No CrossRef data available.
Article contents
The architecture of the Roman Odeion at Kos
Published online by Cambridge University Press: 27 September 2013
Abstract
The Roman Odeion at Kos was a covered rectangular building with four perimeter walls supporting the roof. The design of the koilon in the shape of a hoof follows Vitruvius' rules on Hellenistic theatres. The koilon was built with opus caementicium and it was supported by two vaulted stoas in a circular arrangement. The seats and the staircases were clad with marble. The stage has a peculiar pentagonal shape and its proscenium was rectilinear. The current form of the Odeion corresponds, in its entirety, to the ancient structure. A geometric tracing and a new restored plan of the koilon are presented. Finally, a date for the Odeion's construction in the first half of the second century AD is suggested.
- Type
- Articles
- Information
- Copyright
- Copyright © The Council, British School at Athens 1999
References
1 Morricone, L., ‘Scavi e ricerche a Coo (1935–1943): relazione preliminare’. B. d. A. I (1930), 234Google Scholar.
2 Ibid.
3 Ibid.
4 Ibid., 235.
5 Laurenzi, L., ‘Nuovi contributi alla topografia storico-archeologica di Coo’. Hislona. 5 (1931), 613Google Scholar.
6 Id., ‘Monumenti di scultura del museo archeologico di Rodi-III e dell ‘antiqarium di Coo (sculture di Coo)’, Clara Rhodos, 2 (1932–1935), 66.
7 Albertocchi, M., ‘An example of domestic garden statuary at Cos: “The Casa Romana”’. in Jenkins, I. and Waywell, G. B. (eds), Sculptors and Sculpture of Caria and the Dodecanese (London, 1994), 120–6Google Scholar.
8 Unfortunately, the topographic mapping of the ancient city has not been completed, and we lack the necessary documentation drawings with which to describe the site.
9 See L.Laurezi (n.6). 56; Chadzivasileiou, B., Ιστορία τηϛ νήσου Κώ: Αρχαία – Μεσαιωνική – Νεώτερη (Kos. 1990), 182Google Scholar: Pausanias, viii. 43–4; Guidoboni, E., Catalogue of Ancient Earthquakes (Rome, 1994), 235–6Google Scholar.
10 Laurenzi, L., ‘L'Odeion di Coo’. Historia, 5 (1931), 592Google Scholar.
11 After the earthquake of AD 142. there followed others in 469 and 554. See Papazachou, B and Papazachou, K., Οι σεισμοί της Ελλάδας (Thessaloniki, 1989), 228–234Google Scholar.
12 Morricone (n. 1), 54.
13 Laurenzi (n. 10). 595.
14 Ibid.
15 Ibid., fig. 3.
16 TAPA: Office for Archacological Funds and Appropriations.
17 Laurenzi (n. 101), fig. 1.
18 Archives of the Italian Archaeological School at Athens, Paolini Donation. Coo-appunti, 11.
19 Laurenzi (n. 6), 65: K. Hoghammar, ‘Women in public space: Cos c. 200 BC to c AD 15/20, in Jenkins and Waywell (n. 7). 127–33.
20 Laurenzi (n. 6). 65.
21 Bieber, M., The History of Greek and Roman Theater (Princeton, 1961), 225Google Scholar.
22 Laurenzi (n.6), 66.
23 Bieber (n. 21), 225, Nothing the example of the odeion of Corinth where there was an Archaic statue of Athene.
24 Segrè, M., ‘Iscrizioni dell'Odeon di Coo’. Historia, 8 (1934), 429–52Google Scholar; Segrè, M., Iscrizioni di Cos (Rome, 1993)Google Scholar, ED21, 70, 74a c. 216, 228.230. EV9. 47. 52. 34. 58. 60. 75a f. 97. 116. 186. 255. 324. 339.
25 Meinel, R., Das Odeion: Untersuchungen an überdachten antiken Theatergebäuben (Frankfurt am Main, 1980). 239Google Scholar.
26 Ginouvès, R., Le Thèâtron à gradins droits et l'Odèon d'Argos (Paris, 1972)Google Scholar.
26 Ibid., Delorme, J. ‘Réchèrches au gymnase d' Epidaure’. BCH 70 (1946), 108–19Google Scholar: Ugolini, L., ‘Un interessante teatro greco-romano che sta per venire alla luce a Butrinto (Albania)’. Dioniso. 3 (1932–1933), 7–12Google Scholar; ‘Il teatro di Butrinto’. RendPontAcc 2 (1935), 11Google Scholar.
28 Meinel (n. 25), 225–45. See also Lanckoronski, K.. Niemann, G., and Petersen, E. (eds), Städte Pamphyliens und Pisidiens. 2 vols (vienna, 1890–1892)Google Scholar; De Bernardi Ferrero, D., Teatri Classici in Asia Minore, ii (Roma, 1974)Google Scholar.
29 Adam, J. P., L'arte di costruire presso i Romani (Milan, 1984), 149Google Scholar; Lamprecht, H. D., Opus Caementicium (Cologne, 1985)Google Scholar.
30 Vitr, v. 6. 1. Book V in general.
31 Bieber (n. 21). 127; Sear, F., ‘Vitruvius and Roman theater design’, AJA 94 (1990), 249–58CrossRefGoogle Scholar.
32 Ginouvès (n. 26), 125 n. 5.
33 Pernier, I., ‘L'“Odeum” nell “Agora” di Gortyna presso il Leteo’. ASA 8–9 (1925–1926), 36–57Google Scholar.
34 Bieber (n. 21), fig. 633; Ginonvès (n. 26), 125 n. 5: A. Orlandos, Ergon, 1960, fig. 179: Ugolini 1935 (n. 27). 11.
35 Vitr. v. 6. 7.
36 The anonymous referee has suggested that the difference in the construction of the seats in rows two and three is more likely to be due to the different work teams rather than a deliberate distinction between the seats.
