IAA Reports 53: Caesarea Maritima Vol. 1. Herod’s Circus and Related Buildings. Part 1: Architecture and Stratigraphy 9789654063791, 9789654065917, 9654063794

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fAA Reports

CAESAREA MARITIMA VOLUME I HEROD'S CIRCUS AND RELATED BUILDINGS PART 1: ARCH ITECTURE AN D STRATIGRAPHY

YOSEF PORATH

IAA Reports, No. 53 THE ISRAEL ANTIQUITIES AUTHORITY ExcAvATION PROJEcT AT cAESAREA 1992–1998

Caesarea MaritiMa VoluMe i Herod’s CirCus and related Buildings Part 1: arCHiteCture and stratigraPHy

yosef PoratH

With contributions by Mindi Epstein, Zaraza Friedman and Talila Michaeli

ISRAEL ANTIQUITIES AUTHORITY JERUSALEM 2013

IAA Reports Publications of the Israel Antiquities Authority Editor-in-Chief: Judith Ben-Michael Series and Production Editor: Ann Roshwalb Hurowitz Volume Editor: Ezra S. Marcus Production Coordinator: Lori Lender Front Cover: view of caesarea (Ofek Aerial Photography, 1996). Back Cover: General view of the south part of the circus and amphitheater; below—wall paintings (chapters 5, 7 and 8). cover Design, Production, Layout and Typesetting: Hagar Maimon Illustrations: Natalya Zak Printing: Art Plus Ltd., Jerusalem copyright © 2013, The Israel Antiquities Authority, Jerusalem POB 586, Jerusalem, 91004 ISBN 978-965-406-379-1 eISBN 9789654065917 www.antiquities.org.il

Contents

ABBREvIATIONS

iv

PREFAcE

v

cHAPTER 1: INTRODUcTION

Yosef Porath

1

cHAPTER 2: DIScOvERY AND IDENTIFIcATION OF HEROD’S cIRcUS

Yosef Porath

21

cHAPTER 3: STRATUM vII—INITIAL PHASE OF HEROD’S cIRcUS

Yosef Porath

31

cHAPTER 4: STRATA vIc AND vIB—ALTERATIONS AND MODIFIcATIONS TO THE INITIAL cIRcUS

Yosef Porath

73

cHAPTER 5: STRATUM vIA—TRANSFORMATION INTO AN AMPHITHEATER AND THE cIRcUS REvIvED

Yosef Porath

123

cHAPTER 6: STRATUM v—POST-cIRcUS REMAINS

Yosef Porath

161

cHAPTER 7: THE STRATUM vI PODIUM WALL PAINTINGS— DIScOvERY, cLEANING AND PRESERvATION

Mindi Epstein

175

cHAPTER 8: THE ROMAN AMPHITHEATER WALL PAINTINGS— THE PIcTORIAL PROGRAM

Talila Michaeli

183

cHAPTER 9: cHAPEL 1362—GRAFFITI WITH A MARITIME ScENE

Zaraza Friedman

191

cHAPTER 10: SUMMARY AND cONcLUSIONS

Yosef Porath

199

REFERENcES

203

APPENDIx 1: LIST OF ARcHITEcTURAL cOMPLExES

207

APPENDIx 2: LIST OF LOcI AND WALLS

209

THE STRATUM vI PODIUM WALL PAINTINGS

cOLOR PLATES

iv

aBBreViations

AJA BAR BAR Int. S. BASOR Caesarea I, 2 CIL DOP ESI IEJ IGGR HA HA–ESI JRA NEAEHL NEAEHL 5 PEQ PPTS QDAP RA ZDPV

American Journal of Archaeology Biblical Archaeology Review British Archaeological Reports International Series Bulletin of the American Schools of Oriental Research Y. Porath. Caesarea Maritima I: Herod’s Circus and Related Buildings Part 2: The Finds (IAA Reports). Forthcoming Jerusalem Corpus Inscriptionum Latinarum Dumbarton Oaks Papers Excavations and Surveys in Israel Israel Exploration Journal Inscriptiones graecae ad res romanas pertinentes avctoritate et impensis Adademiae inscriptionvm et litterarvm hvmaniorvm collectae et editae Iv. G. Lafaye ed. Paris 1901 Hadashot Arkheologiyot Hadashot Arkheologiyot–Excavations and Surveys in Israel Journal of Roman Archaeology E. Stern and A. Lewinson-Gilboa eds. New Encyclopedia of Archaeological Excavations in the Holy Land 1–4. Jerusalem 1993 E. Stern ed. 2008. New Encyclopedia of Archaeological Excavations in the Holy Land 5: Supplementary Volume. Jerusalem 2008 Palestine Exploration Quarterly Palestine Pilgrim’s Text Society Quarterly of the Department of Antiquities of Palestine Revue Archéologique Zeitschrift des Deutschen Palästina-Vereins

ABBeViations used in THis voluMe cAHEP caesarea Harbors Excavation Project ccE combined caesarea Excavation cTDP caesarea Tourist Development Project HUJ Hebrew University of Jerusalem IAA Israel Antiquities Authority IDAM Israel Department of Antiquities and Museums JEcM Joint Excavation caesarea Maritima LINK Edwin Link Expedition MAI Missione Archaeologica Italiana PENN University of Pennsylvania Expedition

v

PrefaCe

The Israel anTIquITIes auThorITy excavaTIon ProjecT aT caesarea M arITIMa, 1992–1998 caesarea Maritima is among the most well-known and visited sites in Israel. This renowned ancient city, which was the country’s largest in Late Antiquity, owes its existence to the farsighted vision of Herod, who sought to found a port on a coastline lacking nearly any natural protection. With the establishment of this maritime center, an otherwise peripheral location became the principal gateway for Judaea/Palestina during the Roman and Byzantine periods. As such, it attracted and supported a multi-ethnic and multi-cultural population, creating a milieu that led to both prosperity and strife. This cosmopolitan makeup, coupled with bustling economic activity, led to its playing a critical role in the history of the country despite its distance from the original religious and political centers. At caesarea, the events began that ultimately led to the destruction of the Second Temple; the first Gentile was converted to christianity; some major figures of the New Testament resided here; and, at various times during the Roman and Byzantine periods, both rabbinical academies and christian theological schools thrived here. Thus, given caesarea Maritima’s importance in the history of the region, the Mediterranean basin and Western civilization, its notoriety was preserved long after its decline in the medieval period, attracting early European explorers to its ruins and heralding the beginning of modern exploration.

The caesarea TourIsT DeveloPMenT ProjecT (see Plans 1.1, 1.2) Prior to 1992, all excavations at caesarea carried out by the Israel Department of Antiquities and Museums (IDAM) of the Ministry of Education and culture and its successor since 1990, the Israel Antiquities Authority (IAA), were of a rescue nature (the first

excavation was conducted in 1951 by S. Yeivin and S. Levi; cf. Avi-Yonah 1970). In 1992, following three years of discussion between the IAA and the Ministry of Tourism, the National Parks Authority, the caesarea Development corporation, the Municipality of Or ‘Aqiva and Kibbutz Sedot-Yam, it was agreed to initiate a large-scale excavation project oriented toward both the archaeological and touristic enrichment of the site: The caesarea Tourist Development Project (cTDP). The IAA was a leading component of the cTDP, which was active from 1992 to 1998. The cTDP financed archaeological expeditions from Israel and abroad, as well as a conservation team. The archaeological excavations at caesarea Maritima, the initial stage of the cTDP, were launched on March 15, 1992 with an IAA team of 35 laborers and 6 staff members. The project had two principal goals: to enhance the archaeological value of the site as a leading tourist attraction in Israel and to alleviate, temporarily, the unemployment situation at the nearby town of Or ‘Aqiva until more permanent jobs could be found.1 The same concept of initiating archaeological excavations for these two goals had been successfully carried out at several sites in Israel in the past, from Tel Dan and Tel Hazor in the north to Tel ‘Arad, ‘Avdat (Oboda) and Shivta in the south, all in response to waves of immigration. caesarea was also included in such a program between 1959 and 1964. The most recent large-scale excavations at Bet She’an, which were initiated in 1986 and continued until 2002, served as a guide for the administrative structure of the cTDP, albeit with the necessary local modifications. The cTDP united archaeological, touristic and employment aspects under one management headed by Ze’ev Moshe in 1992 and carmela Zarihan-Heler in 1993–1998 of the Israel Government Tourism corporation. This management coordinated and steered the project’s archaeological, conservation and touristic development components in order to achieve optimal results within the limits of governmental

vi financing. The management’s importance increased as the government reduced the total budget in 1995, especially the amount designated for excavations. As such, the IAA excavations since the 1996 season were oriented toward the completion of architectural units incorporated in the routes developed for tourists, and for the clarification of architectural as well as stratigraphic problems. This project was financed mainly by the Israel Government Tourism corporation, with additional support from the Edmond Benjamin de Rothschild caesarea Development corporation Ltd. Two Israeli expeditions, one from the IAA directed by Yosef Porath and the other from the University of Haifa2 directed by Avner Raban and Joseph Patrich, carried out year-round archaeological excavations. The cTDP also supported three expeditions from abroad, which excavated during the academic summer vacation: 1. The foreign components of the combined caesarea Expedition (ccE) directed by Kenneth G. Holum; 2. The University of Pennsylvania Expedition (PENN) directed by Barbara Burrell and Kathryn L. Gleason; 3. The Museum of London expedition directed by Brian Yule in the inner harbor area of the ccE license (Yule and Rowsome 1994). An IAA conservation unit, directed by David Tsel and Yoram Sa’ad, was established to provide ‘first aid’ during the excavations and to maintain the requisite consolidation and preservation of exposed elements. The conservation team was also involved in the restoration of selected monuments based on the overall tourism plan. The first goal of relieving unemployment was achieved as the number of laborers of the entire project increased from thirty-five in the first month of excavation to over two hundred in 1994. This number gradually decreased to eighteen in January 1998 (Table 1).

Several thousands of working days were contributed by volunteers from all over the world, from barmitzvah-age adolescents to senior citizens, all of whom enthusiastically joined the excavations. Among these were Mr. Amnon Kidron and Mr. Ya‘akov Davidor from Israel, Mr. Kenneth Marks from England, Mrs. Silvia Rosenblum from Peru and Miss Keren Ivanyi from Australia, who worked with us for several months; they represent a very long list of volunteers too numerous to mention. The total budget invested in the cTDP over the years 1992–1998 was NIS 80.75 million, of which 42.3% was earmarked for excavation; 24.7%, for conservation and the rest for other tourist development projects. The figures in Table 1 clearly show that the main excavation was carried out from 1992 to 1995; the extent of conservation work surpassed that of excavation in 1996.

excavaTIon anD DeveloPMenT sTraTegIes The fortifications of Byzantine caesarea enclosed an area of about 1,500,000 sq m (i.e., 1500 dunams = 150 hectares or 330 acres), which is the largest fortified city in contemporary Palestine. On June 13, 1968, a portion of the ancient city was declared a national park; it comprises the restored Roman theater (excavated by the Missione Archaeologica Italiana [MAI], 1959–1963), the fortified crusader town (excavated by the National Parks Authority, 1960–1964) and the Byzantine esplanade adorned by two colossal statues (excavated by the IDAM in 1951). The national park encompasses less than a third (about 475 dunams) of the west side of the Byzantine fortified city and was developed for tourism around the three aforementioned complexes. Most of the remaining area was left for modern cultivation by Kibbutz Sedot-Yam, which is

Table 1. Number of Employees in the Excavation and Conservation Projects, 1992–1998 (in 1998 there was no distinction between the worker’s tasks) Year 1992 (from 15.3)

Average Number of Workers Employed in Excavation

Average Number of Workers Employed in Conservation

Total

50

20

70

1993

100

40

140

1994

160

54

214

1995

120

62

182

1996

43

52

95

1997

20

35

55

18

18

1998

vii dotted here and there with archaeological investigations (see Plan 1.2). Thus, a major goal for the cTDP was to create a continuous site that better presents the nature of the ancient city for tourists. To this end, a more than 400 m gap of unexcavated and undeveloped area between two main tourist attractions (the Roman theater in the southwest zone of the Roman city and the crusader town to the north) was closed. Another major goal was to uncover the east quay of the Herodian harbor and the adjacent Roman monuments in order to revive the ancient harbor, which was silted up in postRoman periods. The Israeli and foreign expeditions shared these excavation goals in close cooperation.

The Iaa exPeDITIon The IAA expedition excavated continuously from March 1992 to March 1998 with short pauses (June– August 1992, September–December 1997) under Permits A-1943/1992 and A-2087/1993 and Licenses G-38/1992, G-6/1993, G-6/1994, G-6/1995, G-6/1996, G-16/1997 and G-15/1998). The number of workers employed by the IAA expedition, out of the total number (Table 1), varied according to considerations dictated by the policies of the Israel Ministry of Labor and the allocation to each of the two expeditions (IAA and ccE). The IAA staff for the 1992–1998 seasons of excavation consisted of the following members: Director: Yosef Porath (1992–1998). Area Supervisors: Peter Gendelman (1992–1998), Zvi Gil (1993–1995), Ilana Gonen (1993–1996), Amir Gorzalczany (1992–1993), Karmit Gur (1993–1997), Doron Lipkonski (1992), Yoram Lotan (1994–1998), Eldad Oren (1993–1996), Orit Peri (1992–1994), Shlomo Sender (1992–1996), Adriana Yas‘ur (1993–1995). Registrars: Hasya ‘Azimi (1997–1998), Orit Peri (1992), Gili Rosenblum (1992–1996). Site and Artifact Photographers: clara Amit (1996), Asaf Peri (1992–1996), Tzila Sagiv (1996–1998).3 Field Surveyors: Svetlana Burstein (1994–1995), Rivka Mishayev (1992–1998), Lev Filipov (1992–1996). Computer Draftsperson: Ana Yamim (1993–1998). Pottery Restorer: Hana Halel (1992–1997). Finds Illustrators: Ziv ‘Atar (1993–1995), Boris Hayimov (1996–1997), Rivka Mishayev (1995–1998), Lev Filpov (1993–1996).

Technical Adviser and Metal Detection: Yehoshu‘a Dray (1992–1996). Administrators: Ze’ev Ginat (1996–1998), Moshe Tzadik (1992–1996). The IAA expedition (1992–1998) was assisted by the IAA conservation Team at caesarea and by the main office and laboratories in Jerusalem (metal, stone and pottery). Many specialists in several fields—from the IAA and from academic and private institutions— contributed to the processing of the artifacts and architecture, and participated in the preliminary and final reports. This and future final reports are the result of all their joint labor and skills. Herod’s Circus opens a series of final reports of the excavations carried out by the Israel Antiquities Authority expedition directed by Dr. Y. Porath. The planned program consists of individual publications, each devoted to a large-scale architectural complex that was excavated solely, or principally, by the IAA expedition, as well as other associated remains. This first report is divided into two volumes: Part 1— architecture and stratigraphy (this volume); and Part 2—the finds. The publication focuses on the facility for chariot races constructed under Herod’s orders for the inauguration of caesarea, and the area’s later development (see Plan 1.1:11). Future publications will present the architecture, stratigraphy and finds from various complexes. Two of these will comprise a study of the evolution of the architecture in the southwest zone of Roman and Byzantine caesarea: (1) a Byzantine bath and the larger portions of a Roman domus unearthed underneath it (Area I; see Plan 1.1:10; Porath and Gendleman, in prep.); and (2) the Praetorium of Roman Judaea/Palestina, located in the south sector of the city’s southwest zone (Areas I and Iv; Plan 1.1:12; Porath, in prep. b). A third study will be devoted to a portion of caesarea’s larger and more elaborate circus, the East circus/Hippodrome (Area vI; see Plan 1.1:8; Porath, in prep. a). While the finds from each architectural complex are discussed separately in relation to each complex, together they may form the basis for the production of corpora of pottery, oil lamps, statuary, coins, inscriptions, etc. in the future.

viii noTes The neighboring town of Or ‘Aqiva was a popular residence for new immigrants from the former Soviet Union. Later, unemployed new immigrants from Ethiopia, who lived in the nearby city of Hadera, also joined the expedition. 2 The University of Haifa expedition was a principal component of the combined caesarea Expedition (ccE); its 1

excavated areas are indicated with the label ‘ccE’ (see Plan 1.2). 3 In addition, the director, the area supervisors and the technical adviser also occasionally took photographs during the course of the excavations.

