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The Frankish Baths

The cave of Agios Agapitikos

The Frankish Baths. Not far away to the south of Fabrika hill, lie the Frankish Baths, dating back to the Lusignan period (1192-1489 A.D.). The baths, which currently retain their original appearance could accommodate approximately a hundred bathers. It is a well-preserved Frankish building.

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The cave of Agios Agapitikos. As one explores the Fabrica hill, in its northeastern corner one observes a cave known as the Cave of Agios Agapitikos. Next to the cave of Agios Agapitikos there stood, in days gone by, the cave of Agios Misitikos and a third one dedicated to Agios Xorinos. The caves of Agios Misitikos and Agios Xorinos, however, were destroyed. According to tradition, those in love should visit the cave unobserved, leave some coins and take some earth from the cave which they should place into their desired one’s drink. The cave of Agios Misitikos is visited by those who wish exactly the opposite emotion, usually hatred stemming from revenge against some person. Furthermore, Agios Xorinos helps in sending away the unwelcome person. As with Agios Agapitikos, in order for the wish to be realised, earth from the respective cave should be thrown in the unwelcome person’s drink.

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Map of Paphos – Hotels and Attractions on a Paphos map

The catacomb of Agia Solomoni can be found to the left of the Pafos-harbour road, at approximately one kilometre from the medieval fort. Underground chambers were carved out of the limestone, facing onto an open courtyard. L. Philippou and a number of other authors make mention of graves dating back to the Hellenistic period which were later turned into a catacomb. The visitor has to descend twenty or so steps to find himself in front of four subterranean chambers, a holy well and an open courtyard. At a later stage the largest chamber was transformed into a church which was, originally, frescoed, traces of which can still be seen today. It is probable that the recesses were also painted with frescoes.

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The chamber was transformed into a church during the Byzantine years and, according to G. Sotiriou, was painted with frescoes during the 9th century. Other authors attribute the frescoes to the 12th century. Lower down, at a second underground level, one finds the holy well, which, to this day, maintains a small trickle. Some underline the healing properties of the water as regards ophthalmic conditions, while others refer to the treatment of malaria. A large terebinth tree, several centuries old, grows on the rock above the catacomb. The ailing hang personal articles of clothing, usually handkerchiefs, on its branches, believing that along with these items, they rid themselves of their condition.

Agios Lamprianos. On the other side of the road and opposite the Apollo hotel lies the catacomb of Agios Lamprianos with a similar structure as the other tombs of the area.

The Cathedral of the Latins (Panagia Galatariotissa). As one travels from the catacombs to the harbour, the ruins of a Frankish cathedral, possibly of the 14th c, stand on your right hand side. The Latin church is known by the locals as the Madonna of “Galatariotissa” (Virgin Mary of the Milk). The church was restored by Francesco Cantarini, the Latin Bishop of Pafos. Needless to say, during the Frankish and Venetian times Pafos was the seat of the Latin bishopric and a number of significant church buildings were constructed.

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The catacomb of Agia Solomoni

The Walls of Nea Pafos. It is quite possible that the defensive walls of New Pafos were erected during the founding of the city, a date yet unknown, even though it is estimated that Nikokles built the city during the 4th century B.C. The walls of Nea Pafos were probably destroyed in the 7th century A.D. during the Arab raids. Today, archaeologists’ attempts focus on locating the true position of the walls which, for eleven centuries, girded the city and which, at points, reached a height of seven or more metres. Even though it is still too early to establish every detail of the walls, it seems that they began and ended at Kato Pafos harbour. They began from the medieval fort, followed a westerly and north westerly direction towards the lighthouse, passed by the Fabrica hill and Agios Agapitikos, proceeded towards the Frankish baths, past Panagia Theoskepasti and the Public Baths, and from there made their way back to the fort. This extensive fortification, especially near the sea, was made up of monoliths, whereas in the interior it was carved vertically on the existing rock. Research on the northwestern section, near the lighthouse, has revealed a large section of the walls carved out of the natural rock outcrop.

