Marcellus Theatre (Rome, Italy)

13 BCE

Cavea Width: 130 meters
Orchestra Width: 37 meters

The Theatre of Marcellus (Theatrum Marcelli); Rome, Italy; 129.8 meters in diameter; featuring ima cavea with 14-18 rows in 5-6 major and 2 lesser cunei, media cavea with 14-22 rows in 8-14 cunei, and summa cavea with 8-13 rows in 7 cunei (Sear 135); facing south-southwest; capacity between 11,000-20,000 spectators, with a 4th-century catalog recording precisely 17,580 persons (Wikipedia); orchestra diameter 37 meters (Sear 135); construction initiated by Julius Caesar in 46 BCE, continued after his assassination, and formally dedicated by Augustus in 12 BCE (Sear 135); currently preserved as a remarkable example of Roman theatrical architecture with its two lower tiers of arcades intact, while the upper portion has been incorporated into the Renaissance-era Palazzo Orsini, with the structure now housing luxury apartments and serving as a venue for summer concerts (Cartwright).

The Theatre of Marcellus (Latin: Theatrum Marcelli, Italian: Teatro di Marcello) modern Rome, Italy

The Theatre of Marcellus (Theatrum Marcelli) stands as one of ancient Rome’s most remarkable architectural achievements and remains one of the best-preserved examples of Roman theatrical design. Located in the Campus Martius area of Rome at coordinates 41.89178, 12.48, this impressive structure faces south-southwest toward the Tiber River. Today, the upper levels of the theatre are incorporated into the Palazzo Orsini, a Renaissance-era residential complex.

The Theatre of Marcellus was situated in what was once the Roman Forum Holitorium, requiring the demolition of several existing structures, including the ancient Flaminian Circus and the relocation of the Temple of Apollo Sosianus (Cartwright). Its position within the sacred Campus Martius area connected it symbolically to Rome’s foundation myths and religious ceremonies, further enhancing its cultural significance beyond mere entertainment purposes (Passos 175-193).

Historical Context

Space for the theatre was initially cleared by Julius Caesar in 46 BCE, but his assassination in 44 BCE halted the project before construction could properly begin (Wikipedia). The theatre was sufficiently advanced by 17 BCE that part of the celebration of the ludi saeculares took place within its partially completed structure. It was formally completed in 13 BCE and dedicated by Emperor Augustus in 12 BCE in honor of his nephew and son-in-law, Marcus Claudius Marcellus, who had died prematurely in 23 BCE at the age of 19 (Sear 135).

The theatre’s placement in the Campus Martius was politically significant, as this area had traditionally hosted temporary theaters for the Ludi Apollinares (games honoring Apollo), a deity with whom Augustus closely associated himself (Passos 180). By building a permanent structure in this location, Augustus strengthened his connection to both Caesar’s legacy and divine patronage.

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

• Orientation: South-southwest facing
• Positioning: Campus Martius, close to the Tiber River
• Topographical details: Built on flat site, requiring extensive substructures

Cavea (seating area)

• Diameter: 129.8 meters (though some sources cite 111 meters)
• Shape: Semi-circular, following standard Roman theatre design
• Estimated capacity: Between 11,000 and 20,000 spectators (Sear 135)
  • A 4th-century catalog recorded a specific capacity of 17,580 persons
• Seating divisions:
  • Ima cavea (lower section): 14-18 rows in 5-6 major and 2 lesser cunei (wedge-shaped sections)
  • Media cavea (middle section): 14-22 rows in 8-14 cunei
  • Summa cavea (upper section): 8-13 rows in 7 cunei
• Construction materials:
  • Primarily built of tuff, concrete faced with opus reticulatum pattern, and sheathed in white travertine
  • Notably, the Theatre of Marcellus was the first known building in Rome to use fired Roman brick, a material introduced from the Greek world
• Support structures:
  • Cavea supported on radial and annular vaults
  • Three-story façade (height approximately 32 meters) with 41 arched openings

Orchestra (performance space between audience and stage)

• Diameter: 37 meters
• Shape: Semi-circular, following Roman rather than Greek theatrical traditions
• Materials: Not specified in available sources, but likely paved with decorative stone

Pulpitum (stage)

• Dimensions: Not fully excavated, dimensions unknown
• Construction details: Built according to Roman theatrical standards of the period

Scaenae Frons (decorative scene house front)

• Architectural order: Not fully excavated, though the Marble Plan of Rome suggests a rectilinear design
• Doorways: Based on standard Roman theatre designs, would have included central regia (royal door) and hospitalia (guest doors) on either side
• Stories: Multiple levels, likely matching the height of the cavea
• Basilicas: Two apsed halls flanked the scene building

Ornamentation

• The façade featured a screen of engaged columns in Greek orders: Doric at the base level, Ionic columns in the middle level, and presumably Corinthian columns at the top level (though this remains uncertain due to medieval reconstructions)
• Decorative elements included theatrical masks and other sculptural details referenced in Ciancio Rossetto’s study “Le maschere” (Sear 135)
• The interior reportedly included 36 bronze vases for improved acoustics