Chapter 1

I ntroductIon Yosef Porath

BaCkground

Samaria hi s armon 1 61 43 44 50 ir and Bar ose 1 6 1 115 116 oro it 1 3 1 5 ia s stems ar on irt man 1 0 .2 i e oe e ander Hadera and anninim drain the re ion est ard to the sea creatin a s in the kurkar and amra stri s. he sand trans orted north ard the co nter c ock ise east editerranean c rrent rom the i e e ta and the Sinai enins a has enetrated in and thro h these to o ra hica a s. his in and enetration o aeo ian sand has een acce erated north o a a Hadera d e to the marine erosion o the esternmost kurkar rid e. he ori ina to o ra h in the area o ancient aesarea here most o the estern kurkar rid e had een eroded and the midd e one is re ati e o has een co ered a a er o sand o ar in thickness.

geographiCal Summary1 aesarea aritima and its har or Se astos are ocated mid a a on the editerranean coast o modern srae i s. 1.1 1.4 an 1.1 in the north art o the Sharon coasta ain. he modern eo ra hica term Sharon de ines the centra section o the srae i coasta ain ordered a a anninim rocodi e i er in the north a a ar on in the so th the Samaria hi s in the east and the editerranean Sea in the est i . 1.2 . his section o the coasta ain com rises three on it dina stri s three o ara e kurkar rid es in the est the amra hi ocks in the center and an a ia tro h at the oot o the

ome

thens ntioch

artha e

rra

a

a er sa em

0

e andria

500 km

ra ma

ma

m r

a

a

a ar a

2

210 000

205 000

200 000

1 5 000

1 0 000

1 5 000

20 000

1 0 000

S

inim

nn . a

15 000

15 000

10 000

10 000

N. Ha

dera

05 000

05 000

an . ot 00 000

N.

N.

00 000

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vi

va 6 5 000

6 5 000

. Shekhe

m 6 0 000

6 0 000

6 5 000

6 5 000

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6 0 000

6 0 000

6 5 000

6 5 000

.

6 0 000

ar

on

6 0 000

ana

.

. Sh

i o

Sand and d nes

625 000

Kurkar rid e

ra ma

ar

a a

a

5 km 205 000

200 000

1 5 000

1 0 000

1 5 000

1 0 000

0

625 000

3

1

ra

a ar a

r r

he coast ine o the Sharon ain acks an o io s nat ra ha ens ho e er the eroded kurkar rid e o ers a ossi e imited anchora e so e d rin ca m seas. man inter ention as re ired to rod ce a etter and sa er anchora e. t aesarea in erod s da this as achie ed the constr ction o the arti icia har or Se astos. he c imate o the Sharon ain is t ica editerranean and is characteri ed a mi d rain inter and a arm h mid s mmer. he a era e ann a inter reci itation is 5 0 mm. he soi s en o enti ro nd ater hose ater ta e is re ati e hi h and res ma as e en hi her in anti it e ore the ad ent o modern m in . he hei ht o this a i er is o erned mean sea e e and rises in and rom 0.3 to 0.5 m near the each. oca inha itants dri ed man e s to dra ater or home cons m tion and or

m

r

a a

a

ur

irri ation orath 2002 124 125 Si an et a . 2004 . he hi h ater ta e a so s ied se era s rin s in the icinit o aesarea o hich t o kno n so rces dischar e their ater ithin the area enc osed the 3 erodian orti ication. he hinter and o ancient aesarea consists o erti e soi s in the a ia asins o a a Hadera and a a anninim as e as the tro hs et een the kurkar rid es the semi erti e amra soi and mar ina ands s ch as the sand d nes an and aa on 1 0 . e ardin the ast it as ossi e to aci itate intensi e a ric t re or the c ti ation o resh e eta es and r its rom sand d nes o o to o ra h ro idin irri ation rom e s to . 5 m ms or ma a a ric t ra s stems orat h 1 5 200 1663 a enhanced enrichin the d nes thro h massi e erti i in main rom the cit s ar a e.

4

S

h sra ar etc. . detai ed histor o aesarea ased on the c m ati e e idence rom s r e s e ca ations and s r ace inds nti the 1 0s has een ished in se era modern orks e ine 1 5a 1 5 in e 1 5 o m et a . 1 . o e er it is on ro er that some ke dates and e ents in the histor o the site rior to its resett ement at the end o the nineteenth cent r e mentioned

he e o tion o an economic and o itica center at aesarea stim ated the de e o ment o roads that connected the cit ith other in and re ions. on erse the radia road net ork that de e o ed in the oman eriod o 1 6 enhanced the increasin im ortance o the cit es ecia ith the ina ration o the co ossa har or o Se astos. he com ination o these actors maritime econom eas access to resh ater a hinter and ith erti e soi and ood trans ortation ro tes ed eo e to sett e in this s eci ic s ot a on the coast o the Sharon as ear as the irst ha o the irst mi enni m B on e ore it attracted the e e o erod.4

1. n 22 B in erod 3 4 B ordered the esta ishment o a cit and a har or eside the e enistic Στρατονο Πυργο Straton s o er hich as ina rated t e e ears ater 10 B . he har or as named Σεβαστο Se astos , the reek e i a ent or the atin ord st s and the cit Καισαρεα, aesarea in honor o erod s atron ai s i s aesar cta ian s st s. 2. n 6 aesarea ecame the o ernor s seat and the administrati e center o oman dea. 3. he e ish e o t 66 0 er ted a ter anti e ish riots at aesarea. rin that time eriod the

hiStoriCal BaCkground he o ndin o aesarea and some e ents in the histor o the cit are concise recorded in ancient te ts s ch as ose h s u and ar am se i s ar r ra inic te ts horici s o a a ra kaddasi r asir i

a ar a

k

ra

a a

ra

r a

u

5

1

150 000

140 50

140 500

he oman ictor and the destr ction o er sa em 0 ere ce e rated here. S se ent aesarea as re arded ith the stat s o oman o on and named a r ma a a u u a a ar 140 250

140 000

13 50

13 500

cit ser ed as the o istics ase and a inter resort or some nits o the oman arm . he so diers ho ser ed in dea ere amon the irst to s ort the a ointment o es asian as em eror in o 6 .

2

1

213 000

213 000

212 50

212 50

3 4

212 500

212 500

5

212 250

212 250

6

7 212 000

212 000

9 8

10

211 50

211 50

11 13

211 500

211 500

14 3

15

211 250

211 250

a

a

a ar a r ma ar ura a u u r a a am a ar r ru a r a a r u a a r r u ma ra u r r r u a ra

m a r

140 50

250 m

140 500

140 250

140 000

13 50

13 500

0

a u u a r m m a rm r um am a ru rr a r um a

150 000

12

6

S

m eror es asian. n the o o in ears dea s oman o ernor as romoted rom u to a u u r ra r . 4. rin the second to si th cent ries aesarea o rished as the ca ita o oman a estine. he rocess o hristiani ation as acce erated a ter onstantine the reat terminated the rar 324 . 5. he eriod o 614 to 62 marks the ersian occ ation o a estine. 6. B antine r e ret rned et een 62 and 640 . . he s ccess ra sie e in 640 41 marks the e innin o s im aesarea 640 1101 . he ar e sections o the cit e t deserted and the a a e arts o its i din s that ere dismant ed and rec c ed indicate that m ch o the B antine o ation had de arted. orti ied sma to n emer ed o t o the r ined cit in the ninth cent r . . r sader aesarea 1101 1265 as a center or the ranier ie and enoese economic interests in the atin in dom o er sa em. he cit as stormed Sa adin in 11 and then reocc ied the ranks d rin the hird r sade in st 11 1. t as hea i orti ied ith a cit a and a moat d rin the Se enth r sade o o is o rance 1251 1252 . aesarea as ca t red the am ks commanded the s tan Ba ars on arch 5 1265. he oca o ation a andoned the cit hich as de i erate destro ed in order to a oid an ro ean stron ho d ein reesta ished a on the a estinian coast.

a Brief Summary of previouS r eSearCh aesarea aritima is one o the most e tensi e in esti ated archaeo o ica sites on the editerranean coast ine o srae ans 1.1 1.2 . he historica research and archaeo o ica e orations o the ancient cit nti 1 0 ere s mmari ed i onah 1 3 ro a 1 3 o m and a an 1 3a 1 3 e ine and et er 1 3 e e 1 3 a an 1 3 o m and a an 1 6 and most recent dated orath 200 as e as o m 200 atrich 200 and a an 200 a . n addition a detai ed s r e o nder ater and maritime e orations and e ca ations carried o t to 1 as ished a an and co ea es a an ed. 1 55 235 a an 200 . s the sco e o ications concernin aesarea aritima and its en ironment is ast on the most re e ant iterat re i e re erred to e o here necessar .

the iaa exCavationS exCavationS he e edition e ca ated in the o o in areas n m ered thro h an 1.2 ra as e ca ated rom 1 2 to 1 and e tends a on the coast in the so th est one o tside the r sader orti ications et een rea o the ie d to the north and the r a a e ca ated the issione rchaeo o ica ta iana ro a 1 65 15 164 st north o the theater to the so th. he ori ina an as to com ete nco er the area rom the modern shore ine to the north so th a ed street reas an 1.2 hich as renamed ardo 1 the artici ants o the orath 1 6a 111 .5 rea as a so e anded est ard to ni it ith the area o the e re ni ersit o er sa em and ni ersit o enns ania e ca ations in order to e ca ate the co ossa architect ra com e es nco ered erod s irc s this o me the B antine ath constr cted o er it orath and ende man in re . and he oman o ernor s a ace or re iminar re orts c . eason 1 orath 2000 ina re ort orath in re . . r a as e ca ated rom 1 2 to 1 5 and inc des the est section o the tem e at orm and the o en area et een the est acade o the at orm and the har or s east a . r a as e ca ated rom 1 2 to 1 4 and is ocated on oth sides o the so th r sader a rom the a a ate in the r sader orti ications and est ard orath eeman and Badi i 1 1 orath 200 . rea as initiated as an e ansion o ear ier sa a e e ca ations north o the r sader a ermit os. 1641 and 16 3 and ater e anded so th ard. he team e ca ated nti ro nd ater as reached and then the team e ca atin the inner har or took o er. r a as initiated as a sa a e e ca ation et een 1 5 and 1 so th est o the oman theater and then e anded east ard to trace a se ment o the so th erodian cit a and a oman cemeter o tside the a . rea a so co ers se era sma sca e e ca ations carried o t in the theater s erimeter d e to the need or radin the modern in rastr ct re o the restored and acti e sed aci it . r a co ers a on narro sa a e e ca ation at the ottom o the east and north r sader moat rior

7

150 000

140 50

i h e e a ed ct

ie d

aesarea aritima a and ca ation reas

Site

srae e artment o nti ities and se ms srae nti ities thorit e re ni ersit o er sa em issione rchaeo o ica ta iana d in ink edition ni ersit o ai a nc din srae ndersea Societ and enter or aritime St dies oint edition to aesarea aritima aesarea ncient ar o r ca ation ro ect ni ersit o enns ania om ined aesarea editions

213 000

140 500

140 250

140 000

13 50

13 500

1

213 000

oration o

e e a ed ct

16 1

W 212 50

212 50

B

anti

ne

orti

ie d

catio

ns Bird mosaic

212 500

ntrance

S na o

212 500

e area

o ers

ie d

orth

reak

ater

L

erodian har or

212 250

212 250

LL So

th

rea

k

o mn ett

ate

ie d

r

a ts

212 000

212 000 16 3 1641 ie d B

ie d

ie d

211 50

211 50 e isk

n o rti c ation s oma

ie d .

211 500

B

211 250

a a

ar u

ria

ca

es

211 250

140 500

250 m

140 250

140 000

13 500

13 50

r a

B

a

0

a

i a

s

ion

at i c

ort ne nti

a

a ar a

140 50

.

150 000

ie d .

211 500

B ria ca e

8

S

to trenchin or the insta ation o a draina e i e and e ectricit ines in 1 5 and 1 6. r a is a res m tion and e ansion o the 1 4 so ndin s so th o the a en o e isk in the ast irc s i odrome m hre 1 5 in order to ather str ct ra e idence o the a and to st d the ro a i it o the o e isk s a a . he o e isk as re erected d rin 2000 and 2001 the onser ation e artment and at the same time the im ressi e remains o the m a r ma and the so th section o the ur u ere nco ered orath 200 in re . a . ra contains a ortion o a semicirc ar i din e terna diameter a o t 4 m and a se ment o the so th B antine a 2.65 m ide that ere nco ered nder the aesarstone actor o i t Sedot am in 2000 2001 near rea orath 200 165 . he team a so artici ated in three sa a e e ca ations o tside the B antine cit a 1. ria ca e dated to the ate oman B antine eriod as c eared o o in its disco er d rin in rastr ct re ork in 1 2 an 1.2 arro in so theast orath 200 4 54 . 2. emains o a i a dated to the third to o rth cent ries ere nco ered nder the sand d nes a o t 50 m so theast o the B antine a and e ca ated in 1 4 an 1.2 arro in so theast . 3. he re io s e ca ated mosaic a ed co rt ard o the Bird osaic mansion as re e osed and additiona imited sections ere e ca ated an 1.2 arro to east orath 2006 200 1662 orath orin osen and e er 200 .

field methodS he e ca ation o s ch a ar e site that as e ca ated se era e editions each im ementin an inde endent rid re ired a oca so tion or e er area. ne rid as o ened or rea the ar est amon the ie ds. he rid o rea as ater e tended to rea . he rid in reas and as ada ted to the aesarea ncient ar ors ca ation ro ect rid o ie ds and as the t o e editions e ca ated di erent nits o the same architect ra com e es tem e at orm east a o the inner har or medie a to n etc. . he rea e ca ations in the r sader moat ere recorded accordin to their ocation in the moat on the ma o the r sader orti ications. he rid o rea as a i ned ith the a en o e isk.

he asic e ca ation nit in the areas as the 5 5 m s are. ach area as s di ided into s ares n m ered accordin to the rid. ach rid s are as desi nated ith a atin etter 6 in a ha etica order rom est to east and a n mera in ascendin order rom so th to north. s the e ca ations in rea e anded est ard a ter the initia s are desi nations ere assi ned the s ares est o the etter ere i en do e etters in re erse a ha etica order rom see an 1.3 . he e terna e ca ated s are ines o rea are as o o s the north ro is 123 the so th ro is 5 the east is co mn S and the est is co mn . rea as desi nated accordin to the same rid. he main ie d o rea stretched et een the o o in s are ines the north ro is 3 the so th ro is 32 the east co mn is and the est co mn is . n ess other ise noted a e e ations are a o e mean sea e e ms . oca dat m oint ca c ated accordin to the S r e o srae trian ation oints as marked on a s eci ic ock in each area the initia dat m oint o rea or instance as the e osed to o a mar e co mn in S 112 at 12. 4 m ms .

field r egiStration and doCumentation he re istration method o the e ca ations at aesarea as the s stem ide em o ed in srae i e ca ations since the 1 60s haroni 1 3 11 132 . he asic archaeo o ica nit is the oc s hich consists o an identi ied a er or man made eat re s ch as a s oors s oor i s de ris i s its or insta ations as e as the nat ra soi or edrock. oci ere n m ered in order o their disco er a s ere i en a re i o the etter to distin ish these eat res rom the oci hich ere receded the etter . ach area as ro ided ith a set o oc s n m ers a e 1.1 . he oc s set o rea as e anded se era times as re ired the increasin n m er o e ca ated s ares and nits. rea as e ca ated sim taneo s in s areas each directed a ie d s er isor and e er s area as s ied ith a ortion o the area s enera oc s set. o the inds otter coins ood remains stone one and meta arti acts ass charred ood etc. and sam es or a orator ana sis that ere co ected in a artic ar oc s ere assi ned a asket n m er that as ne er sed e ond a sin e da . n addition s ecia inds s ch as an intact esse an inscri tion a

9

1

coin an architect ra e ement a stat e etc. recei ed a se arate asket n m er. he in ormation on the asket ta consisted o the icense n m er date area and s area i re e ant oc s n m er s are desi nation accordin to the area s rid and a asket n m er. he askets ere recorded in a dai asket o accom anied a to an sketch s a dra n at a sca e o 1 100 hich ra hica re resented the co rse o e ca ation. he area s er isor read the inds and the res ts ere recorded on a co mn in the asket o . he data as ater in t into a com ter sin the ro ram ca ator 2000 hich as de e o ed to rocess data rom archaeo o ica e ca ations. n addition to the asket o and sketch an each area s er isor a so ke t a oc s o and a dai diar here the e ca ation s ro ress and ie d o ser ations ere recorded. Se era co ossa architect ra com e es ere rad a nco ered d rin the ears o e ca ation s ch as erod s irc s the street rid a aces athho ses etc. ten sections o the

same e ement ere e ca ated nder di erent teams and s er isors and th s assi ned di erent a or oc s n m ers. ni ication o s ch di erse and o ten dis arate a or oc s n m ers as carried o t d rin the rocessin o the data and in re aration or ication. ina a and oc s n m ers mentioned in the te t or in i strations are recorded in the ist o oci and a s o each mono ra h. he ans o the architect re nco ered ere dra n in the ie d at a 1 50 sca e and ere ater com teri ed sin to . ans or dra in s o s ecia inds deser in a more detai ed sca e ere re ared accordin to the nat re o the dra n e ement. Sections ere dra n in the ie d at a 1 20 1 25 or 1 50 sca e and are resented here at sca es commens rate to the si e o the area concerned and ication imitations. s these sections are a ita record o the strati ra hic se ence and the architect ra histor o this com e a se ection o si ni icant m ti strata sections is resented here an 1.3 .

