IA

: - , , "Ephesus (Antiquity), Theatre", , . URL: <http://www.ehw.gr/l.aspx?id=8215>

- ,

:
TheatreinitiallyofGreektype,whichwaslaterconvertedintoaRomantheatre.ItisthelargesttheatreinAsiaMinor.Itisbuilt againstthewesternslopeofMt.Pion(PanayirDa)andfacestothewest.ItsconstructioncanbedatedtotheHellenisticperiod(2nd century BC). Restorative and fundamental alterations were made initially during the 1st century AD, and later when it was convertedintoanarenaforamphitheatricgames.

2ndcenturyBC,1stcenturyAD

Ephesus, Ionia

1. Location ThetheatreofEphesus(mapno.75)isthebestpreservedancientbuildingoftheAsiaMinormetropolis,thelargest theatreinAsiaMinorand,atthesametime,oneofthelargesttheatresoftheancientworld.Itisbuiltagainstthewest slopeofMtPion(PanayirDa)andfacestothewest.Itislocatedapproximately600m.fromthemainharbour,atthe endoftheArcadiane,oneofthemostimportantcommercialstreetsofEphesus,whiletheTheatreStreet,withSN orientation,beginsatthenortheasterncorneroftheplateia(inCoressus)infrontofthetheatre.Thus,accesstothe theatrebuildingwasachievedviatwoofthecitysmostimportantstreets.1 2. Architectural Description ItsgroundplanfollowedtheGreektheatretype,butinlateryearsitwasconvertedintoaRomanAsiaMinorstyle theatre,ausualpracticeinAsiaMinor,wherethepreexistingHellenistictheatresreceivedalterationstotheirlayouts duringtheRomanImperialera. 2.1. Hellenistic theatre TheconstructionofthetheatreofEphesusisdatedmostprobablylaterthan133BCandafterthecityhadbecomethe mainharbouroftheProvinceofAsia,whileitispresumedthatthelocationfortheerectionofthetheatrebuildingwas chosenduringtheestablishmentofthenewcityunderthenameArsinoeiabyLysimachusc.274BC.2TheHellenistic theatrehadanauditorium(cavea)andanorchestrainahorseshoeshapewithadiameterof24.66m.,whichwas surroundedbyadrainagechannelforthecollectionofrainwater.Thescenewasarectangulartwostoreybuilding, mesuring41.70x10.05m.ItwassimilartothescenebuildingsoftheHellenistictheatresatPrieneandAssos.Itsfacade hadsevenopenings(thyromata),betweenmassivepillarswhichwereclosedwithpaintedpanels.Thescenebuilding hadatiledroof.3 2.2. Roman theatre InImperialtimes,duringthe1stcenturyADinparticular,therewasaradicalrenovationofthetheatreinaccordanceto

16/3/2012

1/10

IA
: - , , "Ephesus (Antiquity), Theatre", , . URL: <http://www.ehw.gr/l.aspx?id=8215>

- ,

theRomantype.Initsfinalform,whichitretainstothisday,theauditorium(cavea)risesapproximately30m.above theorchestralevel.Itislargerthanasemicircleanditisbuiltagainstthenaturalslope,whilevaultedsubstructureshad tobeconstructedforsupportingthesidesectionsoftheauditoriumandtheretainingwalls.Vaultedpassageswith staircases(vomitoria)ledtothecentralentrancesofthediazomata(praecinctiones)andfacilitatedaccesstotheupper sectionsoftheauditorium.4 Theauditorium(cavea)wasdividedbytwohorizontalpassageways(praesinctiones)intothreeverticalsections (maeniana).Thelowersectionoftheauditorium(imacavea)wasdividedby12narrowstaircasesinto11tiers(cunei) with18rowsofseats,5whilethemiddle(mediacavea)anduppersection(summacavea)had22tierswithabout20 rowsofseatseach.Thetotalcapacityofthetheatrecanbeestimatedat24,000spectators.ThetheatreofEphesus containedprescribedseatsfordignitaries,whiletherewasadistinctdifferentiationofseatsfordifferentsocialgroups andclasses.6Ontheupperpartoftheauditoriumtherewasastoa(porticusinsummacavea)foreasyaccessof spectatorstotheuppersectionofthetheatre.7Inscriptionstestifythatamassiveawning(vela)8coveredtheauditorium fortheprotectionofspectatorsfromtheintensesunorfromrain. Theorchestrawassemicircularwithadiameterof33.62m.andwascoveredbymarbleslabs.Whenitwaslateraltered intoanarenaforamphitheatricgames,thefirstrowsofseatswereremovedandtheorchestraperimeterwallwasmade higher,likeaparapet,fortheprotectionofspectatorsfromtheviolentactionsofthegladiatorsandwildbeasthunters.9 ThereconstructionofthescenebuildingtookplaceduringthereignofDomitian(around8792ADaccordingto inscriptions),aperiodofintensebuildingactivityforthecity.10Thelogeion(pulpitum)wasmovedtowardsthe orchestraandwassupportedbyalowproscaenium.Thesealterationsblockedaccessfromthesidepassageways (parodoi),sovaultedentranceswereaddedtothescene. Themonumentaltwostoreystagefacade(scaenaefrons)oftheRomantheatrewasconstructedinfrontofthe HellenisticscenebuildingduringtheFlaviandynasty(6996AD).ThefirststoreyhadanIoniancolonnade,whilethe secondcolumnsofthecompositeorder.Thecolonnadescreatedprojectingpavilionsandcurvedexedrae,supporteda brokenentablatureandcrownedwithroundandtriangularpediments).Thefrontofthescenehadopenings (thyromata),11aediculaeandniches,decoratedwithstatues.Thesearchitecturalelementswiththeintensedecorative dispositionaccentuatedthestagefaadeinaccordancetoRomanaestheticstandards.Anotherstoreywithasimple Corinthianordercolonnadeseemstohavenotbelongedtotheinitialdesignbutwasprobablyaddedduringthe Severanera(193235AD).Whenthethirdstoreywasaddeditwasdecoratedwithafriezebearingmasksand garlands. ThetheatreofEphesushasoneofthemostelaboratescaenaefronsofRomantheatresinAsiaMinor.Itisabaroque aedicularfacade,representativeoftheareastheatricalbuildings,whichcombinesHellenisticelementsandstylistic motifswiththeopulenceandintenselydecorativequalityofRomanarchitecture.12 3. Function ThetheatreofEphesuswasusedfortheatricalperformances,politicalgatheringsandreligiousfestivals.Ithoused theatricalandartisticperformances,politicalmeetings,religiousceremonies,musicalandathleticgames.Duringthe LateImperialperioditwasturnedintoanarenaformassspectaclessuchasgladiatorialcontestsandfightswith