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The northwestern gate, with alcoves to its left and right and connected to a water conduit, which would appear to have been connected at its top to some huge door, as well as the bridge connecting the gate to the coast and the necropolis of the Tombs of the Kings, are some of the noteworthy finds of the archaeological spade. It may be that the conduit, following a downhill path from the bridge to the coast, was connected to a sewage disposal system. On either side of the northwestern gate there were two square towers, the southernmost being entirely carved out of the rock. The walls were surrounded by a moat, whose true dimensions have been revealed, whereas another entranceway has been revealed between the tower and the walls, leading from the inside to the moat. It seems that this second opening, very near the main entrance, served as a passageway for the residents of the city when the enormous gate was closed.

The Fort of Pafos with its imposing rectangular shape and its symmetrical small size dominates the picturesque harbour of Pafos. According to an inscription above the main entrance, the fort was “built by Ahmed Pasha in 1592 A.D.”. What we have though, is a reconstruction on the ruins of a previously existing Frankish fort, sections of which were incorporated in the new building. There exist testimonies that the Frankish fort was blown up and destroyed by the Venetians during the Ottoman invasion, since they were not able to defend it. According to other historians and writers, the fort dates even further back to the Byzantine era. History and the geographical isolation of Pafos required the construction of a fort next to the harbour. It may be that this role was originally served by the fort at Saranta Kolones, a few metres north of the present fort. It is even probable that at some stage, once the old fort was destroyed, the present fort was built as a replacement, at a short distance from the original site. During the Ottoman period, some of its rooms were used as prison cells while the British used the building as a storage area for salt. It was later, in 1935, that the fort was declared an ancient monument. Today, to the east of the fort and at a short distance from it, the visitor can discern the remains of an old construction which probably formed part of the entire fortification. It is mentioned that the fort comprised two towers linked by a wall. The present fort is part of the western tower, while the smaller pieces on the breakwater are the remnants of the eastern tower. The fort is, essentially, two-storied. Skylights and five rooms, linked by a wooden bridge, comprise the first floor. The visitor can easily make out the original position of the wooden bridge. Equally obvious are two openings on the floor, communicating with the underground prison cells, a commonplace feature of medieval years. A number of steps opposite the main entrance lead to the roof of the fort, where there are three rooms. During the Ottoman period, one served as a mosque, while the other two hosted the garrison.

Saranta Kolones (Byzantine fort of Pafos)

Saranta Kolones, the Byzantine fort of Pafos, is situated on a tiny rise a few metres a.s.l. The name Saranta Kolones (Forty Columns) derives from the large number of granite columns strewn across the archaeological site. The original constru-ctional or architectural role of these granite columns, probably imported from abroad (Egypt or Italy), has not been incontestably ascertained. Archaeological excavations, begun in 1957, have shed light on many aspects of the edifice, even though the true age of the fort, or the archaeological site itself, is still a matter of dispute. It is however mentioned that the Byzantine fort, was most probably built during the third quarter of the 7th century A.D. in order to offer protection to the harbour during the Arab incursions. Today, the visitor to Saranta Kolones discerns a square fort surrounded by external walls and a moat. It features a central courtyard with towers on each of its four corners. The external wall, of considerable thickness, featured eight towers of various shapes, including a five-sided one. Numerous staircases inside the wall lead to the moat. Entrance was effected through the doorway of a horseshoe-shaped tower on the eastern side. Large amounts of the masonry would have been used by the residents of Pafos for the reconstruction of the city following the 1222 A.D. earthquake. However, the reconstructed arched domes, as well as several staircases point to the existence of upper stories. By taking a short walk, the visitor observes the stables and the horses’ feeding troughs, the steam bath and the forge. An intact battlement, on which one can see the slit through which arrows were shot, exists in the eastern wing of northwestern corner tower. Recent excavations have revealed large numbers of iron arrowheads of a medieval type as well as stone catapult projectiles beyond the western wall of the tower. Furthermore, excavations have revealed a covered sewer in the eastern section of the moat, through which sewage from the fort was channelled to the sea. The fort at Kato Pafos was one of those surrendered to Richard the Lionheart in 1191 and, according to A. Megaw, was later restored. The fort collapsed during the 1222 A.D. earthquakes. Recent archaeological excavations reveal the functioning of a sugar mill within the fort.