11 L ar

r a

1

2

001 1001 1 4001 5

10 001 10 160 12 001 13 063

3001 30 5

1

3

01 1301 1 01 2001 6501

4 14 1 2200 6551

10 162 10 450

30 6 3200 001 066

1

4

3201 4501 6151 6601 001 501 601 001

3433 4 6250 6 13 5

10 451 10 6 2

1

5

3434 3 3 01 3 2 13 4 120 4

1

6

3 2 3 20 01 60

001

0

11

1

3 21 3 20 001 20 542 21 001 21 033

1

20 551 20 634 21 034 21064

10 6 3 10 0

40 001 40 2 6

6301 633

6340

60 001 60 00

10

S

WW

L

ec man s S2 132

131 130 129 128 127 126 125 124 123 122 121 120 1 1 119 Meta secunda 118 2 2 117 116 115 114 113 3 3 ec man s S3 112 111 110 109 Spina 108 107 106 105 4 4 104 103 102 5 5 101 100 99 98 97 96 95 94 93 ec man s S4 92 91 7 7 90 6 6 89 88 87 15 15 86 85 84 83 82 81 80 79 14 78 Meta prima 77 76 75 Sphendone 74 ec man s S5 73 72 71 10 10 70 Praetorium 69 11 11 68 0 30 m 67

Carceres

8

1213

13

14

9

12

8

9

132 131 130 129 128 127 126 125 124 123 122 121 120 119 118 117 116 115 114 113 112 111 110 109 108 107 106 105 104 103 102 101 100 99 98 97 96 95 94 93 92 91 90 89 88 87 86 85 84 83 82 81 80 79 78 77 76 75 74 73 72 71 70 69 68 67

WW

a

a

L

ma

a ra um

a

r u

11

1

4.00

4.00

L547 L567

4.00 3.00

W415 L548

L568 L569

L547

L580 L570

2.00

L570

L570

1.50

L570 L580

2.00

3.00

W415

L570

L567 L568 L569 L548 L570 L570 L570

3.00

4.00

W563

W650

W669 W563

3.00 2.00

W669 W650

1.50

1-1

2.00

ar a

1.50

1.50

1-1 W249

5.00

5.00

W249

W415

4.00

5.00

5.00 4.00

L546 W415

4.00

L546

3.00

L569

W563

2.00

W669 W563

L570 L569 L570 L570 L568

L543

W650

L580 2.00

4.00 3.00

L568

W650 3.00

L547 L567

W669

L570 L570

L543

1.00

L580

1.00

2-2

2-2

ar a a

L570

L547 L567 L570

3.00 2.00

L570 2.00 1.00

1.00

12

S

4.00

4.00

3.00

L4882

L4887 L4890

L4906

2.00

L4897

L4882

3.00

L4908 L4909 Beachrock

L4898

1.00

2.00

1.00

3-31

4.00

4.00

W1389

L4882

3.00

L4887 L4890 L4892

L4897 L4898

2.00

3.00

L4882 L4897

2.00

1.00

1.00

31-3

ar a

5.00

5.00

4.00

4.00

W1389

L3722

3.00

3.00

L3723 L3725

2.00

L3721

L3728 L3734 L3740

L3741

L3739

L3726

2.00

L3740 L3741 1.00

1.00

4-4

ar a a

W1356 6.00

5.00

L3725

2.00

L3728 L3734 L3739

L3740

L3741

2.00

L3726 L3740 L3741

4-4

13

1.00

1

1.00

W1356 6.00

5.00

4.00

4.00

L1387 3.00

W1389

L1410 L3719

L3730

L3732

L3731

L3749

L3736

2.00

3.00

L3751

L3750

2.00

L3752 L3753

1.00

1.00

5-5

ar a

.00

W7069

W7143 .00

5.00

.00

W1781

W7064

W1086

W6196

L7409

.00

L7410

L1612

L7414 Sand

3.00

5.00

L7419 L7415

oarse sand Bedrock

Beach sediments

Kurkar L1624 L1623 L6122

L7128 Hamra

3.00

1.00

1.00

6-6

a

W1389

a 3.00

3.00

2.00

L1635

L7208

2.00

Sand 3.00

L7419 L7415

oarse sand Beach sediments

Bedrock

14

1.00

Kurkar L1624 L1623

L7128 Hamra

3.00

L6122 1.00

S

6-6

W1389

3.00

3.00

2.00

L7208

L1635

2.00

1.00

1.00

7-7

a

am

a r

a

um

a

6.00

6.00

5.00

5.00

W1705 4.00

L20028

4.00

L8820 3.00

3.00

L8823 L8830 2.00

2.00

L20460 1.00

8-8

72

a

Bedrock

L20632

k

L20084

1.00

a 71

70

.00

.00

.00

.00

.00

.00

L20084

L20460

Bedrock

L20632

1.00

8-8

1.00

15

1

72

71

70

.00

.00

.00

.00

.00

.00

6.00

6.00

5.00

Stone

4.00 3.00

W20461

W20092

2.00

L6935 Stairs

a in L6932

i L8820 S r ace L8823 L20162 S r ace Stairs L20072 L20084 hanne

W20119 W1389 a o ndation

L20632

1.00

5.00

S r ace L20028

4.00

i L8830 3.00

i L20460 Bedrock

9-9

r

u

u

a

W6540 5.00

W6550

5.00

L6552 4.00

4.00

L6528 L8936 W8947

3.00

L8933 3.00

L20072 W20154

L20121

2.00

2.00

10-10

ar

u

a

a

6.00

5.00

6.00

L8820

W8800

5.00

L8823 4.00

4.00

L20072 L8830 L20084

3.00

2.00

1.00

L20196

L20460

L8914 3.00

L20084 2.00

1.00

2.00 1.00

3.00

L20072 W20154

L20121

2.00

16

2.00

10-10

S

6.00

6.00

5.00

W8800

L8820

5.00

L8823 4.00

4.00

L20072

L8914

L8830 L20084

3.00

L20196

2.00

3.00

L20084

L20460

2.00

1.00

1.00

11-11

u

u

a

L8822

6.00

6.00

W1478

5.00

W6649

4.00

4.00

L20196

3.00

L8829

2.00

5.00

L20084

L8835

3.00

2.00

Bedrock

1.00

1.00

12-12

a

3.50

3.00

a

3.50

3.50

3.50

3.00

3.00

W1409

W1389

3.00 2.00

L20091 2.00

2.00

L20622 2.00

Sea sand

Beach sediments

1.00

1.00

13-13

1.00

Kurkar

Hamra 1.00

Hamra L8878

05.00

05.00

14-14

L8829 L20084

2.00 5.00

1.00

1.00

W6649

4.00

3.00

2.00

3.50

W1389 3.00

W1389

L20084 Bedrock 12-12

3.50

1.00

3.00

2.00

2.00

3.50

3.00

1.00

Sea sand Hamra W1389

1.00

Sea sand Hamra 1.00

13-13

L20196

3.00

L20084 3.50

0.50

5.00

1.00

17

Bedrock

W1409

3.00

3.50

2.00

3.00

12-12 2.00

2.00

L20622

3.50

L20622 Hamra L8878

2.00 3.00

3.50 1.00

1.00

3.00 05.00 1.00

W1409 Kurkar

Hamra

L8878 Beach sediments Beach 1.00 sediments

14-14

2.00

2.00 3.50

3.00

1.00

Kurkar 05.00

05.00

14-14 L20622 a a

05.00 2.00

Hamra L8878

Sea sand

1.00

Hamra L7496

L7446

Beach sediments 2.00

1.00

14-14 0.50

1.00 0.50

2.00

L7446 L7497

W8602

L7498

1.00

W8603

0.50

15-15

r a

ar a

r ma

1.00

Kurkar

L7446

L7497 05.00 1.00 W8602 L7497 W8602 13-13 L7498 W8603 L7498 W8603 15-15 15-15

L7496

0.50

3.00

W1409

2.00

1.00

3.50

1.00

3.00

2.00

2.00

1.00 1.00

2.00

2.00

L7496

0.50

L8835

3.00

13-13

2.00

1.00

1.00

L20091

a a 2.00

W1478

6.00

4.00

L88293.50

L20091

2.00

2.00

Bedrock

2.00

L20091

L8835

1 12-12

3.50

3.00

3.50

L8829 L8835 L8822

6.00

2.00

arr r

05.00

18

S

Stratigraphy of the iaa exCavation areaS he e ca ations re ea ed se era architect ra com e es i din s and insta ations in reas datin rom the e enistic eriod to the modern times third cent r B to the t entieth cent r . reas and ro ided a enera o era architect ra e o tion or the so th est one see i . 1.4 o the cit initiated in erod s time rom the ate irst cent r B to the ina da s o reater aesarea in the se enth cent r as a res t o the ra con est o 640. he e idence or oman and B antine aesarea nco ered in the heart o the cit reas and corre ated ith the res ts o tained in reas and . he remains o medie a and ost medie a aesarea main rom the area

enc osed the medie a orti ications ro ide e idence or the cit s ros erit and dec ine in eriods o o in ate nti it . s the architect ra com e es o aesarea are s read o t o er a considera e e anse and each area consists o nits ith their o n oca de e o ment it as decided to treat each com e ith a oca hasin s stem that co d e corre ated to the ma or historica hases at the site a e 1.2 . ach com e s se ence as re erred to strata t em o in di erent desi nations oman n mera s or erod s irc s this o me ra ic n m ers or the B antine athho se and the oman mu and atin etters or the oman ra r um. he atter t o desi nations i e added to t re ersions o this ta e in the re e ant re orts.

12

a

ra

L

a

r Sett ement remains i a e insta ations and cemeteries dated to the ate ttoman eriod and British andate

1

1

2

1265 1

3

1101 1265

4

25 1101

5 6

2 1 4

640

2

25

irst to third cent ries

10

emeteries insta ations and a e sett ement remains dated to the and ttoman eriods

6

am k

orti ed to n and cemeteries dated to the r sader eriod orti ed to n and cemeteries dated to the ar

s amic eriod

oor ost B antine sett ement remains on the ha deserted and e cit dated to the ar s amic eriod

o rth cent r to . 640

22 B

a ar a

oited

ros ero s cit dated to the ate oman and B antine eriods e e o in and ros ero s cit dated to the oman eriod rchitect ra com e es dated to the o ndation o erod as e as rche ae s rei n

aesarea and Se astos

hird to rst cent ries B

Sett ement remains and cemeteries o Straton s o er dated to the e enistic eriod

Sherds

. 10 000 o rth cent r B

rti acts nre ated to an architect re dated to the Bron e and ron es and the ersian eriod

Sherds

i a eo ithic eriod the

int

ra a

19

1

noteS or detai ed eo ra hica ack ro nd see emmin ee and mer 1 ir 1 and a an 1 . 2 Kurkar and amra are oca names or res ecti e a ca careo s sandstone and red sand oam o aternar e that occ r on the coasta ain o srae . 3 ne is in e Ba ad i a e s rin hich is ocated north est o the ancient s na o e. his s rin as ro a one o the reasons or the ocation o e enistic Straton s o er hich receded the o ndin o aesarea and as in se nti 1 4 . he second is nder ater and as accessed se o a ater i e inserted into a circ ar to er inside the har or hich sti dischar es resh ater toda o m et a . 1 2 3 Section 3 . ther ater so rces 1

1

ma ha e e isted as is demonstrated ater an additiona s rin ithin the con ines o the medie a orti ications that as e oited ia a i e ine d rin the re r sader eriod orath 2002 12 12 . 4 Se era ron e otter ra ments ere nco ered d rin the e ca ations in the i s o the tem e at orm and east o erod s irc s. 5 Sections o 1 ere e ca ated the oint edition to aesarea aritima in the 1 0s and 1 0s here it as considered Street o m et a . 1 1 5 1 6. 6 he etters and ere omitted rom the rid desi nations o the areas to a oid an ossi e con sion et een the etters and res ecti e .

20

S

Chapter 2

Discovery anD iDentification of HeroD’s circus yosef PoratH

DisCovery mm

11 1 m m m

1

1

m

m

m 1 1

1 1

11

m

1

11 0

1

m m mm

1

11

m

m

m

iDentifiCation anD funCtion

11 0

11

10 m m

m m

m kurkar

(αµφιθεατρον

m

m

1

m

1 m m

100 m

m m m

m

m spina

100 m m

carcares m

m

m

m

m Ant.

circus 01 0 m

0

m m

m m

m

m

stadia

m

m

m

m

341

m m

m m

m

m

mm

m

m

22

m

.

.

.

.

1 0

100 m

Plan 2.1. General map of the pre-Herodian and 1959 shorelines related to Herod’s Circus and the location of the beginning of excavation: (A) promontory (= headland, later ‘Governor’s Palace’); (B) island (later ‘Crusader Citadel’); (C) ‘Vomitorium Bay’; (D) Hellenistic cemetery on headland; (E) Hellenistic cemetery east of Herod’s Circus; (F) missing west wall/cavea of Herod’s Circus; (G) temple platform; (H) carceres; (I) south gate; and two inital probes.

23

Fig. 2.1. Aerial photograph at the beginning of the excavation, looking north.

3Fig. 2.2. Tiers 1152 in process of excavation, looking east; note the large void in the left foreground.

Fig. 2.3. Close-up of the void in Tiers 1152, looking east.

Fig. 2.4. Sloping fill over horizontal deposit in Vault 1634, during excavation. Note the opening to vaulted Corridor 7126 behind the sign.

24

Fig. 2.5. Jars (Byzantine rubbish) at the eastern section of Vault 1634, looking east-northeast.

Fig. 2.6. Artist s rendition of the Byzantine rubbish that penetrated the vomitorium (L. Filipov).

m 1

1

1

1

m 1

m

1

1

1

m 1

00

m m

25 Theater m τεαθρον, m 1 m

theatrum

m

m

1

m m

m Odeum

ωδειον 1

m 1

m

m

m

1

m

m

m

1

m m

Martyrs

m

11 Ant.

m 1

m

m m Ant

m

m

m

m

m

ιππκα m

1

0

1

1 0 1

Amphitheater m

).5 m

m

m m

m venationes

m

m

m Chronographia 10

m

m

11

0

m

m

m m

1

1

m m

m

m 11

amphitheatrum αµφιθεατρον, 1 munera m .

m

1

0

100 m

Fig. 2.7. Schematic plans of: (1) theater (Caesarea, after Frova et al. 1965: Fig. 21); (2) amphitheater (Bet Guvrin, after Kloner and Hübsch 1996: Plan 2); (3) stadium (Delphi, after Aupert 1979: Pl. IV); (4) circus (Herod’s Circus at Caesarea, Stratum VII).

