Already a member?
Sign in
| Version | User | Scope of changes |
|---|---|---|
| Apr 21 2008, 9:33 AM EDT (current) | clemio | 1 word added |
| Apr 12 2008, 10:17 AM EDT | clemio |
Changes
Key: Additions Deletions
The Basilica
The Basilica Noniana was re-discovered in 1739 when one of the tunnels being mined randomly by Rocque Joaquín de Alcubierre broke into the building. An inscription found in the building records that the Basilica had just been rebuilt following the earthquake of 62AD thanks to the generosity of proconsul Marcus Nonius Balbus, Herculaneum's principal benefactor.
..
| The building consists of a large rectangular hall divided into three sections by rows of columns in the traditional layout as described by Vitruvius in his Ten Books on Architecture (Book V, chapter I - 'The Forum and Basilica'). At either end of the Basilica were recesses (exedra) with frescoes of mythological characters, among them Theseus and the Minotaur (right) and The Finding of Telephus (below) showing a naked Hercules, legendary founder of the town, recognising his baby son.  |  Some of the frescoes covering the walls of the Basilica were removed to the National Archaeological Museum of Naples, but unfortunately many have been lost. In additional to the frescoes, both bronze and marble statuary was found. At the entrance to the Basilica stood two equestrian statues, one depicting the town's major benefactor, the afore-mentioned Marcus Nonius Balbus, whilst the other was of his son. Inside the Basilica were further statues of the proconsul and his family (wife, father, mother and two daughters) as well as statues of the emperors. |
The Theatre
One of the first finds at Herculaneum was its theatre, first discovered in 1709 whilst digging a well. The theatre, resting on a double tier of arches and pillars, could hold about 2,500 patrons. This is only about half the size of the theatre in neighbouring Pompeii, but considering the population of Herculaneum was not much more than 5,000, its capacity was more than adequate. The plan and elevation show that it was of a standard layout, complying very much with the definitions specified by Vitruvius in his Ten Books on Architecture (Book V, chapter VI, 'Plan of the Theatre').
The building was richly decorated, its stage faced with yellow, red, purple and black marbles. A distinctive feature was the series of bronze statuary of the imperial family and civic leaders lined up along its topmost edge.
The building survived the eruption remarkably well. Because of its structural strength, it must have resisted the onslaught of rock and ash until the volcanic flow spilt over the top of the semi-circular drum and poured in, eventually filling it up completely.The theatre as seen today, unfortunately, has been stripped of all decoration. Since it remains buried, it can only be reached through a section of the old tunnels, entered on Corso Ercolano. Two staircases, at either end of the lower portico, lead to a corrridor whose walls are covered by graffiti left by visiting patrons.
There is little else to be seen of the once magnificent decoration, save the remains of the scaenae frons, now devoid of any ornamentation.
As to the treasures found in the theatre, anything that was moveable and could be hauled up the well, was carried off, in the first instance, by its original discoverer, Prince d'Elboeuf of Austria. Not to be outdone, his successor, Rocque Joaquín de Alcubierre, was even more tenacious, enlarging the original shaft and stripping the place bare.
The photograph on the left is of a statue of the sister of M. Nonius Balbus, the town's major benefactor, which was found in the Theatre. It can be seen at the National Archeological Museum of Naples.
For a virtual tour of the theatre (and the rest of Herculaneum too) you should visit the Herculaneum Conservation Project website (please note that you will need Quicktime to view the tour).
