Augusta Emerita (modern Mérida, Spain)

15 / 16 BCE

Cavea Width: 87 meters
Orchestra Width: 26 meters

Augusta Emerita (modern Mérida, Spain). Cavea width: 86.63 m; ima cavea: 23 rows in 6 cunei; media cavea 5 rows in 6 cunei; summa cavea 5 rows; orchestra width: 25.73 m; stage: L 52.32 m.; W 7.6-9.21 m.;Scaenae Frons: Two stories; 17.57 meters high; capacity: 5,000/6,250; Begun by Agripa between 16 and 15 BCE. (Sear 264)

Augusta Emerita Theatre
Augusta Emerita Panoramas

Introduction

The Roman Theatre of Augusta Emerita represents a significant example of Roman theatrical architecture within the UNESCO World Heritage Site of Mérida, Spain. Constructed 16-15 BCE during the Augustan period, the theatre consists of a semicircular cavea (seating area) with a diameter of 86.63 meters and a reconstructed two-story scaenae frons (stage building). Following centuries of abandonment, the structure underwent systematic excavation and restoration throughout the twentieth century. Initial archaeological work by Mélida and Macías (1910-1915) preceded comprehensive reconstruction under Menéndez-Pidal Álvarez (1958-1976), who implemented anastylosis methodology utilizing 60% original Roman materials (Durán Cabello 304). The theatre now functions simultaneously as an archaeological monument and active performance venue, demonstrating the efficacy of twentieth-century Spanish restoration practices.

History

Construction of the theatre began under Marcus Vipsanius Agrippa between 16 and 15 BCE, concurrent with Augusta Emerita’s development as a colonial capital of Lusitania (Sear 264). The building inscription (CIL 2.474) confirms Agrippa’s patronage of this significant public monument. Archaeological evidence indicates phased construction, with the upper cavea sections completed during Claudius’ reign (41-54 CE) (Mélida).

The theatre underwent several renovations during antiquity: a Flavian-period (69-96 CE) modification of the columnatio; a Trajanic-period (98-117 CE) addition of a sanctuary in the ima cavea; restoration of the proscaenium under Hadrian (117-138 CE); and a final documented Roman-era intervention during Constantine’s reign (333-337 CE) (García Iglesias).

Following the collapse of Roman administration, the theatre gradually fell into disuse. By the medieval period, substantial portions were buried through natural deposition and deliberate infilling, with exposed elements quarried for construction materials (Álvarez Martínez).

Theatre Specifications

The following specifications are drawn from Frank Sear’s reference book, Roman Theatres: An Architectural Study, Oxford University Press, 2006, (p. 264) except where otherwise noted.

Location:

• GPS coordinates: 38.9152, -6.3385
• Orientation: North-northwest
• Position: Southeastern sector near the ancient city wall
• Topography: Ima cavea constructed in natural depression; media and summa cavea on purpose-built substructures (Sear 264)

Cavea (Seating area):

• Diameter: 86.63 meters (Sear 264)
• Estimated capacity: 5,000-6,250 spectators (Sear 264)
• Division of seating:
  • Ima cavea (lower seating): 23 rows (0.32 × 0.74 meters) in 6 cunei (wedge-shaped sections)
  • Media cavea (middle seating): 5 rows in 6 cunei
  • Summa cavea (upper seating): 5 rows
• Materials: Granite and limestone with marble facing; opus caementicium (Roman concrete) for substructures (Durán Cabello)
• Access infrastructure:
  • Lower praecinctio (horizontal walkway): Width 2.20 meters with podium height 2.20 meters
  • Upper praecinctio: Width 0.60 meters with podium height 3.09 meters
  • Porticus (colonnaded walkway) at cavea summit: Width 3.46 meters (Sear 264)

Orchestra (semi-circular performance space):