26 m

m

m

m

m

m

m

m 1

m m

m

m

m Ant.

m m

m

m

m

m

m

1

m 1

m War

m

Martyrs

m

Stadium

m

0

m

m

11

m

m m

1 m

m

m munera venationes

m

m

1

m

0

m

m

m 1 1

1

1

m

m

m

m

001

m m 1

stade

m

stade m 00 m 1 0m

1 01

stadia m 1

m

σταδιον, m

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Chapter 3

Stratum VII—I nItIal PhaSe of herod’S CIrCuS YoSef Porath

IntroduCtIon he initial hase of ero s ir s as onstr te rin ero s rei n in time for aesarea s ina ral ele rations ose h s Ant. V 341 VI 137 in 10 9 . hile the lan of the fa ilit is hara teristi of an arl Im erial oman ir s the str t re o l a ommo ate a itional erforman es an f n tion as a m lti r ose entertainment il in . he o erall la o t of ero s ir s as i tate t o rimar fa tors the site s lo al to o ra h an its lo ation ithin aesarea. It a ears that ero s ir s as esi ne in a or an e ith the it s master lan a herin to a ell or ere ri of streets an ins lae. he lon it inal a is of the ori inal str t re is arallel to the later a e ar o 1 the lon strai ht east si e o ie the e i alent of three f ll ins lae so th of e man s S2 orath 1996a 106 . h s e en tho h the area in the i init of this il in as not e elo e on rrentl nor ere the streets a e ntil se eral e a es after the it s ina ration orath 1996a 110 112 the la o t of this entire area as o io sl lanne in a an e see ha ter 4 the illin of the e ression o tsi e the a ea . he north so th orientation of ero s ir s alon the oast an arallel to the it s street ri tili e the lo al to o ra h left area for f t re ins lae an ro i e the s e tators ith a leasant ree e rin the erforman es.1

pre-herodIan topography and the effeCts ConstruCtIon

of sebastos’

ero s ir s as ilt alon the oast imme iatel so th of ero s artifi ial har or Se astos see lan 1.1 ose h s Ant. V 341 . he st of the re ion s ori inal to o ra h is essential to a re iatin the effe ts of the har or s onstr tion on the area s onfi ration an later e elo ment. rior to the har or s onstr tion the nat ral re ero ian shore

line as efine a lo north so th kurkar ri e the esternmost of the aforementione three arallel ri es that ominate the Sharon oastal lain see i . 1.2 . In eneral the sea ha ero e the est si e of this oastal kurkar ri e res ltin in a 5 15 m hi h s ar armon 1961 43 44 50 ir an ar osef 1976 18 115 116 . he ri e north of ahal Ha era arti larl in the area here aesarea as esta lishe has een s e t to e en more e tensi e erosion. s a res lt the oast near aesarea is hara teri e an a rasion shelf ith se eral small eta he islets ottin the shoreline. t least one romontor or hea lan see lan 2.1 has s r i e the effe ts of the sea an is e i ent to a so th of the site of Se astos. n islet hi h as relati el lar er than the others at resent eneath the remains of the r sa er ita el on e e iste north north est of ero s ir s see lan 2.1 ith a erio i tom olo formin ehin it orath 1996a 106 a an 1996 629 . he a rasion shelf narro s est of ero s ir s an i es a to a a north of the romontor . In this area the sea s more a ressi e erosi e a tion s l te a shallo a o t of the kurkar ri e see lan 2.1 at hat o l later e ome the site of the vomitorium of ero s ir s see elo . he ar haeolo i al in esti ations n er ero s ir s ha e re eale that the re ero ian shoreline on e rea he some 30 to 50 m east of the mo ern e tra e shoreline.2 his an ient shoreline o l thro h the a m lation of t i al seashore se iments a mi t re of san seashells sea e les an some a ra e sher s that ere e osite the a e a tion onto the shore. he kurkar ri e rose a o e this e osit of se iments ith se eral lar e lo s of stone s attere at its ase from lan sli es an olla ses i . 3.1 . ero ian aesarea as on ei e to e rimaril a ort it ith the r an area e elo in aro n Se astos.3 he har or s so th rea ater an enormo s n erta in esi ne to rote t an hore

32

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W7091

W7069 W1113

W1114

Fig. 3.1. Fallen blocks and marine sediments at the base of the eroded pre-Herodian kurkar cliff, looking east. Note the corners of the bordering walls, W7091/W1113 and W7069/W1114, of Insulae W2S4 and W2S5, respectively, and between them Decumanus S4. This spot is directly opposite and east of the vomitorium.

shi s e ten e est ar for a ro imatel 600 m from the nat ral shoreline in or oratin the aforementione islet an tom olo see lan 2.1 . he massi e onstr tion of Se astos isr te the flo of the east e iterranean rrent hi h trans orts rimaril art san north ar alon the ea hes of Israel an res lte in ra i se imentation so th of the rea ater as ell as in reasin erosion to its north f. ir 1981 1989 25 . he res lt as the formation of a lan fill so th of the har or that she the shoreline est ar at least 75 m. his same me hanism affe ts the mo ern oast of Israel here onsi era le se imentation follo s an onstr tion into the sea ithin onl a t o to fo r ear erio . he ea h so th of the lat sh elon i eline har or hi h is learl o ser a le in aerial hoto ra hs i . 3.2 an the i iera ea h so th of the mo ern artifi ial har or of sh o are oo e am les of this ro ess.4 he re e in sea left ehin a la er of fine hite marine e osite san that o l e rea il tra e n er ero s ir s from the romontor north ar i . 3.3 . his nat ral lan fill ro i e a i e flat e anse of ea h

Fig. 3.2. Aerial photograph of the Ashqelon petroleum harbor, c. 1980 (courtesy of A. Raban).

that as es e iall on i e to the onstr tion of ero s ir s hi h as the lar est entertainment fa ilit in the ne l fo n e aesarea. o remains of an re ero ian ar hite t re ha e e er een n o ere in the area o ie ero s ir s. i en e of re io s h man a ti ities as fo n

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onl o tsi e the mon ment to the east an so th est. he earliest fin s in l e some flint e ita e atin to the i aleolithi an eolithi erio s General hase 10 as is ommon alon the Israeli oastal lain ar osef 1970 an the sites alon near ahal Ha era onen an a fman 1976 . hese an a fe i le ron e e II sher s 5 in i ate a tem orar h man resen e on this se tion of the oast. he e a ations re eale remains of ellenisti emeteries asso iate ith Straton s o er in the san soil o erin the east flan of the kurkar ri e east an northeast of the fa ilit see lan 2.1 orath an Gen elman in re . an o er the area so th of ero s ir s see lan 2.1 orath in re . .6

an overvIew of the fIrst CIrCus

lan 3.1

he initial fa ilit as on ei e as a lar e sha e ir s ith e ternal imensions of 63.5 313.0 m an its lon it inal a is oriente north so th. he ir s as efine an ele ate a ea on the strai ht east si e an the semi ir lar so th si e lan 3.1 i s. 3.3 3.4 an a narro er strai ht rote ti e all 1409 on the est a arentl la in an seats. he carceres startin ates ere ilt 65 m north of the termination of the ast a ea ith a narro all 669 onne tin the t o. hese alls en lose a 50.3 301.0 m arena for e estrian ra es an other erforman es. Gi en the immense si e an om le it of this lon li e fa ilit hi h n er ent ario s s se ent mo ifi ations this ina ral hase is resente as follo s 1 the initial infrastr t re hi h aries onsi era l thro ho t the fa ilit is is sse first in eneral terms an then in etail for ea h element 2 the most rominent erimeter onstr tion om risin the ast an So th a ea an its om onents e terior an o i m alls tiers al stra e tribunal an stair a s lea in from the arena to the s e tators seats 3 the arena or erin all et een the ast a ea an the carceres 4 the est si e 5 the arena s rfa e an arrier hi h om rise the spina an the metae 6 the carceres 7 the limite e os re of the imme iate e terior of the ir s an 8 the ni e an ineffi ient a ess to the tiers hi h s e tators first on re ate in the imme iate e terior so th east an north of the fa ilit an then entere the arena sim ltaneo sl thro h the So th Gate the vomitorium an the carceres res e ti el .

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foundatIons and InfrastruCture he fo n ations an infrastr t re of this h e fa ilit arie a or in to the re e istin to o ra hi al an eolo i al on itions ea h of hi h re ire a s e ifi onstr tion metho . S stantial se tions of ero s ir s ere ilt on the se imentar sea e osit that a m late after the onstr tion of Se astos as es ri e a o e. In this ase the first ste in re aration for the massi e onstr tion of the fa ilit as the s rea in of a kurkar la er 0.1 0.2 m thi o er the soft san an other ea h se iments for etails see elo rena an arrier . his kurkar la er reate a soli s rfa e o er the san areas to ease the mo ement of the enormo s la or for e an the trans ort of the ast amo nt of hea materials that ere re ire for s h a massi e onstr tion ro e t. In some areas here the kurkar e ro as to o ra hi all hi her it as arrie to reate a le ele s rfa e for the arena or as a fo n ation for the a ea.

the Cavea he ele ate a ea as s orte an earth fill L1427 retaine et een the e terior all 1086 an the arena fa in o i m all 1389 lan 3.2 . he total i th of oth the ast an the So th a ea as meas re from the to of the o i m all is 9.25 m.7 he a ea as se arate from the nat ral ri e on hi h the ir s as im ose a ee e ression mainl artifi ial t artiall inherite from the re ero ian to o ra h L7419 an L20084 lans 2.1 3.1 . he alls ere onstr te of kurkar lo s lai in o rses of ario s arran ements of hea ers an stret hers on e ith ra lime mortar orm la 2 f. orath 2002a 26 27 on a sli htl i er fo n ation of on rete om ose of a lime mortar an r le stone mi lan 3.2 . W he e terior retainin all om rises three nits all 1086 on the east si e 1705 on the east half of the sphendone i.e. the semi ir lar narro so th en an 1478 on the latter s est half. his i ision of the a ea s e terior all eri es from the i ision of the sphendone the So th Gate an the is ernin of an ne en seam et een 1086 an 1705 see

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Fig. 3.3. Aerial photograph of Herod’s Circus (Ofek Aerial Photography, 1996).

3Plan 3.1. General plan and schematic section of Herod’s Circus, Stratum VII.

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L1427 W1389 na e ro 11

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Fig. 3.4. Isometric reconstruction of the East and South Cavea of the Stratum VII circus.

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Plan 3.2. Composite section of the East Cavea, showing the maximum preserved height of all components. Note the reconstructed top with the requisite balustrade and either a thirteenth tier or a passageway.

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elo for a etaile es ri tion . he fo n ation of 1086 ts into the kurkar e ro for most of the len th an else here rests on marine se iments see lan 2.1 . In ontrast all of the fo n ations of 1478 an 1705 t into e ro for the entire r e of the sphendone. ll alon the e terior all here er the o osin s ar of the re ero ian shoreline as not e tensi el ero e a i e stri of e ro as a arentl leare i in the im ression of a i e moat se aratin the a ea from the s rro n in area.8 Later onstr tion an thi fill la ers limite the e os re of the a ea s e ternal alls. he f ll erti al e tent from the to reser e o rse o n to the fo n ation is isi le in onl fo r areas 1 either si e of the So th Gate here the fo n ations of 1478 an 1705 rest on e ro S s SS 70 71 i s. 3.5 3.6 see lan 1.3 Se tions 12 12 8 8 res e ti el 2 oth si es of the vomitorium here 1086 is fo n e on the re ero ian ea h se iments S s G 92 94 i s. 3.7 3.11 see lan 1.3 Se tion 6 6 3 the n tion of 1086 ith 1705 S 78 i . 3.12 see lan 3.1 9 4 the n tion of 1478 ith 6690 S 75 i . 3.13 .

he three e ternal alls are ilt of lar e kurkar lo s a era e si e 0.55 1.10 0.50 m lai o er the aforementione on rete fo n ation. he alls ser e oth as the east an so th e ternal fa a e of the fa ilit an as the s ort for the tiers of seatin for the ast an So th a ea. he to s of these alls lie sli htl more than 5 m a o e the to of the o i m all an are ela oratel onstr te in or er to ear the ei ht of the s erstr t re. he alls ha e a 2 m i e ase that ta ers to 1.1 m i e at the to . he lo s are ell resse on the e terior fa e hile those of the interior fa e are ro hl t an fitte ith r le an ement. he stone o rses of the three e ternal alls are a ro imatel le el alon the entire len th of the a ea s estin a niform metho of onstr tion. o e er lose e amination of the la in of the masonr o rses an an ne en seam et een 1086 an 1705 s est t o ifferent il in re s res e ti el for the ast an So th a ea. n the east si e in the area of the vomitorium a ma im m of ele en o rses of 1086 is reser e to hei ht at 8.30 8.55 m msl i s. 3.7 3.8 see

W1705

L20084 1 1 0 1

Fig. 3.5. Isometric view of W1478.

Fig. 3.6. Section abutting W1705, looking east.

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Fig. 3.7. Facade of W1086 and the vomitorium.

Fig. 3.8. Facade of W1086 and the vomitorium, looking north-northwest.

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Fig. 3.9. Section abutting W1086; note the foundation trench of W1086 that cuts the beach sediments, looking north.

L1612

W1640 W1086 L7128

L7419

W1086

Fig. 3.10. Close-up of the foundation trench of W1086, looking north.

Fig. 3.11. Close-up of the section abutting W1086 at the blocked vomitorium, looking southwest. Note the foundation trench of W1086 and the later placement of W1640 above the horizontal scale.

lan 1.3 Se tion 6 6 . hese o rses are arran e in onsistentl ith hea ers an stret hers in hi h in i i al o rses ossess oth hea ers an stret hers

an there is no is erni le attern alon the fa a e of an i enti al o rse a le 3.1 see i . 3.8 . he lo er i er ortion of the s erstr t re elo

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5.50 m msl is om ose of si erti al o rses a le 3.1 hile the narro er er fi e o rses are onfi re as t o re esse o rses on either si e of a ro e tin o rse at 7.30 0.05 m msl a le 3.1 . he e terior fa a e of 1086 ta ers 0.50 0.55 m from the ase to the ermost reser e o rse as follo s a o t 0.35 m is a o nte for the re ess elo the ro e tion another 0.1 m is lost a o e the ro e tion an a entle e iation of erti al o rses a m latin for an a itional 0.1 m a 0.4 m ta erin effe t o rs on the interior fa e. hile the i e lo er ortion of the s ortin all is learl an en ineerin te hni e to efle t the ei ht of the a ea the er ortion ith the re ess an the ro e tin o rse seems to e a rel e orati e e i e see i . 3.8 . he mar e in estment in the fa a e of 1086 emonstrates that it as ori inall lanne to e an e ose all. he so theast e ternal all 1705 is est reser e near its n tion ith 1086 lan 3.3 i . 3.12 . he ontin ation of the ele enth o rse on the e ternal si e of 1705 is still e tant as far so th as S 71 8.50 8.55 m msl . So th of this oint the e tant ortion of the all as re e to as lo as fi e o rses a o e the on rete fo n ation as a res lt of later stone ro in an at the So th Gate it is reser e to si S s 69 70 5.60 5.63 m msl . Similarl 1478 is reser e to si o rses a o e the on rete fo n ation near the So th Gate S s 69 70 5.65 5.67 m msl . It then rises for one o rse in S s SS 71 72 to 6.16 m msl as ro e o n to

on rete

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3.80 m msl i.e. the thir o rse in S 73 an to 4.99 m msl at the north est en of the So th a ea i.e. the fifth o rse in S 75 i . 3.13 . Its north est en is atta he to 6690 hi h as onstr te re io sl see elo he est Si e . he all is onstr te in the same or er of alternatin o rses of hea ers an stret hers o ser e in the other se tions of the So th a ea i s. 3.5 3.13 . ra in the onstr tion metho on the etter reser e se tion of 1705 f rther east ar S s 71 75 re eale that the s stem of t o re esse o rses on either si e of a ro e tin o rse hi h is the e orati e element of o rses 7 11 of the ast a ea is sse a o e a ears one o rse hi her on the So th a ea i.e. startin ith the ei hth o rse. lso in ontrast to the irre lar or er of hea er an stret her o rses on the fa a e of 1086 on the east the fa e of 1478 an 1705 in the so th is onstr te of alternatin o rses of hea ers or stret hers e innin ith a hea ers o rse see i . 3.5 o er the on rete fo n ation. nl the ro e tin tenth o rse of 1705 om ose of hea ers isr ts the or er so that o rses 9 11 are om ose of three s essi e hea er o rses a le 3.1 . he t o onstr tion metho s faile to meet ro erl at the lanne n t re of 1086 an 1705. Instea efore the e innin of the r e est ar the il ers o ere their error ith a 9.6 m lon attem te orre tion S s 78 81 that onl sli htl softens hat other ise o l ha e een an offset in the

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e ro 4.00

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Sections 1-1–5-5: various sections of the face of W1705, looking south. Note the Stratum VI surfaces in Section 5-5. Plan 3.3. Plan and sections in the area of the juncture between W1086 and W1705.

