Ephesus Odeum

2nd half of 2nd century CE.

Cavea Width: 48 meters
Orchestra Width: 9 meters

The Roman Odeum at Ephesus, Turkey, was commissioned in the 2nd century AD by Publius Vedius Antoninus and his wife Flavia Papiane. This well-preserved structure served dual functions as both a city council chamber (Bouleuterion) and a small concert hall (Odeum), seating approximately 1,500 people. The semi-circular building features a 47.5-meter diameter cavea with two-tiered marble seating, a sunken orchestra, and a shallow stage with a decorative façade.

The Roman Odeum at Ephesus, Turkey:
Author: Amanda Heffernan (student research assistant), Whitman College. 2003.

 The Roman Odeum at Ephesus, Turkey:

Author: Amanda Heffernan (student research assistant), Whitman College. 2003. (Edited to include Frank Sear information in parentheses and updated with excavation history)

Introduction and Identification

There are two theatre structures at Ephesus, the Great Theatre and the smaller Odeum (Bouleuterion). An inscription tells us that the theatre was commissioned during the second half of the 2nd century CE by the wealthy benefactor Publius Vedius Antoninus and his wife Flavia Papiane (Heffernan 2003). The building is located at the northern edge of the State Agora in close proximity to the Prytaneion (the town hall), and has been interpreted both as a city council chamber (Bouleuterion) and as a small concert hall (Odeum). The structure, which resembles a small theatre, most likely served both functions. (Sear notes scholarly debate: “odeum, cf. Aphrodisias and Cibyra; bouleuterion, part of complex of administrative buildings, including basilica and prytaneion (Alzinger); bouleuterion because of size and position (Balty)” [Sear 336])

Architectural Features

The building features a relatively small cavea seating approximately 1500, a sunken semi-circular orchestra, and a shallow stage (pulpitum). The stage could be approached from either side using sloping parodos ramps and was backed by five doors leading to the Basilica Stoa (Royal Colonnade). The building could be accessed through doors in the Basilica; through large arched doors at the end of the parodoi; and through an arched passageway leading to the top of the lower cavea seating area.

Cavea (seating area) The cavea measures 47.5 meters in diameter and faces southwest (Sear 336). It was built against a slope, surrounded by a buttressed outer wall, and most likely had a red marble colonnade above and behind the seating area. Evidence of this colonnade consists of cuttings in the floor for pilaster bases and numerous fragments of red marble. The audience was provided with two tiers of marble seating separated by a single walkway (praecinctio). The upper seating area (summa cavea) has 9 rows and is divided into 10 wedge-shaped sections (cunei). The bottom seating level (ima cavea) with 13 rows is divided into 5 cunei (Sear 336). The cunei are accessed by radiating stairways spaced throughout the cavea.

Orchestra (performance space between the audience and stage): A small semi-circular, sunken orchestra measuring 9.20 meters in diameter and surrounded by a 1-meter tall podium (Sear 336).

Pulpitum (stage): The stage measures 4 meters deep and runs the full length of the building. The stage has doors at each end (Sear 336). Covered parodoi (aditus maximus) form the two main side entrances to the stage, and several doors at the back of the stage lead to the adjoining building, the Basilica Stoa.

Scaenae Frons (decorative stage house front): At one time, a decorative façade, or scaenae frons, with columns and statuary stood behind the stage. The scaenae frons had 5 doorways with podia (H 1.60 m; Depth 1.00 m) for columns (now missing) (Sear 336). Decorations included statuary that archaeologist J.T. Wood sent to the British Museum in the nineteenth century (Wood 1877, 42-63). The statuary includes a dynastic group of Emperor Lucius Verus and Empress Faustina the Younger, a Silenus torso, and the Muse Erato.

Roofing Structure

Greek and Roman theatres typically provided little protection from the weather other than retractable awnings (velum). Smaller structures such as the odeum and bouleuterion, however, were typically covered with a roof comprised of wooden battens covered with clay tiles, supported by large triangular wooden trusses (Akurgal 2001). As there are no water runoff channels in the orchestra, the Odeum was probably covered with such a roof. A narrow corridor with its deep drain separating the Odeum from the Basilica was a trough for rainwater shed by the roofs of both buildings.

Restoration History

Restoration work was begun on the Odeum in 1970 by the Selçuk Museum under the supervision of Professor Vetters (Heffernan 2003; Best Ephesus Tours). Before the work was done, only six rows of seats were visible and the ruins were deteriorating. In 1970 and later in 1990, the museum paved the stage and used concrete to stabilize the support under the seating. The work also reconstructed the entire two-tiered seating area above the first few rows, which were the only rows of marble seating to have remained intact.

