure of the Morea? 1

1 Lines in stone: roads, canals, walls, faults, and marine terraces 18

2 Ancient Corinth: descent into memory, ascent into oblivion 37

3 Acrocorinth: from gate to summit 58

4 Along the A7 (Moréas), by car 74

5 Kleonai to Nemea 86

6 Nemea: a transect 109

7 An erstwhile aqueduct: Lucretian flow 123

8 To Mykenes Station, by train 137

9 About Mycenae, history and archaeology 149

10 A path to the Heraion 166

11 Through groves of citrus to Argos 191

vii
 CONTENTS

12 Argos, a democratic polis, and Plutarch’s Pyrrhus, a synkrisis

(comparison) 214

13 Modern spectacle through an ancient theatre 230

14 Argos to Anapli on the hoof, with a stop at Tiryns 245

15 A stroll through Nafplion 261

16 The road to Epidaurus: Frazer and Pausanias 285

17 Paleolithic to Bronze Age amid Venetian: a museum 305

18 To Asine: legal objects 316

19 To Vivari, by boat 328

20 Into the Bedheni Valley 348

21 Through the Southern Argolid 371

22 Ermioni/Hermion/Kastri: a topology 397

23 Looking southwest, to what has become of an ancient oikos 412

24 Across the Adheres, iterations 425

25 Troizen, verdant and in ruin 441

26 To Methana 455

27 Into the Saronic Gulf 473

Epilogue: on chorography 485

Maps (by Caleb Lightfoot) 499

Collated bibliography 512
Index 552

viii
 ACKNOWLEDGEMENTS

In the fifteen-year course of researching and writing this book I have accumu­
lated a lifetime of debts. My gratitude has not abated. I am deeply beholden to
those whom kindly set aside precious time to accompany me on various paths,
many now less taken. To John Cherry, Elissa Faro, Alex Knodell, Thomas Lep­
pard, and Bradley Sekedat, archaeologists, friends, and knowledgeable compan­
ions, whom I joined in the course of regional work between Nemea and
Nafplion. To Lena Zgouleta and Zoe Zgouleta, my friends and guides to many
sites and places throughout the Peloponnese. To Georgia Ivou, for her unabated
generosity with a wealth of archaeological detail related to Asine, Epidaurus,
and everything in between. To Yorgos Agathos, Sigi Ebeling Agathos, Iosif
Ganossis, and the late Yiannis Gogonas, for their friendship and kindness in Naf­
plion, Ermioni, and Tolo. To Evangelia Pappi and other personnel from the
Ephorate of Antiquities of the Argolis, for their hospitality and care. To Mpam­
pis Antoniadis, who openly contributed a great deal of information on Nafplion,
and the Argive plain, more generally.
I am indebted to the many students who have contributed to this project
over the years. To Krista Brown, Ryan Hall, Will Hannon, Jenny Lewis, Billy
Pierce, Ann Sunbury, Jordin Ward, and Nathan Wolcott, the eight who ven­
tured into the Bedheni Valley in 2010, my gratitude runs deep. I thank Brandon
Baker, Edgar Garcia, Evan Levine, Caleb Lightfoot, Kristine Mallinson, Justin
Miller, and Jackson Vaughn for enduring various paths with excitement and
enthusiasm. Lively and inspirational engagements with students—Brandon
Baker, Kelsey Brunson, Edgar Garcia, Ryan Glidewell, Evan Levine, Ron Orr,
Karen Taylor, and Nathan Wolcott—in a graduate seminar in fall of 2013 pro­
vided occasion to bring further shape to the study. I also want to thank Danielle
Bercier, Caleb Lightfoot, and Justin Miller for their comments and feedback on
various segments of this chorography; Catherine Zagar for the energy and dedi­
cation she brought to working through many hours of video from along numer­
ous paths; Alex Claman for all his hard work with footnotes, references, and
indexing; and the undergraduate researchers in the Program in Inquiry and

