Minturnae (modern Minturno, Italy)

(27 BCE – 14 CE).

Cavea Width: 78 meters
Orchestra Width: 24 meters

The Roman Theatre at Minturnae, located in modern Minturno (Italy), features a cavea 78.3 m in diameter; divided into ima cavea (14 rows in 4 cunei), media cavea (9 rows), and summa cavea supported by 24 radial vaults; south-southwest facing orientation; approximately 4,600 spectator capacity (Perseus Digital Library); orchestra diameter of 23.9 m surrounded by a curved passage with drain underneath; constructed during the late Republican or early Augustan period (ca. 27 BCE – 14 CE) (Sear 125); underwent significant renovations during Hadrian’s reign and the Antonine period (Sear 126); final ancient restoration dates to the 4th century CE (Di Mario); currently well-preserved with reconstructed seating (following WWII bombing damage) and original vaulted substructures that now house a small museum displaying artifacts from the site.

The Roman theatre at Minturnae (modern Minturno)

The Roman theatre at Minturnae (modern Minturno) is located in the ancient city of Minturnae in the Latium et Campania region (Regio I) of Italy. It was constructed during the late Republican or early Augustan period (ca. 27 BCE – 14 CE) (Sear 125). According to The Princeton Encyclopedia of Classical Sites in the Perseus Digital Library, the theatre was one of the most conspicuous monuments of Minturnae, added by either Augustus or Tiberius with a capacity for about 4,600 spectators (Perseus Digital Library). The theatre underwent several restorations throughout its history, with a significant rebuilding of the scene building during Hadrian’s reign (117-138 CE) using brick construction, and a subsequent redecoration during the Antonine period (138-192 CE) (Sear 126). The final ancient restoration is thought to date to the 4th century CE (Di Mario). In modern times, the theatre’s seating section was severely damaged during World War II bombings in 1943-1944 and was completely reconstructed afterward (Romeartlover).

City History

The ancient site was originally an Auruncian settlement whose inhabitants allied with the Samnites against Rome in 314 BCE (Raddato). After being defeated, the original settlement was destroyed, and Romans established a military castrum along the Liris River (modern Garigliano), recognizing the area’s strategic and commercial importance due to its proximity to the sea (Raddato). According to the Perseus Digital Library’s entry in the Dictionary of Greek and Roman Geography, the city was one of three Ausonian cities (along with Ausona and Vescia) that surrendered to Rome in 314 BCE (Perseus Digital Library). In 296 BCE, Minturnae became a Roman colony and developed into an important Mediterranean trading port and commercial center along the Appian Way (Raddato).

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

• GPS coordinates: 41.24248028989917, 13.768470974560977
• Orientation: South-southwest facing
• Topographical details: Built on flat ground northwest of the old castrum on the north edge of town, near the forum

Cavea (seating area)

• Diameter: 78.3 m
• Estimated capacity: Approximately 5,000-6,000 spectators (estimated based on comparable theatres)
• Seating divisions:
  • Ima cavea (lower section): 14 rows arranged in 4 cunei (wedge-shaped sections) with a central entrance into the orchestra
  • Media cavea (middle section): 9 rows
  • Summa cavea (upper section): Supported by 24 radial vaults
• Construction materials and techniques:
  • Polychrome opus reticulatum (diamond-pattern masonry using different colored materials for a two-tone effect)
  • Opus latericium (brick-faced concrete) in areas rebuilt during Hadrian’s time
  • Opus vittatum (alternating layers of tufa blocks and bricks) in later restorations
• Support structures and access:
  • Ima cavea rests on 13 radial vaults, some currently used for museum displays
  • Media cavea supported by pair of annular barrel vaults (width 7.50 m) divided by row of piers
  • Summa cavea on 24 radial vaults with façade of arched openings, 2 stories high
  • Access to upper praecinctio (walkway) by 2 staircases, located in openings 3 and 22 of outer wall
  • Some numbered seats (i-xxiix) with approximately 0.38 m allocated per seat

Orchestra (performance space between audience and stage)

• Dimensions: Diameter 23.9 m
• Shape: Semi-circular
• Special features:
  • Surrounded by curved passage (width 1.00 m) with drain underneath
  • Balteus wall (width 0.20 m) with diameter at wall of 21.00 m
  • Three steps for bisellia steps for honorary seats: Outer (width 0.61 m), middle (width 0.89 m), inner (width 0.88 m), with inner diameter of 16.24 m

Pulpitum (stage)

