Cibyra Maior Odeum, Turkey

150-200 CE

Cavea Width: 44 meters
Orchestra Width: 14 meters

The Cibyra Maior Odeum/Bouleuterion; located in ancient Cibyra Maior, modern Gölhisar, Burdur Province, Turkey, is a Roman-era covered theater serving dual functions as a concert hall and a city council chamber. The cavea measures 48.5 meters in diameter, exceeding a semicircle, with 26 total seat rows divided into ima cavea (9 rows) and summa cavea (17 rows); faces south-east; accommodates approximately 3,600 spectators. The circular orchestra spans 13.5 meters in diameter and features the world’s only surviving Medusa mosaic created using opus sectile technique with colored marble inlays. Constructed during the mid-2nd century CE, initially as a bouleuterion, the structure underwent theatrical modifications that added a stage, making it one of Turkey’s best-preserved roofed ancient theaters. Currently maintained through seasonal conservation efforts, the site operates with managed public access and holds UNESCO World Heritage Tentative List status since 2016, with the remarkable mosaic remaining approximately 95% intact.

The Odeum at Cibyra Maior (Kibyra), Turkey

The odeum at Cibyra Maior (also known as Kibyra or Cibyra Magna) is a Roman-period roofed theater situated near the modern town of Gölhisar in Turkey’s Burdur Province. Constructed during the second century CE, the building served dual civic and cultural functions as both a city council chamber (bouleuterion) and a concert hall (odeum). It is especially notable for its remarkably well-preserved Medusa mosaic, executed in the rare opus sectile technique using intricately cut colored marble inlays. This mosaic represents the only known example of its kind to survive from antiquity.

Historical Context

The ancient city of Cibyra was founded in southwestern Asia Minor, likely by Indo-European settlers of Luwian or Solymian origin. During the Hellenistic period, Cibyra emerged as a major regional power. By the second century BCE, it led the Cibyratic Tetrapolis—a political and economic federation that included the cities of Bubon, Balbura, and Oenoanda. The league was dissolved following the First Mithridatic War, after which Cibyra was annexed into the Roman province of Asia in 84 BCE (Özüdoğru 48).

Under Roman administration, Cibyra developed into a center of commerce, jurisprudence, and craftsmanship, particularly in leatherworking and metalwork. The city was noted for its multilingual population and monumental architecture, including a large theater, agora, stadium, and odeum. In 23 CE, Cibyra was severely damaged by an earthquake during the reign of Tiberius, prompting large-scale reconstruction of many public buildings. A more destructive earthquake in 417 CE marked the beginning of the city’s decline. By the ninth century, the site had been abandoned, and the population had relocated to the vicinity of modern Gölhisar (Mitchell).

Architectural Features and Mosaic

The Cibyra odeum was constructed in the first half of the second century CE as part of an ambitious urban renewal initiative. Initially intended as a bouleuterion, the structure was soon modified to accommodate theatrical performances and musical events. The cavea spans 48.5 meters in diameter and comprises 26 rows of seats, with a seating capacity estimated at 3,600. The orchestra floor measures 13.5 meters across and is paved with an elaborate depiction of Medusa, the mythical gorgon, created using the opus sectile method.

This mosaic, dating to the third century CE, is distinguished as the only known surviving opus sectile representation of Medusa. In Roman cultural contexts, such imagery served an apotropaic function, symbolically protecting spectators from harm. The mosaic remains approximately 95 percent intact and is considered one of the finest surviving examples of Roman decorative stonework in Asia Minor.

The Cibyra odeum is also among the best-preserved roofed theaters in Turkey. Its architectural integrity and exceptional mosaic led to its inclusion on UNESCO’s World Heritage Tentative List in 2016. The site is currently managed through seasonal conservation campaigns and controlled public access.

Excavation and Conservation

Systematic archaeological investigation of the Cibyra odeum began in 2006, as part of the larger Cibyra excavation project. Between 2009 and 2012, excavators uncovered the Medusa mosaic, revealing the extraordinary preservation of the building’s interior. Since 2010, excavations have been led by Associate Professor Şükrü Özüdoğru of Mehmet Akif Ersoy University. The project is a collaborative effort supported by the Turkish Ministry of Culture and Tourism, the Turkish Historical Society, and Mehmet Akif Ersoy University.

