Mystras, the ‘wonder of the Morea’, lies in the southeast of the Peloponnese. The town developed down the hillside from the fortress built in 1249 by the prince of Achaia, William II of Villehardouin, at the top of a 620 m high hill overlooking Sparta. The Franks surrendered the castle to the Byzantines in 1262, it was the centre of Byzantine power in southern Greece, first as the base of the military governor and from 1348 as the seat of the Despotate of Morea. Captured by the Turks in 1460, it was occupied thereafter by them and the Venetians. After 1834 the inhabitants of Mystras gradually started to move to the modern town of Sparta leaving only the breath-taking medieval ruins, standing in a beautiful landscape.
Mystras, as the centre of Byzantine power, quickly attracted inhabitants and institutions; the bishopric was transferred there from Sparta, with its cathedral, the Metropolis or church of Hagios Demetrios, built after 1264. Many monasteries were founded there, including those of the Brontochion and the monastery of Christos Zoodotes (Christ the Giver of Life). Under the Despots, Mystras reached its zenith with the building of churches, outstanding examples of Late Byzantine church architecture, such as Hagioi Theodoroi (1290-1295), the Hodegetria (c. 1310), the Hagia Sophia (1350-1365), the Peribleptos (3rd quarter of the 14th century), the Evangelistria (late 14th – early 15th century) and the Pantanassa (c. 1430). The city was a major piece on the political chessboard of the time and was developed and beautified as befitted its role as a centre of power and culture. The city’s complex history is clearly evident in its fortifications, palaces, churches, convents, houses, streets and public squares.
Mystras’ distinct architecture is influenced by the so-called “Helladic” school of Byzantine architecture as well as the architecture of Constantinople. The painting of churches reflects the quality and the eclecticism of the art of Constantinople. Elements of Romanesque and Gothic art are also present as a result of the city’s wide range of contacts during the 14th and 15th centuries. The beauty of its churches, which during the Palaeologan Renaissance were covered with magnificent frescoes, the renown of its libraries and the glory of its writers, including the philosopher Georgios Gemistos Plethon and his pupil, the intellectual Bessarion, later cardinal of the Roman Catholic church, who brought neo-platonic humanism to Italy, gave substance thereafter to the legend of the Wonder of the Morea. Mystras is therefore a truly outstanding example of late Byzantine culture which influenced the rest of the Mediterranean world and beyond.
Criterion (ii): Mystras constitutes a medieval city whose art, the fruit of the so-called Palaeologan Renaissance, influenced the development of Late Byzantine and Post-byzantine art. The influence of the art of Mystras during the late and post Byzantine era is visible on a large number of monuments in the Peloponnese (such as Geraki, Mani, Longanikos, Leontari, Roinos) especially in painting. During the late Byzantine period the radiance of the art of the Despotate seems to influence the artistic streams which are developed throughout the Greek territory – including that of the Cretan School painting – always in combination with the powerful influence exerted by the art of Constantinople. This influence can be easily seen on the works of post-Byzantine painters, such as Xenos Digenis originating from the Despotate who was active in Crete, Aitolia, and Ipeiros or the family of Phokas in Crete and many others. The heritage of Mystras is apparent not only in architecture and painting but also in intellectual aspects. Distinguished intellectuals of Mystras, amongst them, Georgios Gemistos Plethon, the Neoplatonist philosopher, aroused the interest of the West for the interpretation of Platonic philosophy and the study of ancient Greek texts, thus contributing to the European Renaissance.
Criterion (iii): Mystras constitutes a unique example of a Byzantine city, an expression of flourishing urban society within the late Byzantine Empire. As a political and administrative provincial centre of the Byzantine state, Mystras became a unique intellectual, cultural and artistic centre.
Criterion (iv): Mystras is an exceptional example of a well-preserved fortified late-Byzantine city with elaborate spatial planning organization, and fortifications with the citadel on top of the hill and two fortified precincts at the lower level. The urban fabric of the city includes palaces, residences and mansions, churches and monasteries, as well as constructions related to the city’s water supply and drainage and to commercial and craft-based activities. Various architectural styles are applied in ecclesiastical architecture, but the so-called “mixed type of Mystras” (in which a three aisled basilica at ground level is combined with a five-domed cross-in-square at the level of the gal
