EPHESOS
Turkey.
The city, in the delta region
of the Kayster, was in ancient times the most important
metropolis in Ionian Asia Minor, and the most important
of the seven Apocalyptic cities. It was founded on an
older settlement of Carians and Leleges, which had a
sanctuary to the Mother Goddess of Asia Minor. Under
King Androklos immigrants from the Greek mainland
built the first fortified city 1200 m W of the Artemision,
on the slopes of Panayir-daği, and erected a shrine to
Apollo Pythios. Under Croesus the first town on the
Koressos harbor was abandoned before the mid 6th c.
B.C. and a second founded inland, near the earlier Artemision. About 290 B.C., because of land subsidence, the
town was moved by Lysimachos to the area between the
mountains of Bülbül-daği and Panayir-daği. It was fortified with a turreted wall over 9 km long and laid out on
the Hippodamian system; the only deviation was the socalled Kouretes Street, which follows an older path.
Lysimachos' city, called until his death after his wife
Arsinoë, remained inhabited until ca. A.D. 1000; The
Byzantine-Selçuk city, which grew up on and around
the Ayasouk hill (Selçuk), was captured in 1426 by the
Ottoman Turks.
The Artemision. The scanty remains of this temple,
one of the Seven Wonders of the World, lie today on
a swampy plain NE of the city, from which the sea
receded only ca. 1000 B.C. The earliest shrine, at the
beginning of the 6th c. B.C., consisted of two platforms,
the W one with an altar, the E one with the goddess's
cult image and possibly a naos open to the W. A hoard
of votive offerings, found under the limestone paving, is
now in the Istanbul Museum. After its destruction by
invading Kimmerians, the platforms were enlarged and
surrounded by a wall; later they were united to form
the podium of a small temple, and finally the building
became a roofless temple in antis, possibly prostyle,
around a freestanding central core. About 560 B.C., the
great Artemision was built by the Cretan architects
Chersiphron and Metagenes. On the stylobate, 115.14 by
55.1 m, stood the sekos, probably roofless, with the
goddess's image in the center, surrounded by two rows
of columns with a third across the front. In the pronaos
were four pairs of columns, the lowest drums with reliefs like those of the entrance facade (some of them
donated by Croesus). The columns, with superb, painted
volute capitals, supported the first marble architrave in
the Greek world, bridging the widest span yet mastered
(the middle architrave weighed 24 T); the inner architrave, ceiling cofferings, and roof beams were of cedar.
This temple is the only early Ionic building securely dated
(completed ca. 500 B.C.), and almost entirely capable
of reconstruction on paper.
In 356 B.C. the temple was burnt by Herostratos, and
subsequently rebuilt by the Ephesians, after they had
refused the help of Alexander the Great. The original
dimensions were retained, new columns and walls rose
upon the old, but on a base 2.68 m higher; the form of
the older column bases and their sculptural decorations
were also retained. Such artists as Skopas and Apelles
collaborated in the work; the altar ornament was reputed to be the work of Praxiteles. The building was completed toward the middle of the 3d c. B.C., except for
isolated elements. It was burnt in A.D. 263 by plundering
Goths, and completely destroyed in the Christian era.
Architectural remains from both temples are in the British Museum. The goddess's cult statue from the older
temple was said to be the work of the Athenian Endoios,
at the end of the 6th c. B.C. Surviving copies, all Roman,
show an archaic type, but with richly jeweled ornament
which would not have been part of the prototype. The
recently discovered foundation of the altar (39.7 m
wide), lying W of the temple and on its axis, is U-shaped
and closed on the E. It consists of two courses of polygonal limestone blocks. Beneath the stone bedding of the
altar court, which is paved with polygonal marble slabs,
lie fragments of the columns of the archaic temple. There
are also two separate archaic foundations within the
court, approached by an open ramp of later date.