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W1086

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Fig. 3.12. Isometric view of the juncture of W1086 and W1705, looking southwest.

L20624 W6690 1

W1478 1

0 1

L20628 L20630

Fig. 3.13. Isometric view of the juncture of W1478 and W6690, looking northeast.

42

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fa a e lan 3.3 i . 3.12 . a h o rse here e hi its a ifferent a stment in e en ent of the other o rses in or er to om ensate for a ross il in error. In this se tion the e terior si e of the ele enth an ermost o rse of 1086 is re esse 0.2 m S s 79 81 hile the interior si e remains n han e . he ele enth o rse of 1086 is onstr te of alternatin hea ers an stret hers in ee in ith the metho north of the re esse se tion a le 3.1 . So th of the re ess ho e er the ele enth o rse is of hea ers follo in the onstr tion metho of the so th en . he tenth o rse in the re esse se tion ontin es the line of the east si e from the north lan 3.3 Se tions 3 3 4 4 t is then re esse 0.15 0.20 m n er the ele enth an ermost hea ers o rse lan 3.3 Se tion 1 1 . he ro e tin ninth o rse of 1086 terminates a r tl at S 80 an then it too isa ears n er the tenth o rse reatin a re ess of to 0.26 m in S 79 lan 3.3 Se tions 1 1 2 2 3 3 4 4 i . 3.12 . he n t re of these t o alls e hi its an ne en mat h ith smaller stones fillin the a i 3.12 . he lo est o rses of the t o alls oth rest on a arrie ste in the soli kurkar e ro lan 3.3 Se tion 5 5 . he nat ral kurkar elo the onstr te stones as t erti all in line ith the i er lo er ortion of the e ternal alls o rses 1 6 of 1086 an o rses 1 7 of 1705 . he n t re et een 1086 an 1705 refle ts an ne e te ro lem fa e the il ers of ero s ir s e to a mis al lation in meas rements at the time of onstr tion the sphendone e iates 0.45 m 1.5 podia from the lanne n t re ith the strai ht east si e. he error as om ensate for s rea in the orre tion o er a relati el lon an hi h area to o s re the efe ti e oin et een the t o all ortions a stin the all lines an l msil interlo in the o rses. lo i al e lanation is that the ne en oin et een the t o ortions of the e ternal all as arrie o t t o or re s. S h a fail re in the onstr tion of a ero ian mon ment is n arallele . he fa t that it as not orre te in a more ele ant fashion an that the a o te sol tion as at the e ense of the e terior all s aestheti s s ests that the il ers ere o io sl or in n er se ere time ress re to om lete the fa ilit efore aesarea s ina ral ele ration in 10 9 .

W he arena fa in o i m 1389 r ns ontin o sl alon the ast an So th a ea an nli e the e terior all of the sphendone has an ninterr te fo n ation o rse at the a re are for the So th Gate. ro imatel 40 of 1389 is fo n e on kurkar e ro hile the remain er is em e e in re ero ian an re entl e osite ea h se iments. he o i m all rose 1.0 1.2 m a o e the ori inal arena s rfa e. Its s erstr t re ilt on a on rete fo n ation is onstr te of kurkar lo s. In Strat m VII the stone fa a e of the o i m all as isi le t lastere o er in a later hase Strat m VI see ha ter 4 . he onstr tion etails of the o i m all are not niform. o r istin t se tors ith ifferent metho s of il in ha e een i entifie alon the east all an three a itional ones ere o ser e alon the sphendone lans 3.4 3.5 i s. 3.14 3.15 a le 3.2 . ltho h the se tors iffer from one another in terms of len th an o erall hei ht the share some si nifi ant ommon elements. In ea h se tor the lo est o rse is a hea er 0.20 0.22 m hi h as is the ermost o rse 0.24 0.28 m hi h hi h r ns ontin o sl alon the entire a ea, e l in a s for stair a s an entran es. he lo est hea er o rse rotr es sli htl 0.03 0.14 m in si o t of the se en se tors an rests on a on rete fo n ation that is either fl sh ith the o i m all or rotr es to 1.04 m for etails see a le 3.2 . he onstr tion of the mi se tion et een the er an lo er hea er o rses is om ose of either t o or three alternatin hea er stret her o rses ase on this ifferen e the se en se tors an e i i e into t o istin t ro s. he first ro om ose of Se tors I III V VII is ilt of t o alternatin hea er stret her o rses. Se tors II an IV om rise three o rses an as the to o rse r ns ontin o sl aro n the arena at a ro imatel the same ele ation as the other se tors 3.42 3.61 m msl ere onse entl s n ee er eneath the arena s rfa e. amination of a le 3.2 sho s that the ominant fa tor for the ifferent onstr tion metho s of the ario s se tors as the onsisten of the material on hi h the all as fo n e . Se tors fo n e on marine se iments re ire a more soli an ee er fo n ation than those fo n e on e ro .

3 S

4.00

3.00

VII

4.00

I I I L

S

S I

S

43

4.50

4.50

4.00

4.00

3.00

W1389

2.00

3.00

3.00

2.00

2.00

1.50

1.50

2.00

Plan 3.4. Section of podium W1389 Sector I. Note the remains of plaster at the base of the wall and its protrusion into the arena, probably indicating the Stratum VI arena surface.

Plan 3.5. Section of podium W1389 Sector II.

3Fig. 3.14. Wall 1389, Sector III, looking east. Note the sterile white sand at the bottom, which accumulated after the construction of Sebastos.

3Fig. 3.15. Juncture of the foundation and lower courses of W1389, Sector II and W1389, Sector III, looking east. Note that the upper courses are missing and the sterile white sand at the bottom.

0.27 0.27 0.27

1389 III 145.25 80.20

1389 IV 80.20 55.90

1389 V 55.90 44.70

issin

1409 at 43.00

1409 at 52.80

issin Strat m VI footrest 0.28

699

1389 VII at 10.00

0.28

0.27

1389 II 205.65 145.25

1389 VI 44.70 0.00

0.24

Top Course Height (m)

1389 I 247.20 205.65

Location (m)

32

2

2

S

S

S

S

1.04 1.24 0.06 1.12 1.32 1.40 laster

0.27 0.61 0.61 104

issin

S

0.28

laster

laster 2.16 laster 0.56

laster 0.03

1.32 1.80 1.04

1.75

1.32

laster

1.12 1.32 0.03

1.32 1.40 1.57 1.83

1.53 1.75 0.14

0.27 0.67 0.67 1.08 1.08 1.53

0.28 0.70 0.70 1.12

1.24 1.98 0.35

1.12 1.32 0.12

laster

0.27 0.69 0.69 1.12

1.54

1.39 1.54

1.17 1.20 laster

0.27 0.69 0.69 0.91 laster 1.39

0.07

0.95 1.17

Concrete Foundation

0.24 0.57 0.57 0.95

ore than t o o rses hi h

2S

3

2

3

2

Height (m)

Foundation Course Course

Height (m)

Wall Courses Course

L

o n e on lastere

ell

ell lastere

ottom of laster

re marine san

o n e on kurkar

o n e on san

o n e on rittle kurkar 1.70 1.93 m

o n e on soli kurkar

ainl fo n e on kurkar ell lastere ell lastere

e in marine se iments o n e into sea se iments

m e

o n e on kurkar

Remarks

44 S

3 S

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ro nin the a ea ere the tiers of seats that ere s orte a massi e fill that as retaine et een the e terior an o i m alls. his nearl sterile fill om rise the res lts of arr in a ti ities soil an marine se iments L1427 lan 3.2 . his metho as est o ser e here the tiers ere later remo e on oth si es of the So th Gate S s SS 70 72 so th of Strat m VI Shrine 2000 S 80 see elo ha ter 5 an n er the hase 5 2S3 ath S s G 116 117 see orath an Gen elman in re . . iers of stone seats c. 0.6 m ee an 0.4 m hi h ere arran e o er the infrastr t re all is la in the sli ht frontal n er ttin of the cyma reversa rofile i s. 3.16 3.17 ommonl se for tiers in li il in s thro ho t the oman orl s h as the sta i m at el hi ert 1979 i . 1 the asili a an theater at Se astia res e ti el eisner is her an L on 1924 l. 50 ro foot en on an S eni 1942 l. LVII 2 i . 25 the so th an the ir etein theaters at Gerasa raelin 1938 ls. V a IV an the Ga ara theater e er 2002 l. 10 . ost of the seats are ar e from one kurkar lo i . 3.16 a hile the others are om ose of t o stone lo s one sta e ato the other ith the rofile t into the er stone i . 3.16 . he ran om osition of these sta e seats ithin the re lar or er alon the tiers s ests that the re resent lo al re airs to the a ea rin the fa ilit s lon life. shallo hannel

S

S I

45

S

a

0

0.5 m

Fig. 3.16. Typical tier profiles (cyma reversa): (a) single block; (b) single block with ‘rear channel’; (c) stacked blocks (two); (d) stacked blocks (two) with ‘rear channel’.

Fig. 3.17. General view of the tiers.

46

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c. 8 m i e an 1 m ee as t into the rear of the tiers mainl in the fo r lo ermost ro s as seen at man other entertainment il in s s h as el hi ert 1979 i . 1 . hese hannels ro a l ser e to rain rain an leanin ater from the seats. a h tier hile a seatin ro itself also ser es as a footrest for the tier a o e. he lo est tier i es a to a 0.5 m ee ste or footrest n er hi h the 1.0 1.2 m hi h o i m all fronts the arena see lan 3.4 . here is no e i en e for an sort of a ermanent al stra e ha in een ilt into the to of the initial o i m all. hile the hei ht of the o i m all ma ha e een s ffi ient for horse an hariot ra es it o l ha e een too lo to rote t an a ien e atten in the il east ames venationes an la iator om ats munera no n to ha e ta en la e in the arena of s h m lti r ose fa ilities ose h s Ant. VI 137 . he h si al se aration et een the a ien e an the arena in the erforman es t i al for the oman am hitheater as a arentl a hie e a tem orar net hel oo en ol mns sta e alon the o i m all.10 ot o ntin the to of the o i m all t el e tiers of seatin ha e een reser e as est o ser e at the so theast r e of the fa ilit S s 74 77 . e to later stone ro in the n m er of in situ tiers ra all e reases north ar alon the ast a ea an est ar ntil the So th Gate here onl one t o tiers remain inta t. he So th a ea est of the ate has een reser e to a ma im m of se en tiers S s SS 73 74 .

s in no sin le lo ation ere oth the ermost i.e. t elfth tier an 1086 reser e to the same hei ht there is a 1 m a et een the rear of this tier s stone rear si e an the e ternal fa e of the e terior all see a o e he terior all this t elfth tier is est reser e in S s 72 77 see lan 3.2 . his la na is the res lt of the Late oman remo elin of the so th est one see ha ter 6 an ost oman stone ro in . h s to a no e i en e remains of ho the to of the a ea as finishe . Gi en the re i ito s 5.5 6.5 m ro from the to of the a ea to the e ternal s rro n in s rfa e it stan s to reason that a stone al stra e ran aro n the er ir mferen e. If this al stra e ere c. 0.4 m i e a 0.6 m i e a o l ha e remaine et een the res me al stra e an the a of the e istin to

tier. S h an arran ement o l ha e a ommo ate either a assa e a or a thirteenth tier see lan 3.2 . una

1000

i . 3.18

rin i al ar hite t ral om onent of the oman ir s as the tribunal a efine an ela orate o set into the tiers that as reser e for a sele t ro of s e tators hi h ma ha e in l e atri ians isitin i nitaries an ro al ersona es m hre 1986 78 83 585 600 . he tribunal of ero s ir s as ilt in the enter of the ast a ea a o e the vomitorium lan 3.6 S s G 91 94 see elo he Vomitorium of om le 1000 . he tribunal as se erel ama e the alterations that too la e in the follo in sta e Strat m VI hen it as on erte into or inar seatin see ha ter 4 . h s onl mea er remnants n er the later tiers hi h ere e lore in the so th si e of the tribunal attest to its e isten e. ltho h the seatin arran ements of the tribunal ere emolishe art of the ori inal la o t an e re onstr te . o ste e orri ors L7126 an L7127 see is ssion elo lan 3.6 1.55 1.65 m i e ro i e north an so th a ess to the o from the vomitorium. ost of the ste s alon the t o orri ors ere ismantle in later hases see the rele ant is ssions in ha ters 4 6 . nl the t o lo est ste s 0.2 m hi h an 0.38 m ee lan 3.6 i s. 3.19 3.20 in orri or 7126 hi h e in 2.5 m north of Va lt 1634 an the ermost ones at the to e it o t of their res e ti e orri ors 0.2 m hi h an 0.36 0.38 m ee ere reser e in situ.11 a h orri or e ins at Va lt 1634 as a 1.8 m lon north so th hori ontal a lt that in lines to ar the far en . here ea h t rns est ar an its a lt is a ain hori ontal st in front of the e it to the tribunal. he imensions of the ste s trea s an risers allo for ei ht a itional ste s in the north orri or rea hin a small latform at 5.40 m msl that lea s to the tribunal lan 3.6 i . 3.18 . he east all of ea h orri or is the e ternal all 1086 of the ast a ea an is ee l fo n e . he alls on the est si e are internal an their fo n ations rise ra all follo in the rise of the missin ste s. he han e of the roof an le in orri ors 7126 an 7127 an the risin est fo n ation of ea h orri or s ort the a o e restoration of the ste s. he ottom le el of the lo est ste in orri or 7126 2.44 m msl o l orrelate ith the ass me missin floor of

3 S

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S

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S

47

Fig. 3.18. Artist’s restoration of Complex 1000 (L. Filipov).

Va lt 1634 an the arena see elo , ‘ rena an arrier an he Vomitorium of om le 1000 . hese orri ors terminate at a stone s rfa e 5.40 m msl that le to a stair a ositione 90 to the orri or s e it lan 3.6 i . 3.21 . o r reser e ste s ea h ith a hei ht of a ro imatel 0.2 m rise from 5.40

to 6.20 m msl lan 3.6 . he e i alent hei hts of the stone s rfa e at oth e its an the e innin of an er stair a s est a s mmetri onstr tion. h s at least t o le els ma e re onstr te et een the orri or e its i . 3.18 . he first at 5.40 m msl is res me to e a lo er latform of the tribunal an

48

S

95

95

2

?

W1389

4 2.90 2.70

10 9 8 7 6 5 3 2

1

L7126

2.10 1.65

94

W1086

94

2.10

93

1

2.10 2.00

93

L7419

1.70 1.90

3.42

L1634 1

1.65 2.10

2.45 3.20

2.50

L7127

92 2.75 6.20 6.00 5.80 5.60

W1086

92

5.40 5.40

91

6.15

91

2

5.50

0

Plan 3.6. Plan of Stratum VII Complex 1000.

5 m

3 S

VII

I I I L

S

S I

9.00

9.00

8.00

8.00

7.00

7.00

6.00

L1625

49

S

6.00

5.00

5.00

4.00

4.00

3.00

3.00

2.00

2.00

1.00

1.00

11 8.00

8.00

7.00

7.00

6.00

6.00

5.00

5.00

4.00

4.00

3.00

3.00

2.00

2.00

1.00

1.00

22

Plan 3.6 (cont.). Sections of Stratum VII Complex 1000 (see Fig. 3.21 for reconstruction of the stairs to left).

is elimite the remains of alls that e in at the termin s of the ste e orri ors the lo er latform an these alls are ass me to ontin e est ar . hese alls ere estro e later reno ations that in the so th in or orate stan in narro he n stones hi h rotr e from the later tiers an are ass me to e an earlier artition. he er le el as rea he the north an so th stair ases the latter of hi h is ass me to ha e ha three more n reser e ste s that terminate at c. 6.80 m msl. he re onstr tion of the est e e of the er latform is n ertain an is ase on the esternmost reser ation of the hori ontal arrel a lt of the vomitorium hose eilin as at 6.10 m msl lan 3.6 Se tion 2 2 . It is ossi le that the er latform e ten e to the e e of the o i m

all t if this ere the ase it o l ha e interfere ith the line of site of the s e tators on either si e of the tribunal. If in ee the est si e of the er latform is onl a ro imatel t o thir s of the i th of the entire a ea it is res me that the remainin one thir of the vomitorium as nroofe nless the eilin as lo ere si nifi antl on the est si e. ther ise the ontin ation of the hori ontal arrel a lt o l ha e interfere ith the i nitaries ie of the arena. oreo er this arran ement o l ha e ise te the lo er latform hi h as 0.7 m elo the eilin of the arrel a lt of the vomitorium. he east rear si e of the tribunal annot e re onstr te t the hei ht of the e ternal a ea all 1086 o l ha e allo e for a itional le els or rooms.