• Diameter: 25.73 meters (23.05 meters at surrounding wall) (Sear 264)
• Paving: White and bluish marble in geometric pattern (Mélida)
• Features: Three steps for bisellia (ceremonial seats) with inner diameter 16.86 meters; altar and inscriptions documented (Trillmich 238)
• Modifications: Trajanic-period sanctuary addition in lowest central cuneus rows (Sear 264)

Pulpitum/Stage:

• Dimensions: Length 52.32 meters; Width 7.6-9.21 meters (10.81 meters including proscaenium wall) (Sear 264)
• Construction: Stone foundation with marble facings
• Machinery: Aulaeum (curtain) system with 12 mast holes (1.75 × 0.50 × 3 meters deep), each divided into two compartments (Sear 264)
• Access: Connected to orchestra via proscaenium (stage front, width 1.60 meters, height 1.02 meters) featuring three semicircular and four rectilinear niches with two staircases (Sear 264)

Scaenae Frons: (Decorative Stage building front):

• Height: Columnatio 17.57 meters (Sear 264)
• Configuration: Two stories, both Corinthian order
• Doorways: Central semicircular regia (royal door, width 2.38 meters); two rectangular hospitalia (guest doors, width 1.41 meters) (Sear 264)

Decoration:

• Materials: Marble predominant, with evidence of bronze fixtures (Durán Cabello 303)
• Sculpture: Imperial portraiture including Tiberius, possibly Drusus minor, veiled Augustus, half-draped emperor, emperor in military uniform, two divinities from mid-2nd century CE (Trillmich 239-240)
• Epigraphy: Multiple inscriptions including CIL 2.474 and 478, statue bases, altar, and Trajanic pluteus inscription (García Iglesias 595)

Access System:

• Entry configuration: Thirteen radial passages in outer wall (Sear 264)
• Vomitoria (access passageways): Six leading to ima cavea from lower annular passage
• Circulation pattern:
  • Two passages to lower annular passage with vomitoria to ima cavea
  • Five passages to upper annular passage opening to lower praecinctio
  • Six passages to upper praecinctio with staircases to summa cavea
• Special areas: Tribunalia (official viewing platforms) above aditus maximi (main entrances, width 2.82 meters) with Agrippa inscriptions (Mélida)

Current Status

The Theatre of Augusta Emerita functions as the focal point of the Archaeological Ensemble of Mérida, designated UNESCO World Heritage in 1993 (Trillmich). The site complex, administered by the Consorcio de la Ciudad Monumental de Mérida since 1996, includes the adjacent amphitheatre, Temple of Diana, and aqueduct remnants.

The National Museum of Roman Art, designed by Rafael Moneo (opened 1986), houses artifacts from Mérida’s excavations and connects to the archaeological area via subterranean passage (Mateos Cruz). The site remains accessible daily (9:00-18:30 winter/9:00-20:00 summer) with a unified admission fee (€12) providing access to all principal archaeological areas.

The theatre maintains its original function as a performance venue, hosting the International Classical Theatre Festival annually since 1933 (Álvarez Martínez 188). Current seating capacity (3,000) accommodates performances against the backdrop of the reconstructed scaenae frons, with the archaeological ensemble receiving approximately 600,000 annual visitors (Palma García 215).

Ongoing conservation includes environmental monitoring, non-invasive cleaning protocols, structural assessment using digital technologies, visitor impact management, and virtual reconstruction development. The monument demonstrates the integration of archaeological preservation with cultural functionality, enabling continued use of the structure in a manner consistent with its original purpose.

