Film info
Creator / Collector
Description
Livadeia is a town in central Greece and the capital of the Boeotia regional district.
The film opens with the filmmaker's company crossing a stone bridge over the river Herkyna at the springs of Krya under the medieval castle of Livadeia and according to Homer Mideia. We can see that the path on the bridge follows its arch, a distinguishing feature of the bridges built during the Turkish occupation. This is similar to the bridges Argyri and Plalistra, which according to testimonies and their form, date back in the Ottoman Empire.
Afterwards, the lens follows the filmmaker’s company as they walk on the paved road with one of the walls of the Catalan castle (12th century AD) standing in front of it, continues with shots from the alleys of the town where locals and visitors walk, and returns in Krya where we can see old mansions and the waterfall as it falls rapidly through the bridge’s arch.
Then the lens wanders to the platform that is created by the crystal clear waters of the waterfall, to the stone houses, to the bare branches of an age-old plane tree and the cobbled streets that climb the rock on the slopes of Elikonas.
The film closes with the filmmaker’s company who discover by walking the beauties of the town, with a last shot of the mansions and the Frankish tower dominates. A tower decorated with one of the clocks that was given by lord Elgin in exchange to a permission to excavate the oracle of Trophonius, one of the three larger oracles and precursors of the oracle of Delphi.
According to Pausanias, Livadia owes its current name to the Athenian Levados who persuaded the inhabitants to move lower and build the town in its current place. The castle of Livadeia is ancient and underwent reconstructions by Byzantines and Franks and lastly the Catalans who completed its construction.
The film opens with the filmmaker's company crossing a stone bridge over the river Herkyna at the springs of Krya under the medieval castle of Livadeia and according to Homer Mideia. We can see that the path on the bridge follows its arch, a distinguishing feature of the bridges built during the Turkish occupation. This is similar to the bridges Argyri and Plalistra, which according to testimonies and their form, date back in the Ottoman Empire.
Afterwards, the lens follows the filmmaker’s company as they walk on the paved road with one of the walls of the Catalan castle (12th century AD) standing in front of it, continues with shots from the alleys of the town where locals and visitors walk, and returns in Krya where we can see old mansions and the waterfall as it falls rapidly through the bridge’s arch.
Then the lens wanders to the platform that is created by the crystal clear waters of the waterfall, to the stone houses, to the bare branches of an age-old plane tree and the cobbled streets that climb the rock on the slopes of Elikonas.
The film closes with the filmmaker’s company who discover by walking the beauties of the town, with a last shot of the mansions and the Frankish tower dominates. A tower decorated with one of the clocks that was given by lord Elgin in exchange to a permission to excavate the oracle of Trophonius, one of the three larger oracles and precursors of the oracle of Delphi.
According to Pausanias, Livadia owes its current name to the Athenian Levados who persuaded the inhabitants to move lower and build the town in its current place. The castle of Livadeia is ancient and underwent reconstructions by Byzantines and Franks and lastly the Catalans who completed its construction.
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