16/3/2012

2/10

IA
: - , , "Ephesus (Antiquity), Theatre", , . URL: <http://www.ehw.gr/l.aspx?id=8215>

- ,

animals.13 4. Sculptural Decoration ThetheatreofEphesusbecameamodelfortherestofthetheatresinAsiaMinorregardingtheconfigurationofits iconographicalprogramme.Itincludedtheentireimageryoficonographicsubjects,idealisticmythologicalandportrait sculptures,eitherfreestandingorinrelief. Theidealizedstatuesrepresentdeitiesdirectlyconnectedtothetheatre(forexample,ApolloandtheMuses,Dionysus andhisthiasos),deitieswithparticularconnectionstoeachcity(forexample,ArtemisDianaforEphesus,Aphrodite VenusforAphrodisias,etc)aswellasgodswhichhadtheirownparticularimportancetothelivesofpeoplesuchas Poseidon,Serapis,Athena,Heracles,Hermes,andAsclepius.14Portraitsculpture,inturn,includedportraitsof emperorsandmembersoftheimperialfamilyandprivateportraitsofcitizens(officialsandmembersofthelocal aristocracy)whohaddistinguishedthemselveseitherfortheirbeneficialactivitiesforthecityorfortheirvirtues.These portraitsservedtheimperialpropagandaontheonehandandthepoliticalambitionsofrichlocalsponsorsonthe other.Theyalsohonouredpersonalitiesconnectedtoearlierandcontemporaryhistoryofthecity,i.e.heroes,butalso peopleconnectedtothetheatreitself,suchaspoets,actors,musicians,artists,intellectualsandathletes.15 MostofthesestatuesarehousedinmuseumsinVienna(TheEphesusMuseumandtheKunsthistorischesMuseum), someweretransferredtotheBritishMuseuminLondonwhileveryfewareinmuseumsinTurkey(Istanbul ArchaeologicalMuseum,SelukMuseum).16 ThetheatreofEphesusisdominatedbythepresenceofApolloandArtemis.ThisislogicalifoneconsidersthatArtemis isthepatrondeityofEphesus. AccordingtotheinscriptionofthevotiveofferingbyC.VidiusSalutaris,thetheatreofEphesushadatotalofnine figuresofthegoddessArtemisrepresentedasaTorchbearer,holdingaphiale.Onefigurewasmadeofgoldandthe restweremadeofsilver.17Infact,thegoldstatueofthegoddesswasaccompaniedbygiltandsilverdeers. Apolloisrepresentedinthreedepictions.Oneheadlessfigure,oftheApolloAntiumtype,appearstohaveheldabow.18 ThesecondalsoheadlessfigureshowsthegodintheLaurelbearertypeandhemusthaveheldaphialeandalaurel branch.19AheadofApolloMusegetes(leaderoftheMuses)wasalsofound,20whichinalllikelihoodwasconnectedto thefigureofoneoftheMuses.ThefigureofaseatedMuseappearsintherestorationofpartofthescene. DionysusandhisthiasosalsoformedanimportantpartoftheiconographicalprogrammeofthetheatreofEphesus. ThisisduetothegodDionysusconnectionwiththecreationoftheatreontheonehand,andontheotherwiththe mythofthefoundationofEphesusitself.Inthetheatreheisdepictedinthreerepresentations:aheadlesstorsointhe ApolloLyciustype,andtwoheadsbearinganivywreathwhichdatefromthereignofHadrian.21ThetorsoofaSatyr hasalsobeenidentified.22 TheDionysianworldisfrequentlyrepeatedinthetheatresiconographicprogramme.Fragmentsof4pillarswith figuresinhighreliefhavebeenfound.InitiallytheywereidentifiedasthreefiguresofAmazonsandthefigureofa Satyr,anditwassuggestedthattheyformedthesupportsofthelogeion(pulpitum),togetherwithothersimilarfigures, whichhavenotsurvived.Recently,however,ithasbeenconsideredthattheywereonlytwopairsoffigures.23
16/3/2012 3/10

