VIII.7.19 Pompeii. Ingesso al Teatro Piccolo od Odeon.

Entrance to Little Theatre or Odeon.

Part 1      Part 2

Via Stabiana, west side, Pompeii. December 2018.

Looking west to entrances, with VIII.7.16, on left, and VIII.7.17, 18 and 19, centre and right. Photo courtesy of Aude Durand.

VIII.7.18 Pompeii, on left, and VIII.7.19, on right. December 2018. Looking west on Via Stabiana. Photo courtesy of Aude Durand.

VIII.7.19 Pompeii. August 2021. Looking west from entrance on Via Stabiana.

Foto Annette Haug, ERC Grant 681269 DÉCOR.

VIII.7.19 Pompeii. May 2005.  Entrance. Looking west with dedication plaque above.

VIII.7.19 Pompeii. September 2017. Dedication plaque above entrance. Photo courtesy of Klaus Heese.

C QVINCTIVS C F VALG

M PORCIVS M F

DVOVIR DEC DECR

THEATRVM TECTVM

FAC LOCA R EIDEMQ PROB      [CIL X 844a]

According to Mau, the names of the builders of the Small Theatre are known from an inscription found in the building.

C. Quinctius C. f. Valg[us], M. Porcius M. f. duovir[i] dec[urionum] decr[eto] theatrum tectum fac[iundum] locar[unt] eidemq[ue] prob[arunt]

“Gaius Quinctius Valgus the son of Gaius, and Marcus Porcius the son of Marcus, duumvirs, in accordance with a decree of the city council let the contract for building the covered theatre and approved the work”.

See Mau, A., 1907, translated by Kelsey F. W. Pompeii: Its Life and Art. New York: Macmillan, (p.153).

According to Cooley, two copies of this inscription were set up near the main entrances to the Covered Theatre.

See Cooley, A. and M.G.L., 2014. Pompeii and Herculaneum: A Sourcebook. London: Routledge, B11, p. 29-30.

This one is from the entrance on Via Stabiana and a second was from the entrance from the Large Theatre to the Small Theatre.

VIII.7.21 Pompeii. December 2018.

Second dedication plaque on wall by the entrance from the large theatre to the small theatre. Photo courtesy of Aude Durand.

VIII.7.21 Pompeii. September 2005. Second dedication plaque on wall by the entrance from the large theatre to the small theatre.

C QVINCTIVS C F VALG

M PORCIVS M F

DVO VIR DEC DECR

THEATRVM TECTVM

FAC LOC AR EIDEMQ PROB    [CIL X 844b]

C(aius) Quinctius C(ai) f(ilius) Valg(us)

M(arcus) Porcius M(arci) f(ilius)

duovir(i) dec(urionum) decr(eto)

theatrum tectum

fac(iundum) locar(unt) eidemq(ue) prob(arunt)    [CIL X 844b]

Gaius Quinctius Valgus, son of Gaius, and Marcus Porcius, son of Marcus, duumvirs, by decree of the town councillors awarded the contract for the construction of the covered theatre and also approved it.

See Cooley, A. and M.G.L., 2004. Pompeii: A Sourcebook. London: Routledge. (p.20, B9). CIL X 844=ILS 5636.

A Theatrum Tectum was a covered theatre; in this case it refers to the Small Theatre or Odeon in Pompeii.

VIII.7.19 Pompeii. 1968.

Looking west from entrance, across Theatre decorated for a performance. Photo by Stanley A. Jashemski.

Source: The Wilhelmina and Stanley A. Jashemski archive in the University of Maryland Library, Special Collections (See collection page) and made available under the Creative Commons Attribution-Non Commercial License v.4. See Licence and use details.

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VIII.7.19 Pompeii. c.1900.

Looking west towards doorway on Via Stabiana. Drawing by Pierre Gusman.

See Gusman P., 1900. Pompeii: The City, Its Life & Art. London: Heinemann, p. 168.

VIII.7.19 Pompeii. 1968.

Looking west across Theatre decorated for a performance. Photo by Stanley A. Jashemski.

