INTERSTICES 17 ancient Greek theatre and Architects On theoriginofarchitect: SIMON WEIR 9 one ofarchitecture’s foundationalethicalvirtues. andelucidate ofarchitects, outline thevaried moralandmaterial expectations to againlocate are withinscriptions combined Theatronai, andArkhitektones”, Theatropolai, WhoBuilttheTheatres: Men “The ofthetheatre,Csapo’s inEric explained sanctuary inthe ing offstage essay 2007 in complex situations with foreigners. Finally, work the evidence of architects whileenmeshed acommongood justly andfurther to act tion, butare seeking in building orconstruc are engaged not as architects described the characters which references Aristophanes’ andJusticeinAthenian Architects Drama” Performances: 2013 essay “Ensemble Architect-Figures in AthenianActs: Drama and Their Prefigurations”, and her theatre were uncovered Landrum’s inLisa “Architectural thesis, 2010doctoral in onstage Athenian ofarchitects early significantappearances Two structures. andinthetheatre’s onstage tre, incharacters both furniture andtemporary and architects between The more unusualalliances forxenía. showed investment respect architectural diminished inresidences andVitruvius, ical frameworkxenía andarchitecture;forDemosthenes about architecture and xenía together, it was explicitly in the context polit of a larger oftheirday.tural priorities consideredresidential WhenancientGreekauthors of hospitality, sense to our contemporary are on the cul contingent butothers tied are closely suchashostels hospitality formsofarchitectural Some architects. given by Plato in Friendship andthe Greek City thedefinitionof willuse This paper andVitruvius. thatevenshiftelicitedcriticismfromued Demosthenes afractional shown thatxeníathinking washighlywill be inancientGreekarchitectural val so foreigners.It broadly towards labeled ofpeople practice theneeds accommodating architectural architectureanddirecting permeating hospitality form ofritualised Greek records ofarchitecture. Thisstudyreveals theethicalprincipleof ancient ontheearliest studyfocussed isahistoricalcase thispaper functions, to foralanguage explainarchitecture’s precedents Seeking andethical political Introduction xen Laws , and consider the hospitality offered to these foreigners by offered to these , andconsiderthehospitality í a inthe (1996), then add the four distinct kinds of foreigners kindsofforeigners (1996), thenaddthefourdistinct Peace xenía and Euripides’ given by GabrielHermanin xenía . Together these examples . Together examples these xenía RETURN TO ORIGINS Cyclops appear inthethea appear . In each case case . In each Ritualised xenía , a , a ------INTERSTICES 17 On theoriginofarchitect: Architects and 10 Much of the accommodation forvisiting Much oftheaccommodation Accommodating debate civic between architecture. political andresidential tion ofalarger attheintersec appeared traders seasonal hownoting thearchitectureforthese of Plato’sTwo (12.952d–953d).lic buildings” by cityofficials travellers and pub at the “markets, harbours, hosted who come to be trade must show must themcare andattention”, andtemple-keepers “priests andseasonal hosted “officialshosted (2005: 152). sort” some of known as insanctuaries hostels and bath complex appropriately stoas, a hostel “ named resembling Ault by have buildings described These inhostels. been forthemselves modation private Visiting homes. attend thetheatre. Theevidenceof ior officials; by appropriately hosted sen be and must from communities other ambassadors four kindsof noi are strangers In broad strokes, by adisplayonly himself redeem (1987: andloyalty” ofsubmission 48–49). could beneficiary fromstate whichthe state inaofindebtedness, the beneficiary or gift,likeproviding helpto ashipwreck survivor, whichasHermanwrote, “put forth hence Strangers, andtheexchange ofgifts. filial obligations,typically hosting perform who groups geographical and fromsocial adults differentship between well As asapervasive ethicaldisposition, whoduly replied, for aidfrom Theseus, inSophocles’ occurs tion ofgiver andreceiver. are derived,from whichthewords andguest draw host attention to thesepara of The concept traveler, aforeign not adversary. and pervasive,benign as Herman(1996) bringing to explained, mindafellow phobia captures cenary, andsimply ‘man’ or‘you’ equivalents. asthenearest None adequately donor, weEnglish—instead findhost, friend,foreigner, guest, stranger, mer the extantformsofGreekword Xenía Xenía prefix of ‘xen’prefix of in are people who visit a city and need to be hosted. In hosted. to be who visit a city and need are people and that my portion oftomorrowand thatmy isnogreater portion than yours. (262–267) toor refuse helpinhisdeliverance. For Iknow well thatIamaman[ [...] never would [ Iturnasidefrom astranger in “Housing the poor and homeless inAncient Greece”, andhomeless in “Housingthepoor andincludehostels xenía xénoi was a long established ethical customoftheancientGreekworld. was None alongestablished of , both of which bear a negative connotation. In ancient Greek, anegative InancientGreek, ofwhichbear connotation. , both

