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ANCIENT THEATRES - ANCIENT THEATRES' IDENTITY
THEATRE OF
MESSENE
Information
|
Description
of the
Monument
|
Photo
Gallery
|
Scientific
Report
 |
The Theatre of ancient Messene also functioned as a site of mass political assemblies. The first building phase of the Theatre of Messene is dated to the early 3rd c. BC.
The stage building and the proscenium were rebuilt during
the reign of the Emperors Augustus and Tiberius on the ruins
of the Hellenistic stage, while large-scale repairs to the
Theatre were carried out around the mid-2nd c.
AD. |
|
|
|
Description of the monument
The Theatre of
ancient Messene also functioned as a site of mass political assemblies.
According to Plutarch, the Theatre was the scene of the critical meeting between
Philip V of Macedon and Aratus, General of the Achaean League, in 214 BC, one
day after the popular revolt and massacre of the city officials and two hundred
prosperous citizens. The inhabitants of the Messenian capital also gathered in
the Theatre in 183 BC; there had been exposed to public view the famous General
of the Achaean League, Philopoemen of Megalopolis, also known as the Last Greek,
captured during a battle won by the Messenians. According to the above literary
evidence, the first building phase of the Theatre of Messene dates to the early
3rd c. BC, a dating confirmed by the excavation data.
The cavea is set on artificial fill, supported by a strong retaining wall in an irregular horseshoe shape, whose circumference is interrupted approximately every twenty metres by small ogival gateways. The whole of the retaining wall of the cavea was visible and accessible from without rather than being incorporated into a hillside, a distinctive feature of theatres and amphitheatres of the Roman period. The descending staircases converged radially on the orchestra, delimiting eleven cunei. In the proscenium is preserved a row of Ionic columns and semi-columns of plastered psammite (a form of sandstone); these belong to the first Hellenistic phase but have been used as supports under the floor of the widened Roman proscenium.
Very few of the
stone seats of the lower cavea survive in situ. A rainwater drainage channel
runs around the orchestra, passes under the southeast end of the stage building
and leads the rainwater into a large underground duct. Two stone thrones with
lions’ feet and separately-worked footrests have come to light. One of them,
placed at the apex of the orchestra, has a back rising to a goose’s head. It
appears to have been intended for the priest of the god Dionysus or the
agonothetes (president) of the Dionysia. The inscribed pedestal of a bronze
statue, referring to an agonothete of the festival of the Dionysia, also
survives to the right (west) of the throne.
A striking feature is the large staircase against the outer retaining wall of
the cavea. This may have functioned as third “upper parodos” in exceptional
circumstances, for the surprise descent of actors to the stage “from on high”.
The outer faces of the stones in the retaining wall of the west parodos are
carefully worked and bear mason’s marks. The retaining wall of the east parodos
is constructed of rectangular, rough-worked and tightly-fitted ashlars.
The stage building and the proscenium were rebuilt during the reign of the Emperors Augustus and Tiberius on the ruins of the Hellenistic stage. The traces of this phase are hard to distinguish, as they were fully incorporated into the third phase of large-scale repairs and restructuring.
Large-scale repairs to the Theatre were carried out around the mid-2nd c. AD, at the expense of the benefactor of the city Tiberius Claudius Saithidas, Chief Priest of the Sebastoi and Helladarch, according to two lengthy decrees carved into the pedestals of honorary statues set in the niches of the stage.
The front of the stage (scenae frons), 33 m long and 4 m wide, was at least three storeys high. Each storey included columns, doorways, arches and niches adorned with statues. The columns of the lowest storey, of grey granite alternating with red-white marble, were larger than those above and crowned with elaborate Corinthian, Pergamene and Ionic capitals supporting an entablature (part of the structure above the columns, comprising the epistyle, frieze and cornice). The stage building was faced with marble slabs, some of them carved with decorations in relief.
It would appear from the surviving pedestals that statues, mainly in bronze, of notable Messenians and benefactors of the city were erected around the orchestra. One of the pedestals bore the statue of a Messenian Neoplatonist philosopher. The orchestra of the phase dating to the mid-2nd c. AD (phase of the Saithid repairs) was paved with multicoloured flagstones. A vaulted entrance led to the orchestra from the east, when the parodoi of the Hellenistic phase were abolished.
From the late 3rd to early 4th c. AD, the collapse and stone-robbing of the Theatre had begun. No longer serving any useful purpose, it was turned into a “quarry” by the inhabitants of Messene in Late Antiquity and, above all, in Christian times. The architectural remains of an Early Byzantine and Byzantine settlement are strewn across the whole upper level of the Theatre, extending north and east. The Theatre continued to be quarried without interruption from the 7th century to the Venetian period (1356-1553), in parallel with the use of the adjacent Basilica and the settlement, as we can see from the coins, pottery and architectural remains.