Access and Circulation

• Behind the façade was a barrel-vaulted annular passage (width 3.50 meters) from which opened 39 radial vaults
• Circulation system included:
  • 7 vaults running across an inner annular passage to the ima cavea
  • 6 ramps doubling back to reach the ambulacrum behind the second story
  • 20 vaults used as storerooms or tabernae (shops)
• The design incorporated special tunnels and ramps to allow quick evacuation of spectators (vomitoria)

Current Status

• Preservation condition: The exterior façade with its two surviving stories of arcades remains impressively intact, while the upper portion has been incorporated into the Palazzo Orsini (Wikipedia)
• Current use: The upper floors are divided into multiple luxury apartments, while the ancient arches and surroundings host small concerts and cultural events (Wikipedia)
• Urban context: The theatre stands as a prominent landmark in the rione of Sant’Angelo, adjacent to the former Jewish Ghetto of Rome (Wikipedia)
• Accessibility: Visitors can view the exterior, though interior access is limited (Cartwright)
• Diplomatic significance: The Embassy of the Sovereign Military Order of Malta to the Holy See is located in the premises of Casa Litta – Palazzo Orsini, within the Theatre of Marcellus (Wikipedia)

While not individually listed as a UNESCO World Heritage site, the Theatre of Marcellus is part of the broader Historic Centre of Rome inscription on the World Heritage List (Cartwright).

Begun by Julius Caesar in 44 BCE and completed by Augustus between 13 and 11 BCE. The theatre fell out of use in the early 4th century and the structure served as a quarry, e.g., for constructing the Pons Cestius in 370 AD.
In the Early Middle Ages the theatre was used as a fortress of the Roman family of Faffo or Fabi (called “from Pescheria”) and then at the end of the 11th century (when it was known as templum Marcelli), by Pier Leoni and later his heirs (the Pierleoni).
In the 16th century, the residence of the Orsini, designed by Baldassare Peruzzi, was built atop the ruins of the ancient theatre. By the 19th century, rises in the street level meant that almost half the ground floor was below it.
Current Date, the upper floors are divided into multiple apartments, and its surroundings are used as a venue for small summer concerts; the Portico d’Ottavia lies to the north west leading to the Roman Ghetto and the Tiber to the south west. The Embassy of the Sovereign Military Order of Malta to the Holy See is located in the premises of Casa Litta – Palazzo Orsini, in Teatro Marcello.

Archaeological Research

• 16th century: Documented in Sebastiano Serlio’s “Libro III d’Architettura” (1566) and Étienne Du Pérac’s “I vestigi di Roma” (1575) (Sear 136)
• 17th-18th centuries: Studied by Antoine Desgodetz (“Les Édifices antiques de Rome,” 1682) and Giovanni Battista Piranesi (“Antichità Romane,” 1756) (Sear 136)
• 19th century: Architectural analysis by Luigi Canina and Giuseppe Valadier (“Aggiunte e correzioni all’opera sugli edifizi antichi dei Romani dell’arch. A. Desgodetz,” 1843) (Sear 136)
• Early 20th century: Studies by Rodolfo Lanciani (1886) and Christian Hülsen (1894) (Sear 136)
• Mid-20th century: Major investigations by Alberto Calza-Bini and later by Piero Fidenzoni, who produced significant reconstructions of the theatre’s original appearance (Fidenzoni 1-43)
• Recent research: Work by Paola Ciancio Rossetto has focused on the decorative elements and subsequent transformations of the structure (Ciancio Rossetto 7-49)

The Marble Plan of Rome (Forma Urbis Romae), a massive marble map created during the reign of Septimius Severus around 203-211 CE, provides valuable information about the theatre’s original layout, particularly regarding the scaenae frons and surrounding structures that are no longer visible (Sear 135).

Bibliography / Resources:

Calza-Bini, Alberto. Il Teatro di Marcello: Forma e Struttura. Rome: Istituto di Studi Romani, 1953.

Cartwright, Mark. “Theatre of Marcellus.” World History Encyclopedia, 8 Oct. 2013, www.worldhistory.org/article/614/theatre-of-marcellus/. Accessed 14 Nov. 2023.

Ciancio Rossetto, Paola. “Le maschere del Teatro di Marcello.” Bollettino d’Arte, vol. 67, 1982, pp. 7-49.

Ciancio Rossetto, Paola. “Theatrum Marcelli.” Lexicon Topographicum Urbis Romae, vol. 5, edited by Eva Margareta Steinby, Quasar, 1999, pp. 31-35.

Fidenzoni, Paolo. Il Teatro di Marcello. Rome: Liber, 1970.

Gros, Pierre. “La fonction symbolique des édifices théâtraux dans le paysage urbain de la Rome augustéenne.” L’Urbs: Espace urbain et histoire (Ier siècle av. J.-C. – IIIe siècle ap. J.-C.), École Française de Rome, 1987, pp. 319-346.

Passos, Letícia Aga Pereira. “The Emperor Augustus and the Theater of Marcellus: The Representation of the Theater in the Roman Urban Space (1st Century BC).” Romanitas – Revista de Estudos Grecolatinos, vol. 19, 2022, pp. 174-193.

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

Ward-Perkins, John Bryan. Roman Imperial Architecture. Penguin Books, 1981.

Wikipedia contributors. “Theatre of Marcellus.” Wikipedia, The Free Encyclopedia, 14 Jan. 2025, en.wikipedia.org/wiki/Theatre_of_Marcellus. Accessed 1 Apr. 2025.