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Burg Hochosterwitz, Austria (by Stefan)
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Title: Dumb Show
WC: 900
“I don't know where she gets it from. Honestly I don’t.”
—Martha Rodgers, A Rose for Everafter (2 x 12)
He is not at all a fan of Kate Beckett’s Richard Castle impersonation. He’s not a fan of her callous, but cutting, outside-her-head insights, or her little game with the chair and full conjugation of the verb to yank. He does not appreciate in the leastthe impromptu “. . . in the style of Richard Castle” tale she weaves, because he’s not doing his usual weaving. So, no: Not. A. Fan.
He would like to broadcast this news far and wide. He would like the official record to mark him down as Not a Fan, but he does no broadcasting all. He can hear his mother already. He can hear Alexis, the boys, Montgomery, and—heaven forfend—Lanie. He can hear every last one of them in crystal clear surround sound, and he has no interest in discussing the fairness—or lack thereof—of his not-a-fan-ness. So he says nothing. He does not broadcast. He simply stews.
And he makes bad decision after bad decision. Except is he really making them, or is she—with her truly terrible Richard Castle impersonation—forcing him into them through some cosmic doppelgänger trickery or something? She’s probably forcing him, which is good news, because his bad decisions have been pretty bad.
In no particular order, kissing Kyra was a bad decision. It was, in fact, the worst kind of bad decision, because it seemed like a good one, every step of the way. Meet Kyra. In no way complicate or compromise the case. Prove the piss-poor Richard Castle impersonator wrong. Prove that talentless—and by the way, mean—hack super-duper wrong by upping the ante with a romantic location. Tell himself, every step of the way, that this was all about Kyra—helping her, supporting her, protecting her from the dark forces of Greg, the almost certain murderer. There’s not a single moment in which the plan seems anything but foolproof until the kiss is happening. Until he’s aching for this woman, except not the one in his arms, not at this moment, and not this Richard Castle. He’s aching for a woman who isn’t here on behalf of a man who isn’t anywhere and it’s her fault. Beckett’s. Kate-Beckett-as-Richard-Castle’s.
In no particular order, going for the jugular with Greg was a bad decision. That’s her fault though some kind of telepathic trickery. On the surface he had seen immediately that he was going to have to be extra Richard Castle, because she had suddenly shifted into an even more extreme than usual anti-Richard Castle mode. She’d taken that complete just-enough-play rich boy—that complete tool at his word, so what was he supposed to do? Not take the bait. Greg and the jugular were some kind of double bad decision and entirely the result of some kind of head fake on her part. She’d hung back in the interview, kicked him out, and then given him the full-court press. That’s not what Richard Castle would say . . .
How the hell would she know what he would or would not say? She does an impression of him so bad that it’s driving him into . . . this.
He’s wasting his time on an unworthy adversary across the interrogation table. He is missing the obvious and compelling story about the Cheating Groom and the Vengeful Bride. (But only because she’s clearly stolen it right out of his head with her dark, terrible impression magic.). He is kissing the woman who has been . . . a totem for nearly twenty years. She has been the impossible dream and the ridiculous standard. She has been the thing protecting him from real feeling, real commitment, real everything, and he has just kissed her out of existence.
He is . . . snapping at her in an elevator. Beckett, not Kyra. Beckett-as-Castle. It’s another in-no-particular-order bad decision. He is freezing her out and thinking—unfairly, unkindly—that all he’s doing is his best Kate Beckett impression, because turnabout is fair play. He’s unconvinced. After all is said and done with Kyra and Greg and the failed eleventh hour seduction, he is not convinced that he’s treated her fairly at any point in this case.
The kiss, he knows, will linger, then fade. It’s already something he has to concentrate on if he wants to call up that shiver. Going after Greg with such vicious gusto—he’ll roll his eyes at himself over that.
But snapping at her, freezing her out when she was only asking, that’s all, sticks with him. She was just asking.
He picks up the phone late that night. It’s unlikely to endear him to her, but he picks up the phone anyway.
“It was a bad break-up,” he says before she can even form the first syllable of a groggy Hello? “And it was a nonevent. Which made it worse”
There’s a pause on the other end of the line. Everything in him is tense with the desire to fill the silence, but he’s contrite, so he waits it out.