The Austrian Archaeological Institute has continued conservation and renovation work at Ephesus, though their work was temporarily suspended in 2016 due to diplomatic tensions between Turkey and Austria before resuming in 2018 (Nomadic Niko). As of 2024, excavations continue at Ephesus, with less than 15% of the ancient city having been unearthed thus far.

Archaeological Excavations

Initial Excavations

The Odeum was first excavated by British archaeologist J.T. Wood, who worked at Ephesus for the British Museum between 1863 and 1874 (Britannica). Wood’s work at the Odeum was part of his broader exploration of Ephesus, which ultimately led to his discovery of the Temple of Artemis in 1869 (Best Ephesus Tours). Many of the artifacts he discovered, including the statuary from the Odeum, were sent to the British Museum in London where they remain today.

Austrian Archaeological Institute Excavations

After Wood’s initial work, the Odeum was further excavated as part of the comprehensive exploration of Ephesus begun by Otto Benndorf in 1895 when he founded the Austrian Archaeological Institute (Turkish Archaeological News). This began what would become the largest archaeological enterprise carried out on Turkish soil, which has continued for over 125 years (World Archaeology).

The excavations at Ephesus, including work on the Odeum, were interrupted by both World Wars. In the interwar period, research focused on public bathing complexes and early Christian monuments. Excavations resumed in 1954, and with significant resources, entire urban regions of Ephesus were uncovered in the following decades (World Archaeology).

The excavations of Ephesus have involved numerous archaeologists and specialists over the decades. More recent work at the site has been conducted under the supervision of Professors Keil, Miltner, Eichter, and Vetters, among others (Best Ephesus Tours).

Museum Collections

Artifacts from the Odeum and other Ephesus excavations are housed in several museums:

1. Ephesus Archaeological Museum in Selçuk, Turkey, which houses approximately 64,000 artifacts from Ephesus excavations (Wikipedia). The museum underwent extensive renovations, closing at the end of 2012 and reopening in November 2014.
2. Ephesus Museum in Vienna, which contains numerous artifacts from Ephesus excavated between 1895 and 1923 (Best Ephesus Tours).
3. The British Museum in London, which houses artifacts discovered by J.T. Wood in the 19th century, including statuary from the Odeum (Heffernan 2003).

Bibliography / Resources:

Akurgal, Ekrem. Ancient Civilization and Ruins of Turkey. 9th ed., Net Turistik Yayinlar, 2001.

Austrian Archaeological Institute. “Ephesos.” Austrian Academy of Sciences, www.oeaw.ac.at/en/oeai/institute/branches/ephesos. Accessed 22 Mar. 2025.

“Ephesus Archaeological Museum.” Turkish Archaeological News, 20 Sept. 2023, turkisharchaeonews.net/museum/ephesus-museum-sel%C3%A7uk. Accessed 22 Mar. 2025.

“Ephesus Museum.” Ephesus, ephesus.us/around-ephesus/ephesus-museum/. Accessed 22 Mar. 2025.

“Excavations in Ephesus.” Ephesus, ephesus.us/ephesus/excavations-in-ephesus/. Accessed 22 Mar. 2025.

“Excavations in Ephesos in Full Swing.” Austrian Academy of Sciences, www.oeaw.ac.at/en/news-1/excavations-in-ephesos-in-full-swing. Accessed 22 Mar. 2025.

Heffernan, Amanda. “The Roman Odeum at Ephesus, Turkey.” Whitman College, 2003.

Ladstätter, Sabine. “Ephesos Excavations.” Academia.edu, oeaw.academia.edu/EphesosExcavations. Accessed 22 Mar. 2025.

“Selcuk Ephesus Museum.” Visit Ephesus, visitephesus.org/en/where-to-visit/selcuk-ephesus-museum/. Accessed 22 Mar. 2025.

Sear, Frank. Roman Theatres: An Architectural Study. Oxford University Press, 2006, p. 336.

“The Treasures of Ephesus in the Ephesos Museum in Vienna.” Turkish Archaeological News, 20 Sept. 2023, turkisharchaeonews.net/article/treasures-ephesus-ephesos-museum-vienna. Accessed 22 Mar. 2025.

Vetters, H. TTAED 19/2, 1970, pp. 185-94.

Wood, J.T. Discoveries at Ephesus. London, 1877, pp. 42-63.