Source: The Wilhelmina and Stanley A. Jashemski archive in the University of Maryland Library, Special Collections (See collection page) and made available under the Creative Commons Attribution-Non Commercial License v.4. See Licence and use details.

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VIII.7.19 Pompeii. December 2018. Looking across theatre towards entrance on west side. Photo courtesy of Aude Durand.

VIII.7.19 Pompeii. c.1900. C. and G. Lantern slide published by A. Laverne. Looking across theatre towards entrance on west side.

VIII.7.19 Pompeii. Pre-1824 aquatint by Jakob Wilhelm Huber. Looking across theatre towards entrance on west side.

VIII.7.19 Pompeii. September 2024. Looking north-east.

Exit/entrance to Little Theatre at west end, on right, on east end of Large Theatre. Photo courtesy of Giuseppe Ciaramella.

VIII.7.19 Pompeii. December 2018. Looking east.

Exit/entrance to Little Theatre at west end, on east end of Large Theatre. Photo courtesy of Aude Durand.

VIII.7.19 Pompeii. August 2021.

Looking towards west side near entrance/exit, with statue of Kneeling Atlas, with a tufa Lion’s foot in front. Photo courtesy of Robert Hanson.

VIII.7.19 Pompeii. (Undated but before 1927). Watercolour by Luigi Bazzani, looking towards west side.

VIII.7.19 Pompeii. December 2018.

Statue of Kneeling Atlas, with a tufa Lion’s foot in front, on west side near exit/entrance.

Photo courtesy of Aude Durand.

VIII.7.19 Pompeii. 2015/2016. West side near exit/entrance.

Statue of Kneeling Atlas, with a tufa Lion’s foot in front.  

Photo courtesy of Giuseppe Ciaramella.

VIII.7.19 Pompeii. 2015/2016.

Statue of Kneeling Atlas, with a tufa Lion’s foot in front, on west side near exit/entrance.  

Photo courtesy of Giuseppe Ciaramella.

VIII.7.19 Pompeii. 1968. West side near entrance/exit.

Statue of Kneeling Atlas, with a tufa Lion’s foot in front. Photo by Stanley A. Jashemski.

Source: The Wilhelmina and Stanley A. Jashemski archive in the University of Maryland Library, Special Collections (See collection page) and made available under the Creative Commons Attribution-Non Commercial License v.4. See Licence and use details.

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VIII.7.19 Pompeii. September 2017.

West side. Statue of Kneeling Atlas. Photo courtesy of Klaus Heese.

VIII.7.19 Pompeii. 1968.

West side. Statue of Kneeling Atlas. Photo by Stanley A. Jashemski.

Source: The Wilhelmina and Stanley A. Jashemski archive in the University of Maryland Library, Special Collections (See collection page) and made available under the Creative Commons Attribution-Non Commercial License v.4. See Licence and use details.

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VIII.7.19 Pompeii. 1968.

Looking west at statue of Kneeling Atlas. Photo by Stanley A. Jashemski.

Source: The Wilhelmina and Stanley A. Jashemski archive in the University of Maryland Library, Special Collections (See collection page) and made available under the Creative Commons Attribution-Non Commercial License v.4. See Licence and use details.

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VIII.7.19 Pompeii. September 2017.

West side. Tufa statue of Lion’s foot. Photo courtesy of Klaus Heese.

VIII.7.19 Pompeii. December 2018.

Looking north on west side towards statue of Kneeling Atlas, with a tufa Lion’s foot in front. Photo courtesy of Aude Durand.

VIII.7.19 Pompeii. December 2018.

Looking south-west towards west end of stage, doorway into corridor at VIII.7.17, and entrance/exit at west end of Theatre.

Photo courtesy of Aude Durand.

VIII.7.19 Pompeii. December 2018.

Looking south-west towards stage and doorways to VIII.7.17, left and centre. Photo courtesy of Aude Durand.

VIII.7.19 Pompeii. April 2005.

Looking south-west across Little Theatre/Odeon towards entrance/exit on western side. Photo courtesy of Klaus Heese.

VIII.7.19 Pompeii. December 2018. Looking west across flooring. Photo courtesy of Aude Durand.

VIII.7.19 Pompeii. December 2018.

