Pietrabbondante (near modern Pietrabbondante, Italy)

150 BCE

Cavea Width: 54 meters
Orchestra Width: 11 meters

Pietrabbondante Theatre; near modern Pietrabbondante (ancient Samnite territory), Italy: Hellenistic-Italic theatre-temple complex; cavea width 54 m; seating divided into 6 cunei with 3 rows of stone proedria seats (backrests) and upper wooden rows; southeast-facing; capacity 1,000-2,500 spectators; orchestra diameter 21 m (inner diameter 11 m); constructed late 2nd century BCE (c. 120-90 BCE); abandoned after the Social War (91-88 BCE). Current condition: partially preserved with well-maintained proedria seats and stage building foundations, though most upper cavea and analemmata walls are missing; polygonal masonry in poor to very bad static condition. The theatre still hosts summer performances during the annual Samnite Theatre Festival, utilizing its excellent original acoustics. (Sear p.153).

Pietrabbondante Theatre (near modern Pietrabbondante, Italy)

The Pietrabbondante theatre complex is located near the modern town of Pietrabbondante in Italy’s Molise region. Situated approximately 966 meters above sea level on the slope of Monte Saraceno, this theatre-temple complex served as the federal sanctuary of the Samnite Pentri tribe, functioning both as a religious center and a political gathering place (La Regina 225; INASA).

Brief History of City

The ancient settlement at Pietrabbondante was primarily inhabited by the Samnites, an Italic people who arrived in the area in the 6th century BCE (La Regina 221). While earlier scholarship identified the site as the Samnite town called “Bovianum Vetus,” it is now recognized as a Samnite federal sanctuary rather than a settlement proper (Strazzulla 19-20). The name “Pietrabbondante,” meaning “stones in abundance,” is relatively recent and refers to the area’s rich limestone formations (di Iorio 38).

The site served as the primary religious and political center for the Samnite Pentri tribe, one of the five Samnite tribes that shared the Oscan language and met at this location to discuss affairs, particularly military tactics against their common enemy, Rome (Mitens 162). Archaeological evidence indicates that the cult of various deities was practiced here, including Victoria (Victory), Abundantia (Abundance), and Honos (Honor) (Cianfarani 42).

Brief History of Theatre

The theatre at Pietrabbondante belongs to a theatre-temple complex constructed in successive stages based on a single architectural project (Lauter 415). The first religious structures in the area date to approximately 400 BCE, with gradual monumentalization occurring in subsequent centuries (Capini 219). During the Second Punic War (218-202 BCE), Carthaginian troops led by Hannibal sacked and destroyed the sanctuary structures to punish the Samnites for their alliance with Rome (Strazzulla 22).

After this conflict, the sanctuary was rebuilt. The theatre itself was constructed in the late 2nd century BCE, between 120-90 BCE, as part of a comprehensive sanctuary complex that included Temple B and a state building (domus publica) for clergy, ambassadors, and political leaders (Sear 153). The theatre ceased to function after the Social War (91-88 BCE), when the Samnites were defeated by Rome. The site gradually lost its religious and political importance, maintaining only productive functions and local worship until its definitive abandonment after 406 CE, when imperial instructions abolished pagan cults (Capini 221).

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: 41.73941, 14.38703
• Orientation: The theatre faces southeast
• Topographical details: Built in a sanctuary with a large temple immediately behind the cavea; the temple podium is not much higher than the theatre but would have dominated it because of its enormous columns. The theatre is constructed on the slope of Monte Saraceno at an altitude of approximately 966 meters, providing commanding views of the surrounding landscape.

Cavea (seating area)

• Diameter and estimated capacity: Diameter 54 meters; original capacity approximately 1,000-2,500 spectators
• Seating divisions: The cavea is divided into 6 cunei (wedge-shaped sections)
• Construction materials and techniques: The lower section consists of 2 rows (height 0.40 m) of stone seats; all rows above were probably of wood. The proedria (front row seating for dignitaries) consists of three rows of stone seats with backrests, with each seat created from a single stone block with elegantly reclined backs. The seats terminate at each end in arm-rests shaped like winged griffin’s feet.
• Support structures and access: Built on an aggestus (artificial mound) supported by a polygonal retaining wall that survives to a height of 2.40 m and is 1.70 m thick. This support wall is constructed of huge irregular limestone blocks. Additional concentric walls contain the earth fill and support the seating. Access to seats was only possible from the aditus maximi (main entrances) or a small staircase at the back of the cavea, which directly communicated with the temple behind.

Orchestra (performance space between audience and stage)

• Dimensions, shape, and materials: Diameter 21 m, not paved. The inner diameter is 11 m, surrounded by a praecinctio (horizontal circulation passageway), with a diameter at the praecinctio of 18.75 m.
• Special features and modifications: The orchestra is accessible from the praecinctio by two staircases, each with four semicircular steps (similar to those found at Sarno and the Small Theatre at Pompeii).