The route followed below leads from the Magnesian
Gate to the State Agora. A short diversion to a N-S
street W of the Agora passes in front of the Temple of
Domitian. The route then proceeds NW along Kouretes
Street as far as the Library of Celsus and N along Marble Street to the Theater and the Theater Baths, where
it turns W past the great market or Commercial Agora,
along the Arkadiane to the Harbor Baths complex. Returning to Marble Street it goes N past the Stadium and
the Baths of Vedius. The theater, which is a frequent
point of reference, is set against a cliff at the W side
of the hill called Panayir-daği (Mt. Pion), which occupies the NE quarter of the city.
The bounds of Lysimachos' city, with ruins of Hellenistic and Roman times, are indicated by two city gates:
to the W the Koressos Gate (which led to Koressos, the
quarter supposedly located on the site of the old town
near the Artemision; see below, Baths of Vedius), and
SE of this, on the road to Magnesia, the Magnesian
Gate. A stretch of the 3d c. wall constructed by Lysimachos can be seen on the slope of Panayir-daği, and a
longer one on Bülbül-daği; the Magneseian Gate lies
between them. According to an inscription on the E wall
of the S theater entrance, the Festival procession proceeded from the Artemision to the Magnesian Gate,
thence to the theater, next to the Koressos Gate and back
to the Artemision. The Magnesian Gate consisted of
three entrances, the central one for wheeled traffic; flanking these were two fortification towers. The superstructure of the gate, which survives in part, probably dates
according to its inscription, from Vespasian. Inside the
gate to the SW is the so-called Tomb of Luke, originally
a round building faced with marble with 16 niches on
the exterior, and later changed into a church.
The East Gymnasium lies to the N, a splendid complex
open to the public with exercise rooms and halls for social gatherings. In front of the main building was a
palaestra with an auditorium to the E, and another room,
comparable to the so-called Imperial chamber of the
Baths of Vedius (see below), with a statue of Septimius
Severus in an apsidal niche. This was apparently built by
the Ephesian Sophist Flavius Damianus and his wife
Phaedrina, members of Vedius' family.
The State Agora was over 160 m long, bounded on S
and E by marble benches and on the N by a basilica,
which was 20 m wide excluding its S steps. In its central
nave were columns with deeply set foundations and
Ionian bull's-head capitals, between which additional
support was provided in the Late Empire by Corinthian
columns set directly on the stylobate. To the W was the
Chalcidicum of the basilica, a rustic building. The dedication of the basilica to Artemis of Ephesos, the Demos,
and Augustus and Tiberius, is recorded on a partly preserved Greek and Latin inscription in bronze letters set
into the wall. Later eradication of the goddess's name
testifies to the building's survival into the Christian era.
Its donors were possibly C. Sextilius Pollio and his wife
Offilia Bassa, builders of the aqueduct in Dervend Dere.
Beneath the basilica are the remains of a Hellenistic
stoa as long as the basilica, 8.60 m deep, with a single
nave; older remains were also found beneath the Chalcidicum and the Bouleuterion.
Just N of the basilica is the
Prytaneion, the religious
and political center of the city, with the sanctuary of
Hestia Boulaia and the state apartments. Here were
found three statues of Artemis of Ephesos, now in the
museums of Selçuk and Izmir. The sanctuary of Hestia,
with the base of the hearth for the sacred flame, dates
from the Augustan period, but was remodeled in the
3d c. A.D. by the addition of corner columns with Composite capitals. The Doric portico facade with six columns in antis dates from the first phase. In front of this
lies a courtyard; E of it is a peristyle with Ionic stoas
on three sides and a podium approached by a monumental stair. This podium, formerly known as the state
altar, has now been identified as a podium with two
small prostyle temples built by Augustus in 29 B.C. for
Divus Iulius and Dea Roma; it was destroyed in the 4th
c. A.D. Luxurious private houses with frescos and mosaics
lay N of the N side of the peristyle, on both sides of the
steps leading up the hill.
