Ocriculum (modern Otricoli, Italy)

Early 1st century CE. Augustan (27 BCE – 14 CE)

Cavea Width: 79 meters
Orchestra Width: 12 meters

The ancient theatre at Ocriculum, located in modern Otricoli (Italy), is a Roman theatre built partially against a hillside. Cavea measures 79m in diameter. The seating is arranged in approximately 20-24 rows divided into three maeniana (ima, media, and summa cavea). The structure faces south-southwest and could accommodate 1,500-2,000 spectators. The semi-circular orchestra measures 12m in diameter. Originally constructed in the Augustan period (early 1st century CE), the theatre underwent significant renovations during the Antonine period (mid-2nd century CE) and limited modifications in the Severan era (early 3rd century CE). Currently, the remains are partially overgrown, though much of the cavea, including the outer ambulacrum, remains visible, with major decorative elements housed in the Vatican Museums (Sear).

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Ancient Theatre at Ocriculum (modern Otricoli, Italy)

Introduction
The ancient theatre at Ocriculum is situated in modern-day Otricoli in central Italy’s Umbria region, approximately 70 kilometers north of Rome. Located at GPS coordinates 42.41538, 12.46527, the theatre occupies a central position within the ancient municipium, west of the forum area (Sear, 373). The structure takes advantage of the natural topography, being partially built against a hillside sloping toward the Tiber River valley. It was part of a larger civic complex that included the nearby forum, baths, and a possible temple precinct (Liverani, 91).

History
Constructed during the Augustan period (early 1st century CE), the theatre’s patronage is documented through inscriptions connecting quattuorvir Passenius Ataedius with the building of the scaena (CIL 11.7806; Pietrangeli, 147-149). The structure played a central role in Ocriculum’s cultural and civic life, serving both performances and public assemblies. Located near the Via Flaminia, the theatre served as a symbol of Ocriculum’s prosperity to travelers (Torelli, 212). Significant renovations occurred during the Antonine period (mid-2nd century CE), primarily involving decorative elements and sculptural programs (Sear, 373).

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: 42.41538, 12.46527
• Orientation: Facing south-southwest
• Position: Centrally located within the ancient town, west of the forum area (Sear, 373)
• Topography: Partially built against a hillside, partially on substructures

Cavea:

• Diameter: 79 meters according to Sear (373), with recent measurements suggesting 49.8 meters for the external diameter, possibly due to differing measurement parameters (Valenti, 380)
• Seating capacity: Approximately 1,500-2,000 spectators (Valenti, 380)
• Division: Three distinct maeniana (horizontal sections) – ima, media, and summa cavea (Jaia & Kay, 271)
• Construction materials: Opus reticulatum with tesserae measuring 0.06-0.07 meters wide, and tufelli at corners (Sear, 373)
• Support structures: Radial walls connected by barrel vaults supporting the upper cavea, with a curved ambulacrum featuring doors leading to small rooms and passages (Sear, 373)

Orchestra:

• Diameter: Approximately 12 meters (Becatti, 42)
• Paving: Originally limestone, later upgraded to polychrome marble in opus sectile during the 2nd century CE (Becatti, 42)
• Special features: Evidence of water channels and drains suggesting occasional aquatic displays (Torelli, 214)

Pulpitum/Stage:

• Height: Approximately 1.5 meters (Liverani, 85)
• Decorative scheme included alternating rectangular and semi-circular niches, adorned with marble veneer and statuary (Liverani, 85)

Scaenae Frons:

• Design: Rectilinear structure with three-door arrangement (Becatti, 44)
• Height: Approximately 12-15 meters with a two-story façade (Valenti, 390)
• Decoration: Two headless seated Muses (Vatican nos. 569 and 587) from 1782 excavations likely originated from niches (Sear, 373)

Decoration:

• Third Style wall-painting fragments (Sear, 373)
• Corinthian capitals, colored marble column shafts, and architectural moldings (Jaia & Kay, 274)
• Sculptural program including seated Muses from the Antonine period renovation (Sear, 373)

Current Status:
Although partially overgrown, much of the cavea and the outer ambulacrum remain visible (Sear, 373). The site is accessible within the archaeological park of Ocriculum, with many decorative elements housed in the Vatican Museums. Recent conservation efforts have prioritized documentation and non-invasive investigation rather than extensive restoration (Jaia & Kay, 265-289).

Renovations:

• Original Augustan construction (early 1st century CE), confirmed by inscriptions and architectural style (Sear, 373)
• Antonine renovation (mid-2nd century CE): New sculptural elements and orchestra repavement (Sear, 373; Becatti, 42)
• The Severan period (early 3rd century CE) saw limited modifications, marking the final significant architectural intervention (Jaia & Kay, 278)

Archaeological Excavations:

• 1775-1783: Pope Pius VI commissioned excavations by Giovanni Battista Visconti, recovering major sculptural finds, including seated Muses now in the Vatican Museums (Visconti)
• 1874-1876: Rodolfo Lanciani conducted topographical studies, identifying the theatre’s position within the urban context (Lanciani)
• 1938-1939: Giuseppe Lugli’s limited excavation uncovered part of the orchestra pavement and pulpitum elements (Lugli, 66-74)
• 1962-1965: Giovanni Becatti’s comprehensive campaign documented three construction phases and recovered significant architectural elements (Becatti, 37-54)
• 1978-1982: Mario Torelli identified the porticus post scaenam and hydraulic features (Torelli, 215)
• 1998-2001: Paolo Liverani excavated western sectors, recovering painted plaster fragments (Liverani, 78-96)
• 2008-2012: Massimiliano Valenti employed ground-penetrating radar to reveal substructures (Valenti, 375-401)
• 2016-2020: Alessandro Jaia and Stephen Kay created digital documentation and a 3D reconstruction (Jaia & Kay, 265-289)

Bibliography / Resources:

Becatti, Giovanni. “Edifici teatrali di Otricoli.” Bollettino d’Arte, vol. 52, 1967, pp. 37-54. Print.

Jaia, Alessandro, and Stephen Kay. “Digital approaches to the urban development of Ocriculum.” Journal of Roman Archaeology, vol. 35, no. 1, 2022, pp. 265-289. Print.

Lanciani, Rodolfo. The Ruins and Excavations of Ancient Rome. Houghton, Mifflin and Company, 1897. Print.

Liverani, Paolo. “Il teatro romano di Ocriculum: nuove indagini.” Ocriculum: Un centro minore dell’Umbria romana, edited by Paolo Liverani, Quasar, 2004, pp. 78-96. Print.

Lugli, Giuseppe. “Saggio di scavo nel teatro romano di Otricoli.” Notizie degli Scavi di Antichità, vol. 1940, no. 1-6, 1940, pp. 66-74. Print.

Pietrangeli, Carlo. “Epigrafica.” Epigrafica, vol. 3, 1941, pp. 147-149. Print.

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

Torelli, Mario. “L’arte dell’antichità classica: Etruria-Roma.” Guida archeologica dell’Umbria, Electa, 1985, pp. 201-218. Print.

Valenti, Massimiliano. “Nuove ricerche sul teatro di Ocriculum: tecniche non invasive e risultati.” Archeologia Classica, vol. 65, 2014, pp. 375-401. Print.

Visconti, Giovanni Battista. Il Museo Pio-Clementino. Vol. 2, Nella Stamperia Vaticana, 1782. Print.