intheancientGreek theatre xenía’s , from different cities meet either by introduction or through a service service orthrough a either , frommeet byintroduction different cities xénoi xénoi xénoi ancient Greek meaning, and nor does theEnglish cognate. The andnordoes ancientGreekmeaning, xenía xenía who visit for festivals should be hosted at the temples where at the temples who visit for festivals hosted should be , all especially sacred (1.632d). sacred kindsof , allespecially Two , thevisitingofficialsand Oedipus xénoi may translatedashospitality, be however root theLatin is seen elsewhere inEnglishwith elsewhere isseen xénoi Xenía from any ofPlato’s mighthave groups found accom

at xénoi equalises the guest and the host. A clear example Aclear andthehost. theguest equalises

Colonus katag toother, each thoughinacivic context, xenía xenía ó gia . Blind and destitute, Oedipus appealed appealed . Blindanddestitute,Oedipus xenía xénoi in the theatre will be explained after explained inthetheatrewillbe ( — ξείνία some also described a personal relation apersonal described also included commercial hostels and and commercial included hostels ξένης ofwhichAult thought to have ) have translationinto adirect xénoi ], suchasyou are now, RETURN TO ORIGINS who visit forfestivals, Laws xenophilia , Plato described , Plato described xénoi Xenon and xenía comeas ξένον ”, and xeno B. A. B. A. was xé ], ------INTERSTICES 17 On theoriginofarchitect: Architects and 11 each, intensified in opposing ways. intensifiedinopposing each, Aristophanes’ occur in Landrum identified by asarchitects acting ofcharacters instances Two ofarchitecture, inthe Athenian conceptions occurred theatre. and contemporary feltinthe accidentalcanbe isnot that theabsence (Plato architectureisfarfrom residential certain existence ofarchitectureasabusiness, Greek literature.earliest While side remarks by Plato and Xenophon confirmthe from ismissing the andhouses architects between phenomenon, theconnection of to the hosting Looking (n.d). What Demosthenes and Vitruvius described is a curious and unfortunate isacuriousandunfortunate andVitruvius described (n.d). WhatDemosthenes trading for seasonal Platosame buildings therequired specified To hisclaim,Demosthenes support Athensback toandnoblertimes, was, earlier Looking by orators,Demosthenes. oneofancientAthens’ distinguished most Introduction). (6. greatpubic architecture, produce great houses not communities the best reminder architecture withthepolite that onresidential hisbook was beginning far more specific. Vitruvius something gift. The context implies of his anecdote giftonecangive childrenbest isinvulnerable, “education” proclaiming asthat repliedby saying hischildren. the Thephilosopher send that,unlike ashipwreck, to ofwhatmessage ofhim,theyasked outahead companionsset philosopher’s thererally ready hisreturn there to home. arepeople assist educated Whenthe findsa town withsplendidpublicarchitecture,shipwrecked philosopher natu a shipwreck anecdote, reminding thereaderof architecturewith onresidential iterated hisbook thispreference inbeginning Vitruvius re architects. engage thatdidnot households hepraised Clarifying, were were onlyoutthereidences ifpublicbusiness carried (6.5.2). permitted Greece, by whichheprobably meant later,Centuries of Vitruviustheemergence noted ofvisiting extending intohome astheirownthehosting business, andmaintenance oftheir consideredtheconstruction tells usthathouseholders The other associations between between associations The other architect i. Aristophanes’Trygaeus play andEuripides’Odysseus Architects of trading to these change, butprivate more luxurious,andthearchitecturedevoted became homes like foranethicalprinciplethatfunctioned Theneed descent. which you see our city adorned. (23.206–208)which you ourcityadorned. see thegreatharbour, with andalltheedifices porticoes, docks, gate-houses, those themwastunity ofsurpassing leftto Witness cominggenerations. were buildings andofsuchqualitythatnooppor onsuchascale Public oftheir andtheequipment thestructure hand, both Ontheother houses. menofoldliveddistinguished in[…]isnogranderthanthecommonrunof that[…]those ofhouse than themultitude. Herethat[…]thesort istheproof […] wealthy andsplendid,butinprivate higher lifenomanheldhishead xenía intheancientGreek theatre Lovers : 135c;Plato 1 In his anecdote, Vitruvius echoed a sentiment famously expressed famously expressed asentiment Inhisanecdote, Vitruvius echoed Peace xénoi xenía andEuripides’ fellinto disrepair. xénoi inthetheatre: Gorgias xénoi : “gate-houses, docks, porticoes, the great harbour” thegreatharbour” porticoes, : “gate-houses,docks, in residential architecture and noting a surprising asurprising architectureandnoting in residential xenía : 455b; Xenophon : 455b; Cyclops architecturally and architecture, beyond accommodation