Looking west across flooring. Photo courtesy of Aude Durand.

VIII.7.19 Pompeii. December 2018. Looking north-west. Photo courtesy of Aude Durand.

VIII.7.19 Pompeii. April 2005. Looking north-west. Photo courtesy of Klaus Heese.

VIII.7.19 Pompeii. December 2018. Looking west across flooring. Photo courtesy of Aude Durand.

VIII.7.19 Pompeii. March 2014. Detail of flooring.

Foto Annette Haug, ERC Grant 681269 DÉCOR.

VIII.7.19 Pompeii. 1854. Looking west across Theatre. Painting by T. Duclère published by Niccolini.

The line of the dedication can be seen running between the ends of the first row of seats.

Niccolini attributes this to M. Olconio in line with the erroneous Bonucci restoration rather than the original M. Oculatius.

See Niccolini F, 1854. Le case ed i monumenti di Pompei: Volume Primo. Napoli, Teatri Tav. III and p. 5, Tav. I n. 29.

VIII.7.19 Pompeii. Painting c. 1819 by H. Wilkins titled Théâtre Couvert.

The band with the dedication to M OCVLATIVS M F VERVS IIVIR PRO LUDIS can be seen parallel to the stage.

See Wilkins H, 1819. Suite de Vues Pittoresques des Ruines de Pompei, Rome, Tav. XXVII.

According to Epigraphik-Datenbank Clauss/Slaby (See www.manfredclauss.de) this reads

M(arcus) Oculatius M(arci) f(ilius) Verus IIvir pro ludis      [CIL X 845]

VIII.7.19 Pompeii. Drawing by Mazois of theatre in which the dedication letters can be seen parallel to the stage.

See Mazois, F., 1838. Les Ruines de Pompei : Quatrième Partie. Paris : Didot Frères, pl. XXVIII.

VIII.7.19 Pompeii.

Part of the dedication for the building of a floor (datable 30BC – 10AD), found set into the flooring of the theatre.

Photo courtesy of Giuseppe Ciaramella.

Now in Naples Archaeological Museum, inv. no. 3830, (CIL X, 955), reading –

[M(arcus) Ocu]ḷatius M(arci) f(ilius) Verus, I̅I̅vir, peq(unia) [---].      [CIL X, 955]

“Marcus Oculatius Verus son of Marcus, duovir, (had this made) at his own expense”.

The duovir with judicial powers Marcus Oculatius commissioned a new marble slab floor, paying for it from his own funds.

(“Marco Oculazio Vero figlio di Marco, duoviro, (fece fare) a sue spese”).

Il duoviro giusdicente Marco Oculazio commissiona il rifacimento della pavimentazione a lastre di marmo con i propri fondi.

VIII.7.19 Pompeii.

Detail from drawing by Mazois of theatre in which the dedication letters can be seen parallel to the stage at the edge of the front row of seats.

Mazois records an inscription M OCVLATIVS M F VERVS IIVIR PRO LUDIS an inscription in uncial letters of bronze, in rather bad shape.

He says the inscription was damaged in 1820 by Austrian soldiers. (N.B. Fiorelli says 24th May 1815).

See Mazois, F., 1838. Les Ruines de Pompei : Quatrième Partie. Paris : Didot Frères, pl. XXVIII, p. 56 and note 2.

Secondo Soldovieri:

La 'fascia di cipollozzo', che 'traversa tutto il diametro dell'orchestra' con 'iscrizione in lettere di bronzo incastrate nel marmo', ben visibile nel rilievo realizzato da F. Mazois (vd. Les ruines de Pompéi, IV, Paris 1838, tab. XXVIII, ma cfr. p. 56 nt. 2, dove si fa cenno al danneggiamento), fu oggetto di vandalismo da parte di soldati austriaci in visita il 24 Maggio 1815 (vd. G. Fiorelli, Pompeianarum antiquitatum historia, I, 3, Napoli 1860, p. 277; cfr. pure K. Zangemeister, Sopra l'iscrizione del teatro piccolo di Pompei, in Bull. Inst. Corr. Arch., 1866, p. 30 sg.), che rimossero alcune lettere di bronzo (il testo già mutilato e non ancora ricostruito sembrerebbe essere rappresentato in un'acquaforte di L. Caracciolo pubblicato da H. Wilkins, Suite de vues pittoresques des ruines de Pompeii et un précis historique de la ville avec un plan des fouilles qui ont été faites jusqu'en Février 1819 et une description des objets les plus intéressants, Roma 1819, tab. XXVII); nel seguente restauro, condotto sotto la guida di A. Bonucci, il gentilizio OCVLATIVS fu corrotto in OLCONIVS (vd. ad es. la riproduzione in A. - F. - F. Niccolini, Le case ed i monumenti di Pompei disegnati e descritti, I, fasc. 13, 1858, tab. I; l'epigrafe inoltre trovasi in libertà riprodotta tale su una soglia di marmo nell'opera di L. Alma Tadema, “The vintage festival”, il quale realizzò anche un puntuale disegno del monumento, per cui cfr. N. Murolo, “I materiali archeologici nei quadri di Alma-Tadema: alcune considerazioni”, in “Alma Tadema e la nostalgia dell'antico”, Milano 2007, p. 64).

Attualmente si conservano, non al loro posto e frammisti alla rinfusa con altri marmi colorati, tracce degli alveoli delle lettere S.M. di O[CVLAT]IVS.M.F., di una O e di un'altra lettera di difficile identificazione.

According to Soldovieri:

The 'cipolin marble band', which 'crosses the entire diameter of the orchestra' with 'inscription in bronze letters embedded in the marble', clearly visible in the relief made by F. Mazois (see Les ruines de Pompéi, IV, Paris 1838 , tab. XXVIII, but see p. 56 nt. 2, where the damage is mentioned), was subjected to vandalism by Austrian soldiers visiting on 24 May 1815 (see G. Fiorelli, Pompeianarum antiquitatum historia, I , 3, Naples 1860, p. 277; see also K. Zangemeister, Sopra l'iscrizione del teatro piccolo di Pompei, in Bull. Inst. Corr. Arch., 1866, p. 30 ff.), which removed some letters of bronze (the text already mutilated and not yet reconstructed would seem to be represented in an etching by L. Caracciolo published by H. Wilkins, Suite de vues pittoresques des ruines de Pompeii et un précis historique de la ville avec un plan des fouilles qui ont été faites jusqu'en Février 1819 et une description des objets les plus intéressants, Rome 1819, tab. XXVII); in the following restoration, carried out under the guidance of A. Bonucci, the noble OCVLATIVS was corrupted into OLCONIVS (see for example the reproduction in A. - F. - F. Niccolini, The houses and monuments of Pompeii drawn and described, I, fasc. 13, 1858, tab. I; the epigraph can also be freely reproduced on a marble threshold in the work of L. Alma Tadema, “The vintage festival”, who also made a precise drawing of the monument, for which see N. Murolo, “I materiali archeologici nei quadri di Alma-Tadema: alcune considerazioni”, in “Alma Tadema and the nostalgia of the ancient”, Milan 2007, p. 64).

Currently, traces of the grooves of the letters S.M. are preserved, not in their place and mixed in bulk with other coloured marbles, of O [CVLAT] IVS.M.F., an O and another letter difficult to identify.

See CIL X 845, notes and photos by Umberto Soldovieri on the Epigraphic Database Roma.

VIII.7.19 Pompeii. Looking north-west.

Photographed 1970-79 by Günther Einhorn, picture courtesy of his son Ralf Einhorn.

VIII.7.19 Pompeii. From an album dated c.1875-1885. Looking west. Photo courtesy of Rick Bauer.

VIII.7.19 Pompeii. Album by M. Amodio, c.1880, entitled “Pompei, destroyed on 23 November 79, discovered in 1748”.

Looking north-west. Photo courtesy of Rick Bauer.

VIII.7.19 Pompeii. Pre-1873 photograph by Amodio, no. 2995. Looking north-west. Photo courtesy of Rick Bauer.

VIII.7.19 Pompeii. December 2023. Looking north across stage towards seating. Photo courtesy of Miriam Colomer.

VIII.7.19 Pompeii. January 2023. Looking north across stage towards seating. Photo courtesy of Miriam Colomer.