“Do you want to talk about it?” she asks, her voice halting and tentative.
“No,” he says quickly. “ I don’t . . . I don’t have anything to say about it.” There’s another pause. He worries that she’ll rush to fill it. Or she’ll hang up. But she waits it out, too. “It was bad. That’s all there is to say. But can we just . . . talk?”
“Yeah,” she says quickly. Maybe she’s contrite. “Yeah, Castle. We can talk.”
A/N: They're turning into one another and it's only season 2, friends.
images via homeofthenutty
#Csatle#Caskett#Castle: Season 2#Castle: A Rose for Everafter#CastleABC#Castle: 2 x 12#Kate Beckett#Richard Castle#Johanna Beckett#Lanie Parish#Martha Rodgers#Alexis Castle#Kyra Blaine#Jim Beckett#Javier Esposito#Kevin Ryan#Roy Montgomery#Fic#Fanfic#Fanfiction#Fan Fic#Fan Fiction#Writing#Fabrications
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Kraków, Poland - the castle Wawel seen from backyard.
#Cracovia#Cracow#Kraków#Krakov#Krakow#Krakau#Poland#Polonia#Polska#Polen#csatle#Wawel#zamek#castillo#castello#chateau#old#stary#trees#drzewa#backyard#church#kaplica#chapel#Kirche#gate#brama#budynek#building#iglesia
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Ms. Wendy today’s The anniversary of when I found out about Csatle Swimmer! 🥳 that means I’ve been your fan for a year now! I don’t know if you remember but I’m the one that wrote the letter to you. On 4th of July, 2019, I was climbing the Hollywood mountain to see some fireworks and I found out about you’re comic from their!
Oh I remember your post! Thanks so much for reading my comic :)
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Μethoni Castle.Greece.Peloponnese 1986.
Contax RTS II,Carl Zeiss Tessar T* 135mm f/2,,Tessar T* 300mm f/4,Sonnar T* 18mm f/4 Kodachrome 64
The Castle of Methoni is a medieval fortification in the port town of Methoni, Messenia, in southwestern Greece. The castle of Methoni occupies the whole area of the cape and the southwestern coast to the small islet that has also been fortified with an octagonal tower and is protected by the sea on its three sides. Its north part, the one that looks to land, is covered by a heavily fortified acropolis. A deep moat separates the castle from the land and communication was achieved by a wooden bridge. The Venetians built on the ancient battlements and added on and repaired it during both periods that they occupied the castle.
Its entrance is accessed by a stone bridge of 14 arches, that was built over a moat by the technicians of the Expédition scientifique de Morée, that accompanied general Maison. The entrance gate ends in an arch framed on the right and left by pilasters with Corinthian capitals. It is considered to be the work of Venetians after 1700. On the right and left of the entrance two large battlements can be seen. One battlement is the one built by general Antonio Loredan, during the second period of Venetian occupation.
Right after the central gate, a domed road opens up that leads through a second gate and then a third in the interior of the castle, where the habitable part was and which was separated from the north part with a vertical low wall (approximately 6 meters), fortified with five towers (four square and one octagonal) is dated to the period after 1500, when the Turks tried to reinforce the population and the fortification of the caste. In the interior there are ruins of the houses where the Venetian lords lived during the period of rise, the paved street that led to the sea gate, the ruins of a Turkish bath, the Byzantine church of St. Sophia, close to which a slate with Latin lettering was found (dating back to 1714), parts of Doric pillars, a monolithic granite pillar (1493/4), unlined, with a capital on the top of Byzantine style, which is supposed to have supported either the winged lion of Saint Mark, the symbol of Venice, or the bust of Morosini. That is why it is erroneously called "Morosini's stele".[1] There was an inscription on the capital that has not survived to this day. On the left of the entrance are the ruins of the building which originally Imbrahem used as a residence in 1826 and later general Maison. The French of the liberating corps remained in the area till 1833 and the construction of the church of Santa Sotira, which is still attributed to them. In the interior of the castle there are also a few cisterns and the remains of the British prisoner's cemetery during the World War II.
