Brixia (modern Brescia, Italy)

27 BCE / 14 CE

Cavea Width: 88 meters
Orchestra Width: 46 meters

Brixia (modern Brescia, Italy). Roman Theatre. Imposing remains of outer cavea walls; parts of stage area visible; still partly covered by later buildings. Cavea width: 90 m with ima, media, and suma levels, orchestra width: 49 m; 3-story scaenae frons (now gone) with entrances for actors; stone supports for 49 m. wide stage; capacity: 15,000; 27 BCE / 14 CE with enlargement by Vespasianus in 73 CE; remodeled under the Severan emperors of the 3rd cent. CE.

Brixia Theatre (modern Brescia, Italy)

Introduction

The ancient Roman theatre at Brixia is located in the modern city of Brescia in northern Italy’s Lombardy region. The theatre is situated at the precise GPS coordinates 45.53998, 10.22668, placing it within the ancient city walls (Sear 176). The structure was built against the Cydnean hill (Colle Cidneo), immediately east of the Capitolium temple complex.  (Sear 176).

History

The Brixia Theatre dates to the Severan period (193-235 CE), representing a significant phase of monumental construction in the Roman Empire (Sear 176). This dating places the theatre’s construction during the reigns of the Severan dynasty emperors, who were known for extensive building programs throughout the empire. The theatre served as a central cultural institution within Brixia, which was an important urban center in Cisalpine Gaul (northern Italy) (Treccani degli Alfieri 262).

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: 45.53998, 10.22668
• Orientation: Facing south
• Position: Inside the city walls, built against the Cydnean hill, immediately east of the Capitolium
• Topographical details: The theatre utilizes the natural slope of the hillside for structural support, with extensive substructures added to regularize the incline (Sear 176)

Cavea (seating area)

• Diameter: Approximately 90 meters (Sear 176)
• Estimated seating capacity: Approximately 15,000 spectators (based on comparable theatres of similar dimensions)
• Construction materials and techniques: Built of opus vittatum (alternating bands of stone and brick) with some brick bonding courses for additional structural integrity (Sear 176)
• Support structures and access points: Large complex of substructures to regularize the hillside slope and provide access to seating areas; these substructures have not been completely explored (Sear 176)
• Access system: Staircases in surrounding annular passage and four radial passageways provided access to seats from the top of the cavea; a walled-up doorway in the north wall of the west aditus maximus (main entrance passage) gave access to a staircase leading to the lower praecinctio (horizontal walkway dividing seating sections) (Sear 176)

Orchestra (performance space between stage and seating)

• The orchestra area has not been fully uncovered in archaeological excavations (Sear 176)
• Based on comparable theatres of this period, it would likely have been semicircular and paved with marble or decorative stone (Cavalieri Manasse 114)

Pulpitum/Stage (raised performance platform)

• Length: Approximately 49 meters (Sear 176)
• Width: Approximately 6.6 meters (expanding to about 8.1 meters, or 9.35 meters including the proscaenium wall) (Sear 176)
• Proscaenium (front edge of stage) width: Approximately 1.25 meters (Sear 176)
• Aulaeum (stage curtain) mechanism: Slot width approximately 1.4 meters, possibly with 10 mast holes for the curtain raising/lowering system (Sear 176)

Scaenae Frons (elaborate architectural backdrop behind the stage)

• Design: All three doors (one central and two side entrances) were enclosed in niches with curved sides and flat backs (Sear 176)
• Regia (central door and niche) dimensions: Depth 4 meters, width 14 meters (measured to the podia) (Sear 176)
• Columnatio (column arrangement): Pairs of columns in front of the hospitalia (side entrances) and two pairs in front of the regia, according to Cavalieri Manasse (Sear 176)
• Decorative elements: Many fragments of the columnatio have been found, including column shafts in breccia, porphyry, and cipollino marble; bases and capitals in white marble (Sear 176)

Decoration

The Brixia Theatre featured extensive and luxurious decoration, reflecting its importance as a civic monument and the prosperity of the city in the Severan period (Cavalieri Manasse 231). Archaeological excavations have recovered numerous decorative elements, providing insight into the theatre’s original appearance (De Vecchi et al. 45).

The columnatio of the scaenae frons was particularly impressive, with column shafts made from valuable and colorful stones including breccia (a rock composed of broken fragments cemented together), porphyry (a purple-red stone associated with imperial status), and cipollino (a greenish marble with wave-like patterns) (Sear 176). The bases and capitals of these columns were carved from white marble, creating a dramatic color contrast (Cavalieri Manasse 234).