. As will be shown, willbe . As xenía 2

Memorabilia

beautiful designed Economics . In the anecdote, when a RETURN TO ORIGINS homes in ancient inancient homes homes. These res These homes. xenía , where Aristotle , where Aristotle : 4.2.10). A sense : 4.2.10).Asense xénoi xenía appears in appears (1.1345a). (1.1345a). did not didnot - - - - INTERSTICES 17 On theoriginofarchitect: Architects and 12 Odysseus blindsthe Odysseus 8). Whenthemomentarrives, withdraw thesatyrs fear, incomedic butheroic (to follow) persuaded thearchitects” (2010:command, be 134; lation, to overcome ofthesatyrs asks theassistance the Xenios [ “Zeus and hismenare Unlike captured. Homer’ returning versioncountering before towhere friendly Homer’s Odysseus satyrs en Odysseus immediately with island, Euripides’accountdiffers from Homer’s, water—theand fresh archetypical Homer’s counter withPolyphemus, the attheDionysia. performed tragedies Like theirinclusionwithinthecommunity.forces of sense In “Performing and celebrationintheplay’s finalact. celebratory W.cording to A. Pickard-Cambridge’s Aristophanes’ onstage and occurring asthecommunal andoccurring onstage of 2013a: 32).Theprocess conducting as intermingling withstrangers; ly such in a rich variety and religious activities: political, of interrelated social, at an involved divinedirect beholding participating spectacles distance, but also In Trygaeus’ asamirror journey oftheaudience’ssees oftheDionysia. experience the groups, (2010:us andarchitect” andorganises 19; directs 305).Trygaeus Aristophanes: ative. InLandrum’s translation, tousingtheword Trygaeus The menthenappeal group nothing. achieve almost the disorganised begins, boulders ing thelarge but when the heavy of remov labour song, workers fill their time with dance and xénoi whotraveled of“farmers denizens, handicraftsmen, prised carpenters, by sea, of him,andtheyarrivecalls onalltheGreeks to assist asachorus.Withournotion opportunity, her. to rescue tries Trygaeus Trygaeus ofhistask, Realising thescale that the goddess Hermes from messenger learns Zeus’ to soon endthe war Trygaeus with Sparta. a In theplot, life, debutedhiscomedy, Aristophanes into theDionysia of 421B.C.E. (V. the festival’s 20).During of regular suspension tions forwhatwould eventuallyknownofNiciasextended asthePeace become War.Peloponnesian historian, Thucydides, wrote that negotia Contemporary events oftheday, andsocial to thepolitical Athens’ inthe especially engagement the Dionysia (1953: ofaformtheword 64).Aristophanes’ use attheCityFestival forthe theatre competitions performed ofDionysus, orsimply xenía theōria xenía intheancientGreek theatre [ Peace “ ξένοι and xenía Be silentnow—for youBe know my completely—and scheme when I Odyssey one takes a journey andencountersnewways ajourney “not onetakes only ofthinking, , Peace ] and Euripides