IA
: - , , "Ephesus (Antiquity), Theatre", , . URL: <http://www.ehw.gr/l.aspx?id=8215>

- ,

Accordingtothishypothesis,onepairisidentifiedasthepersonificationofEphesusandanAmazon,whichfunctioned assymbolsofthetownandthemythofitsfoundation,whiletheothertwofigureshavebeenidentifiedwithDionysus andSatyr,assymbolsofthetheatre.24 OnthepodiumofthesecondstoreyofthescenesfaadearelieffriezedepictingCupidsinahuntingscenewasplaced. TheCupidsweredepictedhuntingwildanimals,suchaslions,boars,deer,roedeer,butalsohares,goatsandbulls.On someofthereliefplaquesthescenery,rocks,trees,evenarockyoutcropwithatempleareimplied.Althoughthisfrieze followsHellenistictypes,stylisticallyitbelongstotheTrajanHadrianera.Theserepresentationsconsistaclearreference andallusiontothegamesandfightswhichtookplaceinRomantheatres. AnothergroupofreliefplaquesdecoratedwithvinetendrilsandrecliningSatyrslayingonpantherskins,foundinthe theatrearea,werethoughttoformpartofthefrieze. AmongtherestoftheidealizedstatuesitisworthmentioningthefiguresofAphroditeandAthena,Poseidoninthe Lateranustype,Heracles,NemesisintheFortunatype,thestatuetteoftheenthronedSerapis(2ndcenturyAD),and alsothestatueofthepersonificationoftheDemosofEphesus.25ThemajoritydatefromtheAntonineyears(138192 AD).AmalefigureinthetypeofHermesRichelieuandaDiadoumenostorsowerealsofoundinthearea.Duringthe Imperialagethesetypeswerealsousedforportraitsculpture.26 Ofparticularimportanceisthefindingofavotiveinscriptionaccordingtowhichin104ADtherichcitizenC.Vibius Salutarisassignedtohisnativetown,Ephesus,atotalof31statuesmadeofpreciousmetals.27Theinscriptionwas carvedonthewallofthesouthernretainingwallofthetheatreandwasbilingual(GreekandLatin).Thestatueswere transportedfromtheArtemisionanderectedinthetheatreforcertainoccasions,duringtheSebasteiaandGreat Artemisiacelebrations.28ThegroupincludedthePersonificationsoftheCity,theDemos,theSixTribes,theSenate,the Boule,theGerousia(councilofelders),theEphebes(youthassociation),etc.,29aswellasportraitsoftheemperorTrajan andhiswifePlotina.Thefigureswerepositionedingroupsofthreeonpedestalswhileeachgroupincludedatorch bearingArtemiswithaphiale.30 OftherestofthesculpturaldecorationofthestagefaadesurvivethebasesofthestatuesofthetownsofCarthage, NicaeaofKilbianoi,thepersonificationsoftheDemosofCnidusandCos.31Thesestatueswerecommissionedon occasionofthecelebrationsforthethirdneokoria of Ephesus in 211 AD. 5. Later years Thebuildingsufferedconsiderabledamagefromthedestructiveearthquakeswhichstruckthetownin262andmainly in359and366AD.DuringtheByzantineera(inthe8th centuryAD),althoughthetheatrewasincorporatedintothe citysfortification,ashappenedtothetheatresofMiletusandAphrodisias,neverceasedtobeused.32 6. History of archaeological research and state of preservation Architecturalremainsofthetheatresscenewerediscoveredin1860byJ.T.Wood.33Moresystematicexcavationstook placeintheperiod18971900bytheAustrianArchaeologicalInstituteunderthedirectionofR.Heberdey.Detailed publicationofthemonumenttookplacein1912bytheAustriansR.Heberdey,G.NiemannandW.Wilberg,

16/3/2012

4/10

IA
: - , , "Ephesus (Antiquity), Theatre", , . URL: <http://www.ehw.gr/l.aspx?id=8215>

- ,

accompaniedbyreconstructiondrawings.34Inthe1970s,reconstructiveworktookplace,whilearesearchprogramme forthestudyandprotectionofthetheatrebeganin1993byStefanKarwieseandI.Ata.35Thisprogrammerevealed importantdetailsofthetheatresarchitectureandcontributedtothebuildingsrestoration.Today,thetheatre,duetoits location,offersvisitorsauniqueviewofthecityandtheharbour,whileduetoitsgoodpreservationitisusedfor theatricalperformancesandmusicevents.36 1. Ata,I.,DasantikeTheatervonEphesos,GrundlagendesProjektesRaumforschungundRestaurierunginFriesinger,H.