On the south part of the walls rises the spectacular sea gate which has recently been restored. A stone-paved stretch leads over a small bridge to the small fortified islet of Bourtzi. This is the place where many soldiers and inhabitants of Methoni were slaughtered, when the Turks occupied the fort in 1500.
The Bourtzi is dated back to the period after 1500 and has been used in various instances as a prison. It has a two-floor octagonal tower. The tower finishes in a round dome. On the lower floor there was a cistern and the whole works, with small defensive value, and is dated during the first period that the Turks occupied the fortress.
The west part of the walls is not as well constructed as the others. It was here that during the Second World War, after an explosion, parts of well constructed stones from the ancient walls of Methoni were found. In the interior of the walls, ruins of Turkish military establishments are preserved.
The east side of the walls also reached initially to the sea. Nowadays, a long strand of beach lies in front of a large part of it. Parallel to the east wall, up to the Bourtzi, there was a pier and this is where the small fortified harbor was formed (mandrachio), while the big one was to the northeast where ships could be pulled. The long east side has suffered many repairs, performed on the initial venetian battlements of the 13th century, mainly during the second Venetian occupation and the Turkish occupation. In one of the towers parts of the Byzantine fortification are preserved.
On various parts of the fortification there are Venetian emblems with the winged lion of St. Mark and inscriptions. This is the case on the north part of the Loredan battlement, where there is an inscribed plaque from the time when general Loredan was in command in the Peloponnese. On the north wall, on the right of the main entrance, there is also a plaque with the coat of arms of the families of the Foscarini, Foscolo and Bembo, to which the inscription denotes the construction of the Bembo battlement, just before 1500.
#csatle#medieval#historical#historicpreservation#Medieval Architecture#Old#natural light#sea#greece#Peloponnese#arhitecture#Architectural Photography#design#Ionian Sea#methoni#town#venitians#byzantine#franckish#construction
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💎 JUST LISTED HWY 50 & CSATLE OAKS CROSS AREA.
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Title: Doth Protest
WC: 900
“It doesn’t matter, because I'm not upset.”
—Kate Beckett, Inventing the Girl (2 x 03)
The idea that she would tell him—him of all people—if she were upset is positively laughable. But it doesn’t matter, because she's not upset.
But if she were—if there anything at all were to be bothering her—she has plenty of people she could go to. Lanie, for example. She could hypothetically go to Lanie in any situation involving being upset. Except, of course, she is not upset, and if anyone were to infer that she was, they'd be mistaken.
Lanie may actually be mistaken on this point at the moment. There was some definite side-eye coming from Lanie’s direction back at the crime scene, totally unjustified, by the way. Just because she wasn't in the mood for Cinderella jokes with a young woman dead on the ground. Just because she may have—only may have, mind you—snapped at him for providing accurate information, well, so what? Suddenly that’s side-eye worthy?
But whatever. Even if Lanie is mistaken—even if she is needlessly on high alert at the moment—the fact of the matter is that Kate could and would go to her if she were upset. (Which she isn’t.)
And there’s the boys, too. Of course they’re hors d’oeuvre–downing idiots who show up at Castle-level soirees under the thinnest of pretexts, salivating to know more about the jail-bait conquests of the man himself, but they are still solid go-tos in an annoying little brother sort of way. So there’s another two people way, way, way ahead of Castle in the line of people she’d go to in the event of upset-ness.
The boys, individually and together, may also be laboring under some delusions regarding her current state of mind. It’s all silliness, but their sudden appearance at the launch may not be entirely about finger-sandwiches and swag bags. It may not even be entirely about Sierra Goodwin’s near nudes by Will James. They may be . . . pointlessly looking out for her in some ill-defined way, for some ill-defined reason?
She’d like to blame Lanie and her side-eye, and it's always possible that the three of them, in their capacity as her first line of defense in case of upset, have been huddling up. But it’s also possible that they’ve imagined a certain acid in her tone as she initially briefed them on Rina of the Eyeliner Phone Number, when she took pains to make it absolutely clear that she’s barely out of training bras, and here and now as she gives them the low-down on the Big Baby Sitter Reveal. They have such vivid imaginations, those boys do, but there is—and has been—a complete normal amount of acid in her tone. Why would there be any more or less? It’s not like she is upset.