farmer xénoi . Furthermore, Aristophanes’inclusionof Peace ε ξένι᾽ Ζεῦ Theōria . Odysseus and a few men arrive on a small island seeking food andafew menarrive food . Odysseus onasmallislandseeking Peace is freed, and Trygaeus returns andTrygaeus to isfreed, Athens withappropriate ritual islanders

established earlier, wereestablished cast com Trygaeus’ fullsupporting , the comic final act appending a trilogy of tragedies, ac oftragedies, atrilogy appending , thecomicfinalact Cyclops named ’ has been imprisoned by in a nearby cave. Ares imprisoned has been his Seizing Cyclops : Architectural Acts inAristophanes’ Acts : Architectural ]… look upon these things” ( these upon ]… look ” (Aristophanes: 297). Excited atthisopportunity, Excited 297). ” (Aristophanes: the theōria and makes good their collective escape. theircollective escape. good andmakes Tyrgaeus travel Tyrgaeus Cyclops was following of a trilogy the final comic act “ So, if it is necessary for us to do anything, direct direct for usto doanything, So, ifitisnecessary , of surrounding oneself with , ofsurrounding oneself xenía 3 Theplay en ofOdysseus’ retells thestory well known to theAthenian audiencefrom Peace moment. When Odysseus arrives onthe moment.WhenOdysseus The Dramatic Festivals ofAthens theōria s version, Odysseus s version, Odysseus s to theheavens withZeus to plead . diplomatic oftheaudience, heightens the “ architect” asa verbarchitect” andimper Cyclops Euripides RETURN TO ORIGINS xénoi exchange.” (Landrum , inLandrum’s trans inthechorusrein appeals directly to directly appeals άρχιτέκτων Peace : 354). Euripides xénoi ”, Landrum 4 Odysseus Odysseus , depicted , depicted

: 477– refer , was s ------INTERSTICES 17 On theoriginofarchitect: Architects and 13 other other there islittleevidenceof themany theatreseats, ‘strangers’ privileged assigned While stone-carved 1978: 6). (SEG28, 60, him thefront shallassign seat” ofsanctuaries charge Shear II.96–9; in architect which the city holds, and thattheduly elected at allthe contests seat inthefront row seat atthenewstonetheatre: an assigned with honouring Kallias of Sphettos A similar example is found in an inscription inthetheatre fortheDionysia to (2.55). seats theambassadors” had Demosthenes butofthesenate: architect, ofDionysus were ofthe atthediscretion inthesanctuary not commodations theatre?” (1828). dors, ambassa how agroup hehandled ofMacedonian about atAeschines request identical analmost directed Demosthenes asarhetorical question, 322–3). Posed fluence of underthein instructed, being anarchitect documents Aninscription sources. thefollowing across are seen oftheirduties andsome The theatre architects theatre refersto afigure whoaccordingroutinely acted to above, islikely. Finally, ofthe inthesanctuary located theevidenceofarchitects or ofsanctuaries, aspart hostels inoverseeing tects who visitforfestivals” would comefor theDionysia. Theemployment ofarchi one:manylikely attendedthetheatre. ofthe“ Plato specified indirectly threeofthe oninclinationandtimeliness, Depending ofthetheatre’sii. thesanctuary architect elected Architects of that his the satyrs. Andfinally,the satyrs. on likeTrygaeus, by acting ing turn of phrase, simple and common enoughto avoid confusing or disturbing a metonymAs forenacting to theaudiencethat amessage andsends es, from in a cave on the side of Mt Aetna in Sicily. of a link to The consolidation and ofOdysseus retoldEuripides thestory context that Itisin this gruesome 87). andleftto abandoned die(VII, the earth, cutinto wereinaquarry Atheniancaptured andSiciliansoldiers imprisoned historianThucydides wrote that7000 Contemporary loss. andtheirlargest bled (Thucydides: dition, over 10,000 killed hadbeen withtheiroarsmen, and200triremes soldiers out to Sicily.broke ofNicias and set thePeace Withintwo years, theentire expe the Athenians the attacking Syracusans, against for assistance ally’s request saster on the island of Sicily. For the audience, this would have brought to mind a location. its scribe Homerdoesn’t nametheislandof catastrophic losses. Between xenía intheancientGreek theatre Peace “ that happened in Sicily sevenyears earlier. thathappened to theirSicilian Responding xénoi [should Ihave] inthe to seats ordered not give thearchitect themreserved xénoi Peace xenía and visitingthecity, away sittingfurther duringthebusy from thestage VI– , in this case the satyrs, belong to hisimmediatecommunity. belong thesatyrs, , inthiscase and Cyclops , to assign theatre seats for a guest attheDionysia foraguest (Mc.K 1974:, totheatre seats assign 5 xenía VII). This was the largest armed force armed theAtheniansVII). Thiswas ever thelargest assem The corresponding speech by Aeschines reveals thatsuchac by Aeschines speech Thecorresponding Euripides sets Odysseus sets Euripides Cyclops stelai mirrors this aspect ofAthens’ success changingmilitary mirrors thisaspect inthetheatre: recordsignificant politically , Athens hadrenewed warandsuffered its withSparta, xenía , Odysseus’ instruction to the satyrs isanamus to thesatyrs instruction , Odysseus’