Adjoining the Prytaneion on the E is the Bouleuterion
(formerly called an odeion), a small building ca. 46 m
wide with a semicircular auditorium for 1400 persons
built on two levels; its upper tier consisted of reddish
granite columns. In addition to the radial stairways, two
covered stairs led from the parodoi to the center corridor. Originally no skene was planned. According to the
building inscription, the donors—at least of the twostoried scaenae frons—were P. Vedius Antoninus and
his wife Flavia Papiana, in the mid 2d c. A.D. There were
several gates leading into the Agora, and between the
Bouleuterion and the basilica were an open passageway
(for reasons of safety) and a channel to carry off water
from the roofs of both buildings. From this were recovered heads and parts of colossal statues of Augustus
and Livia, and a copy of Lysippos' Eros with the bow.
Adjacent to the basilica on the E was the so-called Bath
of Varius. Still standing are the S wall of the caldarium
with seven heated basins, and E of that other rooms for
bathing purposes. The long room on the S side was perhaps a hot room. The building was erected in the 2d c.
A.D. South of the complex a mosaic floor of the 5th c.
A.D., belonging to a stoa, has recently been excavated.
At the E end of the State Agora a section of the
archaic necropolis lies beneath the Roman level, with
sarcophagi made of stone, clay (Klazomenian), or slabs,
and a burial without a sarcophagus dated by the grave
gifts to the mid 6th-5th c. B.C. There is also, among the
interments of the residents of the second Greek city
3.25 m below the present ground level, a section of the
foundations of a street predating Lysimachos' city; it
is 3.5 m wide and bordered by a dry wall. The necropolis lay on both sides of it.
On the S side of the Agora was the processional street,
running W-E to the Magnesian Gate; S of that and
opposite the Bouleuterion was a large fountain, sometimes called the Great E Nymphaeum, fed by water from
the Mamas river in the Dervend mountains by means of
an aqueduct. The original structure, enlarged in the 2d
c. A.D., had a central building, wings, and projecting
walls between which was a large basin with a dipping
pool in front of it. It was repaired in the 4th c. under
Constantius II and Constans.
The Hydrekdochion (fountain) erected ca. A.D. 80 by
the proconsul C. Laecanius Bassus stood at the SW corner of the State Agora, where the processional street
makes a right angle to pass E of the terrace of the Temple of Domitian. This alley is called Domitian Street.
The plan of the fountain resembles that of the Fountain
and Nymphaeum of Trajan (see below): a two-storied
building with a collecting basin in front and, in front of
that, a dipping pool, the dimensions of which were later
reduced. The decorations included tritons, seahorses, and
river-gods. Adjoining it to the N, near the junction of
Domitian Street with Kouretes Street, is the monument
in honor of C. Sextilius Pollio, erected by C. Offilius
Proculus in the Augustan period and enlarged in A.D.
93 by the addition to the S of a columned apsidal nymphaeum, joined to it by a common entablature. Its late
Hellenistic statuary group portraying Odysseus' encounter
with Polyphemos was adapted into fountain figures by
the addition of a system of pipes. Just N of this is the
Chalcidicum of the basilica (see above) with rusticated
walls still standing to a fair height and three doors to the
W. On the N side of this the Clivus sacer, now a footpath, leads through a gate with two socles decorated
with reliefs showing scenes of sacrifice (Hermes leading
a ram, youth with a goat, tripod with Omphalos); the
path runs from Kouretes Street directly to the precinct
of the Prytaneion.
Temple of Domitian. On the opposite side of Domitian
Street is the terrace of the temple, with shops in its substructure on N and E, and a monumental approach from
an open square to the N. The temple, built upon ancient foundations and further transformed in post-Domitianic times, had 8 by 13 columns, and four across the
front; only the foundations remain. Before it stood an
altar with socle reliefs of trophies and scenes of sacrifice,
now in the museum at Selçuk. The temple was originally
dedicated to Domitian by the Province of Asia (the first
Neokorie of Ephesos) and after his damnatio memoriae
rededicated to his father Vespasian. The head and one
arm of a colossal statue of Domitian, thrown down after
the damnatio memoriae, were found in the cryptoporticus and are now in the museum at Izmir. In the square
before the temple is the foundation of a star-shaped
podium, to which perhaps belonged a cylinder with a
frieze of bucrania and a conical roof. It may be compared with the more or less contemporary structure next
mentioned.