Krinzinger,F.(ed.),100 Jahre sterreichische Forschungen in Ephesos, Akten des Symposions Wien 1995 (Wien1999),p.429430.

2. EarlyresearchreferredtotwoHellenisticbuildingphasesofthetheatre.Theearlierwasdatedduringthe1 sthalfofthe3rdcentury
BC.,soitwasbelievedthatthetheatreserectionwasplannedduringthecitysfoundationbyLysimachus,whilethesecondbuilding phasewasplacedintheendofthe2ndcenturyBC.

3. Ata,I.,DasantikeTheatervonEphesos,GrundlagendesProjektesRaumforschungundRestaurierunginFriesinger,H.
Krinzinger,F.(ed.),100 Jahre sterreichische Forschungen in Ephesos, Akten des Symposions Wien 1995 (Wien1999),p.429435;CiancioRossetto, P.PisaniSartorio,G.(ed.),Teatri Greci e Romani, alle Origini del Linguaggio rappresentato III(1994/5/6),p.495496;Scherrer,P.(ed.),Ephesus. The New Guide (2000),p.158160.

4. Fortheconstructionoftheretainingwallsandthevaultedpassages,seeAta,I.,DasantikeTheatervonEphesos,Grundlagendes
ProjektesRaumforschungundRestaurierunginFriesinger,H.Krinzinger,F.(ed.),100 Jahre sterreichische Forschungen in Ephesos, Akten des Symposions Wien 1995 (Wien1999),p.431.

5. The lower section of the auditorium (ima cavea) dates from the Hellenistic period. 6. Inscriptionstestifytheexistenceofreservedseatsformembersofthelocalelite,oftheBoule,theGerousia(councilofelders),the
priests,theephebes,andothers.Thedesignationofseatsconcernedmainlythelowersectionoftheauditorium.SeeKolb,F.,Die SitzordnungvonVolksversammlungundTheaterpublikumimkaiserzeitlichenEphesos,inFriesinger,H.Krinzinger,F.(ed.),100 Jahre sterreichische Forschungen in Ephesos, Akten des Symposions Wien 1995 (Wien1999),p.101105;Scherrer,P.(ed.),Ephesus. The New Guide (2000),p.160.

7. ThisiswheretheepigraphicallyrecordedNemesion,atemplededicatedtoNemesis,protectorgoddessofgames,couldhavebeen
located.SeeMerkelbach,R.Noll,J.Engelmann,H.Iplikiolu,B.Knibbe,D.,Die Inschriften fon Ephesos VI(IK16,Bonn1980),p.28, no.2042;Ata,I.,DasantikeTheatervonEphesos,GrundlagendesProjektesRaumforschungundRestaurierunginFriesinger,H. Krinzinger,F.(ed.),100 Jahre sterreichische Forschungen in Ephesos, Akten des Symposions Wien 1995 (Wien1999),p.432.

8. On inscriptions from the theatre it is mentioned as the theatres petasos. See Merkelbach, R. Noll, J. Engelmann, H. Iplikiolu, B. Knibbe,
D., Die Inschriften fon Ephesos VI (IK 16, Bonn 1980), p. 25-28, no. 2039, 2040, 2041. It has been disputed that this awning covered the entire auditorium (cavea). See Ata, I., Das antike Theater von Ephesos, Grundlagen des Projektes Raumforschung und Restaurierung in Friesinger, H. Krinzinger, F. (ed.), 100 Jahre sterreichische Forschungen in Ephesos, Akten des Symposions Wien 1995 (Wien 1999), p. 432.

9. Heberdey,R.Niemann,G.Wilberg,W.,Das Theater in Ephesos. Forschungen in Ephesos 2(Wien1912);Ata,I.,DasantikeTheatervon

Ephesos,GrundlagendesProjektesRaumforschungundRestaurierunginFriesinger,H.Krinzinger,F.(ed.),100 Jahre sterreichische Forschungen in Ephesos, Akten des Symposions Wien 1995 (Wien1999),p.429435;CiancioRossetto,P.PisaniSartorio,G.(ed.),Teatri Greci e Romani, alle Origini del Linguaggio rappresentato III(1994/5/6),p.495496;Scherrer,P.(ed.),Ephesus. The New Guide (2000),p.158160.