50

S

Fig. 3.19. Inclined vault of Corridor 7126, in situ steps at the bottom, looking north.

Fig. 3.20. Close-up of the two lowest preserved steps of Corridor 7126, in situ, looking north.

i e similar stair a s scalaria ere in or orate in the ast an So th a ea12 L3982 L3983 L3985 L3986 L3987 in lo ise or er see lan 3.1 an le from the arena s rfa e to the tiers of seatin . a h stair a meas rin 1.10 1.22 m i e as om ose of ste s a o t 0.20 0.25 m hi h an 0.3 0.4 m ee lan 3.7 i s. 3.18 3.22 4.12 4.13 . orres on in 1.10 1.22 m i e a in the o i m all ro i e ire t a ess to ea h stair a an the lo est ste risin a o e the arena s rfa e as ali ne ith the o i m all. he to of the lo est ste of Stair a 3982 is ell reser e an ma e inter rete as re resentati e of the others at 2.57 m msl it is a o t 0.2 m a o e the a a ent arena s rfa e. t that lo ation the hei ht of the initial arena le el is learl isi le on the o i m all 1389 here there is a mar e transition from the ori inall he n 3Fig. 3.21. Upper stairs of Complex 1000 above the exit from stepped Corridor 7127 (see Plan 3.6: Section 2-2 left side).

3 S

VII

I I I L

S

S I

S

WW

3.27 3.98

4.79

72

3.44

3.05

3.91

1

L3987 72

2.81 3.51 3.74

?

4.22 4.45 5.22

71

71

5.64

6.11

6.52

1

W1

4.86

70

5.05

478

70

5.63

5.65 5.65

0

2 m WW

6.00

St. VII St. VI

6.00

5.00

St. VII VI

5.00

4.00

4.00

3.00

3.00

2.00

2.00

1.00

1.00

11

Plan 3.7. Plan and section of Stairway 3987.

51

52

S

Fig. 3.22. Stratum VII Stairway 3987, made obsolete by Stratum VI tiers, after being partially exposed, looking south.

s rfa e hi h as a arentl rie to an ero e one that as a arentl e ose to the elements.13 Strat m VII Stair a 3987 as lo e an altere to tiers rin the Strat m VI mo ifi ations an its hi her ortion as ismantle in the ost oman erio . i ht o t of the nine reser e ste s of Stair a 3987 ere e a ate hei ht ran e 0.23 0.24 m a era e e th 0.29 m lan 3.7 i . 3.22 . he lo est e ose ste 2.81 m msl lea es room for one a itional ste efore rea hin the arena therefore the initial arena s rfa e hi h as not reser e here met the stair a at 2.30 2.40 m msl. he stair a s mentione a o e are not s a e s mmetri all alon the a ea t onsi eration of the istan es et een feat res from orri or 4573 to the vomitorium of 1000 s ests a metrolo i al or er 1 the istan e et een orri or 4573 an Stair a 3982 is 61.17 m 2 the istan e et een Stair a 3982 an the vomitorium of 1000 is 61.14 m

3 he istan e et een the vomitorium an L3983 is 30.03 m hi h is half of the re io s t o an 4 a similar istan e 29.25 m as meas re et een Stair a s 3985 an 3986. It is ro a le that a itional 1.15 m i e stair a s hi h ere either estro e or o ere later tiers ha on e e iste in the mi le of the lon er istan es th s ise tin the ast a ea into e i alent c. 30 m lon i.e. 100 podia cunei.14 h s i en the esi n of the stair a s es ri e a o e hi h e an at the arena s rfa e an the roa fosse that se arates the to of the tiers from the s rro n in area the masses of s e tators o l onl ha e rea he their seats first enterin the arena an then lim in stair a s s a e intermittentl thro ho t the a ea. he metho for ele atin the a ea soli onstr tion rather than a ltin an its entire se aration from the s rro n in to o ra h ne essitate this in on enient arran ement of a essin the tiers ia the arena. or e am le the so th a ea of the ir s at Le is a na ar e into the hill slo e also em lo e a similar entr from the arena to the tiers a o e m hre 1986 31 33 . In ontrast a ea ele ate on a lts ere f rnishe ith on enient a ess from the e ternal erimeter ia vomitoria an ambulatoria s h as the ir s at Gerasa ller 1938 88 stras 1989 63 64 . o remains of an sort of installation to eter assa e alon the stair a s to the arena o l e fo n es ite the o io s an er to s e tators arri in or mo in aro n rin the e ents.15 It is reasona le to s e late that the ina e a of the stair a arran ements at aesarea as the rimar im et s for the alterations that ere arrie o t in the follo in hase to im ro e the flo of s e tators enterin the ir s see ha ter 4.

the arena wall between the east Cavea and the CarCeres he ast a ea terminates 210 m from the sphendone at a er en i lar soli stone all 540 1.4 m i e some 65 m so th of the carceres lan 3.1 . he remainin len th of the east si e of the arena r nnin north to the east en of the carceres is om lete a 0.7 m i e freestan in all 669 S s G 118 130 hi h ontin es the line of o i m 1389. all 669 learl i not s ort a a ea as 1389 oes t ser e as a narro all se aratin the arena from the lo er to o ra h to the east see orath

3 S

VII

I I I L

an Gen elman in re . for the ar hite t re east of 669 . he stones of 669 are on e ith those of 540 an 1389 formin a n tion learl emonstratin that the three alls ere onstr te ontem oraneo sl in the initial hase of ero s ir s Strat m VII . all 540 hi h ser e as a re etment all et een the s ortin fill eneath the ste e tiers an the re ero ian lo er to o ra h to the north see a o e also frames the north si e of a narro orri or L4573 c. 1.5 m i e . his orri or a arentl also ossesse a stair a . all 477 0.54 m i e hi h is arallel to 540 forms the so th si e of orri or 4573. he floor of this orri or o l not e ete te e a se of later ist r an es t it as ro a l ste e li e the fo n ation o rses of 477 hi h arallel the onfi ration of the tiers similar to the s erim ose ste e orri or L4992 of the ost ir s hases.16 he fill of the a ea s infrastr t re L1427 o l also e tra e n er orri or 4573 ntil it rea he 540. all 540 ontin es east ar in a strai ht line after its orner ith 1086 the east se tion as esi nate 348 . he 348 1086 orner as e ose in a er limite ro e e to the im ressi e s erim osition of ar hite t re from a Late oman an antine ath see orath an Gen elman in re . ho e er the t o alls are ell on e . he fo n ation of 348 follo s the rise of the lo al e ro f rther east an ser e as the north artition all et een the e terior of the ast a ea an the lo er terra e north of 540 an east of 669. he o ation s rfa e so theast of the 348 1086 orner as not re eale in the limite ro e ho e er the fill L3877 here is similar to that of L609 an L1612 see ha ter 4 emonstratin that it as the north e tension of the e ression that i i e the ast a ea from the a a ent ri e. ltho h 669 is freestan in an i not s ort a a ea it is ilt of kurkar lo s set on a shallo fo n ation ma e of on rete 0.35 0.40 m hi h similar in onstr tion metho an imensions to the nei h orin 1389 see a o e he o i m all . all 669 is reser e to three o rses the lo est of hi h is onstr te of hea ers 0.22 m hi h an is 0.08 0.10 m i er than the er o rses lan 1.3 Se tion 1 1 . he er t o o rses ea h a o t 0.35 m hi h are ilt in alternatin hea er stret her fashion as 1389 see a le 3.2 .

S

S I

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53

the west sIde he initial entertainment il in s lon est si e as a massi e freestan in stone all 1409 a o t 4 m i e at 3.50 m msl ith a lime an r le on rete ore lan 3.8 i s. 3.23 3.24 . ost of it as estro e the om ine effe ts of stone ro in an of sea erosion in the ost oman erio s. he onl e tant ortion is a relati el short se ment a o t 38 m lon e ten in north ar from the est en of the sphendone S s SS 76 83 . It seems reasona le to ass me that the entire len th of the all to the carceres as onstr te in the same manner as the reser e ortion. he interior fa e of 1409 is the north ar ontin ation of o i m 1389 a le 3.2 an see a o e oth in terms of onto r an onstr tion metho ith no tra e of an e iation. he e terior fa e of 1409 is ilt of hea ers onl a era in 0.55 m hi h er o rse ith ea h o rse sli htl inset to the one elo the lo est o rse of 1409 is th s 1.05 m i er than the ermost one. he ermost reser e o rse of 1409 at 4.75 m msl S s 75 76 seems to ha e een the ori inal ele ation of the est si e. he fo n ation of the so th en of 1409 ts into the kurkar e ro hereas the north ar reser e se tion is ilt into ero ian san ea h se iments. he sea ar fo n ation em e e into ea h se iments is i er than the se tion restin on kurkar e ro lan 3.8 . o a the lo est o rse of onstr tion in the ea h se iments ottom le el 0.35 m msl in S 83 rests eneath the rrent ater ta le hi h is 0.35 0.50 m a o e the ail fl t ation in sea le el near the mo ern ea h of aesarea. arine st ies in i ate that the mean sea le el in ero s time as similar to that of to a . re ent eo h si al st in i ates that the terrestrial one of aesarea has remaine sta le sin e the ero ian erio in ontrast to the te toni a ti it of the ontinental shelf to the est in l in the est half of Se astos art an ere man 1996 . If the eo h si al st is in i ati e of the area of ero s ir s then the relati el shallo fo n ations of 1409 in i ate that the all as not en an ere the estr ti e a tion of the sea.17 hori ontal roo e 0.06 m ee 0.15 m i e as fo n ar e into the er s rfa e of ea h of the lo er three o rses of the sea ar fa e of 1409 hi h ere em e e into marine se iments lan

54

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83

83

1.08 0.35

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1.10

82

82

81

81

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1.31 1.25 1.15 1.31 1.25 1.79 1.32 2.60 W1409

80

79

2.70

1.80 1.39 1.34

e ro 0.85

3.14

1.41 0.98

4.00

2.97

2.26

3.00

2.30

e ro 1.25

2.96 1.52 3.04

77

3.92 3.52

1

4.12 2.41 2.98

4.75

78

3.50

1.79

3.50

5.00

3.93

1.88

76

79

3.17

1.37

78

80

5.30

1.76

3.67 2.34 2.44

2.00

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3.48 3.14

W1409

3.88

1

0.00

4.32 4.78 3.46

11

76

W6690 0

5.65

#

4.95

8

L20627 L20628 L20630

4.35 4.96 4.39

W147

75

9 W138

4.67

5.18

1.00

5 m

75

5.59

3Plan 3.8. Plan and section of W1409.

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Fig. 3.23. General view of the preserved portion of W1409, looking north. Note the horizontal grooves in the stones of the western face.

Fig. 3.24. Close-up of the northern portion of W1409, looking north. Note the horizontal groove.

3.8 Se tion 1 1 i s. 3.23 3.24 .18 a h of these hollo s orres on s to a mat hin roo e ar e into the ottom of the o rse imme iatel a o e. ltho h the roo es ere fo n em t a thin e of lime mortar linin the hollo s ore a oo rain im rint in i atin that oo en eams on e reinfor e the stone an mortar onstr tion of 1409 on its e terior sea ar fa e. he transition et een the i ths of the So th a ea an 1409 from 9.25 m to 4.00 m msl res e ti el is ri e a er en i lar all 6690 1.84 i e at 4.00 m msl lan 3.9 i . 3.13 . oth si es of 6690 S s 75 76 ere onstr te of hea ers onl t the hori ontal o rses of ea h si e ere lai on ifferent le els a arentl in a or an e ith the lo al to o ra h . he northeast en of 6690 is on e to the so th est en of 1409 th s in i atin that the t o alls ere onstr te on rrentl . he e ternal fa es of the t o alls are ilt in the same manner an

the hori ontal lines of their o rses are ontin o s. he north si e of 6690 is onstr te on the nat ral kurkar e ro on the northeast si e of the hea lan e innin at 1.24 m msl in S 76 an risin to 4.32 m msl in S 75. he er o rses on the north fa e of 6690 are re esse 0.4 m from the ase of the all. he t o lo est o rses at the ase of 6690 also ear hori ontal on in roo es li e 1409. his arti lar onstr tion metho has een note at aesarea on the sea ar si e of 1409 an 6690 onl res ma l to stren then an sta ili e the alls a ainst the erio i effe ts of the sea. he so th si e of 6690 as n o ere in a limite ro e 0.7 1.5 m at its orner ith 1478 see a o e he terior all . ere onl the ottom o rse 1.73 2.32 m msl ro e ts 0.18 0.32 m from the erti al fa e. his o rse nli e the north si e rests on oran e san L20630 that is free of an artifa ts an most ro a l is a nat ral e osit.19 his

75

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76

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4.32

e ro L7667

e ro

2.99

2.64 ?

1.75

erio erio erio erio erio erio

W6690

erio

1.79 2.38

4.85 4.87

2.98

1

4.96

3.50

1478

1

4.10

W

4.67

4.75 5.30

4.95

4.75

4.39

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5.21

5.65

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2.98

2.41 4.12

6.00

6.00

W6690

4.78 4.32 3.88

W1389

2.87 2.90 3.17 5.18

75

3.11

5.00

4.00

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3.00

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2.00

3.46

L20091

5.59

5.00

2.85

0

4 m 76

1.00

1.00

11

22

3Plan 3.9. Plan and sections of W6990 (the Hellenistic burial [L7667] will be discussed in Porath, in prep. b).

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oran e san is o ere a c. 0.75 m thi fill la er L20628 hi h is om ose mainl of oarse marine se iments an a ts 6690. li in s rfa e L20627 as lai ato this thi fill an rea hes oth 6690 an 1478 lan 3.8 also see elo he terior of ero s ir s . fe small otter sher s ate to the ellenisti an ero ian erio s ere fo n in the fills elo the initial li in s rfa e at the ottom of the ro e at the orner of 1478 an 6690. nli e the other se tions of the sphendone the lo est o rse of 1478 2.08 2.56 m msl rests here on ill 20628 itho t an on rete fo n ation. s 1478 is atta he to the so th fa e of 6690 an oes not t into ill 20628 it as onstr te after 6690 as alrea stan in . S rfa e 20627 mar s the earliest floor onne tin the t o alls. hese t o alls ere learl s essi e onstr tion ro e ts see is ssion elo t es ite the inter enin fill L20628 the amo nt of time et een them is n no n. he aforementione strati ra hi se en e is s orte the ar hite t ral om onents of the n t re et een 1409 1478 an 6690. irst a onstr tion seam e ists et een 6690 s so th fa e an the north est en of 1478 see i . 3.13 . he stones of the fo n ation o rse of 1478 ere he n s h that the lo er t o thir s rotr e 0.21 m to the est the to of this o rse is 0.24 m a o e the ro e tin fo n ation o rse of 6690. Se on a a et een the t o alls as fille in ith small stones an ra lime mortar hi h is i enti al to that se in 6690. h s the strati ra hi an ar hite t ral e i en e es ri e a o e in i ates that the t o om onents ere onstr te seamlessl the o i m all an the arena si e of 1409 an the sea ar si es of 1409 an 6690. ltho h 1478 as onstr te s se entl after an inter al of in eterminate len th the all are om onents of the same onstr tion ro e t that as arrie o t a arentl ifferent re s a or in to one o erall lan. he er o rses of 6690 ere ismantle in later erio s an its est ontin ation is missin . It is ass me that the est ar e tension of 6690 rea he a soli an hi her kurkar o t ro . S h a onstr tion as re are to sta ili e the north est orner of the So th a ea an to esta lish its rear or er as 348 i for the northeast orner of the ast a ea see a o e he ortheast n of the a ea . oreo er i en the ifferen e in the al late hei ht

