Herodes Atticus Odeum (Athens, Greece)

160 – 174 CE

Cavea Width: 81 meters
Orchestra Width: 31 meters

The Herodes Atticus Odeum; Athens, Greece: cavea diameter approximately 81 meters (Meinel 85; Sear 390); 35 rows divided into ima cavea (21 rows in 5 cunei) and summa cavea (14 rows in 10 cunei with 2 small cunei at sides) (Sear 390); facing south; seating capacity 4,400-5,500 spectators (Sear 390); orchestra diameter 21.40 meters (19 meters at drain) (Sear 390); constructed 160-174 CE (Sear 391); excellent preservation with well-preserved scaenae frons wall (28 meters high) and heavily restored seating, currently functioning as a performance venue (Travlos 386). (Based on Frank Sear’s “Roman Theatres: An Architectural Study,” Oxford University Press, 2006.)

Herodes Atticus Odeum (Athens, Greece)

Introduction

The Herodes Atticus Odeum (also known as the Odeon of Herodes Atticus or Herodeon) is situated on the southwestern slope of the Acropolis in Athens, Greece. Its geographical location is 37.97105°N, 23.7248°E. The ancient structure is nestled into the natural incline of the hillside, creating an impressive backdrop for this well-preserved Roman theatre. The odeum stands at the western end of the ancient Southern Slope cultural district, adjacent to the Stoa of Eumenes, with which it shares direct access points (Sear 390). It lies in close proximity to other significant monuments, including the Theatre of Dionysus to the east and the Asclepeion sanctuary.

History

The Herodes Atticus Odeum was constructed between 160-174 CE during the reign of Roman Emperor Marcus Aurelius (Sear 391). It was commissioned by the wealthy Athenian aristocrat and Roman senator Herodes Atticus as a tribute to his late wife, Aspasia Annia Regilla (Graindor 92-93). As Philostratus notes in Vitae Sophistarum, “Herodes built for the Athenians the theatre that was named after himself,” highlighting the personal nature of this architectural gift to the city (Philostratus 2.1.5).

The odeum represented a significant cultural investment in Athens during the period known as the Second Sophistic, a cultural renaissance that celebrated Greek heritage within the context of Roman imperial rule. As a prominent sophist and patron of the arts, Herodes Atticus utilized his vast wealth to enhance Athens with several monumental structures, with this odeum being his most enduring contribution.

According to Pausanias, the building was renowned for its cedar wood roof, an exceptional architectural achievement considering the structure’s substantial size (Pausanias 7.20.6; Sear 390). The roofed design distinguished it from traditional open-air theatres and made it particularly suitable for musical performances, poetry readings, and rhetorical displays rather than large-scale dramatic productions.

The odeum remained in active use through the 3rd century CE until it was damaged during the Herulian invasion of Athens in 267 CE. Unlike many ancient structures, historical records specifically documenting its destruction and abandonment are limited, though archaeological evidence suggests partial destruction during this period of instability in the Roman Empire.

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: 37.97105°N, 23.7248°E
• Orientation: Facing south
• Position: Southwestern slope of the Acropolis
• Topographical details: Built directly into the natural hillside, utilizing the slope to support the cavea structure

Cavea:

• Diameter: Approximately 81 meters (Meinel 85; Sear 390)
• Estimated seating capacity: Between 4,400-5,500 spectators (Sear 390)
• Division of seating sections:
  • Ima cavea (lower section): 21 rows arranged in 5 cunei (wedge-shaped sections), with the bottom and top rows featuring continuous backs
  • Summa cavea (upper section): 14 rows arranged in 10 cunei, with 2 small cunei positioned at the sides
• Construction materials: Primarily Pentelic marble for seating and limestone for supporting structures
• Support structures: Built against the natural slope of the Acropolis; surrounded by a curved retaining wall measuring 2.50-2.60 meters in width
• Access points: Accessible via staircase towers at the sides of the stage and through the adjacent Stoa of Eumenes

Orchestra:

• Diameter: 21.40 meters, with a diameter of 19 meters at the surrounding drain (Sear 390)
• Shape: Semi-circular, following Roman theatre conventions
• Paving materials: Marble slabs arranged in a geometric pattern
• Special features: Surrounded by a marble drainage channel to collect rainwater
• Changes over time: Archaeological evidence suggests minimal alterations to the original orchestra design