ix
 ACKNOWLEDGEMENTS

Investigation at Texas Tech University for sharing their thoughts around the
concerns raised in some of the segments.
We are shaped by our conversations. I have learned from those whom I hold
in a place of profound admiration: Ben Alberti, Sue Alcock, Doug Bailey, Curtis
Bauer, Levi Bryant, Sheila Bonde, Peter Carne, Kurt Caswell, John Cherry,
Bruce Clarke, Ewa Domanska, Matt Edgeworth, Sylvan Fachard, Stein Farstad­
voll, Hamish Forbes, Jen Gates-Foster, Alfredo González-Ruibal, Scott Gremil­
lion, Donald Haggis, Graham Harman, Callum Hetherington, Richard Hingley,
Ian Hodder, Idoia Elola, Georgia Ivou, Michael Jameson, Corby Kelly, Alex Kno­
dell, David Larmour, Don Lavigne, Tom Leppard, Jeff Love, Gavin Lucas,
Robert Macfarlane, Richard Martin, Ian Morris, Laurent Olivier, Bjørnar Olsen,
Þóra Pétursdóttir, Josh Piburn, Bill Rathje, Joe Rife, Darrell Rohl, Sydnor Roy,
Haun Saussy, Michel Serres, Michael Shanks, Chris Taylor, Christina Unwin,
Timothy Webmoor, Lena Zgouleta, and Zoe Zgouleta.
Support has come from a number of institutions over the years, beginning
with the Department of Classics and Archaeology Center at Stanford University,
the Andrew W. Mellon Foundation, and the Joukowsky Institute for Archae­
ology and the Ancient World at Brown University. This project was sustained
by grants from the Competitive Arts, Humanities, and Social Sciences fund; the
Scholarship Catalyst Program; the College of Arts and Sciences; the Humanities
Center; the office of the Vice President for Research; and the Department of
Classical & Modern Languages & Literatures at Texas Tech University. Numer­
ous segments were written at the National Humanities Center (NHC), where
I held the Donnelly Family Fellowship in 2014–15. Nurtured within the center’s
superb intellectual environment, this book took on new direction and shape.
I want to thank Brooke Andrade and Sarah Harris for working miracles in
library services, Karen Carroll for copyediting several segments of the book, and
Marie Brubaker and Don Solomon for their unwavering scholarly support. I am
grateful to a number of fellows from the NHC for their encouragement and
intellectual companionship—Mary Elizabeth Berry, Corrine Gartner, Ann Gold,
Mark Hansen, Cecily Hilsdale, Noah Heringman, Colin Jones, Jeff Love, Joseph­
ine McDonagh, Jonathan Sachs, Lizzie Schechter, Anna Sun, Gordon Teskey, and
Bonna Wescoat. A fellowship at the Center for Advanced Studies (CAS) in Oslo
opened more space and time for me to write in conjunction with the After Dis­
course project headed by Bjørnar Olsen. The exceptional group of scholars at
CAS, Bjørnar Olsen, Hein Bjerck, Doug Bailey, Mats Burström, Alfredo Gonzá­
lez-Ruibal, Timothy LeCain, Saphinaz-Amal Naguib, and Þóra Pétursdóttir,
proved to be not only supportive, but also inspirational.
I recognize the privilege that comes with gaining access to unpublished arch­
ives, beginning with those of the Argolid Exploration Project thanks to the late
Michael Jameson. I thank John Cherry and Chris Cloke for opening the archives
of the Nemea Valley Archaeological Project; I am grateful to the late Pierre
MacKay for sharing translations of Evilya Çelebi’s Seyahatname for both the
Argolid and the Corinthia; to Malcolm Wagstaff for details concerning Leake