When she publicly drags Teddy Farrow in the bullpen, it’s because Teddy Farrow deserves to be publicly dragged. When she allows herself to comment on Wyatt Monroe’s low-life nature after Sierra’s revelations, it’s because Wyatt Monroe is an actual low-life. None of her behavior and nothing she has said over the course of this case—up to and including something that may have constituted a slip indicating that she may or may not have seen Showgirls—means that she is fussed, distracted, off her game, or in any way upset.
That is her stance on the issue (or non-issue) right up until the final interrogation of Travis McBoyd. He doubts her all the way into the room. He is literally on her heels, doubting her, and she bears it with the patience of a saint—something an upset person would be very unlikely to do. She forbids him to speak, but that’s just solid police work, and does she or does she not roll with it when he pushes Travis just enough that the man from Ohio is agitated enough—upset enough, if you will—to start spilling?
She gets her confession. She gets more than that. She eliminates the possibility that Travis McBoyd will recant, that he’ll claim he was coached, that he’ll lawyer up and try to worm his way out of the admission in the heat of the moment. She plays the recording that breaks him.
And it is upsetting.
Castle applauds her on her ballsy bluff, but she fends off the praise. She says out loud for all to hear that Travis McBoyd loved his wife and wouldn’t have wanted to relive her death. But “all” are not there.
He is there and he reads between the lines. He knows she’s fixated on the fact that she’s just made the man relive something worse, and he knows her well enough not to try to ease that guilt. Not right now.
He is there and he wants to know what other justice she’s managed to wring out of an unjust world. He assumes she’s managed it, and it’s something that he can enjoy the poetic justice of the end of the careers of Sierra Goodwin and Wyatt Monroe. It’s something.
He is there when she finds herself taking hold of the conversation and—in the most glaring, obvious way possible—steering it toward the stupid book that the stupid Cosmo writer has already gotten to read.
He is there when she needs someone to go to with her upsets, big and small, enormous and utterly silly.
He is there and she wonders when that happened.
A/N: Look, folks, she literally could not be less upset, okay?
images via homeofthenutty
#Csatle#Caskett#CastleABC#Castle: Season 2#Castle: Inventing the Girl#Castle: 2 x 03#Kate Beckett#Richard Castle#Lanie Parish#Javier Esposito#Kevin Ryan#Alexis Castle#Martha Rodgers#Johanna Beckett#Jim Beckett#Roy Montgomery#Fic#Fanfic#Fanfiction#Fan Fiction#Writing#Fabrications
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Μethoni 🏰.Greece.Peloponnese 1986.
Contax RTS II,Carl Zeiss Tessar T* 135mm f/2,,Tessar T* 300mm f/4,Sonnar T* 18mm f/4 Kodachrome 64
The 🏰 of Methoni is a medieval fortification in the port town of Methoni, Messenia, in southwestern Greece. The 🏰 of Methoni occupies the whole area of the cape and the southwestern coast to the small islet that has also been fortified with an octagonal tower and is protected by the sea on its three sides. Its north part, the one that looks to land, is covered by a heavily fortified acropolis. A deep moat separates the 🏰 from the land and communication was achieved by a wooden bridge. The Venetians built on the ancient battlements and added on and repaired it during both periods that they occupied the 🏰.
Its entrance is accessed by a stone bridge of 14 arches, that was built over a moat by the technicians of the Expédition scientifique de Morée, that accompanied general Maison. The entrance gate ends in an arch framed on the right and left by pilasters with Corinthian capitals. It is considered to be the work of Venetians after 1700. On the right and left of the entrance two large battlements can be seen. One battlement is the one built by general Antonio Loredan, during the second period of Venetian occupation.