Pulpitum (stage)

• Dimensions and construction details: Length 37.3 m, width 3.5 m. The wooden planking of the pulpitum rested directly on the cornice of the proscaenium.

Scaenae Frons (decorative scene house front)

• Architectural order and design: The scene building is 37.30 m long and 6.70 m wide, divided into 6 rooms. At each side are public passageways that could be closed by gates.
• Doorways and stories: The scaenae frons is thought to have been a bare wall without decoration, with three doors opening onto the stage. Mobile sets were placed on blocks that remain in place.
• Decorative elements: According to Capini, the scaenae frons lacked ornamentation, serving primarily as a functional backdrop.

Access and Circulation

• Entrances, exits, and vomitoria: The aditus maximi (main entrances) feature analemmata (retaining walls) made of polygonal masonry, capped by two courses of stone and a cornice following the slope of the cavea. These walls terminate in kneeling telamones (similar to those in the Small Theatre at Pompeii).
• Stairways and special areas: Seven small flights of stairs lead from the passageway to the upper part of the cavea. There is a small entrance in the wall terracing the cavea, aligned with the theatre’s axis, and the temple built at the rear.

Current Status

The theatre shows significant signs of deterioration. According to archaeological reports, “Almost the entire top of the wall containing the embankment of the cavea and the analemmata is missing. Only a very small part of the elevation is preserved. The parts built in opus polygonalis are generally in poor and sometimes very bad static condition” (Capini 223).

Current conservation efforts include:

• Multidisciplinary approaches combining archaeological, geological, and architectural expertise through a formal agreement titled “Study, enhancement and safeguarding of the architectural heritage and museum areas of the Municipality of Pietrabbondante” (Fabbrocino)
• Digital documentation using drone footage and photogrammetry to create 3D models that help evaluate stability conditions (INASA)
• Condition assessments based on qualitative and quantitative indicators by the University of Molise research team (Fabbrocino)
• Conservation agreement involving multiple institutions: Ministry of Cultural Heritage and Activities and Tourism, Molise Region, University of Molise, MAB Reserve “Collemeluccio-Montedimezzo,” National Institute of Archaeology and Art History, and the Municipality of Pietrabbondante (Di Pasquo)

Current Usage

Despite its preservation challenges, the Pietrabbondante Theatre remains an active cultural site: The theatre is currently used for seasonal performances, particularly during summer months

• It hosts an annual Samnite Theatre Festival in August, featuring comedies and classical productions performed in the ancient venue (LiveTheWorld)
• The well-preserved acoustics of the 2,500-seat theatre allow for contemporary theatrical and cultural events without amplification (ItalyThisWay)
• The archaeological area has become one of the most popular tourism destinations in Molise, attracting visitors interested in both the archaeological remains and the spectacular natural setting (LovelyMolise)
• Educational programs and guided tours operate at the site, helping to interpret the Samnite cultural heritage for visitors (INASA)

The Pietrabbondante archaeological site is protected under Italian national heritage laws and is administered by the Direzione Regionale dei Musei (formerly Polo Museale del Molise) (Di Pasquo).

Ancient Renovations

The sanctuary underwent several phases of development. The theatre itself does not appear to have undergone significant renovations in antiquity, as it was abandoned following the Social War (91-88 BCE) (Capini 220). There is no evidence of modifications during the Roman era, in contrast to many other ancient theatres that were updated over time (Lauter 417).

• Original structures (c. 400 BCE): First religious buildings erected in the southeast area (INASA)
• 3rd century BCE: Construction of a Ionic temple, later destroyed during the Second Punic War (Strazzulla 19)
• 200-150 BCE: Construction of Temple A (INASA)
• 120-90 BCE: Construction of the theatre-Temple B complex and domus publica (Sear 153)