Pulpitum/Stage:

• Dimensions: Length 35.63 meters, width 7.88 meters (measured to the scaenae frons wall) (Sear 390)
• Construction details: Elevated approximately 1.50 meters above the orchestra level
• Stage machinery elements: Evidence of trapdoor mechanisms and underground chambers for theatrical effects
• Access points: Connected to the orchestra via small staircases, with additional access from the basilica wings

Scaenae Frons:

• Height and architectural order: Total height approximately 28 meters (Sear 390); featured Corinthian columnatio on the first level (Versakis 166)
• Number of stories and doorways: Two stories with three doorways (one central and two lateral) on the lower level
• Decorative elements: Two stories of large round-headed windows positioned above the columnar level; elaborate sculptural program including statues in niches
• Architectural innovations: Exceptionally thick façade wall (2.40 meters) constructed of limestone blocks, enabling support for the wooden roof structure

Decoration:

• Materials used: Extensive use of Pentelic marble for both structural and decorative elements; evidence of bronze fixtures and ornamental elements
• Sculptural programs: Niches for statuary throughout the scaenae frons; archaeological excavations have recovered fragmentary sculptural elements depicting mythological figures
• Inscriptions: Dedicatory inscriptions found on architectural elements, including references to Herodes Atticus and Regilla
• Painted elements: Traces of polychromy on architectural elements suggest vibrant original decoration, particularly on the scaenae frons

Access Points:

• Entrances and exits: Main entrance through the central south-facing façade; secondary entrances via the basilica wings
• Vomitoria: Primary circulation achieved through staircase towers rather than traditional Roman vomitoria system
• Stairways and circulation patterns: Double converging staircases leading to a landing, then parallel diverging staircases ascending to the middle praecinctio (horizontal walkway); inner staircases provide access to the praecinctio while outer staircases lead to an open-air ambulacrum (walkway) outside the cavea wall
• Special areas: The eastern staircase tower provided privileged access from the Stoa of Eumenes at both upper and lower levels, suggesting a potential VIP route

Current Status

The Herodes Atticus Odeum is among the best-preserved ancient theatres in the Mediterranean world and remains an active performance venue. Its current condition represents a balance between archaeological preservation and functional use.

Preservation Condition

The structure exhibits excellent preservation of its original form, though much of the visible seating is the result of 20th-century restoration. The scaenae frons wall stands to an impressive height of nearly 28 meters, making it one of the best-preserved ancient theatre façades. Conservation challenges include marble deterioration due to air pollution, water infiltration affecting structural stability, and wear from visitor traffic.

Visitor Accessibility

The odeum is accessible to visitors as part of the unified archaeological site of the Acropolis South Slope. A dedicated entrance from Dionysiou Areopagitou Street provides direct access (Travlos 386), though visitors with mobility limitations may find navigation challenging due to the steep incline and ancient stairs. Interpretive signage in multiple languages offers historical context, and guided tours are available.

Current Usage

Since 1955, the Herodes Atticus Odeum has served as the primary venue for the Athens Festival, hosting performances of ancient drama, classical music, dance, and modern theatrical productions. Its exceptional acoustics make it particularly suited for musical performances, continuing its original function as an odeum (a building designed for music rather than drama). With a capacity of approximately 5,000 spectators, it remains Athens’ most prestigious open-air performance space.

Conservation Efforts

Ongoing conservation work is conducted by the Acropolis Restoration Service under the Greek Ministry of Culture. Current efforts focus on:

• Non-invasive documentation using digital technologies
• Marble conservation to address atmospheric damage
• Structural monitoring to ensure stability
• Water management to prevent erosion
• Balancing preservation requirements with performance venue needs

UNESCO Status

The Herodes Atticus Odeum is included as part of the “Acropolis, Athens” UNESCO World Heritage Site, inscribed in 1987 (UNESCO World Heritage Centre). This designation recognizes its outstanding universal value as part of the archaeological complex that represents the apex of ancient Greek cultural achievement.

Renovations
Roman Period (3rd-4th century CE)

Following damage sustained during the Herulian invasion of 267 CE, archaeological evidence indicates limited repairs to maintain functionality, though the original roof was likely not replaced. These renovations were more practical than monumental, focusing on essential structural stability.