The architectural ornament is described as “deeply drilled and of exceptional richness,” indicating the high level of craftsmanship and the application of the baroque-like decorative style characteristic of Severan architecture (Sear 176). This style featured deep drilling to create dramatic shadow effects, intricate floral patterns, and elaborate acanthus leaf motifs on cornices and entablatures (Cavalieri Manasse 236).

Current Status

The Brixia Theatre remains a significant archaeological site with considerable preserved structures. Notable features include impressive sections of the outer cavea walls and visible portions of the stage area (Sear 176). Parts of the ancient structure continue to be partially obscured by later constructions, including the Palazzo Maggi Gambara, which overlays a section of the west aditus maximus and some of its vaulting.

The site is fully integrated into Brescia’s cultural heritage network, with related artifacts displayed in the city’s museums, particularly the Santa Giulia Museum (De Vecchi et al. 44). It constitutes an important element of the “Brixia. Parco archeologico di Brescia romana” (Archaeological Park of Roman Brescia), which received UNESCO World Heritage status in 2011 as part of the serial site “Longobards in Italy. Places of Power (568-774 A.D.).”

Conservation and exhibition of the Roman theatre are managed by the Fondazione Brescia Musei, under the chairmanship of Francesca Bazoli and the direction of Stefano Karadjov. Following extensive preservation efforts, the foundation reopened the archaeological area in 2015. Their management approach combines traditional conservation techniques with innovative presentation methods, including Virtual and Augmented Reality experiences to enhance visitor engagement. The foundation has developed an integrated approach connecting the theatre to other significant sites through initiatives such as the UNESCO Corridor (opened June 2023) and incorporates contemporary art exhibitions to create meaningful dialogue between ancient artifacts and modern artistic interpretations.

Renovations

Constructed during the Augustan age, the theatre underwent significant renovations during the Flavian and Severian periods (2nd-3rd century CE). Despite damage and destruction in subsequent centuries, the theatre remained in use until around 1000 AD. It was rediscovered relatively recently when structures built atop it were removed, revealing the remnants of the cavea and scene. https://nordzinc.com

While specific renovation phases are not detailed in the available archaeological record, the presence of a walled-up doorway in the north wall of the west aditus maximus suggests modifications to the original design during the theatre’s active use (Sear 176). 

Archaeological Excavations

Archaeological investigation of the Brixia Theatre dates back to at least the early 19th century. G. Labus documented discoveries at the site in his 1823 publication “Intorno a vari monumenti antichi scoperti in Brescia” (Labus 9). Further documentation followed with R. Vantini’s “Museo bresciano illustrato” in 1838 (Vantini 53).

More systematic studies continued in the 20th century, with F. Lechi’s work in “Lombardia romana” (1938) (Lechi 301-302) and Anti’s “Teatri X Reg.” (Anti 266). The most comprehensive modern studies include G. Cavalieri Manasse’s research published in “Brescia romana: Materiali per un museo” (1979), which provided detailed analysis of the architectural fragments and reconstruction hypotheses (Cavalieri Manasse 111-145).

Recent archaeological work is documented in P. De Vecchi’s “Santa Giulia. Brescia: L’Età romana” (1998), which presents updated findings and interpretations within the broader context of Roman Brescia (De Vecchi et al. 44-46).

Bibliography / Resources:

Anti, C. “Teatri X Reg.” 266.

“Brixia. Roman Archaeological Area.” Brescia Musei, www.bresciamusei.com/en/museums-and-venues/brixia-roman-archaeological-area/. Accessed 19 Mar. 2025.

Cavalieri Manasse, G. “Brescia romana: Materiali per un museo.” Brescia, 1979, 111–45, 231–40.

De Vecchi, P. et al. Santa Giulia. Brescia: L’Età romana. Milan, 1998, 44–6.

Labus, G. Intorno a vari monumenti antichi scoperti in Brescia. Brescia, 1823, 9.

Lechi, F. In Lombardia romana, I. Istituto di Studi Romani; Milan, 1938, 301–2.

Nissen, H. Italische Landeskunde, 198.

Pesenti, Alessio. “The Roman Theatre of Brescia.” Nord Zinc, 26 Sept. 2014, www.nordzinc.com/blog/the-roman-theatre-of-brescia.

Sear, Frank. Roman Theatres: An Architectural Study. Oxford University Press, 2006, 176.

Treccani degli Alfieri, G. Storia di Brescia. Brescia, 1961, 261–6.

Vantini, R. Museo bresciano illustrato. Brescia, 1838, 53.