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et een the est si e of the t el e tiere So th a ea 9.50 10.00 m msl at the orner of 1478 an 6690 an the romontor e ro at 4.60 m msl S 76 it seems lo i al that the to of 6690 as not hori ontal t m st ha e ra all es en e from east to est. In a ition it is also ro a le that the east ar ontin ation of 6690 also es en e erha s in ste s follo in the le el of the tiers. Later mo ifi ations to 1409 see ha ter 4 ha e o str te all in i ations of the ori inal s erstr t re there ma in it iffi lt to etermine hether the all arrie a narro a ea20 or if it sim l f n tione as a retainin all to om lete the elon ate sha e of the arena on the sea ar si e. If in ee the hei ht of the ori inal 1409 as that of its reser e le el of onl 4.75 m msl hi h is 2.5 3.0 m a o e the arena then the all o l not ha e o str te the sea ie of the s e tators seate on the lo est tier of the ast a ea. e onstr te as s h ero s ir s om lies ith ose h s es ri tion as . . . on enientl lo ate for a ie o er the sea ose h s Ant. V 341 . ost of 1409 as ismantle in the ost antine erio an no l e for ho it met the carceres has een reser e . It seems lo i al that the all ontin e in a strai ht line to the est si e of the carceres maintainin the same i th c. 4 m inten e for arena s ort an rote tion a ainst the sea. It is ro a le that s h a rote ti e all ontin e north ar to the so theast orner of Se astos.

arena and barrIer he arena en ir le the startin ates carceres in the north 669 in the northeast the a ea in the east an the so th an 1409 on the est is a lar e flat area meas rin c. 301.0 50.3 m.21 Its i th len th ratio of 1 6 onforms to the stan ar ratio em lo e in Gree sta ia an fre entl in hi o romes or ir ses as ell. In eneral the Strat m VII arena an its arrier ere se erel ama e il in an reno ation ro e ts as ell as stone ro in an soil arr in arrie o t from Strat m VI on ar . he relationshi et een the arena s rfa es an its erimeter alls as se erel ist r e in the area e a ate the I S s 70 121 see lan 3.1 .22 he arena or erin the all north of the ast a ea 669 as ist r e the onstr tion of antine Strat m V 650. his later all as atta he to the est fa e of 669 alon the same

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orientation an its sea ar fa e as 0.55 m est of 669. h s 650 s fo n ation tren h se arate 669 from its rele ant arena s rfa es see lan 1.3 Se tions 1 1 2 2 . he entire se en e of arena s rfa es Strata VII VI is thi er an etter reser e in the north ne t to the carceres see ha ter 4 he Carceres’ an e omes ro ressi el thinner an less lear to the so th. ost of the est si e of the ir s in l in 1409 an almost half of the arena is missin e to sea erosion follo in the antine erio see lan 2.1 . he remain er s ffere f rther ama es on e the fa ilit as no lon er maintaine for hariot ra in . he initial arena s rfa e as om ose of hamra soil mi e ith small kurkar ra el o erla in the re onstr tion le elin la er. at hes of the initial arena s rfa e ere ete te in front of 669 an the ast a ea from the carceres so th ar to the mi le of the fa ilit after hi h it isa eare e to later ama e.23 here reser e the initial arena s rfa e as almost hori ontal at c. 2.20 m msl. his initial s rfa e as est o ser e near the carceres atri h 2001 283 ta le an ete te in ross se tions of the north arena e a ate the I team here it ro ee s so th ar at the same le el ntil it as later remo e st so th of S s 101. ltho h no here oes this at h s rfa e rea h the o i m all there is a istin t ifferen e et een the reser e s rfa e of the masonr a o e an elo c. 2.20 m msl the s erstr t re a o e this hei ht is hi hl eathere hile the masonr elo is still smooth an seemin l fresh t in i atin that it ha remaine rie elo a res me floor. oreo er this hei ht onforms ith the ele ation of the ottom ste of the stair a s lea in from the arena to the tiers see elo . h s the ear attern an the as ent to the a ea sho l oth e inter rete as orro oratin e i en e for a s rfa e at this le el hi h ma e asso iate ith the first arena. he arena as lai rimaril o er re ero ian se imentar e osits e e t in those la es here the kurkar e ro as hi her than the esire arena le el an arr in as th s re ire rior to the a t al onstr tion of the fa ilit . he arr in a ti ities m st ha e een ontem orar ith the onstr tion of ero s ir s as no e osit or fill other than the le elin s rfa e of the arena as fo n a o e the arrie areas. It a ears that the le el of the arena as eli eratel hosen so as to re ire more fillin than arr in . In i ations of lo arr in in the arena ha e een note in the har er kurkar e ro in

front of the ast a ea at its north an so th se tors emonstratin that some fa ies of the e ro o l e t to f rther se in the onstr tion of the fa ilit . W

W669

he se tion for S s G 119 see lan 1.3 Se tion 1 1 resents a se en e of s rfa es that ori inall rea he 669 t as note a o e ere later t Strat m V 650 s fo n ation tren h. he lo est man ma e la er is erne is the Strat m VII le elin fill L580 hi h as a e o er the ea h that res lte from the har or onstr tion see a o e . o remains of a Strat m VII s rfa e ere i entifie . ather a soli s rfa e L570 24 2.23 2.27 m msl elon in to Strat m VI o erlies L580 see ha ter 4 . he se tion for S s G 118 see lan 1.3 Se tion 2 2 resents a similar stratifi ation of arena s rfa es ith the a ition of a Strat m VI ater on it L543 hose fo n ation tren h ts into the Strat m VII le elin fill L580 see ha ter 4 . ain Strat m VI L570 as la e o er L580 as ell as on it 543. W

W1389

he se tion for S s G 112 see lan 1.3 Se tion 3 3 e ten s for a o t 15 m from 1389 to the ost antine sea in ression. he fo n ation of 1389 rests here on the kurkar e ro an the area in front re resents the re ero ian ea h ith shoreline se iments L4898 o erin ero e kurkar e ro an some erosi e ni hes. hese ere o ere the Strat m VII le elin fill L4897 an o erlai the earliest reser e arena s rfa e L4892 2.29 2.31 m msl hi h is ate to Strat m VI see ha ter 4 . 1.1 m i e so n in as e a ate est ar from 1389 in the so th se tion of S s 105 see lan 1.3 Se tion 4 4 . ll of the arena s rfa es here ere ama e some hat rin the erio of the ir s se an more se erel after it ease to f n tion s h that none of the reser e arena s rfa es from Strat m VII an on ar rea h the o i m 1389. Intentionall lai kurkar la ers L3734 1.90 2.17 m msl an L3740 1.68 1.90 m msl o erlie the hite san ea h se iments L3741 . s the fo n ation tren h of 1389 t thro h L3734 an L3740 into the ea h se iments L3741 the kurkar la ers learl re resent the re aration for the onstr tion of the Strat m VII a ea. his se en e offers an a itional

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e am le of the e en onsoli ate re arator la ers for the initial hase of Strat m VII. mortar at h L3739 1.88 1.91 m msl fo n et een these t o kurkar la ers ro a l re resents remains of the earl onstr tion a ti ities. he earliest reser e arena s rfa e a o e these re arations is S rfa e 3726 hose ele ation is 2.20 m msl hi h is onsistent ith the eathere n eathere transition line on the e ternal fa e of 1389. he north se tion of the ro e in S s 101 see lan 1.3 Se tion 5 5 sho s a fairl similar se en e to those es ri e a o e. san kurkar fill L3751 a a ent to 1389 o erlies ea h se iments L3753 an a at h of mortar L3752 hi h is atta he to the same all. o fo n ation tren h for 1389 as is erne erha s o in to the limite e a ation a ttin the all. Strat m VI L3736 fills a series of holes in kurkar la ers L3749 an L3750 hi h ma re resent either the re aration for or the earliest s rfa e itself an oth ossi l of Strat m VII.

s the arr in of e ro in the so th thir of the arena as esi ne to esta lish the re isite ele ation no massi e fills ere ne essar . h s no Strat m VII re arator fill in ro imit to the o i m all o l e efine so th of Gri Line 84 an o in to later a ti ities no ontem orar s rfa es ha e s r i e . Similarl et een this ri line an Gri Line 101 the estr tion to the arena s rfa e as so reat that no Strat m VII feat res o l e learl asso iate ith the a ea. o e er et een the meta prima an the So th Gate a re arator fill L7871 as fo n o er a nat ral ea h a m lation L7880 on the kurkar e ro . n Strat m VII s rfa e that o l ha e e iste here as re la e a Strat m VI s rfa e L8878 see ha ter 4 he So th hir of the rena . h s the assi nment of this re arator fill to Strat m VII is reasona le. 25

Ver little an e seen to a of the entral onstr tional element that lon it inall ise te the arena o in to the e tensi e alterations that o rre in the arena in later hases an e to ost antine sea erosion. he lo est o rse of the meta prima an of the spina s r i e in the ro er tren hes at the arena s so th area see lans 1.3 Se tion 15 15 3.10 4.8 i s. 3.25

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3.26 hile the rest as s e t a a the a an in sea in the ost antine erio . he fo n ations of t o arallel alls 8928 an 8940 oine 8954 S s 76 form the so th en of the meta prima ith an e terior i th of 3 m see lans 3.10 4.7 i . 3.25 . he alls are ea h onstr te of a sin le ro of stones in se on ar se 0.4 m i e ith soil fillin the a et een the alls. ltho h nothin of the s erstr t re has een reser e res ma l some sort of onstr tion ri e the a et een the arallel alls 8928 an 8940 at a hi her le el. Similarl altho h no Strat m VII arena floor as reser e in the area et een the so th en of the meta prima 8954 an the So th Gate n ist r e s s rfa e arena fills ere is erne hi h ere neither affe te ar hite t re nor ro er tren hes other than that for Strat m VI i e 20121 see ha ter 4. all 8940 an 8928 a arentl ontin e north ar into the ne a ate area n er a series of Strat m VI metae primae in S s 77 78 8864 8855 an 8816 in or er of onstr tion . o e er a 4 m se ment of n ist r e arena s rfa es an infrastr t re is reser e a ross the line of the arrier north of the latest meta prima 8816 . his e tant se ment la in an spina onstr tion hi h is 14 m north of the so th fa e of 8954 in i ates an intentional a in the onstr tion of the arrier. he meta prima is restore here as an isolate re tan lar element a o t 3 m i e an of n ertain len th et een 5 an 14 m lon . s a re tan lar rather than a semi ir lar en for the meta li e the ones of Strat m VI see ha ters 4 an 5 o l seem to ha e re resente a an er to ra ers omin aro n the t rn most li el the three alls at ri ht an les re resent the fo n ation of a semi ir lar s erstr t re. orth of the 4 m a the spina’s o rse is a ain interr te for a o t 22.5 m S s 80 84 the Strat m VI s arena installation 1900 see ha ter 5 . 25 m lon se ment of t o arallel fo n ations 8602 an 8603 a ain a ears in line ith the meta prima after this interr tion from S s 84 to S 89 . he t o arallel alls ere se erel ama e a later ro er tren h L7229 an onl the lo est o rse of their fo n ations as fo n in situ lans 1.3 Se tion 15 15 3.10 i . 3.26 . he north termination of this element e en tho h it has een om letel ro e m st lie in the so th ortion of S 90 here the ro er tren h as is erne to en

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86

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L1725 L7229

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0

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m

YY

Plan 3.10. Plan of south segments of the barrier (for Section 15-15, see Plan 1.3).

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2.5 m north of the e tant spina se ment. ontin in north ar in line ith the e tant spina ere 32 m of n ist r e fill la ers of the arena s s str t re that ere tra e from S 90 to S 97 ntil the isa eare o in to ost antine sea erosion. he n ist r e arena la ers are in i ati e of at least a 32 m lon a in the spina. ss min a s mmetri al la o t for the ario s om onents of the arrier a meta secunda o l e e e te on its north si e see lan 3.1 on a line e tra olate from the t o reser e se ments of the arrier the meta prima an the fo n ation of the spina 8602 an 8603 . nfort natel the north ortion of the arrier as ashe a a the aforementione

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marine in rsions. o e er the north limit of the meta secunda an e h othesi e at the oint here Strat m VI on it 543 see ha ter 4 meets the arrier 68 m so th of the carceres. h s es ite the e tensi e ama e to the spina it is ossi le to restore ar hite t rall a 205 m lon arrier om ose of fo r or fi e onstr te elements t o metae l s t o or three onstr te spina se ments ith relati el lon a s in et een. he s ant remains at the so th ortion allo for the restoration of an or er of elements e innin ith a 5 10 m lon meta prima a a of a ro imatel 10 m an then a 50 m stret h of a onstr te spina. ss min that the north ortion mirrore the so th elements there

54

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28

Fig. 3.25. The southeast corner of the foundation of the Stratum VII meta prima, looking north-northwest.

Fig. 3.26. The lower course of W8602 and W8603 of the barrier, looking south (= Porath 2003: Fig. 3b).

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o l e a 70 m a in the enter of the arrier see lan 3.1 . his a et een the so th an north or ers seems to e ar hite t rall n stifie ho e er the a ition of a entral element o l ha e om lete this arran ement ni el . It ma also e ass me that some sort of e orati e mon ment as la e o er the entral restore element. he mon ment o l not ha e een an o elis sin e these ere first ere te st s in the ir s a im s in 10 hen ero s ir s ha alrea een om lete . Instea it mi ht ha e orne a ol hin e i e of the in ere te in the ir s a im s ar s ri a in 33 m hre 1986 262 265 hi h o l ha e ser e as a mo el for ero s ir s. he a o e re onstr tion of the arrier reates ite a shar an le relati e to the main lon it inal a is of the ir s a o t 2 . hile the lo ation of the meta prima as at the ori in of the semi ir lar sphendone the north meta secunda o l e c. 5 m east of the lon it inal a is i.e. left from the ers e ti e of the ra ers at the carceres . S h an arran ement as inten e to etter a ommo ate all ra in hariots to the ri ht of the arrier after e artin the carceres m hre 1986 18 24 .

the InItIal CarCeres he allo ation of e a ation areas for the arti i ants in the neither anti i ate the is o er of ero s ir s nor its imensions. h s the carceres or startin ates for the harioteers an the north se tion of the arena a o t 45 m lon ere ar itraril a ortione to the e a ation area ire te . atri h of the ni ersit of aifa. ltho h the carceres is an inte ral element of the ir s atri h referre to lish it in e en entl atri h 2001 2003 2011 . e ertheless the li ation of the ir s o l e in om lete itho t its onsi eration. herefore atri h s res lts are riti all re ie e elo an in the follo in ha ters to ether ith o ser ations ma e the a thor hile s er isin onser ation a ti ities of the carceres in e r ar to ar h 2002. atri h lishe three s essi e sets of carceres onsistin of fo n ations an some remains of their s reen s erstr t re ali ne on an ar at the north en of the ir s. e esi nate the three sets as hases I III hase I ein the earliest ith three s hases

for hase I . is S hase Ia as assi ne to the initial strat m i.e. ate to the first ero ian se of the fa ilit in 10 9 atri h 2001 272 278 i . 4 . S se entl the resent a thor noti e the e isten e of an earlier hase of carceres n er atri h s hase Ia lan 3.11 . he stalls of this earlier hase are enote here as hase 0 in ee in ith atri h s or er see a le 4.1 . he s reens of the hase 0 stalls ere ismantle to elo floor le el hen hase I stalls re la e them. ost of the hase 0 elements ere e a ate an re or e the team ho e er the ere not is sse in the reliminar re ort atri h 2001 .26 hase 0 onsists of fi e stone onstr te fo n a tions for s reens that ere o ser e in the east half of the carceres lan 3.11 1 5 hi h reate room for fo r stalls.27 he esti es of t o f rther fo n ations lan 3.11 6 7 to the est of fo n ation o. 5 mar the e innin of a itional stalls in the est half of the carceres. S reen fo n ation o. 1 is 4.3 m lon an 1.3 m i e hi h is a o t half the i th of the other fi e 2.2 2.6 m i e . he fi e etter reser e i er s reen fo n ations are em e e into ea h san hile the narro er o. 1 as la e on the kurkar e ro . hea er o rse 1.28 m i e reser e o er the i er s reen fo n ation o. 5 e lains the ifferen e. It seems that the alls for all of the stall s reens ere c. 1.2 m i e near the stall s floor these i er fo n ations ser e to sta ili e the s reens that ere fo n e in the relati el re entl e osite san from the sea. he hase 0 s reen fo n ations ere ali ne ra iall alon a 55 m ar as ere the s reens of hase II the e ternal en the stalls as i er than the internal one. he ere onl artiall e ose as the s reens of the hase I an the hase II carceres ra all o erla them. he a era e i th of the i er fo n ations is 2.4 m re e to c. 1.2 m near the stall s rfa e an the istan e et een them is 1.4 m th s lea in a 2.4 m istan e near the s rfa e. his s a e is s ffi ient for a air of horses that ere harnesse to a biga rather than fo r horses of a quadriga. 6.9 m istan e et een the northeast orner of s reen fo n ation o. 1 an the north ontin ation of the line of the arena as fille a all a a ent to 669 lan 3.11 8 lea in a 4 m a itho t an onstr tion. his a et een the o. 8 all an the o. 1 s reen fo n ation a arentl re resents the east ate of the hase 0 carceres. similar a

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of fo r startin ates here er the ha e een reser e in e tant fa ilities or in artisti es ri tions s h as ei ht in ero s ir s at aesarea t el e ea h in artha e s ir s o illae s ir s an the a enti s ir s m hre 1986 i s. 139 268 an 274 res e ti el as ell as in the Itali a mosai m hre 1986 i . 70 .