Byzantine Period (5th-6th century CE)

The structure was partially incorporated into the fortifications of Athens, with modifications to the scaenae frons to accommodate defensive requirements. During this period, much of the original marble was removed for lime production or reuse in other construction projects.

Ottoman Period (15th-19th century CE)

The structure gradually fell into disrepair and was partially buried. Early travelers’ accounts from the 17th-18th centuries describe ruins protruding from accumulated soil, with the local population referring to it as “Kamarais” (the Arches).

Modern Period (19th-20th century CE)

• 1848-1858: Initial excavations led by Kyriakos Pittakis cleared much of the accumulated debris and identified the structure as the Odeum of Herodes Atticus mentioned in ancient texts.
• 1950-1953: Major restoration work directed by Anastasios Orlandos reconstructed portions of the cavea and stabilized the scaenae frons.
• 1957-1960: Further restoration work prepared the theatre for modern use as a performance venue for the Athens Festival.
• 1980s: Conservation work focused on preserving the original marble elements and addressing structural stability concerns.
• 2004: In preparation for the Athens Olympic Games, additional restoration work improved visitor facilities while preserving archaeological integrity.

Archaeological Excavations

Early Investigations (1848-1860)

The first systematic excavations were conducted by Kyriakos Pittakis between 1848 and 1858. These early excavations cleared the orchestra and lower cavea sections, discovering significant quantities of wood ash throughout the cavea area, providing crucial evidence for Pausanias’ description of the cedar roof (Pittakis 1707-1714; Sear 390). Pittakis published preliminary findings in the Archaeological Ephemeris journal in 1858, establishing the initial academic understanding of the structure.

German Archaeological Institute Studies (1868-1912)

W.P. Tuckermann published a comprehensive study in 1868, “Das Odeum des Herodes Atticus und der Regilla in Athen,” offering detailed architectural analysis. Further investigations by S. Ivanoff (1858) and F. Versakis (1912) examined structural aspects of the building, particularly focusing on the roof construction challenges.

Greek Archaeological Society Excavations (1950-1953)

Under the direction of Anastasios Orlandos, these excavations focused on the orchestra, pulpitum, and hyposcaenium areas. Orlandos documented his findings in the Praktika archaeological journal (1952-1953), revealing important details about stage machinery and drainage systems (Orlandos 651-653). These excavations preceded and informed the major restoration work that would make the structure suitable for modern performances.

Recent Archaeological Work (1980s-present)

Recent archaeological investigations led by the Acropolis Restoration Service (YSMA) and the Ephorate of Antiquities of Athens have employed non-invasive techniques, including ground-penetrating radar and photogrammetry, to document the structure without disturbing remaining original elements (Hellenic Ministry of Culture 2018). The Committee for the Conservation of the Acropolis Monuments (ESMA), under the supervision of Dr. Manolis Korres and later Dr. Vasiliki Eleftheriou, has directed systematic documentation focusing on:

• Identifying original vs. restored elements through comparative analysis (Eleftheriou et al. 2015)
• Analyzing construction techniques and materials using petrographic studies (Papayianni 2012)
• Documenting evidence for the roof structure through computational modeling (Korres 2009)
• Studying water management systems and their impact on structural preservation (YSMA 2017)

Bibliography / Resources:

Bieber, Margarete. The History of the Greek and Roman Theater. Princeton University Press, 1961.

Graindor, Paul. Hérode Atticus. Cairo, 1930.

Meinel, Ruediger. Das Odeion: Untersuchungen an überdachten antiken Theatergebäuden. Frankfurt am Main, 1980.

Orlandos, Anastasios. “Works at the Odeon of Herodes Atticus.” Praktika tis en Athinais Archaiologikis Etaireias, 1952, 651-653.

Papastamati-von Moock, Christina. “The Theatre of Dionysus Eleuthereus in Athens: New Data and Observations on its ‘Lycurgan’ Phase.” Greek and Roman Musical Studies, vol. 2, 2014, pp. 15-76.

Picard, Charles. L’Acropole d’Athènes. Paris, 1930.

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

Travlos, John. Pictorial Dictionary of Ancient Athens. Thames and Hudson, 1971.

Tuckermann, W.P. Das Odeum des Herodes Atticus und der Regilla in Athen. Bonn, 1868.

Versakis, Friderikos. “The Odeon of Herodes Atticus.” Archaeological Ephemeris, 1912, pp. 163-173.