• Dimensions: Length 39.27 m, width 7.1 m, 8.16 m (9.11 m including proscaenium wall)
• Construction details: Not specified in sources
• Stage machinery:
  • Aulaeum (curtain) slot: Width 0.95 m, 0.68 m below orchestra level
  • 8 mast holes for supporting the curtain mechanism
• Connection to orchestra:
  • Proscaenium: Width 0.95 m, height unknown
  • Features 3 curved and 4 rectangular niches
  • 2 staircases connecting to the orchestra

Scaenae Frons (decorative scene house front)

• Architectural order and design: Rectilinear design, specific order not mentioned in sources
• Doorways and stories:
  • Regia (central door): Width 3.78 m
  • Hospitalia (side doors): Width 2.25 m
• Decorative elements:
  • Several late Republican portrait heads believed to come from the scaenae frons
  • Statuary from the Antonine period including Diana, Hercules, Dionysus, Venus, and Pan figures (Sear 125)

Access and Circulation

• Entrances and exits:
  • Central entrance into orchestra through ima cavea
  • Side entrances through basilicas (tower-like buildings either side of stage)
• Stairways and special areas:
  • Two staircases for access to upper praecinctio in openings 3 and 22 of the outer wall
  • Two basilicas (rectangular halls) on west side
  • One basilica on east side (reduced due to adjacent sanctuary)
  • Doors to stage width 3.55 m

Current Status

The theatre is well-preserved, with the cavea and vaulted substructures remaining substantially intact. The seating has been restored, and the footings of the scene building are visible. The vaults that supported the seating section now house a small museum displaying artifacts from the site (Romeartlover).

The seating section was completely reconstructed after suffering bombing damage during World War II. In 1960, the theatre was reopened with a performance intended to promote tourism, though this initiative did not achieve sustained success (Romeartlover). The site continues to undergo archaeological work and maintenance as part of the larger Archaeological Area of Minturnae..

UNESCO Status

The Minturnae theatre is not individually listed as a UNESCO World Heritage site. However, it is part of the Archaeological Area of Minturnae, which is maintained as an archaeological park open to visitors.

Renovation History

• Initial Construction (ca. 27 BCE – 14 CE): Built during the late Republican to early Augustan period, utilizing polychrome reticulate masonry similar to the city’s aqueduct
• Hadrianic Renovation (ca. 117-138 CE): Scene building rebuilt in brick
• Antonine Redecoration (ca. 138-192 CE): Decorative elements added or replaced
• Late Antique Restoration (4th century CE): Final ancient renovation
• Modern Reconstruction (post-1944): Seating section rebuilt after World War II bombing damage
• Theatre Reopening (1960): Inaugurated with a performance of “The Trojan Women” by Euripides (Romeartlover)

Archaeological Research

• University of Pennsylvania Museum Excavations (1931-1933): Led by Jotham Johnson in cooperation with Italy’s International Society for Mediterranean Research, sponsored by philanthropist Gustav Oberlaender (Penn Museum)
• Johnson became an important figure in American archaeology, eventually serving as President of the Archaeological Institute of America in the 1960s (Penn Museum)
• The Penn Museum excavations ended as a field project in 1933, with 1934 being only a study season when the Italian government restricted foreign sponsorship (Penn Museum)

Methodologies and Publication History

• Johnson published “Excavations at Minturnae, Vol. II: Inscriptions. Part i: Republican Magistri” through the University of Pennsylvania Press in 1933 (Cambridge Core)
• Later studies include M. Guidobaldi’s work in F. Coarelli’s edited volume “Minturnae” (1989)
• Marina Fuchs studied the sculptural program in “Untersuchungen” (1987)

Bibliography / Resources:

Coarelli, Filippo. Lazio. Bari, 1984, p. 376.

Coarelli, Filippo, editor. Minturnae. Rome, 1989.

Fuchs, Manfred. Untersuchungen. 1987, pp. 35–40.

Guidobaldi, Mariarosaria. “Il teatro.” Minturnae, edited by Filippo Coarelli, Rome, 1989, pp. 63–64.

Johnson, John. Excavations at Minturnae. Vol. II: Inscriptions. Part I: Republican Magistri. University of Pennsylvania Press, 1933.

Penn Museum. “Online Collections – Minturnae, Italy Expedition Records.” Penn Museum Archives, https://www.penn.museum/collections/archives/findingaid/552824. Accessed 5 Apr. 2025.

Perseus Digital Library. “Dictionary of Greek and Roman Geography (1854), MINTURNAE.” https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0064:entry=minturnae-geo. Accessed 5 Apr. 2025.

Perseus Digital Library. “The Princeton Encyclopedia of Classical Sites, MINTURNAE (Minturno) Italy.” https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0006:entry=minturnae. Accessed 5 Apr. 2025.

Sear, Frank. Roman Theatres: An Architectural Study. Oxford University Press, 2006, pp. 125–26.