’ landing at the foot of Mount Aetna of Mount ’ landing at the foot Cyclops “ Syracusans moved to inthesenate assign xenía trapping and eating hismen trappingandeating katagógia RETURN TO ORIGINS , Odysseus acknowledges acknowledges , Odysseus xénoi xenía Cyclops “ xénoi are not he shallhave afront Plato mentioned . as noted byas noted Ault , namely those , namely those , norclearlyde xénoi . xenía xénoi di ------

INTERSTICES 17 On theoriginofarchitect: Architects and 14 vives ashipwreck. valuable,Vitruvius was remindedhisreaders most andonethingthattruly sur ing respect bevigilantin andofficialsknew imply years to inearlier thatarchitects thatis, at theirdestination, the architecture for who neglected of categories x many ways. some Yet moralself-licensing, ofpolitical dueto aportion perhaps foreign friends, and the sanctuary of the theatre extended itself towards of the theatre extended itself foreign friends, and the sanctuary and enoughforambassadors smoothly function hosted andbeing ofhosting cles mentioninginPlato’s rareneed group thatitdidnot isso mandated altruism towards shipwreck survivor, the archetypically abject but this remain theancientGreeks saw, systemicproblems. As ofpublicandprivate users voiceless architecture, thereknowledging otherwise on While reflection (2013b:254). order” andsocial ofjustice, proponent peace asanexemplary acting “are protagonists as qualified each these noted, while ‘architect’ Landrum plish. As accom thattheywould otherwise not forthecollective good into projects labour violence, by hisimminentdanger. justified organises each case,thearchitect In hiscommunitytowards enforces directs Trygaeus Odysseus peace, remind architecture (605–18),meanwhile us of producing has Hermes andwhere inproducing them to assist Bywayation iseasilyrecognised. ofaverb, ‘architects’ Trygaeus of onstage, thepresence ofarchitecting In thetwo instances withforeign guests. lationships vulnerability oftravelling andprofitable re ofpeaceful andacommunity’s need xenía However, of though the distinctions of nobler, reminiscent perhaps antiquated notion, simpler, and certainly times. century, each passing difficult With to distinguish. which foreigneraration between andlocal, AthensAs grew from town to city, increasingly diverse, andthesep itbecause Conclusion remains unclear. structures chitect’s timber anddismantlingoftemporary role intheerection xénoi skillsisstone (2007: withtheirspecial terial associated whatever 98).So, besides thebuildingma sites, and selecting groups asleading are described architects stone, extendingtrend ageneral throughout theancientliterature that,although thetheatre after inrecords itwas about only builtin appear architects plained, many short-term other and perhaps However, amenitybuildings. ex asCsapo gave to visiting hospitality days of the Dionysia. These é noi x é xenía intheancientGreek theatre remained in abjection. Combining Demosthenes’ observation withPlato’s observation Demosthenes’ Combining remainedinabjection. the sanctuaries’ existing masonry buildings couldaccommodate, buildings thear masonry existing thesanctuaries’ is a principle addressing constant human needs and recognises both the both andrecognises humanneeds constant isaprincipleaddressing noi through allkindsofarchitecture. ofeducation Thismarkstheonepiece x é noi , Demosthenes