10. InscriptionfromthearchitraveofthefirststoreyofthesceneseeMerkelbach,R.Noll,J.,Die Inschriften von Ephesos VI,Nr.2001 2958(Bonn1980),no.2034,p.22. 11. On the first floor of the scene were five openings for communication between the scene and the logeion (pulpitum), where the actors played. The

16/3/2012

5/10

IA
: - , , "Ephesus (Antiquity), Theatre", , . URL: <http://www.ehw.gr/l.aspx?id=8215>

- ,

size of the doorways decreased towards sides. On the second storey, semi-circular niches were placed instead of the doors.

12. ForthearchitectureanddecorationofthetheatreofEphesusseeHeberdey,R.Niemann,G.Wilberg,W.,Das Theater in Ephesos.

Forschungen in Ephesos 2(Wien1912);Ata,I.,DasantikeTheatervonEphesos,GrundlagendesProjektesRaumforschungund RestaurierunginFriesinger,H.Krinzinger,F.(ed.),100 Jahre sterreichische Forschungen in Ephesos, Akten des Symposions Wien 1995 (Wien 1999),p.429435;Lyttelton,M.,Baroque Architecture in Classical Antiquity (London1974),p.201202.Hormann,H.,Dieromische BuhnenfrontzuEphesos,JdI 3839(19231924),p.275345;DeBernardiFerrero,D.,Teatri classici in Asia Minore 3(Roma1970),p.4566.

13. Ata,I.,DasantikeTheatervonEphesos,GrundlagendesProjektesRaumforschungundRestaurierunginFriesinger,H.
Krinzinger,F.(ed.),100 Jahre sterreichische Forschungen in Ephesos, Akten des Symposions Wien 1995 (Wien1999),p.430;Kolb,F.,Die SitzordnungvonVolksversammlungundTheaterpublikumimkaiserzeitlichenEphesos,inFriesinger,H.Krinzinger,F.(ed.),100 Jahre sterreichische Forschungen in Ephesos, Akten des Symposions Wien 1995 (Wien1999),p.101105.

14. Bejor,G.,Hierapolis, Scavi e ricerche, III. Le statue (Roma1991),p.18. 15. Can zren, A., Die Skulpurenausstattung kaizereitlicher Theater in der Provinz Asia, am Beispiel der Theater in Aphrodisias, Ephesos und
Hierapolis, Thetis 3 (1996), p. 101-102, 109, 113.

16. For the sculptural decoration of the theatre, see Can zren, A., Die Skulpurenausstattung kaizereitlicher Theater in der Provinz Asia, am Beispiel
der Theater in Aphrodisias, Ephesos und Hierapolis, Thetis 3 (1996), p. 99-128. Hrmann, H., Die rmische Bhnenfront zu Ephesos, JdI 38-39 (19231924), p. 275-345; Schwingenstein, C., Die Figurenausstattung des griechischen Theatergebudes (Mnchener Archaologische Studien 8, Mnchen 1977), p. 24, 38, 46, 48, 101, 107, 119-122, 124-125; Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990).

17. Wankel, H. (ed.), Die Inschriften von Ephesos, Ia. (IK 11.1, Bonn 1979), p. 167-222, no. 27 line. 148, line. 159 (C.V. Salutaris offering); Heberdey, R.
Niemann, G. Wilberg, W., Das Theater in Ephesos. Forschungen in Ephesos 2 (Wien 1912), p. 147-150, no. 28-29; Can zren, A., Die Skulpturenausstattung kaizerzeitlicher Theater in der Provinz Asia, am Beispiel der Theater in Aphrodisias, Ephesos und Hierapolis, Thetis 3 (1996), p. 126 (E 52).

18. Vienna, Ephesus Museum, cat. no. I 823. Dates from the Early Imperial age. Eichler, F., Fhrer durch die Antikensammlung (1926), p. 33;
Oberleitner, W., et al., Funde aus Ephesos und Samothrake. Kat. Der Antikensammlung Wien II (1978), p. 106, no. 136; Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 35, no. 12, pl. 10, 11; Can zren, A., Die Skulpturenausstattung kaizerzeitlicher Theater in der Provinz Asia, am Beispiel der Theater in Aphrodisias, Ephesos und Hierapolis, Thetis 3 (1996), p. 126 (E 35).

19. Istanbul Arch. Museum (since 1911), no. 2455, Antonine dynasty. Pochmarski, E., Das Bild des Dionysos in der Rundplastik der Klassischen Zeit
Griechenlands (1974), p. 101, no. 24D (1371); LIMC II (1984), p. 215, no. 261, see entry Apollon (W. Lambrinudakis), 324 (G. Kokkorou-Alewras); Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 40, no. 15, fig. 15; Can zren, A., Die Skulpturenausstattung kaizerzeitlicher Theater in der Provinz Asia, am Beispiel der Theater in Aphrodisias, Ephesos und Hierapolis, Thetis 3 (1996), p. 126 (E 37).