Excavation Campaigns and Chronological Phases

• 1840-1843: Discovery phase – First archaeological discoveries made when the Oscan bronze tablet (Tavola Osca) was found by a shepherd in the fields outside Agnone, describing the sanctuary of Ceres. The tablet was crucial for deciphering the Oscan language and is now in the British Museum (Albino 24)
• 1843-1856: Preliminary explorations – Initial investigations led by Francesco Saverio Cremonese (1806-1892), a physician from Agnone who served as mayor, provincial councilor, and honorary inspector of excavations and antiquities. Cremonese was also an honorary member of the Archaeological Institute of Berlin. He was the first to recover the Oscan inscription called “Visiullaeo” at Pietrabbondante in 1840 and recognized the need for systematic excavations at the site. The excavations began formally in 1843, and by 1856, his findings generated enough interest that the site received government protection from Bourbon King Ferdinand II of Naples (Liveandlearnitalian)
• 1857-1859: First systematic excavation – Bourbon campaign directed by King Ferdinand II of Naples; led by architect Gaetano Genovese, who was also the director of excavations at Pompeii, with contributions from Carlo Bonucci. Duke Giovanni Maria d’Alessandro (1824-1910) of nearby Pescolanciano was appointed royal superintendent for the archaeological area. The campaign revealed the theatre and Temple A structures (Albino 26; di Iorio 40)
• 1871-1872: Post-unification excavations – Second phase funded by the Province after Italian unification; led by local archaeologist Antonio Sogliano; focused on clearing the theatre area and documenting exposed structures (La Regina 223)
• 1959-1976: Scientific archaeological phase – Major campaign directed by Adriano La Regina and Valerio Cianfarani through the Archaeological Superintendence of Abruzzo and Molise; revealed Temple B with its three inner chambers on a high podium; included architectural documentation by Italo Gismondi; established chronology and religious purpose of the site (Strazzulla 21; La Regina 220)
• 1980s-1990s: Consolidation and documentation – Excavations supervised by Stefania Capini through the Archaeological Superintendence of Molise; emphasis on site preservation and publication of findings (Capini 218)
• 2002-2014: Expanded excavations – Ongoing work by INASA (Istituto Nazionale di Archeologia e Storia dell’Arte) directed by Adriano La Regina; discovered the domus publica with atrium and impluvium, including dedication to Ops Consiva; exploration of the site’s eastern sector (INASA)
• 2015-present: Technological integration – Continued INASA excavations implementing digital documentation methods including drone photogrammetry and 3D modeling for both archaeological research and conservation purposes; multidisciplinary approach involving geologists and digital technology specialists (INASA)

Publication History

• 1879: P. Albino, “Sannio, 2” – First scholarly publication on the site’s findings (Campobasso)
• 1903: R. Delbrück, “RM 18” – Early assessment of the theatre’s architectural features in Mitteilungen des Deutschen Archäologischen Instituts (Delbrück 158)
• 1960: V. Cianfarani, “Santuari nel Sannio” – Comprehensive study of Samnite sanctuaries including Pietrabbondante (Chieti)
• 1972: M.J. Strazzulla, “Il santuario sannitico di Pietrabbondante” – Detailed monograph on the site’s architecture and religious function (Rome)
• 1974: A. di Iorio, “Bovianum vetus, oggi Pietrabbondante” – Historical and archaeological study of the site’s identification (Rome)
• 1976: A. La Regina, “Il Sannio” and H. Lauter, “Die Hellenistischen Theater der Samniten” in “Hellenismus in Mittelitalien” – Important contributions on the Hellenistic influences in Samnite architecture (Göttingen)
• 1988: K. Mitens, “Teatri Greci e Romani” – Comparative study of the theatre in context of other Italic theaters (L’Erma di Bretschneider)
• 1991: S. Capini, “The sanctuary of Pietrabbondante, in Samnium” in “Archeology of Molise” – Updated findings from excavations of the 1980s (Rome)
• 2006: F. Sear, “Roman Theatres: An Architectural Study” – Detailed architectural analysis of the theatre (Oxford UP)
• 2014: A. La Regina, “Pietrabbondante e il Sannio antico” – Recent research findings and current understanding of the site (Campobasso)

Bibliography / Resources:

Albino, P. Sannio, 2. Campobasso, 1879.

Capini, Stefania. “The Sanctuary of Pietrabbondante, in Samnium.” Archeology of Molise, Rome, 1991.

Cianfarani, Valerio. Santuari nel Sannio. Chieti, 1960.

Delbrück, Richard. “RM 18.” Mitteilungen des Deutschen Archäologischen Instituts, Römische Abteilung, vol. 18, 1903, p. 158.

di Iorio, Antonio. Bovianum vetus, oggi Pietrabbondante. Rome, 1974.

INASA. “Pietrabbondante Archaeological Site.” Istituto Nazionale di Archeologia e Storia dell’Arte, www.inasaroma.org/en/pietrabbondante/. Accessed 10 Apr. 2025.

La Regina, Adriano. “Il Sannio.” Hellenismus in Mittelitalien, edited by Paul Zanker, vol. 1, Göttingen, 1976, pp. 219-244.

Lauter, Hans. “Die Hellenistischen Theater der Samniten und Latiner in ihrer Beziehung zur Theaterarchitektur der Griechen.” Hellenismus in Mittelitalien, edited by Paul Zanker, vol. 2, Göttingen, 1976, pp. 413-422.

Mitens, Kristian. Teatri Greci e Romani: Caratteristiche e Sviluppo. L’Erma di Bretschneider, 1988.

Nissen, Heinrich. Italische Landeskunde. Weidmannsche Buchhandlung, 1883-1902.

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

Strazzulla, Maria José. Il santuario sannitico di Pietrabbondante. Rome, 1972.

1972