Petros Themelis
Archaeologist
Photo
gallery
|
Framework Study for the consolidation and reconstruction of the Ancient Theatre of Messene |
|
Aerial photograph of the Theatre from the north |
|
The west retaining wall of the cavea and staircase |
|
Plan of the Theatre of Messene |
|
Section of the Theatre of Messene |
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Scientific
report
|
Monument Name |
Ancient
Theatre
of
Messene |
|
Category |
Theatre |
|
Brief Description |
Large
theatre
with
11
cunei,
partly
constructed
on
artificial
fill,
supported
by a
surrounding
retaining
wall
of
fortress-like
structure
and
reinforced
internally
by
parallel
built
rings
intersected
by
radial
walls. |
|
Images - Plans |
There
is
full
photographic
documentation
and
drawings
of
the
monument
in
whole
and
in
part,
held
in
the
archive
of
the
Society
of
Messenian
Archaeological
Studies
(33
Psaromilingou
St.,
Athens
105
53,
tel.
no.
210.3251481). |
|
Documentation - Bibliography |
1. Π. Θέμελης, Αρχαία Μεσσήνη, Ο Χώρος και τα Μνημεία, Αθήνα
1998.
|
|
Location |
The
theatre
is
located
on
the
NW
side
of
the
archaeological
site
of
ancient
Messene,
within
the
limits
of
Mavromati
Municipal
Department
(now
Ancient
Messene),
Messene
Municipality,
Messenia
Prefecture. |
|
Dating |
The
first
phase
of
the
Theatre
is
dated
to
the
3rd
c.
BC,
as
evidenced
by
the
preserved
retaining
walls
of
the
parodoi
and
other
elements.
The
repairs
of
the
1st
and
especially
the
2nd
c.
AD
are
evident
on
the
walls
of
the
stage
building,
proscenium
and
orchestra.
Inscribed
pedestals
and
sculptures
of
all
three
phases
survive,
as
well
as
thrones. |
|
General Description of Monument |
The Theatre of ancient Messene also functioned as a site of mass political assemblies. According to Plutarch, the philosopher of the 1st c. AD, the Theatre was the scene of the critical meeting between Philip V of Macedon and Aratus, General of the Achaean League, in 214 BC, one day after the popular revolt and massacre of the city officials and two hundred prosperous citizens. The inhabitants of the Messenian capital also gathered in the Theatre in 183 BC, to see the famous General of the Achaean League, Philopoemen of Megalopolis, also known as the “Last Greek”, captured during a battle won by the Messenians and exposed to public view. According to the above literary evidence, the first building phase of the Theatre of Messene dates to the early 3rd c. BC, a dating confirmed by the excavation data, pottery and coins.
The cavea is set on artificial fill, supported by a strong retaining wall in an irregular horseshoe shape, whose circumference is interrupted approximately every twenty metres by small ogival gateways. The whole of the retaining wall of the cavea was visible and accessible from without rather than being incorporated into a hillside, a distinctive feature of theatres and amphitheatres of the Roman period. The descending staircases converged radially on the orchestra, delimiting eleven cunei. In the proscenium is preserved a row of Ionic columns and semi-columns of plastered psammite (a form of sandstone); these belong to the first Hellenistic phase but have been used as supports under the floor of the widened Roman proscenium. Very few of the stone seats of the lower cavea survive in situ. A rainwater drainage channel runs around the orchestra, passes under the SE end of the stage building and leads the rainwater into a large underground duct. Two stone thrones with lions’ feet and separately-worked footrests have come to light. One of them, placed at the apex of the orchestra, has a back rising to a goose’s head. It appears to have been intended for the priest of the god Dionysus or the agonothetes (president) of the Dionysia. The inscribed pedestal of a bronze statue, referring to an agonothete of the festival of the Dionysia, also survives to the right (west) of the throne.
A striking feature is the large staircase against the outer retaining wall of the cavea in the northwest corner. The staircase may have functioned as third “upper parodos” in exceptional circumstances, for the surprise descent of actors to the stage “from on high”. The outer faces of the stones in the retaining wall of the west parodos are carefully worked and bear mason’s marks. The retaining wall of the east parodos is constructed of rectangular, rough-worked and tightly-fitted ashlars. The retaining wall of the east parodos is also the north wall of the skenotheke structure, which housed a huge movable stage, made of wood reinforced with metal elements. The existence of the movable stage (scena ducilis, or pegma) at the Theatre of Messene has been confirmed beyond doubt by the three parallel stone grooves discovered in front of the east parodos. Along them rolled the movable stage, also known in Ancient Greek as a pegma, a word which survives in the Modern Greek parapegma (a shack or shed). There were similar movable stages at both the Theatre of Sparta and that of Megalopolis. The movable stage has hitherto been considered a Roman invention, on the basis of the scena ducilis at the Theatre of Pompeii. The movable stage of Messene, however, is dated to the 3rd c. BC and therefore precedes the Roman stage at Pompeii, which is no earlier than the 1st c. BC. In the Theatre of Messene, a Roman stage building with a low proscenium was first built during the reign of the Emperors Augustus and Tiberius, on the ruins of the Hellenistic phase of the movable stage. The traces of this phase are hard to distinguish, as they were fully incorporated into the third phase of large-scale repairs and restructuring in the 2nd c. AD. Large-scale repairs to the Theatre were carried out around the mid-2nd c. AD, at the expense of the benefactor of the city Tiberius Claudius Saithidas, Chief Priest of the Sebastoi and Helladarch, according to two lengthy decrees carved into the pedestals of honorary statues set in the niches of the stage. The front of the stage (scenae frons), 33 m long and 4 m wide, was at least three storeys high. Each storey included columns, doorways, arches and niches adorned with statues. From the lower niche come statues of the benefactor Saithidas, his mother Phronteine and the Emperors Trajan, Hadrian, Marcus Aurelius and Lucius Verus. From the second storey comes a statue of Isis Pelagia, and from the third two herms with portraits of the 2nd c. AD and a small statue of the god Hermes. The columns of the lowest storey, approximately 5 m high, are of grey granite alternating with red-white marble. These were naturally larger than those above and crowned with elaborate Corinthian, Pergamene and Ionic capitals supporting the massive marble Ionic entablature. The stage building was faced with marble slabs, some of them carved with decorations in relief, such as masks, fish and other subjects, as well as inscriptions. It would appear from the surviving pedestals that statues, mainly in bronze, of notable Messenians and benefactors of the city were erected around the orchestra. One of the pedestals bore the statue of a Messenian Neoplatonist philosopher, named “New Plato” in the inscription on the pedestal; a second had the statue of the Emperor Hadrian, while the third was surmounted by a statue of the god Dionysus, a dedicatory offering by the agonothete of the Dionysia. On the fronts of some seats in the lower rows are preserved two inscriptions commemorating the emancipation of slaves.
