Balbus, Balbo Theatre (Rome, Italy)

Balbus Theatre

Introduction

The Theatre of Balbus was situated in the Campus Martius in ancient Rome at coordinates 41.894, 12.47832. No ruins of the theatre are visible at the original construction site. This architectural masterpiece was strategically positioned in close proximity to two other significant Roman theatres: the Theatre of Marcellus and the Theatre of Pompey, forming a remarkable theatrical complex in the heart of the city (Sear 136). The theatre’s location in the Campus Martius—Rome’s expansive public space used for various civic activities—enhanced its prominence as a cultural venue. The theatre was complemented by the Crypta Balbi, a quadriporticus (four-sided portico) situated behind the theatre that served as a shelter for spectators during inclement weather and housed shops and performance preparation spaces (Romano Impero). Nearby landmarks included the Circus Flaminius and the Porticus Octaviae, placing the theatre within one of Rome’s most vibrant public districts (Sear 136).

History

The Theatre of Balbus was constructed by Lucius Cornelius Balbus following his triumph over the Garamantes in 19 BCE (Sear 65). Balbus, who had been a general under Pompey before shifting his loyalty to Caesar and later to Octavian (Augustus), initiated the construction of the theatre at the exhortation of Augustus, who encouraged his allies to contribute to his program of urban renewal and embellishment of Rome, particularly in the Campus Martius area (Romano Impero). The theatre was officially dedicated in 13 BCE, with inaugural games that coincided with Augustus’ victorious return from campaigns in Gaul, Germany, and Spain (Romano Impero).

The theatre suffered damage during the devastating fire that swept through Rome in 80 CE during Emperor Titus’ reign but was subsequently restored under Emperor Domitian (81-96 CE), as evidenced by brick stamps from this period (Sear 136). The structure underwent further modifications during Hadrian’s reign (117-138 CE), including the raising of the portico by one floor and the transformation of the hemicycle of the apse from an exedra into a latrine (Romano Impero).

The Constantinian Regionary catalogues indicate that the theatre remained operational through the fourth century CE, as confirmed by Ausonius’ mention of it as a functioning venue (Sear 65). An inscription referring to restoration work by city prefect Anicius Acilius Glabrio Faustus between 408 and 423 CE suggests continued maintenance of the structure into the early fifth century (Sear 136). However, with the establishment of ecclesiastical laws in the fifth century and the Christian prohibition against theatrical performances, the monument fell into decline (Romano Impero).

In the tenth century, portions of the theatre’s walls were repurposed as part of a medieval fortress known as the Castellum aureum, with gardens and churches integrated into the space. The area of the cryptoporticus was later occupied by funeral parlors (Romano Impero). The theatre’s identity was obscured for centuries, as until 1960, scholars incorrectly identified its remains as part of the Circus Flaminius. It was only through Gatti’s work with fragments of the Marble Plan of Rome that the theatre’s true location and identity were established (Sear 136).

Theatre Specifications

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

Location:

• GPS coordinates: 41.894, 12.47832
• Orientation: The theatre extended in an east-west direction with the cavea facing east (Sear 65), though Romano Impero indicates it faced west
• Position: Located in the Campus Martius, in close proximity to the Theatres of Marcellus and Pompey (Sear 136)
• Topographical details: Built on flat terrain, requiring substantial substructures to support the elevated cavea (Sear 136)

Cavea:

• Diameter: Approximately 95 meters (Sear 66)
• Estimated seating capacity: The Constantinian Regionary catalogues state the theatre had 11,510 feet of seating or 8,460 places (Sear 65), though other estimates suggest around 7,000 spectators (Romano Impero)
• Construction materials and techniques: The substructures used perfect opus reticulatum (diamond-shaped stone pattern) walling indicating construction of the highest standards (Sear 67)
• Support structures: The cavea was supported by radial walls forming wedge-shaped spaces (2.19-2.22 meters wide at their inner end) with vaulted substructures supporting the seating (Sear 136)

Orchestra:

Limited information survives regarding the orchestra, as archaeological excavations have not exposed this portion of the theatre.

Pulpitum/Stage:

The existing sources provide minimal details about the stage structure.

Scaenae Frons:

• Decoration: While the specific arrangement of the scaenae frons (stage backdrop) is unknown, Fuchs attributed four reliefs to its decoration (Sear 67)
• Capitals: Recent discoveries have uncovered capitals belonging to the scenic front, indicating restorations during the Hadrianic period (Romano Impero)
• Sculptural elements: A series of Gigantomachy reliefs, now housed in the Capitoline Museum and the Belvedere Court of the Vatican Museum, belonged to the theatre and date to the late Flavian period (Sear 136)

Decoration:

• Materials: Pliny mentioned that the theatre was adorned with four onyx columns, suggesting luxurious decorative elements (Sear 67, Romano Impero)
• Floor surfaces: A portion of mosaic pavement was found 7 meters below ground level in Palazzo Mattei ai Funari (Sear 136)
• Inscriptions: An inscription on the tomb of L. Aufidius Aprilis indicated he was a Corinthiarius (worker in Corinthian bronze) in the Theatre of Balbus, suggesting the presence of bronze ornaments (Sear 136)
• Architectural stucco decoration covered the façades of the portico during the Hadrianic renovations (Romano Impero)

Access Points:

The specific details of entrances, exits, and circulation patterns are not fully documented in the available sources, though the radial substructures would have facilitated movement through the cavea as in other Roman theatres (Sear 136-18).

Current Status

Today, the remains of the Theatre of Balbus are primarily preserved within the Crypta Balbi museum, one of the four venues that comprise the National Roman Museum, along with Palazzo Altemps, Palazzo Massimo alle Terme, and the Baths of Diocletian (Romano Impero). The museum preserves substantial monumental structures, particularly in the basement where portions of the Porticus Minucia and the Crypta itself can be viewed (Romano Impero).

Much of the original theatre structure has been incorporated into later buildings, particularly Palazzo Mattei-Paganica, where elements of the cavea can still be discerned (Romano Impero). Archaeological evidence suggests that during the Early Middle Ages, following the Greek-Gothic war (535-553 CE), the area experienced significant poverty and abandonment. For a certain period, a small necropolis with poor burials was even established within the walls of the crypt (Romano Impero).

Francesco Albertini, at the beginning of the 16th century, correctly identified the ruins near the house of Domenico Mattei as the Theatre of Balbus, though these remains were later incorporated into other buildings of the Mattei family and disappeared completely (Romano Impero).