Right after the central gate, a domed road opens up that leads through a second gate and then a third in the interior of the 🏰, where the habitable part was and which was separated from the north part with a vertical low wall (approximately 6 meters), fortified with five towers (four square and one octagonal) is dated to the period after 1500, when the Turks tried to reinforce the population and the fortification of the caste. In the interior there are ruins of the houses where the Venetian lords lived during the period of rise, the paved street that led to the sea gate, the ruins of a Turkish 🛀, the Byzantine ⛪ of St. Sophia, close to which a slate with Latin lettering was found (dating back to 1714), parts of Doric pillars, a monolithic granite pillar (1493/4), unlined, with a capital on the top of Byzantine style, which is supposed to have supported either the winged 🦁 of Saint Mark, the symbol of Venice, or the bust of Morosini. That is why it is erroneously called “Morosini’s stele”.[1] There was an inscription on the capital that has not survived to this day. On the left of the entrance are the ruins of the building which originally Imbrahem used as a residence in 1826 and later general Maison. The French of the liberating corps remained in the area till 1833 and the construction of the ⛪ of Santa Sotira, which is still attributed to them. In the interior of the 🏰 there are also a few cisterns and the remains of the British prisoner’s cemetery during the 🌍 War II.
On the south part of the walls rises the spectacular sea gate which has recently been restored. A stone-paved stretch leads over a small bridge to the small fortified islet of Bourtzi. This is the place where many soldiers and inhabitants of Methoni were slaughtered, when the Turks occupied the fort in 1500.
The Bourtzi is dated back to the period after 1500 and has been used in various instances as a prison. It has a two-floor octagonal tower. The tower finishes in a round dome. On the lower floor there was a cistern and the whole works, with small defensive value, and is dated during the first period that the Turks occupied the fortress.
The west part of the walls is not as well constructed as the others. It was here that during the Second 🌍 War, after an explosion, parts of well constructed stones from the ancient walls of Methoni were found. In the interior of the walls, ruins of Turkish military establishments are preserved.
The east side of the walls also reached initially to the sea. Nowadays, a long strand of 🏖️ lies in front of a large part of it. Parallel to the east wall, up to the Bourtzi, there was a pier and this is where the small fortified harbor was formed (mandrachio), while the big one was to the northeast where ships could be pulled. The long east side has suffered many repairs, performed on the initial venetian battlements of the 13th century, mainly during the second Venetian occupation and the Turkish occupation. In one of the towers parts of the Byzantine fortification are preserved.
On various parts of the fortification there are Venetian emblems with the winged 🦁 of St. Mark and inscriptions. This is the case on the north part of the Loredan battlement, where there is an inscribed plaque from the time when general Loredan was in command in the Peloponnese. On the north wall, on the right of the main entrance, there is also a plaque with the coat of arms of the families of the Foscarini, Foscolo and Bembo, to which the inscription denotes the construction of the Bembo battlement, just before 1500.
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Chepstow Castle, Wales (by chris .p)
#wales#uk#csatle#fortress#ruins#medieval#middle ages#boat#water#beach#chepstow castle#chepstow#monmouthshire
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Title: Privy Council
WC: 1000
Episode: Meme is Murder (7 x 05)
Richard Castle 2.0 was little more than busy work from the start. The web-mercial paradoxically set in a brick-and-mortar bookstore, the way-too-old art student who’d signed on to collect footage for the making of the making of video, all the buzzwords about tapping in, logging on, and whatever other nonsense he’s been spouting—it has all been slapped together to fill the time, to fill the space of one month.
Oh, it’s had some practical uses, too. He has made the right noises over the last few weeks. He has nodded at the appropriate time and mirrored the enthusiastic expressions of everyone in however many rooms he’s been. He has kept Gina off his back by feeding out just enough line at a time to make it look as though he cares—as though he is, at this point, at all engaged in how the books do.
He is engaged in that on some level. Richard Castle 1.0, at least, is invested in how Raging Heat does, even if he truly would not flinch if someone dropped every last copy of Wild Storm into a volcano. Nikki needs to do well. Nikki needs to say yes. Nikki deserves his full attention and his best effort, but busy work has felt like all he’s had to offer to anyone.
And for all that this has been busy work, he’d found himself experiencing some blips of excitement—excitement, rather than the gnawing guilt or nerves taut to the point of snapping that have been his constant companions over the last few weeks—at the prospect of seeing his name, seeing Nikki’s name trending. He has imagined, with anticipation rather than dread, hitting refresh constantly and watching his views, his retweets, his mentions creeping up and up. Busy work or no, he’d been holding out hope for some kind of eleventh-hour reboot to come out of all this stupidity, just as the clock runs out on the month she’d asked for. He’d been holding out hope that he’d have something, however stupid, to show for himself.