The research team includes approximately 35 scientific specialists and 25 field workers. As one of Turkey’s most prominent ongoing archaeological endeavors, the project underscores the complexity of conserving large-scale Roman civic architecture and rare decorative elements.

Architectural 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

• Modern city, Country: Gölhisar, Turkey
• Orientation: Facing south-east
• Construction: Early-Mid 2nd century CE

Cavea (seating area)

• Diameter: 48.5 meters, exceeding semicircle but with analemmata (retaining walls) that do not converge
• Estimated capacity: Approximately 3,600 spectators according to recent archaeological assessments
• Seating divisions:
  • Ima cavea (lower seating): 9 rows in an undetermined number of cunei (wedge-shaped sections)
  • Summa cavea (upper seating): 17 rows in an undetermined number of cunei
• Construction materials and techniques: Built primarily against the natural slope using local stone
• Substructures: Rests mainly against the hillside slope with minimal artificial support structures

Orchestra (performance space between audience and stage)

• Dimensions: Diameter approximately 13.5 meters (not fully excavated at time of Sear’s publication)
• Shape and materials: Circular orchestra featuring the famous Medusa mosaic floor created using the opus sectile technique with colored marble inlays
• Special features and modifications: The orchestra floor contains what may be the world’s only surviving Medusa mosaic created with the opus sectile technique.

Pulpitum (stage)

• Dimensions: Length approximately 23 meters, width approximately 4 meters
• Construction details: Elevated platform providing performance space
• Stage machinery: No evidence of complex stage machinery documented

Scaenae Frons (decorative scene house front)

• Architectural order and design: Rectilinear arrangement
• Doorways and stories: Five arched openings with the central regia (royal door) measuring 2.53 meters in width
• Decorative elements: Ten slots for projecting architraves supported by ten flanking columns visible in the wall above the openings

Access and Circulation

• Entrances, exits, and vomitoria:
  • South aditus maximus: 4.44 meters wide
  • North aditus maximus: 4.31 meters wide
• Stairways: Complex system including doorways at ends of back wall providing access to aditus, with perpendicular staircases leading under summa cavea seating

Roofing System

• Roof construction: Large openings in the curved wall above the top row of seats provided both access to upper seating and natural lighting, confirming the building was originally roofed
• Windows: Large windows in the upper portion of the scaenae frons wall provided additional illumination

Current Status

The odeum at Cibyra Maior represents one of the best-preserved examples of a roofed ancient theater structure in Turkey. The cavea retains significant portions of its original seating arrangement, and the famous Medusa mosaic remains approximately 95% intact. The scaenae frons preserves substantial architectural elements, including door openings and evidence for the original columnar decoration.

Conservation Efforts

Active conservation measures include seasonal protection of the mosaic floors through multi-layer covering systems during winter months. The site benefits from ongoing archaeological supervision and maintenance by the excavation team from Mehmet Akif Ersoy University. Regular documentation and monitoring ensure the preservation of both architectural elements and decorative features.

Cibyra was included in Turkey’s UNESCO World Heritage Tentative List in 2016, recognizing its outstanding universal value as one of the most significant ancient settlements in the region. This designation has enhanced protection measures and increased international awareness of the site’s importance.

The odeum operates on a managed visitation schedule, with the extraordinary Medusa mosaic accessible to the public during the summer months while it is protected during harsh winter weather. This balanced approach ensures both public access and long-term preservation of this unique archaeological treasure.

Ancient Renovation History

Phase I (Early-Mid 2nd century CE): Initial construction as a bouleuterion during the first half of the 2nd century CE according to Ferrero’s chronology.

Phase II (Mid-3rd century CE): Architectural modifications added theatrical elements including a stage (skena) to transform the purely civic building into a multifunctional space capable of hosting dramatic performances and serving as a courthouse for the regional judicial center.

