Troy (Roman Ilium, Troia) Odeum

Augustan: 27 BCE to 19 CE

Cavea Width: 45 meters
Orchestra Width: 10 meters

Roman Odeum at Troy (Troia or Ilium), modern Hisarlık, Turkey.
The Troia Odeum (Theatre C), located at Hisarlık, Turkey (ancient Ilion/Troy), is a Roman odeum or concert hall; cavea diameter 44.5 meters; originally approximately 20 rows of marble seating divided into 5 cunei with 17 rows surviving, outer sections wider than central three; facing south-south-west; estimated capacity 1,700-2,100 spectators; orchestra diameter approximately 10 meters in horseshoe configuration, later converted to kolymbethra (water basin); constructed during Augustan period (27 BCE-14 CE) with major Hadrianic renovations in 124 CE when Emperor Hadrian added decorative stage building; survived until destruction in second half of fifth century CE; currently in fragmentary condition with multiple marble seat rows and podium visible, decorative marble blocks from scaenae frons scattered in front, important artifacts including Hadrian’s cuirassed statue now displayed in Troy Museum, site maintained as part of UNESCO World Heritage Archaeological Site of Troy.

Roman Odeum at Troy (Roman Ilium or Troia), modern Hisarlık, Turkey.

The Troia Odeum, designated as Theatre C in archaeological literature, represents one of three theatrical structures at the ancient site of Ilion (Troy), located in modern Hisarlık, Turkey. This small, roofed performance venue exemplifies the sophisticated entertainment architecture of Roman Asia Minor during the imperial period. Serving as a concert hall for musical performances and recitations, the odeum embodies the cultural synthesis of Greek architectural traditions with Roman imperial patronage (“Odeon of Troy”).

Brief History of the City

The Roman city of Ilium, built upon the legendary ruins of Troy, served as an important cultural and religious center in the Troad region of northwestern Asia Minor. The Greeks and Romans of phases VIII and IX were acutely conscious of their city’s mythical heritage, deliberately adopting the name Ilium to emphasize connections with Homer’s legendary city (“Odeon of Troy”). Following Alexander the Great’s visit and subsequent Hellenistic patronage, the city experienced significant Roman imperial investment, particularly during the Augustan period when it was promoted as the ancestral homeland of the Roman people through the Trojan hero Aeneas (Latacz 156-158). The city became a major tourist destination, maintaining a treasury of alleged Trojan War relics, including some authentic Bronze Age artifacts discovered during construction (“Odeon of Troy”).

Brief History of the Odeum

The odeum was constructed during the Augustan period as part of a comprehensive building program that included the larger Theatre A and the bouleuterion (Theatre B) (Sear 357). The structure underwent significant renovations during the Hadrianic period, when Emperor Hadrian visited Troy in 124 CE and initiated restoration of the odeum, adding the decorative stage building (“Odeon of Troy”). The emperor, known for his philhellenism, may have even presented poetry in the venue during his visit. The odeum continued to function until its destruction in the second half of the fifth century CE, serving the city’s cultural and civic needs for over four centuries (Sear 357).

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

• Modern city, Country: Hisarlık, Turkey
• Orientation: Facing south-south-west (Sear 357)

Cavea (seating area)

• Diameter: 44.5 meters (Sear 357)
• Estimated capacity: 1,700/2,100 spectators (Sear 357)
• Seating divisions: Ima cavea with 17 surviving rows of original approximately 20 rows, divided into 5 cunei (wedge-shaped seating sections), with outer sections significantly wider than the middle three (Sear 357)
• Construction materials and techniques: Multiple rows of marble seats survive, with an elaborate marble seat of honor positioned in the eighth row of the central cuneus (Sear 357; “Odeon of Troy”)
• Substructures: Built in a natural hollow with upper cavea resting against the fortification wall (Sear 357)

Orchestra (performance space between audience and stage)

• Dimensions, shape, and materials: Diameter approximately 10 meters, horseshoe-shaped configuration (Sear 357)
• Special features and modifications: Surrounded by podium wall (height 1.30 meters) with two staircases providing access through the podium wall; later converted into a kolymbethra (water basin) with waterproof opus signinum lining (Sear 357; Traversari 302)

Pulpitum (stage)

• Dimensions: Length approximately 20 meters, width varying from 2.5 to 3.3 meters (Sear 357)
• Construction details: Proscaenium wall constructed contiguous with cavea edges, forming continuous barrier around orchestra; podium remains visible today (Sear 357; “Odeon of Troy”)

Scaenae Frons (decorative scene house front)

• Architectural order and design: Two-story columnatio (columnar architecture) with Ionic order below and Corinthian above, enhanced during Hadrianic renovations (Sear 357)
• Doorways and stories: Five doorways leading from scene building at rear level in second phase (Sear 357)
• Decorative elements: Incorporated polychrome marbles including breccia, cipollino, pavonazzetto, Africano, and Proconnesian varieties, with opus sectile panels; decorative marble blocks from the scaenae frons lie scattered in front of the odeum today (Sear 357; “Odeon of Troy”); second phase featured five niches in proscaenium wall with central semicircular niche larger and deeper than flanking rectangular ones (Sear 357)

Access and Circulation

• Entrances, exits, and vomitoria: Access provided through standard Roman circulation patterns (Sear 357)
• Stairways: Two staircases provided descent to orchestra level through proscaenium wall openings (Sear 357)

Current Status

The odeum survives in fragmentary condition with multiple rows of marble seating and the podium still visible (“Odeon of Troy”). The proscaenium wall and stage area retain sufficient remains to understand the original configuration, though the upper portions of the scaenae frons have been lost. Decorative marble blocks from the original scaenae frons lie scattered in front of the structure (“Odeon of Troy”).