Archaeological Excavations and Restoration

Early Excavations (1910-1950):

• 1910-1915: Initial systematic investigation by José Ramón Mélida and Maximiliano Macías
  • Areas: Primary focus on cavea and orchestra
  • Publications: Findings documented 1912-1915, establishing site significance (Paris 457)
  • Interventions: Limited consolidation of exposed elements
• 1934-1936: Excavation continuation under Antonio Floriano
  • Interruptions: Work suspended due to Spanish Civil War (Álvarez Martínez 182)

Principal Restoration Phase (1958-1976):

• 1958-1964: Comprehensive excavation under José Menéndez-Pidal Álvarez
  • Areas: Remaining buried sections, hyposcaenium, postscaenium
  • Findings: Documentation of scaenae frons foundations and architectural fragment recovery (Durán Cabello 301)
• 1964-1970: Scaenae frons reconstruction
  • Directors: José Álvarez Sáenz de Buruaga and Menéndez-Pidal
  • Methodology: Anastylosis utilizing 60% original materials (Durán Cabello 304)
  • Funding: Spanish government (Dirección General de Bellas Artes) and Provincial Council of Badajoz (Álvarez Martínez 186)

Modern Conservation Interventions (1980-Present):

• 1980s: Institutional reorganization following Spain’s democratic transition
  • Recognition: UNESCO World Heritage designation process initiated
  • Administration: Transfer to regional authorities (Trillmich)
• 1996-1999: Structural stabilization campaign
  • Directors: Rafael Mesa Hurtado and Pedro Mateos Cruz
  • Focus: Structural reinforcement and visitor infrastructure
  • Funding: European Union structural funds (Mateos Cruz)
  • Establishment: Consorcio de la Ciudad Monumental de Mérida founded 1996 (Mateos Cruz)
• 2005-2013: Preventive conservation implementation
  • Director: Félix Palma García
  • Methodology: Non-invasive treatments and digital documentation
  • Funding: Consorcio de la Ciudad Monumental de Mérida
  • Technology: Photogrammetry and 3D laser scanning (Palma García 212)

Bibliography / Resources:

Augusta Emerita Panoramas

Álvarez Martínez, José María. “Historia de la recuperación del teatro romano de Mérida.” Revista de Estudios Extremeños, vol. 58, no. 2, 2002.

Álvarez Martínez, José María, and Trinidad Nogales Basarrate. Augusta Emerita: Territorio, Espacios, Imágenes y Gentes. Museo Nacional de Arte Romano, 2017.

Ayerbe Vélez, Rocío, et al. El Foro de Augusta Emerita: Génesis y Evolución de Sus Recintos Monumentales. CSIC, 2009.

Barrera Antón, José Luis. “Los Capiteles Romanos de Mérida.” Monografías Emeritenses, vol. 6, Museo Nacional de Arte Romano, 2000.

Durán Cabello, Rosalía María. “La restauración del teatro romano de Mérida en los años sesenta: Proyectos y perspectivas.” Anas, vol. 18, 2005.

García Iglesias, Luis. “Epigrafía romana de Augusta Emerita.” Revista de Estudios Extremeños, vol. 31, 1975.

Lantier, Raymond. “Report on Excavations at Mérida.” Comptes rendus des séances de l’Académie des Inscriptions et Belles-Lettres, 1915.

Mateos Cruz, Pedro. “Conservación y puesta en valor del teatro romano de Mérida.” Revista de Arqueología, vol. 21, no. 233, 2000.

Mélida, José Ramón. “El teatro romano de Mérida.” Revista de Archivos, Bibliotecas y Museos, vol. 19, no. 1, 1915.

Palma García, Félix. “Procesos de conservación preventiva en el Conjunto Monumental de Mérida.” Cuadernos de Prehistoria y Arqueología, vol. 39, 2013.

Paris, Pierre. “Promenade archéologique à Mérida.” Archäologischer Anzeiger, 1914.

Paris, Pierre. “Théâtre romain de Mérida.” Archäologischer Anzeiger, 1912.

Sear, Frank. Roman Theatres: An Architectural Study. Oxford University Press, 2006. (p. 264).

Trillmich, Walter. “Novedades en torno al programa iconográfico del teatro romano de Mérida.” In Actas del Congreso Internacional El Año de Trajano, pp. 233-242. Seville, 1998.

Wickert, Ludwig. Epigrafía emeritense. Anuario del Cuerpo de Archiveros, Bibliotecarios y Arqueólogos, vol. I, Madrid, 1935.