Kouretes Street bends, at its junction with Domitian
Street. The monument here was erected in honor of C.
Memmius, grandson of Sulla, and has been partly reconstructed. It consists of a socle, surmounted by a
story (?), with niches and benches on the W, S, and
E sides; in front at the sides are animated female figures
in relief, and the whole is surmounted by an attic ornamented with reliefs. Adjoining it is a Hydreion (fountain) of the 1st c. A.D., remodeled in the early 3d c. In
front of it are four pedestals on which stood statutes of
Diocletian and the Tetrarchs. Further along Kouretes
Street, beyond a late antique propylaneum is the
Nymphaeum of Trajan (Hydrekdochion) on the N side, dedicated before A.D. 114. The main basin is surrounded on
three sides by a two-storied wall resembling a scaena
with columns in the Composite order in the lower story
and aediculae with Corinthian columns above. In the
middle, two stories high, was a colossal statue of Trajan;
its base with globe and feet has been restored. The pool
was on the street side.
Next to this was the
Temple of Hadrian, a little porticoed temple with two columns in antis. Its barrel
vaulted cella holds the pedestal for the cult statue, and
over its door is a relief of Hadrianic date with a female
figure rising from acanthus rinceaux. The building was
restored after earthquakes between A.D. 383 and 387,
and the relief frieze in the pronaos showing the legend
of the founding of the city was added at that time. This
frieze, originally made for another, unidentified building
(it was cut down to fit its present setting), is possibly
one of the latest of antique temple friezes. According
to the inscription of P. Quintilius, the temple was dedicated to the emperor during his lifetime; after the Temple of Domitian, it was the city's second Neokorie (a
provincial sanctuary designated as an Imperial temple).
In front of the facade stood memorial pedestals with the
statues of the Tetrarchs: the Augusti in the center
flanked by the Caesares (cf. the bases by the Hydreion).
Behind the Temple of Hadrian, at the SW foot of
Panayir-daği, are the sprawling
Baths of Scholastikia,
originally of the 2d c. A.D. and rebuilt ca. 400 by a
Christian, Scholastikia, whose statue, with an inscription,
stands in the entrance chamber. Much reused material,
especially from the Prytaneion, was employed. This bath
belongs to the ring- or gallery-type and includes an
apsidal apodyterium with changing-cubicles on the sides;
the sockets for the curtain-rods are still in place. In its
N section, accessible from Marble Street, is a Paidiskeion or brothel.
Opposite the Baths of Scholastikia are two splendid
private houses still being excavated. They rise in several
stories against the hillside, and while the front rooms of
the lower stories are aligned with Kouretes Street, the
upper ones are laid out orthogonally, parallel to a street
in back which runs at an acute angle from the Square
of Domitian to Kouretes Street. There were shops in the
lower story, and three flights of steps led from the street
to the upper levels. There is a fine peristyle court in the
third story of the E house, with marble floors, wall
veneer, and a pool of later date with marble revetment.
Ten main periods are represented, from the Augustan
age until destruction in the early 7th c. Adjoining on the
S is a square chamber with three niches on the W side.
In House 2 to the W there are apartment suites, each
grouped around a peristyle court; the surrounding rooms
have an upper story (dwelling space of 964 sq. m);
several rooms are decorated with two layers of paintings
representing Muses (3d c.), the figure of Socrates with
an inscription (1st c.), theater scenes (the
Sikyonioi
and the
Perikeiromene of Menander, and the
Orestes
of Euripides), the Combat of Hercules and Acheloos,
more Muses, and Erotes. Also found here were a bronze
statuette 0.38 m high of a “Sem” priest with inscribed
cartouches of Psammetich II (590 B.C.), a little ivory
head of the 3d c. A.D., other figures and reliefs, and
even a frieze, of ivory. From the niche-vault of one
of the peristyle courtyards comes a glass mosaic of the
5th or 6th c. A.D. Some of the finds are in the Selçuk
museum.