x
 ACKNOWLEDGEMENTS

and the Second Ottoman Period more generally. The notebooks of William
Martin Leake are held by the Faculty of Classics, University of Cambridge, in
their branch of Cambridge University Library. I am indebted to the American
School of Classical Studies in Athens in facilitating various permissions over the
years. To Hamish Forbes for his generosity with the wealth of detail that can
only come with a lifetime of working with communities on the Methana Penin­
sula. To Heleni Palaiologou for information concerning her work in the area of
Mycenae.
Several friends and colleagues took time to provide comments on earlier
drafts of the segments—Doug Bailey, Mary Elizabeth Berry, John Cherry,
Hamish Forbes, Georgia Ivou, Colin Jones, Evan Levine, Jeff Love, Justin Miller,
Laurent Olivier, Jonathan Sachs, Guy Sanders, Lizzie Schechter, Michael Shanks,
Anna Sun, Gordon Teskey, Bonna Wescoat, Lena Zgouleta, Zoe Zgouleta, and
Pamela Zinn. I am particularly indebted to Alfredo González-Ruibal, David Lar­
mour, Don Lavigne, and Bjørnar Olsen, who provided excellent advice on most
segments. I thank Peter N. Miller for the kind invitation to present on chorog­
raphy, and for a series of lively discussions, at the Bard Graduate Center. Caleb
Lightfoot has proved to be an extraordinarily creative and energetic collabor­
ator; he has put his mark on the design of this book and the associated maps—
I owe him a special thanks. Working with Matthew Gibbons and Katie Wakelin
of Routledge has been tremendously rewarding. I also wish to express my grati­
tude to Colin Morgan for managing the last stages of production and Andrew
Melvin for copy-editing the final manuscript.
Finally, it may seem a strange norm to leave one’s most heartfelt gratitude to
the end, but not for those who undertake the journey. Day in and day out, the
co-bearers of the challenges and beneficiaries of the privileges associated with
this book have been my family: Eli, Liam, and, especially, Liz. When other
reasons languished, you three never did.

xi
 AUTHOR’S NOTE

Topics are listed at the beginning of each segment in order to give the reader
a sense of what lies ahead. Otherwise, you, dear reader, are asked to join in the
journey.
Place names vary throughout the book and this variance is an artifact of
fidelity. Spellings such as Anapli, Nauplia, and Nafplion are used in different seg­
ments true to historical specificity. This variety holds for units of measurement,
whether in feet or meters, timed stops or stadia. This book seeks to maintain
diversity as part of the story of these old lands. It is also a matter of conformity
to both the mode of engagement and the identities of those in whose paths we
follow. These differences of nomenclature and metrology are critical to under­
standing the ichnography of contemporary standards, which are always an
achievement. While it is no ancillary concern to map out the diversity which
lies behind the accomplishment that is consistency, it is anachronistic to disavow
it. Some segments are historical; some are taken from notebooks, video diaries,
and photography, and worked out through further research. This is not always
made explicit in the writing as, as a matter of purpose, it depends on the aims
and objectives of the segment. Lastly, a word should be said with regard to
maps. These come at the end. Designed by Caleb Lightfoot, flat projections are
properly situated as achievements, among others, rather than starting points.
Portions of the following segments have appeared in altered form elsewhere.
Segment 11 formed part of “The End of the ‘Neolithic’? At the Emergence of
the Anthropocene,” in S. Pilaar Birch (ed.), 2018, Multispecies Archaeology, Abing­
don: Routledge, 26–46. Fragments of Segment 12 were incorporated into
“Complexities and Emergence: The Case of Argos,” in A.R. Knodell and T.P.
Leppard (eds.), 2017, Regional Approaches to Society and Complexity Studies in
Honor of John F. Cherry, London: Equinox, 268–87. Some material from Segment
14 is found in “Echoes Across the Past: Chorography and Topography in Anti­
quarian Engagements with Place” (with M. Shanks), 2010, Performance Research
15(4), 97–106.

