Facing the Challenges of Reconstructing Ancient Buildings
Johnstone and Graff's contribution to what they term the "archaeology" of Greek rhetoric is original and significant. By describing the visual and acoustic characteristics of bouleuterion interiors, they help us to imagine the experiences of both speaker and audience in these spaces. Speeches before boulai could have been performative tours de force. Orators could have taken advantage of the settings to enhance their words' persuasive force, to present themselves in competition as confident, powerful men, and, perhaps, to generate particular aesthetic effects. Johnstone and Graff's approach reflects the contemporary trend of trying to situate ancient performance texts within the physical locations for which they were composed. Probably the most successful example of this is Bissera Pentcheva's work on Hagia Sophia. Pentcheva and her colleagues have demonstrated how the acoustic properties of Hagia Sophia, particularly its reverberation time, would have affected the experiences of hearing and performing hymns, psalms, and the sung sermons known as kontakia during the Justinianic liturgy of the sixth century CE. Hagia Sophia lends itself to this kind of research, since the complete building survives, as does a large and varied corpus of texts written about it or for performance within it. Johnstone and Graff's project faces the opposite situation. None of the dozens of known bouleuteria survives as anything approaching a complete building, and we have limited specific evidence of what went on within them. This essay considers Johnstone and Graff's analysis in light of these two challenges. All the bouleuteria Johnstone and Graff discuss are in more or less ruined condition. Sufficient remains of the foundations of the Old and New Bouleuteria in Athens survive for us to reconstruct the buildings' dimensions and floor plans, but we have limited evidence about the heights and materials of the walls and roof and the materials of interior surfaces. It is not even clear whether there were wooden benches for the bouleutai to sit on. Other buildings are better preserved. For the bouleuterion of Miletus, for instance, we know that the seats and walls were of marble and limestone, and we can reconstruct the exterior walls' height with reasonable accuracy. Even for the best preserved bouleuteria, fundamental architectural details, including the presence of windows and