DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.45927#0027
25
1. EXCAVATION HISTORY AND STATE OF RESEARCH
The Bouleuterion of Ephesos, located on the north edge of the so-called Staatsmarkt or Upper Agora (pl. 1),
has long been a favorite gathering point for tour groups whose guides have been quick to exploit its theatrical
layout and an impressive view over the site for their often histrionic introductions to the ancient city.
The building in its final form consisted of an auditorium with curved rows of seats set within a buttressed
semicircular retaining wall that was bonded to a shallow stage building about 46 m wide (pl. 2). The cavea,
built into the lower slopes of Panayirdag, was divided into two tiers by a diazoma with a curved podium wall
and into five cunei by radial stairways. Above a sunken orchestra rose the pulpitum, accessible from both
sides by sloping parodos ramps; this was also accessible from the Agora through the Basilica Stoa, via a back-
stage corridor with five doorways in the scene wall. Flanking these doorways rose tall molded pedestals that
once supported the columns of an aediculated scaenae frons (pl. 3, 1)- The outer ends of the parodoi formed
vestibules which could be entered through tall, arched doorways in the lateral walls or through more modest
doorway openings from the Basilica Stoa and Agora. Vaulted staircases, accessible from these points through
doorways in the analemmata, rose along the inside of the curved retaining wall, then bent sharply to follow
radial axes in a second flight which gave onto the diazoma.
The first modern reference to the building is found in an account of a visit to Ephesos by the English trave-
ler R. Pococke published in 1745. After describing the ruins of what is today known as the Baths on the Upper
Agora he writes:
“A few paces further to the west, there are remains of a semicircular building, which seems to have seats
in it, made like steps, as in theatres, and is built in a rustick manner with pilasters on the outside at equal dis-
tances. This might possibly serve for an odium or theatre for music.
In an accompanying drawing it appears as a curved wall with thirteen radial piers and is indicated on his
plan, the first known attempt at a map of the city (pl. 3, 2).1 2 The building appears on several subsequent city
plans with little comment and rested undisturbed until the second half of the 19th century when John Turtle
Wood, British architect, engineer and amateur classicist, made it a major focus of his energetic antiquarian
activities at the site.
Wood came to Smyrna in 1863 to work on the construction of the Smyrna-Aydm railroad but soon made it
his main goal to locate the Temple of Diana at Ephesos, a quest that eventually proved successful. His work in
the ruins continued for eleven years and is described in his book “Discoveries at Ephesus”, first published in
1877.3 As he was sponsored after the first year by the Trustees of the British Museum he was obliged to offer
“some substantial return,” and set to work digging in the “Odeum” and the great theater, buildings certain to
produce monumental inscriptions and statuary.
Work in the Odeion began on March 15, 1864: even before the excavations were begun, the outer
semicircular wall of the auditorium was to be seen above ground at each extremity. I had, therefore, no diffi-
culty in deciding the whereabouts of the proscenium, and I began by cutting at right angles to it a wide trench,
which soon exposed to view the outer wall, and the central doorway. I was not long in working my way into
the Theatre, and, before the end of the month, I had cleared a considerable portion of the pulpitum or stage, by
wheeling the debris out through the central doorway into the open ground in front. ”4
By the following winter a large portion of the building had been exposed including the orchestra floor,
“paved with white marble,” and at least portions of both parodoi. Progress was hindered by great numbers of
1 Pococke 1745, 48.
2 Pococke 1745, 48 pl. 47 for this sketch plan (indicated “F”). For the map of Ephesos, s. 46 pl. 45 with the building indicated at
“z.”The city plan is reprinted in Wohlers-Scharf 1996, 45 fig. 22. Alzinger 1962, 253 gives a list of early travelers to Ephesos.
3 Wood 1877. A reprint in a smaller format has since been published by the Georg 01ms Verlag (Hildesheim 1975). On John Turtle
Wood s. Wohlers-Scharf 1996, 51-62, for his work in the Bouleuterion esp. 55.
