One of the Architectural problems of the Ancient world, that concerned me as a student of Architecture in Rome, was the Arc. Namely this Architectural solution, that for my professors was a Roman invention, unknown in the Ancient Greek World.

Colosseum-of-Rome

Colosseum of Rome, completed in the 1st century CE

The same view prevails today, after 35 years. I noticed that in one of my last trip to southern Italy, where the tour guide of Taormina (Tavroménio) repeated just the same, namely that the Arc was a Roman invention. So I decided to get involved with it, to ascertain the fact, since, from the first moment, I felt that something should be happening in this ancient world, all of whose achievements we see with our own logic, without following it’s own mentality.

Turning, then, to the inquiry procedure with the eyes of the Ancients, I met unknown places and secret cults, playing a key role in shaping the architecture and formed a cosmic standard, with axes and shapes, through which the ancient satisfy their religious Needs. At the same time, they were trying to convert Theory into Action, with structures and symbols, placing the Sacred Temples in specific points, with axial relations between them. Here I met a world where Art was a component of a Global Logic, they should be working together as a whole. So insinuated that behind wars and conflicts, there was a Structured Authority, he had the wit to impose it’s will through advising, having Religion as instrument.

To solve the problem of the Ancient’s Logic only with the use of the findings and unilaterally, without putting your imagination to work and without entering into their shoes, it’s like using on a modern PC only as a calculator! This, however, increases the success of amateurs versus professionals, as is the Schliemann case.

Seeing, then, the fantastic effort of the volume “History of the Greek Nation” I felt – in the past – much more Confident. But today, after all my researches, I found that there are some key differences in the results and come to the conclusion that something is amiss. This I realized when I noticed that sixteen volumes, about 10,000 pages, are based on 159 collaborators archaeologists, historians, philologists, etc. and only report an architect and a mathematical, and none of the other professionals, for a period of 101.941 years.
But we know at least 754 Ancient Scientists (G. Georgakopoulos “Ancient Greek Scientists”), of whom 117 were architects and for a period of 1.200 years they were basically structurally implementing the theories of the Ancient Greeks. Furthermore, we must bear in mind that the architect of the time was a painter, sculptor, engineer, etc. But we know also that the architect of today has the most comprehensive training and profound knowledge of the Past through the History of Art, the Present constructing Buildings and the Future by processing future proposals. And all this implies: Building Design, Static Knowledge, Functional Needs Design, Interior Design, in deapth knowledge of the materials, Topography, Mathematics, Prospectively, Construction Details, social Structures knowledge a thousand of other things, resulting in a Global Knowledge.
So when this Professional is Absent, all individual analysis of Archaeological findings, of Historical facts, or of Philosophical thinking may be possible, but the system does not work Spherically (as a whole) – especially when other professions are missing in the process of analysis.

The result of all the above is that the prevailing opinion around the world is that the architecture of the Greeks is only the Linear Surface with Rhythms: Doric – Ionic – Corinthian and Formulas: Prostyle Amphiprostyle – Pavilion – Dipteral etc. I felt, therefore, the professional curiosity to study the subject of Construction Knowledge of the Ancient Greeks, and based on ideology tireless researchers, covering the Gaps which exist in the area of Greek knowledge, while I took into account tall the views of colleagues and professionals in other scientific areas.

The_Odeon_of_Herodes_Atticus

Odeon of Herodes Atticcus, Athens

As, however, i went on in my investigations, construction-wise, I kept falling on puzzles and riddles, that opened access to other spaces; thus, I walked into a Labyrinth of Knowledge, whose road was not closed in front of me and that I followed; and without much effort, when I looked into the problems with eye of the Ancient entering in their mentality, I saw solutions. As one good God is in front of me that opened me the way; perhaps it was Apollo, maybe it was Dionysus, who knows? Using Pythagoras as a Key to open latched doors and understand the symbolism on the Sacred Temples until the Labyrinth lead me to a circular space; there, on one hand, as Petal Inclined I see seated people dressed as Greeks, watching in agony there in front of me, the Goathorned.
I bit my lips, because I realized that the Goathorned actor was playing Dionysus Revelation.

The researcher – G. Baltoyannis