To the NW on Kouretes Street are two related buildings, perhaps heroa from the 1st c. B.C. or A.D.: the
Nymphaeum consists of a massive marble base with
Doric half-columns on three sides surmounted by Ionic
ones, and a frieze decorated with garlands. It was rebuilt
as a Nymphaeum in the Christian era; the water flowed
into a pool with crosses inscribed on the slabs of its
brim. The
Octagon is similar: a marble socle surmounted
by an 8-sided structure. The massive core, with false
door, is surrounded by a Corinthian colonnade; above
the entablature is to be reconstructed a stepped pyramid
terminating in a cone. The base encloses a tomb chamber
which held a marble sarcophagus containing bones. In
A.D. 371-372 decrees were inscribed on the socle slabs.
Also related to these buildings is the Round Building on
the SW cliff of the Panayir-daği: a square dado surmounted by a two-storied round structure, perhaps a
memorial to the governor P. Servilius Vatia Isauricus,
46-44 B.C. Beside the two buildings mentioned above, the
Processional Way (called Marble Street as far as the
theater) turns to the N; on its S continuation across
Kouretes Street, leading up to the cliff, lies a gateway
with pedestals and bases of pillars in situ: a unique combination of half- and three-quarter columns and pilasters.
The second story had a delicate columnar structure comparable to the nearly contemporary Gate of Hadrian in
Athens. Beyond this gate lay a marble-paved square.
The Library of Celsus lies W of the square. A flight of
nine marble steps 21 m wide leads up to the richly-articulated facade with indented and reentrant paired columns
and aediculae. The niches held female figures, allegorical
personifications of the four cardinal virtues, now in
Vienna. Behind this was a large chamber, built on vaulted substructures and surrounded by an isolating passage
(for dryness); the inner walls and floor were originally
veneered with variegated marble slabs. Around the walls
ran three superimposed rows of 10 cupboard-niches for
manuscripts. Opposite the center entrance was an apse
beneath which lay the tomb chamber, accessible from the
N, with the sarcophagus of the Senator Tiberius Iulius
Celsus Polemaeanus, Consul in A.D. 92. The Library,
which thus also served as a heroon, was dedicated by his
son C. Iulius Aquila, Consul in A.D. 110, and completed
by his heirs. In the Christian period a pool was added in
front of the facade, bearing relief plaques of a monument
in honor of Emperor Lucius Verus; these are now in the
Neue Hofburg in Vienna. Opposite the library stood a
building, probably a lecture hall, now almost totally
destroyed; and the socle of a round building (heroon?)
of late Hellenistic or early Roman date. In the square
in front of the library was an entrance down to the Commercial Agora, through the Gate of Mazaeus and Mithridates. The inscription on its attic identifies the donors
as two freedmen of Agrippa who erected the gate in
4-3 B.C. in honor of Augustus, Livia, Agrippa, and his
daughter Julia. It has three entrances between richly
articulated side walls, and the attic was crowned by
statues of the Imperial family.
The Agora or
Lower Marketplace is a square 110 m
on a side, surrounded by double-aisled stoas with shops
behind them. In the center was a horologion, a water
clock and sundial combined. In the 3d c. A.D. the Agora
was rebuilt, and in subsequent alterations much earlier
building material was reused. On the E outer wall, leading to Marble Street, lies a double-aisled Doric colonnade of the time of Nero. In front of the W side of the
Agora stretches a large street-like open space, ca. 160 by
24 m with colonnades along both long sides; at the W
end is a gate and on the E another entrance to the market, an exedra-like structure with projecting wings. An
open stairway between the wings led up to the level of
the Agora; ramps were added during later alterations.
To the W of the Agora, S of the street-like area,
similar steps lead up to a square surrounded on three
sides by arcades. On the S side of the square lies the
Temple of Serapis, of the 2d c. A.D., set on a podium
approached by a monumental stair. The porch in front
of the barrel-vaulted cella is formed by eight monolithic
Corinthian columns ca. 15 m high; immense blocks of
marble were also used for the richly decorated entablature, gables, and door frame. A gigantic door on casters
led into the cella.