xii
 P R E FA C E

In those ages before Greece became explicit as an optimal picture of lands seen
from above, not all spaces were accorded equal value. Some things, some places,
were more potent than others. Some groves were more favored by the gods;
some ravines were more haunted by ghosts, some springs had their stories not
to linger after dark, their magical spells that befell the wayward, or their
nymphs and satyrs to lead one astray in tangled thickets. For so many of the
ancients, the world emanated out from the common hearth under a home-
centered sky. The Roman periegete who directed his readers around Greece in
the second century CE did not describe a measured space spreading out in
every direction. Rather, we read of walled enclosures offering themselves as pro­
tective containers. We read of agoras that lend themselves to the territorial
form, where roads, named for the places they connected, issued, and converged.
Radiating outwardly from the shared ground of the center the polis acquired its
form as a series of encompassing spheres.
Apart from those repeatedly articulated histories where tattered fragments
suggestive of the Greek past are cobbled together into the discrete contours of
linear succession, not all times are externalized into a passage temporality or
reducible to a homogeneous continuum. Some objects, though held to be separ­
ate by measured spans of history, are in reality co-extensive. Some surfaces,
some walls, some foundations, folded into the polychronic ensemble of land, are
suggestive of a time more weather-like than linear. Even though the hallowed
halls of Mycenae fell to destruction after 1200 BCE, Bronze Age walls endured
as part of the composition of Hellenistic communities. Even though Roman
road pavements had been buried for over a millennium, the form of the cardo
maximus continued to orient buildings, property boundaries, and streets in the
late seventeenth century. A different species of contact occurs between persist­
ing quanta of Jurassic limestone slabs laid upon Neolithic surfaces and the
throngs of tourists who traipse across them to stand before the Bema of
Ancient Corinth.
The entities that comprise these old lands compose legion spaces. The
objects entangled into its composition give rise to unruly times. If other spaces,

xiii
 PREFACE

other times open in the shadows of what has been disclosed then, as this book
wagers, it is because space and time arise from vigors within, and frictions
between, actual things. In search of rest, waters stream through deep strata,
dissoluting a karstic course through a chthonic domain twelve hundred millennia
in duration. Megaron (the great hall of Mycenaean palaces), temple, and the
exhibition space of the museum stage authority, separate observers, and struc­
ture groups, and through the recurrence of form, something of the Bronze Age,
Hellenistic period, and modern Greece swerve into proximity. Through the
tone of their bells, a ruminant orchestra on the browse broadcasts the positions
of individual sheep to shepherds under dense juniper canopies. Waiting out the
germination of plants, agrarians live in accordance with the rhythms of season,
weather, rye, scarcity, and surplus. With smart devices, whose actions were
anticipated in magic, augury becomes pervasive by holding knowledge of distant
events instantly. Each situation evokes distinctive spaces and times. Understand­
ing each situation also demands something of a metaphysical overhaul, where
time and space are not specified in advance, but are composed differently over
idiosyncratic paths alongside things. To illuminate these situations, an alternate
account of Greek lands is requisite.
Though the objects of this book are legion, they compose the old lands
today known by the names they were so well known in antiquity, the Corinthia
and the Argolid. The heartlands of Greece, here surfaces and folds were ancient
in their radical, agrarian modification before the strong walls of Mycenae were
raised. For millennia these aged and storied lands have exerted a profound influ­
ence upon the human imagination. The allure is, yes, that of antiquity and his­
tory, of myth and change, of wonderous ruin, relinquished burden, and
departed worth. What weight has not been given to its renowned citadels,
cities, or sanctuaries: Isthmia, Corinth, or Nemea, Mycenae, Tiryns, or Argos,
Asine, Epidaurus, or Troizen? But there is also the draw of the land itself, the
agrarian countryside, the high mountains, wide valleys, forested slopes, broken
shores, the wine dark seas. There is the appeal of its people, their vitality, and
their struggles—all foreigners who are beguiled to venture among them do so
with their leave.
This book takes the form of a chorography. This term, “chorography,” is
rooted in the Greek word chorographia, a combination of chôra (“place”, “land”,
“country”) or chôros (“a definite space or place”) and graphia (“writing”). Thus,
the term accommodates an alternative between two nouns, chôra or chôros, and
the mode of engagement, graphia. Ancient chorographies described, delineated,
and documented a country, land, or region.1 In the seventeenth and eighteenth

1 See Strabo 10.3.5 for a discussion of the proper function of chorography (Ephorus gave the best
account of the founding of cities, kinships, migrations, and original founders, “but I,” Plutarch
says, “shall show the facts as they now are, as regards both the position of places and the distances
between them; for this is the most appropriate function of Chorography”); see also 8.3.17.