20. Vienna, Ephesus Museum, cat. no. I 876. Dates from the Early Imperial age. Eichler, F., Frer durch die Antikensammlung (1926), p. 33; Oberleitner,
W., et al., Funde aus Ephesos und Samothrake. Kat. Der Antikensammlung Wien II (1978), p. 106, no. 137, fig. 85; LIMC II (1984), p. 255, no. 571, see entryApollon (W. Lambrinudakis); Can zren, A., Die Skulpturenausstattung kaizerzeitlicher Theater in der Provinz Asia, am Beispiel der Theater in Aphrodisias, Ephesos und Hierapolis, Thetis 3 (1996), p. 126 (E 36).

21. Oberleitner, W., et al., Funde aus Ephesos und Samothrake. Kat. Der Antikensammlung Wien II (1978), p. 109, no. 1 44 (torso, Vienna, Ephesus
Museum, no. I 813); Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 58, no. 35, pl. 26a (torso, Vienna, Ephesus Museum, numb. I 813), p. 57 ff, no. 34, pl. 25a-c (head, Vienna, Kunsthistorisches Museum, no. I 827), p. 35 ff, no. 32, pl. 23a-c (head, Vienna, Kunsthistorisches Museum, numb. I 877); Can zren, A., Die Skulpturenausstattung kaizerzeitlicher Theater in der Provinz Asia, am Beispiel der Theater in Aphrodisias, Ephesos und Hierapolis, Thetis 3 (1996), p. 126 (E38 torso, Vienna, Ephesus Museum, numb. I 813), p. 126 (E 39 head, Vienna, Kunsthistorisches Museum, no. I 827), p. 126 (E 40 head, Vienna, Kunsthistorisches Museum, no. I 877).

22. London, British Museum, no. 1244. Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p.
73, no. 53, pl. 36a-b; Can zren, A., Die Skulpturenausstattung kaizerzeitlicher Theater in der Provinz Asia, am Beispiel der Theater in Aphrodisias, Ephesos und Hierapolis, Thetis 3 (1996), p. 126 (E 41).

16/3/2012

6/10

IA
: - , , "Ephesus (Antiquity), Theatre", , . URL: <http://www.ehw.gr/l.aspx?id=8215>

- ,

23. Hartswick, K. J., The so-called Ephesos Amazon. A new identification, JdI 101, (1986), p. 127-136. 24. The female figures repeat the Sosicles/Capitonile Amazon type. The figures reflect the influence of Pergamum. See Eichler, F., Eine neue Amazone
und andere Skulpturen aus dem Theater von Ephesos, jh 43, (1956-1958), p. 7-18; Oberleitner, W., et al., Funde aus Ephesos und Samothrake. Kat. Der Antikensammlung Wien II (1978), p. 64.

25. Aphrodite: 1) Vienna, Ephesus Museum, no. I 874. 2) London, British Museum, no. 1245. 3) Istanbul Arch. Museum, no. 114. Athena: 1) London,
British Museum, no. 1241, 2) Seluk, Museum, no. 1652. Poseidon: Vienna, Ephesus Museum, no. I 836 (head) and London, British Museum, no. 1242 (body). See LIMC VII (1994), p. 453, no. 34a, see entry Poseidon (E. Simon); Gschwantler, K., Die Poseidonstattuette vom Typus Lateran aus Ephesos, in Friesinger, H. Krinzinger, F. (ed.), 100 Jahre sterreichische Forschungen in Ephesos, Akten des Symposions, Wien 1995 (1999), p. 545-548, fig. 128-131. Hercules: Vienna, Kunsthistorisches Museum, numb. I 878. See Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 118, no. 98, fig. 69a-b. Nemesis: Vienna, Kunsthistorisches Museum, no. I 931, see LIMC VI (1992), p. 750 no. 181, in entry Nemesis (P. Karanastassi). Also, Kabus-Jahn, R., Studien zu Frauen figuren des4. Jhs. v. Chr. (1962), p. 38, n. 46. Serapis: Vienna, Ephesus Museum, no. I 832. See Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 97-99, no. 79, fig. 56a-b. Ephesus Demos: Istanbul Arch. Museum, no. 2454. See Can zren, A., Die Skulpturenausstattung kaizerzeitlicher Theater in der Provinz Asia, am Beispiel der Theater in Aphrodisias, Ephesos und Hierapolis, Thetis 3 (1996), p. 126-127 (E 43-E 60).

26. Ridgway, B. S., Classical Sculpture, Catalogue of Classical Collection, Rhode Island School of Design (1972), 46, no. c) 14 (Richelieu torso).
Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 73, no. 161, pl. 124a-b (Richelieu torso), p. 185, no. 152, pl. 118b (Diadoumenos). Can zren, A., Die Skulpturenausstattung kaizerzeitlicher Theater in der Provinz Asia, am Beispiel der Theater in Aphrodisias, Ephesos und Hierapolis, Thetis 3 (1996), p. 126 (E 42, E 45).