Marble Street (S part, see above under Kouretes St.;
farther N below). Named for the pavement given in the
5th c. A.D. by Eutropius, whose portrait is in Vienna, the
street lies E of the Commercial Agora, and is reached
by the Neronian arcade mentioned earlier. It runs N to
the theater, past a late antique arcade on the E side, and
on to the stadium.
The Theater, site of the Ephesians' protest, “Great is
Diana of the Ephesians!” against the Apostle Paul (Acts
19:34), is set into the W cliff of the Panayir-daği and
dates in its present state from the Roman era. It was
begun under Claudius, completed under Trajan, and received later additions. The auditorium seated 24,000 on
three levels of 22 rows each (the lowest 6 were later
removed); vaulted stairways led from outside to the upper levels. The well-preserved scenae frons had three
stories; in front of it was the Roman logeion. There are
also some remains of the pre-Roman stage structure. Built
into the W terrace-wall is a fountain house of the 3d or
2d c. B.C.: a niche with two Ionic columns in antis, with
the water flowing from three lions' heads in the back
wall. To the N of the square in front of the theater was
the
gymnasium, dating from the Empire and today in
ruins; the galleried court in front served as a palaestra.
The Arkadiane ran from the theater to the harbor, a
street over 500 m long with a central lane for wheeled
traffic 11 m wide, and colonnades 5 m deep on each side.
The colonnades had mosaic floors, and shops in the inner
walls. The remains visible today date from the time of
Emperor Arcadius (A.D. 395-408). According to an inscription, the street was lighted. About halfway along it
is a structure of the 6th c. A.D. consisting of four columns
with Composite capitals on pedestals. The columns probably held statues of the four Evangelists. At the harbor
end, the Arkadiane terminated in an early Roman Harbor Gate, with Ionic architectural features which were
decorative rather than functional; its level is 0.6 m
lower than that of the later street. On the parallel street
to the S lay another two-storied portico of ca. 200 B.C.,
leading to the harbor. The wall of the Byzantine period,
which still exists E of the Stadium and Theater, runs
down to the harbor S of the Arkadiane.
The Great Baths (Harbor Baths, Harbor Gymnasium,
or Porticos of Verulanus) lay N of the Arkadiane. The
site had been set aside for this purpose in the plans for
Lysimachos' city and it was originally the only bath complex. The palaestra was surrounded by the various sports
facilities; to its S was the fine Marble Hall, and in front
of it to the E a great square with triple colonnades. These
consisted of an unroofed central lane between two narrow, roofed halls, and apparently constituted the xystus
for running practice. The marble revetments of Hadrianic
date were added by Pontifex Maximus Claudius Verulanus. The bath building itself and the swimming pool
were rebuilt in the 2d and 4th c. A.D. The bronze statue
of the Apoxyomenos in Vienna came from here.
The Council Church, also called the Church of the
Virgin Mary, is N of this complex. There had previously
been a building with three aisles and apsidal ends, erected
over an older structure more than 260 m long. Then,
in about the 4th c. A.D. a triple-aisled columnar basilica
with narthex was built on the site; it had a large colonnaded atrium at the W end and a Baptistery on the N side.
This was the great Church of St. Mary where in A.D. 431
the Third Ecumenical Council was held. The E section
of the old building was apparently used as a Bishop's
palace. Later a domed church was built on the site, and
finally a triple-aisled pillared church with galleries.
The Stadium. Marble Street, E of the preceding complex, runs N from the theater to the stadium on the NW
slope of the Panayir-daği, where festivals, athletic contests, and horse- and chariot-races were held. The tiers
of seats on the S were partly built into the hillside, but
all seats were removed in the Middle Ages. The W facade
with seven entrances and the gateway in front of it to
the S belong to a rebuilding in the 3d or 4th c.; the older
wall still preserved on the N dates from the extensive
reconstruction under Nero, according to an inscription
to Artemis of Ephesos and to Nero. At its E end was a
round field for gladiatorial contests and wild beast fights.