Late Antique Period: The building continued in use through the Late Antique period, with evidence suggesting ongoing maintenance and possible minor modifications to accommodate changing administrative and cultural needs.

Major Excavation Campaigns

2006-2012: Initial excavation of the odeum structure was conducted over three years as part of the broader Kibyra archaeological project. The Medusa mosaic was discovered during these excavations between 2009 and 2012.

2010-Present: Excavations have been led by Associate Professor Şükrü Özüdoğru from the Archaeology Department of Mehmet Akif Ersoy University (MAKU) since 2010. The project operates with support from the Turkish Ministry of Culture and Tourism, the Turkish Historical Society, and Mehmet Akif Ersoy University.

Research Team: The current excavation team consists of approximately 35 scientific specialists and 25 field workers, representing an international collaborative effort.

Institutions Involved:

• Mehmet Akif Ersoy University (MAKU), Turkey
• Turkish Ministry of Culture and Tourism
• Turkish Historical Society
• Burdur Museum

Modern Restorations

2012-2013: Following the discovery of the Medusa mosaic, conservation specialists covered the artwork with five protective layers to prevent weather damage while restoration plans were developed.

2013: Major inspection and restoration preparation work was undertaken with support from the Culture and Tourism Ministry.

2018: The Medusa mosaic was officially opened to public visitation during summer months (typically May through October), with protective covering applied during winter months to prevent freeze damage.

Present: The site operates on a seasonal visitation schedule, with the mosaic exposed for public viewing during favorable weather conditions and protected during harsh winter months.

Publication History

• Sear, Frank. Roman Theatres: An Architectural Study. Oxford University Press, 2006.
• Ferrero, Daniela De Bernardi. Teatri Classici in Asia Minore. 4 volumes. Rome: L’Erma di Bretschneider, 1966-1989.
• Balty, Jean-Charles. Curia Ordinis: Recherches d’architecture et d’urbanisme antiques sur les curies provinciales du monde romain. Brussels: Académie Royale de Belgique, 1991.
• Özüdoğru, Şükrü. Kibyra – Kibyra Maior / Caesarea Cibyra. Istanbul: Arkeoloji ve Sanat Yayınları, 2020.

Bibliography / Resources:

Balty, Jean-Charles. Curia Ordinis: Recherches d’architecture et d’urbanisme antiques sur les curies provinciales du monde romain. Brussels: Académie Royale de Belgique, 1991.

Bean, George E. Lycian Turkey: An Archaeological Guide. London: Ernest Benn, 1978.

Dökü, F. Eray, and M. C. Kaya. “The Architecture and Function of the Stadium of Kibyra.” Adalya 16 (2013): 177-202.

Ferrero, Daniela De Bernardi. Teatri Classici in Asia Minore. 4 volumes. Rome: L’Erma di Bretschneider, 1966-1989.

Mitchell, Stephen. Anatolia: Land, Men, and Gods in Asia Minor. Vol. 1–2, Clarendon Press, 1993.

“The Mosaic Inscriptions of the Cibyran Odeion.” AVESİS, Akdeniz University, avesis.akdeniz.edu.tr/yayin/48ae240f-8a0e-49d9-9716-69f1cda12e1c/the-mosaic-inscriptions-of-the-cibyran-odeion. Accessed 29 June 2025.

Özüdoğru, Şükrü. “Kibyra Odeionu ve Mozaik Döşemesi.” Kibyra Antik Kenti Kazıları, Mehmet Akif Ersoy Üniversitesi Yayınları, 2014, pp. 45–61.

Özüdoğru, Şükrü. “Medusa Mosaic Opened to Visitors in Southwestern Turkey.” Anadolu Agency, July 3, 2018.

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

Turkish Archaeological News. “Kibyra.” Accessed June 2025. https://turkisharchaeonews.net/site/kibyra.

UNESCO World Heritage Centre. Ancient City of Kibyra. Tentative Lists, 2016,
https://whc.unesco.org/en/tentativelists/6102/.

Wieseler, Friedrich. Die Theatergebäude und Denkmäler des Bühnenwesens bei den Griechen und Römern. Göttingen: Vandenhoeck & Ruprecht, 1851.