27. Wankel, H. (ed.), Die Inschriften von Ephesos Ia. (IK 11.1, Bonn 1979), p. 167-222, no. 27 (C. V. Salutaris offering). 28. Scherrer, P. (ed.), Ephesus. The New Guide (2000), p. 158-160. Mainly see Kolb, F., Die Sitzordnung von Volksversammlung und Theaterpublikum
im kaiserzeitlichen Ephesos, in Friesinger, H. Krinzinger, F. (ed.), 100 Jahre sterreichische Forschungen in Ephesos. Akten des Symposions Wien 1995 (Wien 1999), p. 101-105.

29. Wankel, H. (ed.), Die Inschriften von Ephesos Ia. (IK 11.1, Bonn 1979), p. 223-240, no. 28-35. 30. There are a total of 9 figures of Artemis. The main text mentions 29 statues and 2 more figures are referred to in the supplementary inscription.
Therefore the initial 9 pedestals were increased to 11 of which 8 survive.

31. Merkelbach, R. Noll, J. Engelmann, H. Iplikiolu, B. Knibbe, D., Die Inschriften fon Ephesos VI (IK 16, Bonn 1980), p. 38-42, no. 2053-2056;
Can zren, A., Die Skulpturenausstattung kaizerzeitlicher Theater in der Provinz Asia, am Beispiel der Theater in Aphrodisias, Ephesos und Hierapolis, Thetis 3 (1996), p. 127 (E 61-64).

32. Ata, I., Das antike Theater von Ephesos, Grundlagen des Projektes Raumforschung und Restaurierung, in Friesinger, H. Krinzinger, F. (ed.),
100 Jahre sterreichische Forschungen in Ephesos. Akten des Symposions Wien 1995 (Wien 1999), p. 429-435; Scherrer, P. (ed.), Ephesus. The New Guide (2000), p. 158-160.

33. Wood, J. T., Discoveries at Ephesos (London 1877), p. 68-70. 34. Heberdey, R. Niemann, G. Wilberg, W., Das Theater in Ephesos. Forschungen in Ephesos 2 (Wien 1912). 35. Ata, I., Das antike Theater von Ephesos, Grundlagen des Projektes Raumforschung und Restaurierung, in Friesinger, H. Krinzinger, F. (ed.),
100 Jahre sterreichische Forschungen in Ephesos. Akten des Symposions Wien 1995 (Wien 1999), p. 429-435.

36. Wiplinger,G.Wlach,G.,Ephesus. 100 Years of Austrian Research (Vienna1996),p.163

16/3/2012

7/10

IA
: - , , "Ephesus (Antiquity), Theatre", , . URL: <http://www.ehw.gr/l.aspx?id=8215>

- ,

:
Scherrer, P. (ed.), Ephesus. The New Guide, Istanbul 2000 De Bernardi Ferrero D., Teatri classici in Asia Minore III. Citt dalla Troade alla Pamfilia, Roma 1970, Studi di Architettura antica Wiplinger G., Wlach G., Ephesus. 100 Years of Austrian Research, Vienna Cologne Weimar 1996 Aurenhammer ., Die Skulpturen von Ephesos. Bildwerke aus Stein. Idealplastik I, AW, Wien 1990, Forschungen in Ephesos 10.1 Ciancio Rossetto, P. Pisani Sartorio, G. (.), Teatri Greci e Romani, alle Origini del Linguaggio rappresentato, , 1994/5/6, Seat Heberdey R., Niemann G., Wilberg W., Das Theater in Ephesos, Wien 1912, Forschungen in Ephesos 2 Ata I., "Neue Beobachtungen am Theater von Ephesos", Scherrer, P. Taeuber, H. Thr, H. , Steine und Wege. Festschrift fr Dieter Knibbe, sterreichisches Archologisches Institut, Wien 1999, Sonderschriften, Bd. 32, 1-6 Ata I., "Das antike Theater von Ephesos, Grundlagen des Projektes Raumforschung und Restaurierung", Friesinger, H. Krinzinger, F. , 100 Jahre sterreichische Forschungen in Ephesos, Akten des Symposions Wien 1995, Wien 1999, 429-435 Atalay E., "Die Restaurierungsarbeitn am grossen Theater von Ephesos und die dabei gemachten Funde", Efes Harabeleri ve MzesYll, 1, 1972, 46-48 Drpfeld W., "Das Theater von Ephesos", Berliner Philologische Wochenschrift, 33, 1913, 1340-1343 Eichler F., "Eine neue Amazone und andere Skulpturen aus dem Theater von Ephesos", Jh, 43, 1956-1958, 7-18 Kolb F., "Die Sitzordnung von Volksversammlung und Theaterpublikum im kaiserzeitlichen Ephesos", Friesinger, H. Krinzinger, F. , 100 Jahre sterreichische Forschungen in Ephesos, Akten des Symposions Wien 1995, Wien 1999, 101-105 Strocka V.M., "Theaterbilder aus Ephesos", Gymnasium, 80, 363-380 Hrmann H., "Die rmische Bhnenfront zu Ephesos", JdI, 38-39, 275-345