37 Meinel (n. 25). 241.
38 Ginouvès (n. 26), 192–3: Bieber (n. 21), 226.
39 Verzar-Bass, M., Il teatro romano di Trieste (Roma, 1991), 166Google Scholar.
40 Bieber (n. 21), 354; Ward-Perkins, J. B., Roman Imperial Architecture (London, 1983), 260Google Scholar.
41 Vitr. v. 3. 4.
42 Meinel (n. 25), 239.
43 Bobtschev, S., ‘Nouvelles données sur l'Odéon à Nicopolis ad Istrum’, Fouilles et recherches, I (1948), 116–25Google Scholar.
44 As regards the roofing of the theatres, see Bieber (n. 21), Izenour, G. C., Roofed Theaters of Classical Antiquity. (New Haven and London, 1992)Google Scholar. Modona, A. N., Gli edifici teatrali greci e romani (Florence, 1961)Google Scholar.
45 The Odeia of Epidauros and Termessos also had cording pillars on three walls, whereas the Odeion of Bouthrotos only had them behind the stage structure. See Kavvadias, PAE 1904, 61–2. fig. a: Uysal, M., Kivran, F. Fuat, and Uysal, O.. Termessos, A Pisidian Mountain Town of Antiquity 1990, 40: Ugolini 1935Google Scholar (n. 27), 11.
46 Izenour n. 44.
47 Laurenzi n. 10. fig. I: Archives of the É.Á.Ó.Á.. P/D 450.
48 Laurenzi n. 10. 598.
49 Ginouvès (n. 26). 90.
50 Smith, L., ‘Excavation report, Eski Anamur Anemurium’, Türk. Ark. Derg. 17:2 (1968), 178Google Scholar.
51 Ginouvès (n. 26), III n. 1.
52 Archives of the Italian Archaeological School at Athens, Paolini Donation, fig. 14; Meinel (n. 25), 243.
53 Vitr. v. 6. 7; Isler, H. P. ‘Vitruvius Regeln und die erhaltenen Theaterbäuten’. Munus non ingratum. (Leiden, 1989). 141–53Google Scholar: Rosseto, P. Cancio and Sartorio, G. Pisani. Teatri greci e romani (Roma, 1994)Google Scholar.
54 Other Odeia have similar decoration in opus sectile, such as those at Corinth, Athens, Gortyn, and others. See Ginouvès (n. 26), 129. n. 3.
55 Vit. v. 7. 2.
56 The orchestras of the smiilarly-sized Odeia at Epidauros. Nikopolis at Istria, and Argos have diameters of 11.24 m and 9.4 m. and 9.6 m respectively. See Ginouvès (n. 26) 131 11. 3.
57 Bieber (n. 21). 221: Izenour (n. 44). fig. 1.6.
58 Vitr. v. 7. 1.
59 Bieber (n. 21). 123. figs. 468–9.
60 The stage of the Odeion of Anemourion was 1.15 m high, whilst at Bouthrotos it was 1.00 m high. Cf. Smith (n. 50). 178; Ugolini 1932–33 (n. 27).
61 Ginouvès (n. 26), 175 n. 3.
62 Thompson, H., ‘The odeion in the Athenian Agora’. Hesperia, 19 (1950), 31–141CrossRefGoogle Scholar.
63 Vitr. v. 6. 6.
64 Modona (n. 44). 185.
65 Verzar (n. 39). 181.
66 There are no remains to attest the arcades of the pillars. In this case any attempted restoration cannot be based on actual evidence.
67 Staccioli, R., ‘Sulla destinazione e l'uso dei cryptoportici’, in Les cryptoportiques dans l'architecture romaine (Rome, 1973), 57–66Google Scholar.
68 Laurenzi (n. 10), fig. 1.
69 Archives of the Italian Archaeological School at Athens, N.I.G., 745–8; plans, sections (1939. 787), restoration drawing of the floor of the orchestra (1942).
70 Archives of the Italian Archaeological School, P/D, 450.
71 Laurenzi (n. 10), figs. 1–2. 4.
72 Archives of the TAPA. Dodecanese. 1344–5.
73 Laurenzi (n. 10), figs. 1. 4.
74 Photograph 1344 indicates that much of the repair and filling in of the substrata from the third row upwards seems to have been rather arbitrary. We believe that the original ‘irregular’ form of the ‘substratum’ as a result of the variety of its monolithic seating—led to this error in its reconstruction.
75 The anonymous referee suggests that the asymmetry may be due to the careless construction of the north wall, whereby the central entrance does not lie upon the building's axis. As a result, the stage is built so as to accord with this wrong construction.
76 Vitr. v. 6. 7.
77 The anonymous referee suggests that it would have been difficult for citizens to congregate in the substructure owing to a lack of light. The function of the substructure as a support for the koilon is reason enough for its existence.
78 Barbet, A., La peinture murale romaine (Paris, 1985)Google Scholar.
79 It is not impossible that this renovation work is contemporary with the second building phase.
80 Laurenzi (n. 10), 692.
81 Archives of the Italian Archaeological School, Paolini Donation, 1344–5.
82 Photographic Archives of TAPA, Dodecanese, 1930, 429.
83 Archives of the Italian Archaeological School, Morricone Donation, 1938, 651.
84 Livadiotti, M. and Rocco, G., La presenza Italiana nel Dodecaneso tra il 1912 e il 1948 (Catania, 1996), 130–3Google Scholar.