But it’s not just that the entire idea of Richard Castle 2.0 stupid. It’s not something that’s simply inane and innocuous, this thing he’s let himself get roped into in the name of saving face, dodging wrathful bullets fired from the grassy knoll known as Black Pawn, killing time.
The bodies of Abby Smith and Cam Magani make that clear. The fear behind the eyes of Notable German Nobody, Mary Fuchs, and the trauma that now stretches out infinitely before Oren and Kent Wilder definitely make that clear. The shadows that cling to Bill Garrett, the shadows closing in on her make it all too damned clear that nothing about this is innocuous.
They’ve had this argument a hundred times before. She guards her privacy with ferocity. And she knows far too much about the sinister potential inherent in the social media he loves so much. But he does love it. He loves the drama and the thrill of the quick, cheap shot. He adores the way moments simply crash over the entirety of that hyperbolic, microscopic world only to be forgotten when the next puerile-to-the-point-of-outrageous thing comes along—he loves the Bourbon-Street-getting-hosed-down-at-dawn-on-a-Sunday feel of it.
He has loved it up to this point, but it’s possible he’s off it forever. It’s not the stupid web-mercial. It’s not that he’s an auto-tuned clown and a disembodied bouncing head. It’s not that his inability to pronounce his own name and his complete failure to grasp even the most basic concepts of physics that has him down with the virtual world for good.
It’s what the virtual world has done to her. It’s what the anonymity and total lack of accountability she has long despised have ultimately demanded of her in the course of this case. The interrogation of Adam Lane hangs over her. The person she was forced to become to save the lives of two young men clings to her, and it is not at all lost on him that said young men, trauma or no, will go out tomorrow to ruin even more lives, and they’ll make a million dollars every minute or so while they do it.
“It wasn’t you, Kate.” He’s had enough of watching her from the darkness of the office doorway as she sits with just the tips of her toes in the spill of light through the glass wall.
“No?” She snorts softly. She doesn’t startle. She’s probably had enough of him watching, then, too. “Who was it then?”
“A role.” He pauses a minute behind the overstuffed leather chair. He’d like to crowd in with her. He’d liked to wrap her up in his embrace, but this is not the moment. Stifling a grown, he lowers his stiff, sleep-deprived body to floor just behind the tips of her silvered toes. “A part you had to play.”
“And where does that come from?” It’s somewhere between a retort and an earnest question. “Everything we say—everything we think to say in moments like that, everything we do. It’s all in there.”
“In there.” His voice is leaden. He’s surprised that the two syllables don’t drop right through the floor and on to the heads of the neighbors below. “Where else would it come from?”
“Castle—“
She follows where his mind has gone with ease. She’s followed him all the way back to Montreal, to wherever he picked up Dengue Fever. She sounds stricken. She reaches for him, to turn him to face her, but he snatches her hand from the air. He fixes his gaze on the glass wall, on the city beyond and suddenly they’re having this conversation about who he is, what he’s done, who she is, who she has, of necessity, been.
The clock is running out on their month, and they’re having the conversation.
A/N: Not even the one, true Ray can impart morphousness to this.
images via homeofthenutty
#Csatle#Caskett#Castle: Season 7#Castle: Meme is Murder#Kate Beckett#Richard Castle#Fic#Fanfic#Fanfiction#Fan Fiction#Fan Fic#Writing#Tell Me More
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Castle by the sea.
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Will Beckett go back at the precinct?
OK Beckett resigned, wonder what the reaction of Castle will be, when he learns that she is no longer a cop. Will he try to convince her to go back at the precinct or will it be Captain Gates who will ask Beckett to come back?
Gates really looked surprised when Beckett told her that she was resigning, may be Gates has decided to put Beckett's resignation on hold the time to let the dust fall down. After all, Gates always thought that Beckett was a good cop.
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vimeo
"LA VOUTE" _ GUEDELON
A documentary movie about a middle age domed vault that is being built today in Guedelon, Burgundy, France.