:
Conservation of the Great Theatre in Ephesos
http://www.oeai.at/index.php/theatre.html

Das Anitke Theater von Ephesos

http://homepage.univie.ac.at/elisabeth.trinkl/forum/forum0897/04theat.htm

Ephesos- Gesamtplan
http://homepage.univie.ac.at/elisabeth.trinkl/forum/forum0897/04plan.htm

Ephesos, Plan
http://www.ephesos.at/geschichte/index_plan.html

Research on Sculpture in Ephesos

16/3/2012 8/10

IA
: - , , "Ephesus (Antiquity), Theatre", , . URL: <http://www.ehw.gr/l.aspx?id=8215>

- ,

http://www.oeai.at/index.php/sculptures.html

The Ancient Theatre Archive

http://www.whitman.edu/theatre/theatretour/ephesus/ephesus.home.htm

The Theatre of Ephesus

http://www.oeaw.ac.at/antike/index.php?id=73&L=2

o :
aedicula
Small pedimental naiskos, either a free-standing construction or integrated into a larger building's facade.

cavea
he auditorium or audience sitting of a theater.

composite order
It is a mixed order, developed in the late roman imperial period. Its capital combines the Corinthian acanthus leaf decoration with volutes from the Ionic Order. It It may have unfluted shaft, while the details of the entablature resemble those of the Corinthian Order.

corinthian order
The most elaborate of the ancient greek architectural orders. It was developed in the 4th century BC in Greece and it was extensively used in Roman architecture. It is similar to the Ionic order. Its capitals being four-sided and composed of a basket-shaped body decorated with volumes and rows of acanthus leaves.

diazoma (lat. praecinctio)

The circular passage way between the lower and upper tiers of seats in an anient Greek theater.

entablature, the
The upper part of the classical order, that rests on the columns, it consists of the architrave, frieze and cornice.

frieze (1. architecture), (2. painting)

1. The part of the entablature resting on the architrave and below the cornice. In the Doric order the frieze is decorated with two alternative motives, namely the triglyph and metope, while in the Ionic order the frieze is a decoratively carved band. 2. Decorative horizontal band that sweeps parts of a vessel or the highest part of the walls in a room.

garlands
Derorative ornament with flowers and fruits, tied with ribbons and plant stalks.

greek type theatre

Theatre type developed in the Greek world during the Hellenistic period. It consists of three main parts which are not connected to each other: the cavea, the orchestra and the scene. The cavea is bigger than a semicircle, usually built on the slope of a hill and supported by retaining walls. The orchestra is circular or horse-shoe shaped and the scene is rectangular.

logeion (pulpitum)
A speaking place on the prosceniums roof. It was used by the performers.

orchestra
TheperformancespaceoftheancientGreekandRomantheatre,placedbetweenthescenebuildingandthecavea.Itwasusuallysemi circularinshapeandrarelycircular.

parodos
It was one of two side passageways in an ancient Greek theatre, between the scene and the cavea, through which the chorus and the actors entered the orchestra.

pediment, the
The triangular structure, over a building faade, between the horizontal entablature and the sloping roof, often decorated with sculptures, reliefs or painted figures.

pillar
Pier of square or rectangular cross-section.

proscenium (or proscaenium), the

ThecolonnadeaddedinfrontoftheskeneoftheancientGreektheatre.Theretheintercolumnarspaceswereusuallyclosedbydoors

16/3/2012

9/10

IA
: - , , "Ephesus (Antiquity), Theatre", , . URL: <http://www.ehw.gr/l.aspx?id=8215>

- ,

orpaintedpanels.

Roman-Asia Minor type of theatre, the

The edifice of the theatre as it was formed during the Roman period in Asia Minor. It was a merge of the Greek and the Roman type, with koilon larger than the semi-circle and monumental mutli-storeyed scene, which often adjoined to the curve of the tiers and clogged the whole construction.

scaenae frons, the

The elaborate aedicular stage faade of the roman theatres that bears a rich architectural and sculptural decoration.

scene (lat. scaena -ae)

Thestagebuildingoftheancienttheatersoriginallyusedforstoragebutprovidedaconvenientbackingforperformances.

2 nd c. BC:ConstructionoftheHellenisticTheatre. 1nd c. AD:Restorationofthetheatricalbuilding.ThetheatreofEphesuswasconvertedintoaRomanAsiaMinorstyletheatre. mid-2nd c. AD:Thetheatreturnedintoanarenaforamphitheatricgames. 3rd, 4th c. AD: Destructiveearthquakescausedconsiderabledamagestothetheatricalstructure. 8th c. AD:Thetheatrebecamepartofthecitysfortification.

16/3/2012

10/10