xiv
 PREFACE

centuries, antiquarians embraced chorography in their studies of community

and history, memory and ruins, places both vanished and extant.2 In learning
from these traditions, this book ventures farther by finding more in chorogra­
phy’s etymological vagueness, for this ambiguity between chôra or chôros suggests
a dual commitment to land, to its legion objects, and to how we dwell, or to
space and how it is constituted.
Chorography: the very word suggests a different fidelity. A literary genre
crafted in a world prior to comprehensive abstractions, it holds the potential
for different understandings of the lands and spaces of the Eastern Peloponnese.
By its very nature a chorography cannot begin with the refined map, with the
purified representation, with the flat abstraction to the exclusion of other
spaces. It must set out along the path, over the ridge, through the pass, behind
the wall in medias res (in the midst of things) with an open disposition. In this,
one submits to a naive trust that at the telos of this endeavor an account of
these lands will emerge, numerous spaces will unfold, hopefully less forced or
coerced and more encouraged, more coaxed, into coming forth. This also holds
for regions, which are dominated by the sense of an encompassing area. Indeed,
even the cherished notion of landscape is tethered to the mode of viewing ter­
rain as picture, not to the land itself.3 What comprises a region has to be made
and, yet again, this should not be settled in advance.
Latin etymology reminds us of the polyvalence of the term regio: line, direc­
tion, boundary, part of a larger area or space, district, administrative subdiv­
ision, division or parcel (of land), part or division (of the sky or universe), part
(of the body), sphere (of thought, activity). With so many meanings, let us
linger briefly with the first—lines are fundamental to regions.4 A line measured
from Tiryns to Aria laid the baseline for the first map of the Peloponnese pro­
duced by geodesic triangulation. A line blasted from the Saronic Gulf to the
Gulf of Corinth unsealed a monstrous conduit between the Aegean and Adriatic
closed since the Pleistocene. A line laid from Corinth to Argos opened the land
to routine crossings in two directions at guaranteed times. For the majority of
those who lived and died in this region, lines were not so much drawn around
flatlands, as manifest in an engagement across water, along roads, over high

2 Consider the work of William Gell (1810), Walter Scott (1814), or John Wallis (1769). On chor­
ography and archaeology, see Gillings (2011), Rohl (2011, 2012), Shanks (2012, 79–82), Shanks
and Witmore (2010).
3 Debunking land in favor of landscape is not without precedent. In bolstering his definition land­
scape, Tim Ingold, for example, reduces “land” to that which is homogeneous and quantifiable, to
something that weighs and forms a kind of lowest common denominator (1993, 153–54). I do
not share this assessment. Were we to play at dialectical one-upmanship, one might contend that
the “scape” gets in the way of land, but this would get us nowhere. Indeed, the etymology of
“landscape” in “land” and “schap” proves to be somewhat more nuanced; see, for example,
Andrews (1999, 28–9), Cosgrove (2004); also Cosgrove and Daniels (1988), McInerney and Slui­
ter (2016).
4 Ingold (2007a).

xv
 PREFACE

passes, through uplands, low valleys, or towns, under olive or carob, by walls,
through doors, along corridors, or by referencing other times and places at
a distance.5 To draw a line on a map is a beginning, but it is not our starting
point.
This chorography takes shape over twenty-seven segments. These segments
cross the length and breadth of the Eastern Peloponnese, from the isthmus of
Corinth to Mycenae, from Argos to Asine, from Ermioni into the Saronic Gulf.
One of the simplest forms of geometric space, “segment” is taken in its
etymological sense of “seg-,” from secare, to cut, and “-ment,” as with the Latin
suffix -men, -mentum, the product of this action. One must acknowledge that by
writing land through a series of segments they give the impression of holding
a preference for lines spatial over lines temporal, and that these spatialized lines
are wholly arbitrary in their points of entry and division. What distinguishes
this chorography from such a sleight-of-hand replacement of lines temporal
with lines spatial, besides, as noted above, the specification of spaces and times
as composed through contact and engagement, is that each segment is a portion
of an actual thing. A neglected path taken over Malavria forms a very different
sense of distance from a rail car moving through aged defiles south of Nemea.
Open areas for Argive assembly in 272 BCE do not spatialize crowds in the
same manner as squares in modern Nafplion. If these segments form lines, then
it is because linearity is a quality of the object described and its rapports,
whether within and along streets in Ancient Corinth, the Hadrianic aqueduct,
vineyard trellises, or the transects of survey archaeologists. This, of course, is
not to deny lines their dignity as objects; it is to emphasize that one is not
reducible to the other.
As an archaeologist, I know what I am expected to say concerning my self-
location and rationale for writing a chorography. This book, and the labors that
contributed to it, fit into a very long tradition of scholarship concerned with
landscape, place, and region in Greece; the ancients, Strabo the geographer, and
Pausanias the periegete; the travelers and antiquarians, nearly all Northern Euro­
peans; the Classical topographers; the travel writers; the archaeologists.6 As the
latter, I realize that I am obliged to locate myself with respect to my predeces­
sors and their traditions; my debt to them is tremendous. I am obligated to
specify the ways I participate in these cultures by weighing previous scholarship,
situating myself among the intelligentsia; this endeavor helps to demonstrate
one’s credentials and establish trust in what is written. Archaeology is not with­
out its expectations for how one structures a book; for how problems are to be