andVitruvius foundfaultinthecityofficials , Demosthenes xenía anddifferent xénoi x Peace é “ noi elected architects in charge of sanctuaries” likely of sanctuaries” in charge architects elected , overseeing both the construction ofthetheatre theconstruction both , overseeing with neither political power noradvocacy. withneitherpolitical They as x é the noi xenía essential political premise. Aristophanes premise. Aristophanes political essential x without ambassadorial status orfriends status without ambassadorial é noi become more difficult to discern, become xenía may today adesigner assist inac honoured, became ever more honoured,became xenía RETURN TO ORIGINS Laws xenía became more of an became xenía . The virtuous cy . Thevirtuous unambiguously xénoi xenía in each situ ineach , directed , directed through through x é noi in ------INTERSTICES 17 detailed metricalanalysis. detailed argues for thelater date on based , 161–172,182 Seaford (1982) who ofHellenicStudies, The Journal The Date ofEuripides’. Cyclops See and avillainwhoisblinded. featureswhich also Odysseus actfourth ofEuripides’, Hecuba date thissatyr sets play asthe Aristophanes’ Peace before, years orthirteen after and 408B.C.E., eitherafew years Peloponnesian War, 424 B.C.E. two plausible dates duringthe between Scholarship isdivided O’Sullivan,See: (2012). Euripides’, isdisputed. Cyclops Homer, Iliad . 13.622–625. invoke Zeus withalengthierterm; 225 Works Hesiod, 12.953e; andDays: Laws On theoriginofarchitect: Architects and ἀρχιτέκτον 5 4 3 2 1 Endnotes English version translates 3.25. Journal of Architecture 20, ofArchitecture Journal 5. Xenía inVitruvius’ Greek house. For anoverview: Weir, S. (2015) Also: Demosthenes, Olynthiac Also: Demosthenes, The date of the performance of The date oftheperformance Author’s translation, noknown Zeus Xenios found also inPlato, , 327; Homer hasMenelaus 5.729e–730a, & 8.843a as architect. . Theearlier 15 t?doc=Perseus:text:1999.01.0132 perseus.tufts.edu/hopper/tex Retrieved from http://www. (n.d.).Hesiod Works anddays . University Press. Cambridge, UK:Cambridge cityfriendship andtheGreek . Herman. G(1996). Ritualised text:1999.01.0094 hopper/text?doc=Perseus:- http://www.perseus.tufts.edu/ (n.d.).. Retrieved Cyclops from Euripides, &Kovacs, D. (Ed.) text?doc=dem.+18.169 www.perseus.tufts.edu/hopper/ J. H.Vince. Retrieved from http:// by C. and Vince, M.A. A. Crown (n.d).Demosthenes, Onthe text?doc=Dem.%201 perseus.tufts.edu/hopper/ Vince. Retrieved from www. by C. andJ. Vince, M.A. H. A. with anEnglishtranslation (n.d.).Demosthenes, Olynthiacs. Oxford University Press. (87–115).and festivals Oxford, UK: P. (Ed.), Wilson theatre TheGreek Theatronai, andArkhitektones. In built thetheatres: Theatropolai, Csapo, (2007). E. Themen who seus:text:1999.01.0048 tufts.edu/hopper/text?doc=Per- trieved from http://www.perseus. Aristotle, (n.d.). Economics Re . text:1999.01.0038 edu/hopper/text?doc=Perseus:- from http://www.perseus.tufts. (Ed.), (n.d.). Peace &O’Neil,Aristophanes, Jr. E., versity ofPennsylvania Press. 150–155). Philadelphia, PA: Uni- andsocial diversityregional, (p. and households: Chronological, vett (Eds.), houses AncientGreek C. &L. Greece. Ne Ault, InB. A. inancient andhomeless poor (2005). B. Housingthe A. Ault, mann Ltd. 1919. 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