Corinth Odeum (modern Kórinthos, Greece)

1st century CE

Cavea Width: 63 meters
Orchestra Width: 17 meters

Corinth Odeum; Kórinthos (modern city); 63 meters in diameter; 26 rows of seats divided into two sections (ima cavea with 13 rows arranged in 4 cunei and summa cavea with approximately 13 rows); north-facing cavea; 2,600-3,300 spectator capacity; 17.20 meters orchestra diameter (reduced to 15.50 meters with the addition of a parapet in the 2nd century AD, later expanded to 25.60 meters when converted to an arena); constructed at the end of the 1st century AD; underwent major restoration around 175 AD by Herodes Atticus, converted to an arena for animal hunts around 225 AD after fire damage, and final destruction occurred at the end of the 4th century AD; currently in a partially preserved state with the rock-cut lower cavea and stage building footings being the most visible elements. (Sear 393-395)

Corinth Odeum (modern Kórinthos, Korinthia)

Introduction

The ancient Odeum at Corinth is situated in the northeastern sector of the archaeological site of ancient Corinth. An odeum is a smaller theatre, usually roofed, used for music or small assemblies. Built on a sloping quarry site to utilize the natural topography, the Odeum formed part of a larger entertainment complex near the larger Roman theater. In the 2nd century AD, these structures were connected by a porticus (covered walkway) (Broneer 474). This roofed performance venue served as an important cultural and civic center within Roman Corinth, hosting musical performances, rhetorical competitions, and public assemblies.

History

The Corinth Odeum was constructed at the end of the 1st century AD during Corinth’s flourishing period as a Roman colony (Sear 395). This construction aligned with the Roman Empire’s broader trend of building entertainment venues in provincial cities to promote Roman cultural values and civic engagement.

Around 175 AD, the building underwent significant restoration under the patronage of Herodes Atticus, a wealthy Athenian sophist and benefactor (Sear 395). Philostratus mentions this restoration in his work on the sophists, noting that the building was roofed (Vit. Soph. 2. 551).

Approximately fifty years after Herodes’ renovation, the Odeum suffered extensive damage from a fire, with only the north façade surviving. Following this disaster, around 225 AD, the structure was rebuilt not as an odeum but as an arena for venationes (animal hunts), reflecting changing entertainment preferences (Sear 395). This repurposing required significant architectural modifications, including the removal of some lower seats to create a suitable arena space.

The building continued in this form until its final destruction at the end of the 4th century AD, possibly connected to the decline of pagan entertainments following the Christianization of the Roman Empire (Sear 395). The historical significance of the Corinth Odeum is also attested by Pausanias, who mentions it in his “Description of Greece” (2.3.6).

Theatre Specifications

Location

• Orientation: The cavea (seating area) faces north
• Position: Northeastern sector of ancient Corinth
• Topography: Built on a sloping quarry site, with the lower cavea cut directly into the bedrock (Sear 393)
• GPS coordinates 37.90608, 22.87733

Cavea (Seating Area)

• Diameter: 63 meters
• Estimated capacity: 2,600-3,300 spectators
• Division: The ima cavea (lower seating section) contained 13 rows of seats arranged in 4 cunei (wedge-shaped sections), while the summa cavea (upper seating section) likely contained approximately 13 additional rows
• Construction: Lower cavea cut into bedrock, upper cavea supported by radial vaults
• Access: A vaulted annular passage (2.90-3.10 m wide) behind the radial vaults, with parts adorned with mosaic decoration. A praecinctio (horizontal walkway) in the middle of the cavea was accessible from the higher ground level at the back and from two staircases in radial passageways (Sear 394)

Orchestra (Performance Space)

• Shape and size: Circular, 17.20 meters in diameter
• Materials: Polychrome marble
• Features: In the 2nd century AD, surrounded by a parapet, reducing its diameter to 15.50 meters
• Later modifications: In the 3rd century AD, when converted to an arena, expanded to approximately 25.60 meters to accommodate animal hunts, with some lower seats removed and a 2-meter high protective wall constructed (Sear 395)

Pulpitum (Stage)