Conservation Efforts

The site is maintained by the Turkish Ministry of Culture and Tourism in cooperation with international archaeological missions. Conservation efforts focus on structural stabilization and protection from environmental damage rather than reconstruction. Important artifacts from the odeon, including the cuirassed statue of Hadrian and a sculpted head of Augustus, are now displayed in the Troy Museum (“Odeon of Troy”).

UNESCO Status

Troy was inscribed on the UNESCO World Heritage List in 1998 as the “Archaeological Site of Troy,” recognizing its outstanding universal value as both the legendary city of Homer’s Iliad and an important archaeological site that documents Bronze and Iron Age civilizations (UNESCO World Heritage Centre).

Chronological Renovation Phases

• Augustan Period (27 BCE – 14 CE): Initial construction phase, most probably during the reign of Emperor Octavian Augustus (Sear 357; “Odeon of Troy”)
• Hadrianic Period, specifically 124 CE: Major renovation initiated by Emperor Hadrian during his visit to Troy, adding the decorative stage building (Sear 357; “Odeon of Troy”)
• Early 4th Century CE: Repair work following damage in later third century (Sear 357)
• Late 4th/Early 5th Century CE: Final conversion of orchestra to kolymbethra function (Sear 357)
• Second Half 5th Century CE: Destruction and abandonment (Sear 357)

Architectural Modifications

The most significant modification involved the Hadrianic-period reconstruction of the stage building, which introduced the elaborate two-story columnar facade and polychrome marble decoration (Sear 357). Emperor Hadrian personally initiated this renovation during his 124 CE visit to Troy (“Odeon of Troy”). The final phase involved transforming the orchestra into a water feature, necessitating waterproof lining and modified access arrangements (Sear 357; Traversari 302).

Major Excavation Campaigns

Heinrich Schliemann (1870-1890): German businessman-archaeologist conducted initial excavations at Troy, discovering the medallion relief of Romulus and Remus near the theatre, though his work predated systematic architectural recording (Sear 357).

Wilhelm Dörpfeld (1893-1894): German architect and archaeologist first discovered the odeon in 1893, providing initial scholarly documentation of Troia’s theatrical structures in his publication Troja (Leipzig, 1902), though the building “did not receive much attention from archaeologists until recently” (Dörpfeld 234; “Odeon of Troy”).

Carl Blegen and the University of Cincinnati (1932-1938): American expedition conducted systematic excavation of the odeum, with Blegen publishing definitive photographs of the structure showing 17 surviving rows of seating and documenting the kolymbethra phase (Blegen 216-218).

Manfred Korfmann and University of Tübingen (1988-2005): International project renewed archaeological investigation of Troy, with C.B. Rose conducting detailed architectural analysis of Theatre C, publishing findings in Studia Troica volumes 2-4 (1992-1994) (Rose, “Theater at Troy” 54-55; Rose, “Fieldwork at Troy” 88-91). During this period, in 1993, archaeologists discovered a larger-than-life cuirassed statue of Emperor Hadrian in the odeon, providing material evidence of his visit and renovation activities (Rose, “Fieldwork at Troy” 91-93; “Odeon of Troy”).

Modern Restorations

Limited conservation work has been undertaken, with most efforts focused on site stabilization rather than reconstruction. The structure remains largely as excavated, providing authentic ancient remains for study.

Publication History

• Dörpfeld, Wilhelm. Troja. Leipzig: 1902
• Blegen, Carl W. “Excavations at Troy 1938.” American Journal of Archaeology 43 (1939): 216-218
• Rose, C.B. “The Theater at Troy.” Studia Troica 2 (1992): 54-55; 4 (1994): 88-91

Bibliography / Resources:

Blegen, Carl W. “Excavations at Troy 1938.” American Journal of Archaeology, vol. 43, no. 2, 1939, pp. 216-218.

Dörpfeld, Wilhelm. Troja. Brockhaus, 1902.

Korfmann, Manfred. “Troy: Topography and Navigation.” Studia Troica, vol. 2, 1992, pp. 31-32.

Latacz, Joachim. Troy and Homer: Towards a Solution of an Old Mystery. Oxford University Press, 2004.

“Odeon of Troy.” Turkish Archaeological News, 10 May 2021, https://turkisharchaeonews.net/object/odeon-troy. Accessed 27 Sep 2024.

Riorden, Elizabeth. “A Hadrianic Theater at Ilion (Troy): a Paradigm Shift for Roman Building Practice and Its Aesthetic Aftermath.” Proceedings of the Second International Congress on Construction History, vol. 3, Cambridge University, 2006, pp. 2635-2651.

Rose, C.B. “Fieldwork at Troy, 1993.” Studia Troica, vol. 4, 1994, pp. 86-91.

Rose, C.B. “The Theater at Troy.” Studia Troica, vol. 2, 1992, pp. 49-55.

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

Traversari, Gustavo. “Spettacoli in acqua nel teatro antico.” Dioniso, vol. 15, 1952, pp. 302-303.

UNESCO World Heritage Centre. “Archaeological Site of Troy.” World Heritage List, whc.unesco.org/en/list/849/. Accessed 27 Sept. 2024.

Wycherley, R.E. “The Theater at Troy.” American Journal of Archaeology, vol. 67, no. 3, 1963, pp. 293-295.

Wikipedia contributors. “Troy.” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 19 Sep. 2024. https://en.wikipedia.org/wiki/Troy. Accessed 27 Sep. 2024.