VIII.7.19 Pompeii. August 2021. Looking north towards seating. Photo courtesy of Robert Hanson.

VIII.7.19 Pompeii. December 2018. Rows of seating, looking north. Photo courtesy of Aude Durand.

VIII.7.19 Pompeii. April 2010. Looking north towards seating. Photo courtesy of Klaus Heese.

VIII.7.19 Pompeii. September 2021. Looking north-east across Theatre. Photo courtesy of Klaus Heese.

VIII.7.19 Pompeii. April 2011. Looking north-east towards seating. Photo courtesy of Klaus Heese.

VIII.7.19 Pompeii. April 2005. Looking north-east towards seating. Photo courtesy of Klaus Heese.

VIII.7.19 Pompeii. April 2018. Looking across flooring towards the east side of the Little Theatre.

Photo courtesy of Ian Lycett-King. Use is subject to Creative Commons Attribution-NonCommercial License v.4 International.

VIII.7.19 Pompeii. May 2006. Flooring of Little Theatre.

VIII.7.19 Pompeii. September 2024.

Looking east through doorway, from west end. Photo courtesy of Giuseppe Ciaramella.

VIII.7.19 Pompeii. September 2024. Looking east across flooring. Photo courtesy of Giuseppe Ciaramella.

VIII.7.19 Pompeii. December 2018. Looking east from west end. Photo courtesy of Aude Durand.

VIII.7.19 Pompeii. September 2024.

Looking east across Little Theatre. Photo courtesy of Giuseppe Ciaramella.

VIII.7.19 Pompeii. 1988. Looking east across the floor of the Little Theatre. Photo courtesy of Leo C. Curran.

VIII.7.19 Pompeii. October 2014. East side. Photo courtesy of Michael Binns.

VIII.7.19 Pompeii. May 2006. Stone seating on east side.

VIII.7.19 Pompeii. From an album dated February 1874. Looking towards seating on east side. Photo courtesy of Rick Bauer.

VIII.7.19 Pompeii. 1966. East side. Photo by Stanley A. Jashemski.

Source: The Wilhelmina and Stanley A. Jashemski archive in the University of Maryland Library, Special Collections (See collection page) and made available under the Creative Commons Attribution-Non Commercial License v.4. See Licence and use details.

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VIII.7.19 Pompeii. 2015/2016.

East side, stone seating, the Lion’s foot and the Kneeling Atlas.

Photo courtesy of Giuseppe Ciaramella.

VIII.7.19 Pompeii. 1966.

The Lion’s foot and the Kneeling Atlas and stone seating on the east side. Photo by Stanley A. Jashemski.

Source: The Wilhelmina and Stanley A. Jashemski archive in the University of Maryland Library, Special Collections (See collection page) and made available under the Creative Commons Attribution-Non Commercial License v.4. See Licence and use details.

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VIII.7.19 Pompeii. May 2006. East end. Kneeling Atlas.

VIII.7.19 Pompeii. September 2017.

East side. Statue of Kneeling Atlas. Photo courtesy of Klaus Heese.

VIII.7.19 Pompeii. May 2006. East end.  Kneeling Atlas.

VIII.7.19 Pompeii. September 2017. East side. Tufa Lion’s foot. Photo courtesy of Klaus Heese.

VIII.7.19 Pompeii. May 2006. East end. Tufa Lion’s foot.

VIII.7.19 Pompeii. 1968.

Detail of tufa Lion’s foot from east end. Photo by Stanley A. Jashemski.

Source: The Wilhelmina and Stanley A. Jashemski archive in the University of Maryland Library, Special Collections (See collection page) and made available under the Creative Commons Attribution-Non Commercial License v.4. See Licence and use details.

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VIII.7.19 Pompeii. May 2006. East side with arched entrance.

Above the entrances on either side were the rectangular areas which had the seats reserved for the honoured guests.

These were called the Tribunals.

These were reached by the small narrow steps at the side and separated from the rest of the audience by a sloping wall to the north. 

The Kneeling Atlas and Lion’s foot were at the lower end of this sloping wall on both the West and East sides.

Part 2