5 On the notion of region, see Oliver (2001).

6 A litany would include Jacob Spon and George Wheler, Sir William Gell and Edward Dodwell,
François Pouqueville and William Martin Leake, among many others; Ernst Curtius and Herbert
Lehmann, Eugene Vanderpool and William Kendrick Pritchett; the chorographer Antonios Mili­
arakis; the archaeologists Michael Jameson and James Wiseman; the travel writer Patrick Leigh
Fermor.

xvi
 PREFACE

posed. Theoretical frameworks should be set out in advance and everything fol­
lows from there—description and analysis through application. In this way we
demonstrate how one’s expertise shapes what lies before you; we also predeter­
mine, we contain our objects of concern. But this is not that book.
An important disciplinary context for this chorography is that of regional
archaeological survey. Over the last fifty years these old lands have been trudged
by archaeologists, geographers, anthropologists, and others who have focused on
the articulation of discrete regions over the last twenty millennia and more.7
Methodological approaches, disciplinary commitments, and areas of expertise
supply predetermined frames for what has become of past lands, packaging its
objects for other past-oriented fields, history and philology. The resulting
descriptive geographies, site reports, or regional histories circumscribe objects,
held to be archaeological, in a space and time regarded as primal and external,
homogeneous and stable. Despite the emphasis on diachronic perspectives, lend­
ing emphasis to that which passes through time, researchers nonetheless order
their findings into periods arranged into a linear sequence.8 Each object,
whether site, landscape, or region, is locked into a horizon of expectation
defined by a chain of succession and replacement—Neolithic then Bronze Age
then Iron Age, Archaic then Classical—where they are relegated to the confines
of their own eras—the Hellenistic, the Roman, the Ottoman—or a more
nuanced continuum nonetheless gauged in such terms. This chorography could
lend further nuance to these longstanding traditions. It could give shape to the
undocumented recesses formed between their lines from the angle of historical
trajectory. It could write out its routes across the succession of various eras.
But this is not that book.
For what it is worth, archaeology is a conflictant field. It has yet to shed
fully the empirical notion that it is, with respect to its objects, a cumulative
tradition—advancing with ever more detail to generate comprehensive know­
ledge of the past. Drawing on continually refined methods, consistent, repeat­
able, compatible, with an even greater fidelity to what remains, a fuller picture
of the continuity and discontinuity of human experience over the long term
may be achieved.9 From the angle of discursive competence, each endeavor may
attend to lacunae, lend emphasis to the neglected, refine the achievements of

7 Among them are the Eastern Korinthia Archaeological Survey, the Nemea Valley Archaeological
Survey, the Berbati-Limnes Archaeological Survey, the Argolid Exploration Project, and the
Methana Survey Project. One could also add the Mycenae Survey and the Argolid Survey, but
these were temporally circumscribed.
8 Here, we should acknowledge a renewed interest in the road, route, and track among archaeolo­
gists as objects worthy of engagement and study See, for example, Alcock, Bodel, and Talbert
(2012), Marchand (2009); also Snead, Erickson, and Darling (2009). Much of this work, of
course, can be situated as part of a longstanding tradition within archaeology and classical topog­
raphy: Hope Simpson and Hagel (2006), Lavery (1990), Wiseman (1978).
9 See Witmore and Shanks (2013).

xvii
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