GUEDELON "Deep in secluded woodland, an abandoned quarry reveals a landscape seemingly untouched since the dawn of the last millennium. Out of this wood and stone, using 13th century building techniques, a castle is being created."
guedelon.fr
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Μethoni 🏰.Greece.Peloponnese 1986.
Contax RTS II,Carl Zeiss Tessar T* 135mm f/2.Sonnar T* 18mm f/4,Tessar T* 300mm f/4 Kodachrome 64
The 🏰 of Methoni is a medieval fortification in the port town of Methoni, Messenia, in southwestern Greece. The 🏰 of Methoni occupies the whole area of the cape and the southwestern coast to the small islet that has also been fortified with an octagonal tower and is protected by the sea on its three sides. Its north part, the one that looks to land, is covered by a heavily fortified acropolis. A deep moat separates the 🏰 from the land and communication was achieved by a wooden bridge. The Venetians built on the ancient battlements and added on and repaired it during both periods that they occupied the 🏰.
Its entrance is accessed by a stone bridge of 14 arches, that was built over a moat by the technicians of the Expédition scientifique de Morée, that accompanied general Maison. The entrance gate ends in an arch framed on the right and left by pilasters with Corinthian capitals. It is considered to be the work of Venetians after 1700. On the right and left of the entrance two large battlements can be seen. One battlement is the one built by general Antonio Loredan, during the second period of Venetian occupation.
Right after the central gate, a domed road opens up that leads through a second gate and then a third in the interior of the 🏰, where the habitable part was and which was separated from the north part with a vertical low wall (approximately 6 meters), fortified with five towers (four square and one octagonal) is dated to the period after 1500, when the Turks tried to reinforce the population and the fortification of the caste. In the interior there are ruins of the houses where the Venetian lords lived during the period of rise, the paved street that led to the sea gate, the ruins of a Turkish 🛁, the Byzantine ⛪ of St. Sophia, close to which a slate with Latin lettering was found (dating back to 1714), parts of Doric pillars, a monolithic granite pillar (1493/4), unlined, with a capital on the top of Byzantine style, which is supposed to have supported either the winged 🦁 of Saint Mark, the symbol of Venice, or the bust of Morosini. That is why it is erroneously called “Morosini’s stele”.[1] There was an inscription on the capital that has not survived to this day. On the left of the entrance are the ruins of the building which originally Imbrahem used as a residence in 1826 and later general Maison. The French of the liberating corps remained in the area till 1833 and the construction of the ⛪ of Santa Sotira, which is still attributed to them. In the interior of the 🏰 there are also a few cisterns and the remains of the British prisoner’s cemetery during the 🌍 War II.
On the south part of the walls rises the spectacular sea gate which has recently been restored. A stone-paved stretch leads over a small bridge to the small fortified islet of Bourtzi. This is the place where many soldiers and inhabitants of Methoni were slaughtered, when the Turks occupied the fort in 1500.
The Bourtzi is dated back to the period after 1500 and has been used in various instances as a prison. It has a two-floor octagonal tower. The tower finishes in a round dome. On the lower floor there was a cistern and the whole works, with small defensive value, and is dated during the first period that the Turks occupied the fortress.
The west part of the walls is not as well constructed as the others. It was here that during the Second 🌍 War, after an explosion, parts of well constructed stones from the ancient walls of Methoni were found. In the interior of the walls, ruins of Turkish military establishments are preserved.
The east side of the walls also reached initially to the sea. Nowadays, a long strand of 🏖️ lies in front of a large part of it. Parallel to the east wall, up to the Bourtzi, there was a pier and this is where the small fortified harbor was formed (mandrachio), while the big one was to the northeast where ships could be pulled. The long east side has suffered many repairs, performed on the initial venetian battlements of the 13th century, mainly during the second Venetian occupation and the Turkish occupation. In one of the towers parts of the Byzantine fortification are preserved.
On various parts of the fortification there are Venetian emblems with the winged 🦁 of St. Mark and inscriptions. This is the case on the north part of the Loredan battlement, where there is an inscribed plaque from the time when general Loredan was in command in the Peloponnese. On the north wall, on the right of the main entrance, there is also a plaque with the coat of arms of the families of the Foscarini, Foscolo and Bembo, to which the inscription denotes the construction of the Bembo battlement, just before 1500.
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