4 Wood 1877, 43. Work in the Odeion is described on pages 42-63.
1. EXCAVATION HISTORY AND STATE OF RESEARCH
The Bouleuterion of Ephesos, located on the north edge of the so-called Staatsmarkt or Upper Agora (pl. 1),
has long been a favorite gathering point for tour groups whose guides have been quick to exploit its theatrical
layout and an impressive view over the site for their often histrionic introductions to the ancient city.
The building in its final form consisted of an auditorium with curved rows of seats set within a buttressed
semicircular retaining wall that was bonded to a shallow stage building about 46 m wide (pl. 2). The cavea,
built into the lower slopes of Panayirdag, was divided into two tiers by a diazoma with a curved podium wall
and into five cunei by radial stairways. Above a sunken orchestra rose the pulpitum, accessible from both
sides by sloping parodos ramps; this was also accessible from the Agora through the Basilica Stoa, via a back-
stage corridor with five doorways in the scene wall. Flanking these doorways rose tall molded pedestals that
once supported the columns of an aediculated scaenae frons (pl. 3, 1)- The outer ends of the parodoi formed
vestibules which could be entered through tall, arched doorways in the lateral walls or through more modest
doorway openings from the Basilica Stoa and Agora. Vaulted staircases, accessible from these points through
doorways in the analemmata, rose along the inside of the curved retaining wall, then bent sharply to follow
radial axes in a second flight which gave onto the diazoma.
The first modern reference to the building is found in an account of a visit to Ephesos by the English trave-
ler R. Pococke published in 1745. After describing the ruins of what is today known as the Baths on the Upper
Agora he writes:
“A few paces further to the west, there are remains of a semicircular building, which seems to have seats
in it, made like steps, as in theatres, and is built in a rustick manner with pilasters on the outside at equal dis-
tances. This might possibly serve for an odium or theatre for music.
In an accompanying drawing it appears as a curved wall with thirteen radial piers and is indicated on his
plan, the first known attempt at a map of the city (pl. 3, 2).1 2 The building appears on several subsequent city
plans with little comment and rested undisturbed until the second half of the 19th century when John Turtle
Wood, British architect, engineer and amateur classicist, made it a major focus of his energetic antiquarian
activities at the site.
Wood came to Smyrna in 1863 to work on the construction of the Smyrna-Aydm railroad but soon made it
his main goal to locate the Temple of Diana at Ephesos, a quest that eventually proved successful. His work in
the ruins continued for eleven years and is described in his book “Discoveries at Ephesus”, first published in
1877.3 As he was sponsored after the first year by the Trustees of the British Museum he was obliged to offer
“some substantial return,” and set to work digging in the “Odeum” and the great theater, buildings certain to
produce monumental inscriptions and statuary.
Work in the Odeion began on March 15, 1864: even before the excavations were begun, the outer
semicircular wall of the auditorium was to be seen above ground at each extremity. I had, therefore, no diffi-
culty in deciding the whereabouts of the proscenium, and I began by cutting at right angles to it a wide trench,
which soon exposed to view the outer wall, and the central doorway. I was not long in working my way into
the Theatre, and, before the end of the month, I had cleared a considerable portion of the pulpitum or stage, by
wheeling the debris out through the central doorway into the open ground in front. ”4
By the following winter a large portion of the building had been exposed including the orchestra floor,
“paved with white marble,” and at least portions of both parodoi. Progress was hindered by great numbers of
1 Pococke 1745, 48.
2 Pococke 1745, 48 pl. 47 for this sketch plan (indicated “F”). For the map of Ephesos, s. 46 pl. 45 with the building indicated at
“z.”The city plan is reprinted in Wohlers-Scharf 1996, 45 fig. 22. Alzinger 1962, 253 gives a list of early travelers to Ephesos.
3 Wood 1877. A reprint in a smaller format has since been published by the Georg 01ms Verlag (Hildesheim 1975). On John Turtle
Wood s. Wohlers-Scharf 1996, 51-62, for his work in the Bouleuterion esp. 55.
4 Wood 1877, 43. Work in the Odeion is described on pages 42-63.