MOSAICS. (a) The house of Dionysus. A visit to the House of Dionysus, lying between the harbour and the lighthouse, is a “must” for every visitor to Pafos. The mosaic decorations and the mythological compositions are the main characteristics of the restored Roman villa, unearthed in 1962 and dating back to the 2nd century A.D. The name “House of Dionysus” is mainly due to the many representations of Dionysus, the god of wine. The house most probably belonged to a member of the ruling Roman class or to a wealthy citizen of Pafos. From the architectural point of view it had an open court (atrium) and a cistern (impluvium), a well-planned drainage system and many spacious rooms. The bedrooms, the baths and lavatories were set on the eastern side, while the kitchens and the workshops on the west.

The House of Dionysus was built on the foundations of an earlier Roman house, this being built on the foundations of a building belonging to the Hellenistic period. The most important rooms to be seen are: The Room of Narcissus: This lies in the south-west, to the right as one enters the house. In the center of the floor there is an emblem in the form of Narcissus sitting on a rock, close to a spring. According to mythology Narcissus is wasted away by his unsatisfied love for himself. Gods have changed him into the well-known beautiful flower, known as narcissus. The Room of Four Seasons: It lies to the right of the Room of Narcissus. Time and space are well represented. The four seasons are represented with busts linked with water, leaves. flowers or ears of corn, in each corner. Mother Earth is in the middle. The Room with the Peacock: Further east lies the room of the peacock with an open blue-coloured tail. The Room with the Sixteen Square Panels: Here the visitor can admire the decorative compositions. The Harvest Scenes: The visitor returns back to the western section of the House where the harvest scenes are set. This is a whole world of nature with vines, persons gathering grapes, partridges, hares, animals laden with crops, etc. This room is tied up with the Triumph of Dionysus to the east. The Triumph of Dionysus: In the center of the composition is Dionysus, sitting on a chariot drawn by two panthers followed by a Satyr, goat-footed Pan, a naked dark youth, and two nymphs. The chariot is driven by a Silenus, in front of him an animal tamer, a female figure, a second dark youth and finally a trumpeter. Between the cistern (impluvium) and the room of The Triumph of Dionysus is a large hall with mythological representations. Thisbe and Pyramus: This is a scene with vivid colours showing the love of two youths, who in the end committed suicide. Thisbe stands on the left, while Pyramus reclines on a rock with his right hand holding the “horn of Amalthea”. His head is crowned with reeds. Between Thisbe and Pyramus is a panther holding in its mouth Thisbes’ veil. Dionysus, Akme and Ikarius: Akme drinks to the health of the seated Dionysus, while Ikarius pulls a twowheeled cart loaded with wine skins. Two shepherds got drunk. As the inscription informs us, here were the “first wine drinkers”. According to mythology, one day Dionysus visited King Ikarius. When leaving, donated to him a vine plant and taught him the art of wine-making. When Ikarius produced wine, he decided to test it with others. He wandered to the fields with skins full of wine, offering great quantities to farmers and shepherds. Poseidon and Anymone: Anymone terrified by the Satyr who disturbed her and indicating also her refusal to Poseidon who also fell in love with her, supports her left hand on a rock. The winged cupid attempts an unsuccessful happy compromise. Peneus, Apollo and Daphne: Daphne is pictured among two deities. The older Peneus appears with a beard, holding in his hand the “horn of Amalthea”. Apollo, the god who embodies perfect beauty, chases her. Hunting scenes: Round the cistern there are scenes of hunting. A scene shows a hunter ready to confront a lion. Two moufflons are being chased by a hunting dog. Hippolytus and Phaedra: Here one sees the well-known myth from the homonymous play of Euripides. Phaedra, the stepmother of Hippolytus, fell in love with him. The artist kept both closed to their own world, even though Cupid, to the right of Phaedra, tries to influence further Phaedra’s heart. The hall with geometric decoration: Right of the room of Phaedra and Hippolytus there is a room with beautiful geometric decorations. The artist plays with colours, shapes and combinations, creating an astonishingly beautiful composition that attracts every visitor’s eye. The room with geometric shapes: This is another room with geometric shapes where bright colours and vividness of the mosaic compositions predominate. The visitor can discern crosses, shields, circles as well as the “Greek Keys”. Ganymede and the Eagle: Zeus, the father of gods, disguised as an eagle, carries Ganymede to Olympus, the abode of Gods, to serve as wine-bearer to the gods. Ganymede was supposed to be the “most handsome of mortal men.”