The
orchestra
of
the
phase
dating
to
the
mid-2nd
c.
AD
(phase
of
the
Saithid
repairs)
was
paved
with
multicoloured
flagstones,
which
have
been
partially
restored.
A
vaulted
entrance
led
to
the
orchestra
from
the
east,
when
the
parodoi
of
the
Hellenistic
phase
and
the
movable
stage
were
abolished
and
the
skenotheke
was
demolished.
From
the
late
3rd
to
early
4th
c.
AD,
the
collapse
and
stone-robbing
of
the
Theatre
had
begun.
No
longer
used
for
performances,
it
was
turned
into
a
“quarry”
by
the
inhabitants
of
Late
Antiquity
and,
above
all,
the
few
citizens
of
Messene
who
had
converted
to
Christianity.
The
architectural
remains
of
an
Early
Byzantine
and
Byzantine
settlement
are
strewn
across
the
whole
upper
level
of
the
Theatre,
extending
north
and
east.
The
Theatre
continued
to
be
quarried
without
interruption
from
the
7th
century
to
the
Venetian
period
(1356-1553),
in
parallel
with
the
use
of
the
adjacent
Basilica
and
the
settlement,
as
we
can
see
from
the
coins,
pottery
and
architectural
remains. |
| Current Situation |
The
state
of
preservation
of
the
Theatre
is
good,
following
the
recent
(2002-2008)
consolidation,
conservation,
drainage
and
partial
restoration
of
the
stage,
the
floor
of
the
orchestra
and
the
3-4
front
rows
of
seats
and
staircases
surviving
in
situ.
The
work
was
carried
out
in
the
framework
of
the
3rd
Community
Support
Fund.
From
2008
onwards,
work
has
been
in
progress
on
the
partial
restoration
and
reconstruction
of
the
lower
cavea,
the
retaining
walls
of
the
cavea
and
parodoi,
and
the
proscenium,
with
funding
from
the
Stavros
Niarchos
Foundation. |
| Excavations - Interventions |
The
monument
came
to
light
during
the
excavations
of
the
Archaeological
Society
at
Athens,
undertaken
from
1986
onwards
under
the
direction
of
Professor
Petros
Themelis
of
the
University
of
Crete,
a
life
Fellow
of
the
Archaeological
Society
and
its
representative
at
Ancient
Messene.
In
2007,
in
the
framework
of
the
3rd
Community
Support
Fund,
the
surfaces
of
the
friable
psammitic
blocks
of
the
stage
and
proscenium
were
conserved
and
cleaned
with
biocides,
and
the
Roman-era
paved
floor
of
the
orchestra
was
partially
restored.
Public
information
signs
were
placed
and
the
outer
area
of
the
accesses
was
laid
out. |
| Permitted Uses |
The
Theatre
cannot
be
used
for
any
type
of
event
at
the
moment,
due
to
the
ongoing
conservation,
restoration
and
reconstruction
work
mentioned
above.
It
is,
however,
open
to
the
public,
comprehensible
and
accessible
to
visitors
who
content
themselves
with
observing
the
progress
of
the
consolidation-reconstruction
work. |
|
History of Modern Uses |
No
use
has
been
made
of
the
monument. |
| Further Information |
- |
|
Intellectual Rights |
The
intellectual
rights
for
the
study
and
publication
of
the
monument
are
held
by
the
Archaeological
Society
at
Athens
and
executed
through
its
representative,
the
director
of
the
excavation
and
the
restoration
programme
Professor
Petros
Themelis. |
|
Jurisdiction |
- |
|
Latitude |
21ο56΄46’’ |
|
Longitude |
37ο06΄09’’ |
|
Altitude |
340 |
| Google Earth |
37.17792,21.918787 |
