In the heart of the Attica region in Greece, nestled among the majestic hills of Mount Hymettus, lies an enigmatic place that has witnessed the passage of time and the devotion of ancient peoples. The Cave of the Nympholyptos is an archaeological site of exceptional historical and cultural importance. Surrounded by myths and sculptures carved directly into the rock, this place has fascinated explorers, historians, and archaeologists since the 18th century.
Located at an altitude of 260 meters on Krebati Hill, north of Vari, on the southern slopes of Mount Hymettus, it houses a sanctuary to the nymphs created by a citizen of the island of Thera (modern Santorini) who had moved to Attica at some point in the 5th century BCE. His name was Archedemus, but he is remembered today as the nympholept.
Nympholepsy was a belief in ancient Greece that individuals could be possessed and inspired by nymphs, mythological beings in the form of beautiful women associated with nature, forests, and water. Nympholepts dedicated their lives to worshipping these entities and building sanctuaries in their honor.

In the rock of the cave, Archedemus, who was likely a sculptor, carved numerous reliefs and left inscriptions indicating that he created the sanctuary for the nymphs, by whom he was possessed. From these inscriptions, it is also inferred that he built a dwelling and a garden for the nymphs inside the cave, along with a well.
Access to the site, even today, is not easy. Although it can be reached from Vari in about an hour on foot, the path is steep and narrow. This isolation has contributed to preserving the site over the centuries. Upon reaching the entrance to the cave, which is barely 5 by 2 meters wide and nearly vertical in inclination, one must descend steps carved into the edge, now very worn.
Inside, the main chamber measures 26 meters in length and 23 meters in width, with a height of 10 meters. The walls, which imitate the facade of a temple, are filled with representations of mythological figures, votive reliefs, ceremonial staircases, and even an object resembling an omphalos (a representation of the navel of the world).

Among the most notable works is a relief showing Archedemus himself equipped with a hammer and chisel, a representation that likely symbolizes his role as the creator and protector of the site and is possibly the first self-portrait in history.
There are also sculptures, such as a seated female figure on a throne, possibly a goddess, although her exact identity remains uncertain due to the absence of her head.
Another chamber, separated from the main one by a wall of stalactites, includes altars and small chapels dedicated to Pan and Apollo, leading to the site also being known as the Cave of Pan.
Until the 3rd century BCE, the cave served as a center of worship for local farmers and shepherds, who honored Pan, the nymphs, and Apollo in search of protection for their crops and livestock. At some point in that century, for reasons unknown, the sanctuary was abandoned.

After several centuries of neglect, it experienced a brief resurgence during the Roman period under the reign of Constantine the Great (307–337 CE), possibly as a Christian sanctuary, as oil lamps with Christian motifs were found alongside the destroyed remains of pagan sculptures.
However, recent research challenges this interpretation, suggesting that the Christian elements may have been used simply out of necessity, while pagan worship continued in secret.
The Sanctuary of the Nympholyptos was rediscovered by Richard Chandler in 1765. Since then, the site has attracted the attention of other travelers, including poets such as Lord Byron. However, systematic excavations did not take place until 1901 under the direction of Charles Heald Weller of the American School of Classical Studies in Athens.

During these excavations, hundreds of oil lamps, inscriptions, and reliefs were discovered, two of which are now exhibited at the National Archaeological Museum of Athens.
Although the site is not currently an organized archaeological site and the access stairs are in ruins, it remains a fascinating destination, a window into a world where nature, religion, and art were deeply intertwined.
The spirit of Archedemus, possessed by the nymphs, continues to whisper in the cave the stories of those who once sought in its refuge answers to the mysteries of life and divinity.
This article was first published on our Spanish Edition on January 10, 2025: El Santuario del Ninfólepto en el monte Himeto, una cueva llena de relieves e inscripciones creada por un escultor poseído por las ninfas en el siglo V a.C.
SOURCES
Weller, C. H. (1903). The Cave at Vari. I. Description, Account of Excavation, and History. American Journal of Archaeology, 7(3), 263–288. doi.org/10.2307/496689
Thallon, I. C. (1903). The Cave at Vari. III. Marble Reliefs. American Journal of Archaeology, 7(3), 301–319. doi.org/10.2307/496691
Ministerio de Cultura de Grecia, Cave of the Nympholept or Pan or Archedimos
Chandler, Richard D. D., Travels in Greece: or an Account of a Tour Made at the Expense of the Society of Dilettanti
Wikipedia, Vari Cave
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