Adjoining the Stadium to the N are the baths built by
P. Vedius and his wife Flavia Papiana in the mid 2d c.,
dedicated to Artemis, Antoninus Pius, and the City of
Ephesos. The plan is symmetrical. On the E is a colonnaded courtyard, and a lavatory with marble seats at its
SW corner. On the W side of the court is the Imperial
cult-chamber with a two-storied interior colonnade, a
niche for the emperor's portrait and, in front of it, an
altar. Adjoining this is a bath building, which was
adorned with copies of famous statues now in the museum in Izmir. The Koressos Gate stood at the E end
of the baths.
At the N foot of the Panayir-daği was the sanctuary of
the Mother Goddess, with niches in the mountainside and
votive reliefs showing the Mother Goddess of Asia Minor.
In the N slope was the Grotto of the Seven Sleepers; a
church with catacombs was built here over an older
grave area, site of the legend of the resurrection of seven
youths during the period of persecution of the Christians.
In the valley of Dervend-Dere (Marnas) is the aqueduct
built in A.D. 4-14 by C. Sextilius Pollio, a striking series
of arches in two stories and one of the best examples of
Roman aqueducts in Asia Minor. Recently part of the
remains were carried away by a flood. The Panayīa
Kapīlī (House of Mary), a shrine to the Virgin on the
Aladaği S of the Bülbül-daği, is thought by some scholars to date from the Byzantine period.
In Selçuk are the ruins of the Byzantine aqueduct and
of the Gate of the Persecution, probably built in the 6th
c. A.D.; in front of it a grave of the Mycenaean period
has been excavated. Here also is the Church of St. John,
originally a mausoleum over the saint's grave, then
a church with a wooden roof. The church was replaced
with a domed basilica in the 6th c. A.D. by Justinian.
The citadel on the summit, of the Christian-Byzantine
period, has a fortification wall with 15 towers and a
single gate. The Mosque of Isa Bey, SW of the Church
of St. John, is the most important Islamic building in
Ephesos, built in 1375 by an architect from Damascus.
There are 14 other small mosques, sepulchers, and baths;
there is an excellent museum in Selçuk where the finds
since WW II are kept, and there are two in Izmir.
BIBLIOGRAPHY
RE V (1905) 2773ff;
RE Suppl. XII
(1970) 248ff, 297ff, 1588ff; C. H. Picard,
Ephèse et
Claros (1922); F. Miltner,
Ephesos, Stadt der Artemis
und des Johannes (1958); W. Alzinger,
Die Stadt des 7.
Weltwunders (1962)
MPI; id., “Augusteische Architektur
in Ephesos,”
Sonderschriften d. ÖAI 16 (1972)
MP;
(1972)
MPI; id. & D. Knibee,
Ephesos, Ein Rundgang
durch die Ruinen (1972)
PI; J. Keil,
Führer durch
Ephesos (5th ed. 1964)
MPI; E. Akurgal,
Ancient Civilizations and Ruins of Turkey (1969) 142-71
PI.
Excavations:
J. T. Wood,
Discoveries at Ephesos (1877); D. G.
Hogarth,
The Archaic Artemisia (1908); Österr. Arch.
Inst.,
Forschungen in Ephesos (1906) I, 237ff; “Vorlaufige Berichte,”
AnzWien 98 (1961) passim.
Monuments:
M. Bieber,
Die Denkmäler zum Theaterwesen im
Altertum (1920) 43ff; id.,
The History of the Greek
and Roman Theater (1939) 226ff, 267, 370-71
I; A.
Boëthius & J. B. Ward-Perkins,
Etruscan and Roman
Architecture (1970) 387
I (aqueduct), 399-403 (baths);
G. Sotiriou,
Deltion 7 (1921-22) 89ff (Church of St.
John); F. Fasolo,
Palladio (1956) 1ff (Council Church);
G. Grüben,
Griechische Tempel und Heiligtümer (1961)
243ff (Artemision); W. Alzinger, Festsch. F. Eichler
(1967) 1ff (Koressos); A. Bammer, AA (1968) 400ff
(altar of Artemision).
V. MITSOPOULOU-LEON