• Dimensions: Length 26.75 meters, width 8.20 meters
• Features: Fronted by the proscaenium (stage front), approximately 1.25 meters high
• Stage machinery: An aulaeum (curtain) slot, added in the 2nd century AD, measured 23.40 meters in length. In the wall toward the orchestra, there were 8 vertical cuttings extending 0.80 meters into the bedrock. A small rectangular room contained part of the mechanism for raising and lowering the curtain (Sear 394)

Scaenae Frons (Stage Backdrop)

• Design: Rectilinear with three doorways, consistent with typical Roman theater design
• Decoration: When rebuilt in the 2nd century AD, adorned with marble columns, opus sectile (inlaid, cut stone) panels, and statuary (Sear 395)

Decoration

• Materials: Extensive use of marble, particularly during the 2nd century AD renovations
• Painted elements: A slab belonging to the proscaenium had traces of a painted figure of Athena (Sear 395)

Access Points

• Main entrances: The aditus maximi (main entrances to the orchestra) were 2.8 meters wide
• Internal circulation: Radial passageways opening off the annular passage served as vomitoria (access passageways)
• Special areas: Tribunalia (box seats) positioned above the aditus maximi for dignitaries (Sear 394)

Current Status

The Corinth Odeum exists today in a partially preserved state. The rock-cut lower cavea and footings of the stage building remain the most visible elements. The site is part of the Archaeological Site of Ancient Corinth, managed by the Greek Ministry of Culture and open to visitors throughout the year.

The preservation condition is stable but fragmentary, with rock-cut elements better preserved than the built superstructure. While not currently used for regular performances, the site serves as an educational and tourism resource. Conservation efforts focus on stabilization rather than reconstruction, following modern archaeological preservation principles (Gebhard 300-302).

Renovations

First Phase (Original Construction)

• Date: End of the 1st century AD
• Features: Original design included a cavea, orchestra, stage building, and likely a wooden roof (Sear 395)

Second Phase (Major Restoration)

• Date: Approximately 175 AD
• Benefactor: Herodes Atticus
• Changes: Addition of marble revetment to the north façade, marble columns and opus sectile panels to the scaenae frons, and construction of a trapezoidal open court with colonnades between the odeum and the theater. Interior walls were veneered with marble, and the vault over the north hall was decorated with colorful mosaic. The orchestra was surrounded by a parapet, and the curtain slot was added (Broneer 485-487)
• Context: Part of extensive building activity throughout Greece funded by wealthy patrons demonstrating civic pride and Roman cultural affiliation

Third Phase (Conversion to Arena)

• Date: Approximately 225 AD, following fire damage
• Changes: Repurposed as an arena for animal hunts, with some lower seats removed to create a suitable arena space and a protective wall installed
• Context: Reflects the changing entertainment preferences in the 3rd century AD, when spectacular shows began to supplant traditional theatrical performances (Sear 395)

Final Destruction

• Date: End of the 4th century AD
• Context: Coincides with the decline of traditional Roman entertainment venues following the Christianization of the Roman Empire (Williams 230)

Archaeological Excavations

The Corinth Odeum was excavated by the American School of Classical Studies at Athens, with major work conducted under Oscar Broneer beginning in the 1920s. These excavations revealed the complex architectural history of the structure and its transformation from an odeum to an arena (Broneer 474-489).

The stratigraphic approach was employed, carefully documenting the different construction phases. Findings were published in the American Journal of Archaeology in 1928 in Broneer’s article “Excavations at Corinth, 1928: The Odeum” and in subsequent volumes of the Corinth series published by the American School of Classical Studies at Athens.

Bibliography / Resources:

Broneer, Oscar. “Excavations at Corinth, 1928: The Odeum.” American Journal of Archaeology, vol. 32, no. 4, 1928, pp. 474-489.

Gebhard, Elizabeth R. “The Theater at Corinth: A Review of Research.” Hesperia, vol. 88, no. 2, 2019, pp. 255-324.

Pausanias. Description of Greece. Translated by W.H.S. Jones, Loeb Classical Library, Harvard University Press, 1918.

Philostratus. Lives of the Sophists. Translated by Wilmer C. Wright, Loeb Classical Library, Harvard University Press, 1921.

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