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Plan 3.11. Schematic reconstruction of the initial carceres showing the arc of the stalls and its calculated radius, and the locations of the center line of the arena and the meta secunda.

as left et een s reen fo n ation os. 5 an 6 of the hase 0 carceres lea in a entral ate a o t 5 m i e on the s rfa e . he carceres f rther est as entirel ashe a a the a an in sea in the ost antine erio ho e er it is lo i al to restore a mirror fi re of fo r stalls an a ate for the est half. he i e ates on ea h si e an in the enter of the carceres ere re ire to allo eas entr an e it for the a ien e in the initial hase see elo ntran es . In s mmar the initial hase of the carceres i.e. hase 0 onsiste of ei ht stalls ali ne ra iall in an ar ith a entral ate an a itional ates east an est of the stalls lan 3.11 . S h an arran ement is t i al of the oman st le hariot ra es here all the harioteers arte to the ri ht si e of the arrier. here the o l om lete se en to ele en ir its ith the hite finish line lo ate in the arena elo the tribunal m hre 1986 i . 57 . he arran ement of ei ht stalls in the initial carceres follo s the oman attern of the fo r ir s fa tions an fo r or a m lti le

he e terior of the ir s ser e solel as a sta in an on re atin area for the arti i ants s e tators an i nitaries ho atten e the ra es at ero s ir s. his hara teri ation is s orte e a ation of restri te areas to the east so th an est of ero s ir s hi h re eale little e elo ment aro n the fa ilit rin the str t re s first hase Strat m VII . h s the ir s as lar el is onne te from its r an s rro n in s to o ra h oth nat ral an artifi ial. limite area of onstr tion as e ose in the area e a ate the I east of 669 S s L 118 123 ho e er its re ise atin is n lear. In terms of strati ra h these il in s are the earliest in the area t their oor state of reser ation re ents efiniti e atin to aesarea s earl e a es to either Strat m VII or Strat m VI for etails see orath an Gen elman in re . . he Strat m VII o ation s rfa e L7419 o tsi e the ast a ea as rea he in a limite area east of the vomitorium of 1000 S s G 91 94 see lans 1.3 Se tion 6 6 3.6 i . 3.10 . S rfa e 7419 is a a e earth la er 0.4 m thi that e ten s from 1086 to the nat ral kurkar s ar a o t 16 m to the east. he s rfa e is lai o er hamra L7128 an kurkar la ers L7414 hi h in t rn o erlie the re ero ian ea h se iments L1623 an the fo n ation tren h L1622 of 1086. o r lar e kurkar lo s ere fo n em e e in S rfa e 7419 lan 3.6 ttin into the earlier fill la ers L7128 an L7414 . hese lo s seem to ha e een s orts for oo en ol mns set on either si e of the vomitorium s east entran e to s ort some sort of ano that ro i e sha e for the enefit of i nitaries sin this entran e. he re arations to onstr t the ir s sphendone in l e the arr in of a 7 10 m i e stri into the kurkar e ro o n to a o t 2 m msl o tsi e 28 1478 an 1705. 5 7 m thi la er L20084 om ose of hamra mi e ith kurkar ra el as

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e ose o tsi e the So th a ea i . 3.6 . S rfa e 20084 as tra e to the east so th an est on the e terior of the So th Gate t as ist r e later a ti it in the ate assa e itself. ast of the ate S s 70 this s rfa e as lai o er an oran e san fill L20460 hi h o ers the kurkar e ro an the fo n ation tren h of 1705 that ts into e ro . he same s rfa e as n o ere est of the ate e ten in from 1478 to the or ers of the arrie area S s 68 71 . ere too S rfa e 20084 o erlies the oran e san fill L20460 an the fo n ation tren h of 1478 see lan 1.3 Se tion 12 12 . S rfa e 20084 entl slo es from 2.81 m msl near 1705 S 70 to 2.58 m msl so th of the ate no remains of the s rfa e ere reser e at the ate assa e e to the onstr tion of later raina e hannels an to 2.18 m msl in the est S 70 . he attem t to tra e S rfa e 20084 o tsi e the So th Gate f rther est as hin ere the onstr tion of the north in of the oman Go ernor s ala e see orath in re . . similar o ation s rfa e L20627 as n o ere in the ro e ne t to the orner of 1478 an 6690 S 75 e ten in from these alls est ar an so th ar . he s rfa e slo es so th ar for a istan e of 1.4 m from 2.73 m msl near 6690 to 2.69 m msl. It seems that S rfa e 20627 is the north est ontin ation of S rfa e 20084 an rose from the lo est e a ate oint S 70 to ar the orner of 1478 an 6690. o se iments t i al of ater a m lation ere fo n at the lo est s ot hi h means that the o ation s rfa e o tsi e the So th a ea as raine to the sea a nat ral or artifi ial o tlet. n the est e terior si e of the fa ilit no o ation s rfa es ere ete te in asso iation ith the short e tant se ment of 1409. in lo n hite sea san ha a m late in front of the all at the 1409 6990 orner an it is ro a le that the area as left n ist r e rior to e a ation. o o ation s rfa e as ete te north of the carceres; ho e er the remains of a roofe hannel ere fo n ne t to the hase 0 fo n ations. he hannel 0.50 m i e an 0.45 m hi h not lastere raine the lo er area east of 669 to ar the sea.

entranCes rom the imme iate e terior sta in areas entran e to the arena as ossi le from onl three emonstra le

ire tions 1 the entral an si e ates a a ent to the carceres at the north short en is sse a o e see lan 3.1 2 the So th Gate i i in the a ea in the mi le of the sphendone lan 3.1 I an 3 the vomitorium of 1000 S s G 91 94 onstr te a ro imatel in the mi le of the ast a ea lan 3.1 see elo he Vomitorium of om le 1000 . r inar s e tators in the initial fa ilit rea he their seats stair a s lea in from the arena to the tiers. res ma l i nitaries o l enter ia the vomitorium in or er to rea h the tribunal. It is o tf l that a itional entran es e iste alon the missin se tion of the est all 1409 allo in a atherin area on the flat re entl forme ea h o tsi e the fa ilit . o si n of an entran e has een o ser e alon the reser e so th se tion of 1409 an an o enin in the sea fa in all mi ht e a ea oint in time of storms.

his formal so th entran e S s 70 71 as oorl reser e as it as ismantle to fo n ation le el in the follo in hase see ha ter 4 . It onsists of t o arallel alls 20099 an 20154 1.85 m a art on the east an the est si es of the entran e res e ti el lan 3.12 .29 nl the t o lo est o rses of ashlar lo s an the lime an r le on rete fo n ation are reser e . heir fo n ation tren hes t into the rittle kurkar e ro o n to a o t 2.03 m msl. he ate assa e om letel interr ts the e ternal all et een 1478 an 1705 on its so th si e see a o e he terior all . n its north si e it asses o er the ontin o s fo n ation of the o i m all 1389 . he Strat m VII assa e s rfa e as om letel remo e rin mo ifi ations to the ate in the follo in hase an onl some of the le elin la er L20460 an oran e san soil ontainin a mo erate amo nt of glycimeris seashells an a fe small otter sher s as reser e . he res me s rfa e as either ste e or slo in to ar the arena in or er to ri e the ifferen e in ele ation et een the li in s rfa e o tsi e the initial ate L20084 2.50 m msl an the missin arena s rfa e a o e 2.20 m msl . othin has s r i e of the freestan in se tions of the Strat m VII So th Gate t it seems lo i al that it as a lte li e the vomitorium of 1000 see elo of similar i th. he narro entran e sli htl i er than 1.85 m allo e eas

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Plan 3.12. Plan of the Stratum VII South Gate (for Sections 9-9, 10-10, see Plan 1.3).

a ess for e estrians mo nte horses an t o horse hariots bigae t as har l s ffi ient for the fo r horse hariots quadrigae . es ite the narro imensions of the ate assa e a an its lo ation at the en farthest from the inha ite ones of the it it a ears that the so th entran e ser e as one of the ates for s e tators enterin the ir s.

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he vomitorium as the lo er om onent of 1000 S s G 91 94 elo the tribunal, an is a trans erse arrel a lte assa e a L1634 thro h 1086 an 1389 of the ast a ea see lan 3.6 i . 3.18 . o ste e orri ors L7126 an L7127

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lea res e ti el north ar an so th ar from the vomitorium to the tribunal. he i th of the est ortion of the vomitorium 1.79 1.82 m et een o i m 1389 an the orri ors is 0.11 0.14 m i er than the remainin east se ment et een the orri ors an the e ternal fa a e. he vomitorium as ilt in an area that ha re io sl een a silte re ero ian a an th s is fo n e on re entl e osite marine se iments see lan 2.1 i s. 3.1 3.6 . he floor of Va lt 1634 as not reser e e to later se t ase on the ele ation of the ottom ste of orri or 7126 2.70 m msl 0.2 m hi h an the hei ht of 7459 2.45 m msl at the entran e to orri or 7127 the res me floor le el is a o e 2.45 m msl ro a l et een 2.50 an 2.60 m msl. his estimation la es the floor of Va lt 1634 at an ele ation that is 0.8 0.9 m lo er than the e ternal s rfa e i.e. L7419 3.42 m msl see a o e he terior of ero s ir s . o tra e of the ori inal es ent et een the t o s rfa es as reser e e to the later lo in of the east entran e see ha ter 4 t it seems that fo r ste s of similar imensions to those se to lim to the tribunal on e e iste there. air of re tan lar holes at 1.91 an 1.98 m msl as o ser e on the insi e of ea h am of the east entran e to Va lt 1634. he fo r holes ha on e a arentl een se to afi a oo en frame of a o le oor at the east entran e to the vomitorium. Va lt 1634 onne ts the arena to the o en area east of ero s ir s an lea s to the tribunal a o e thro h the ste e orri ors. h s this entran e as ro a l se a limite n m er of i nitaries for hom the ela orate seatin arran ements in the tribunal ere reser e . s Va lt 1634 as o en at oth en s it allo e for either is reet a ess to the tribunal a o e from the o tsi e or for a eremonial entran e from the arena. he est ortion of the a lt o er Va lt 1634 as not fo n see lan 3.6 Se tion 1 1 . s note a o e it a ears that oth the a lt an the ele ate latform of the tribunal ne er rea he all the a o n to the o i m all see i . 3.18 so as not to o str t the ie of the s e tators seate on either si e of the i nitaries o .

presumed ConstruCtIon proCess he e i en e from the in i i al ar hite t ral elements is sse a o e ma hel to re onstr t

the o erall onstr tion ro ess of ero s ir s altho h no o ment has s r i e to s ort the follo in on e t res. he onl e e tions are the fe eneral omments ose h s Wars I.21.8 Ant. V 341 amon them the t el e ear erio that asse et een the e innin of the onstr tion of the it an the har or an their ina ration i.e. 22 10 9 . o ern analo ies sho that at least three fi e ears o l ha e ha to ass et een the onstr tion of the rea aters of Se astos an the formation of an e ansi e an sta le ea h. nl then o l this lo ation ha e e en een noti e ero s ar hite ts an the site ha e een i entifie as a s ita le lo ation for a ir s an its lannin ha e ommen e . he to o ra h a flat i e ea h or ere ele ate kurkar s ar s on the east an so th si es a arentl la e an im ortant role in the e ision to allo ate the lan so th of the har or for a ir s ith a e liar sha e a ea. he time fa tor no o t as also a ma or iss e in e i in the lo ation an lan of the fa ilit as its om letion as a hie e in a relati el short time rior to the ina ration eremonies. It seems that the ir s esi n fits an e istin master lan that set the orientation of the la o t of the f t re streets an ins lae in the n e elo e o en area of the so th est one of the ne it .30 he first ste rior to ro er onstr tion after the lo ation as s r e e an the lan a ro e as the s rea in of a kurkar la er o er the entire area. he kurkar se as the hi s an ra el lefto er from the ro ess of arr in an he in lo s. he follo in sta e in ol e the elineation of the erimeter the onstr tion of the a ea the est all an the carceres. onstr tion seams et een the strai ht an semi ir lar e ternal alls in i ate the or as arrie o t at least three ro s one for the ast a ea one for the sphendone So th a ea an one for the est si e 1409 an 6690 . It seems that the ro s or in on the strai ht east an est si es initiate the onstr tion at the north en s of 669 an 1409 in or er to allo for an a itional ro to ommen e il in the hase 0 carceres. he onstr tion of the ast an So th a ea in ol e the arr in of the lo oastal liff to reate a i e it h that se arate the east an so th si es of the fa ilit from the a a ent s rro n in s. he e tra soil as either se to ele ate the s str t re of the a ea or ile insi e to raise the arena to the lanne s rfa e ele ation. he final le elin of the arena an

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the arran ement of the se mente arrier o l start onl after the internal erimeter alls an carceres ha een om lete or at least ilt to the first e ose o rse . In terms of la or an time the most ons min o as the om letion of the 210 m lon ast a ea in l in the vomitorium an the tribunal a o e it. he learl isi le an rossl im erfe t lin et een the a ea s east an so theast e ternal fa a e 1086 an 1705 res e ti el in i ates the il ers m st ha e fa e a serio s shorta e of time an es he e the ismantlin an re il in of a c. 15 m se tion.31 herefore one an on l e that ero s ir s as om lete in the last min te rior to aesarea s ina ral ele rations itho t s are time for re airs.

seatIng CapaCIty o ether the So th an ast a ea a o nts for a ro imatel 3275 m of re lar seatin arran ements ase on t el e tiers or 3540 m for thirteen tiers . a h tier a era e 198 m in len th 210 m min s 12 m for the tribunal on the ast a ea an 75 m in len th on the So th a ea. he o timal n m er of s e tators an e al late sin the a e te stan ar re irement of 0.65 m er erson hi h res lts in a seatin a a it of a o t 5000 s e tators or a o t 5500 for 13 tiers . n er ro e on itions of 0.45 m er erson the seatin a a it o l in rease to 7250 s e tators or a o t 7850 for 13 tiers . If 1409 on the est s orte 3 5 tiers of 210 m in len th the seatin a a it o l ha e a e et een 970 1770 s e tators at 0.65 m er erson or 1400 2555 s e tators at 0.45 m er erson.32

summary and ConClusIons he aesarea ir s as ina rate a o t 15 ears after ero ilt a similar fa ilit in er salem ose h s Ant. V 268 hi h as re are for the ele rations of st s ilee 27 . ose h s ses the term amphitheater hen referrin to oth of these str t res. o hi o rome ir s is no n to ha e e iste in ellenisti ea rior to ero s rei n o tsi e of ea in nei h orin ellenisti o ntries it as also a rare form of entertainment fa ilit . istori al te ts re all a re ero ian ir s onate to the eo le of ntio h on the rontes in 67 int s ar i s e the oman o ernor of

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ili ia alalas Chronographia 225.3 7 o ne 1961 140 648 m hre 1986 456 7 . alalas ho rote in Gree in the si th ent r alle it the ol hi o rome ho e er it eser es to e terme a ir s a or in to the mo ern lassifi ation see ha ter 2 . m hre rote o tless it as mo ele on the ontem orar ir s a im s not on the hi o rome at l m ia 1986 457 . o hi o romes also atin to an earlier erio ere no n to ha e een o eratin in le an ria rin ero s time one as lo ate insi e the it alls of le an ria an the other as onstr te in its east s r i o olis Stra o Geography, 17.10 3 Maccabees, IV 11 l tar h Lives. 74 raser 1972 31 n. 231 m hre 1986 507 512 . It seems that the former is the hi o rome re or e near the Sera eion of le an ria the ren h mission in 1799 an as the Lageion mentione oman historians raser 1972 n. 231 m hre 1986 505 506 . s it as name after tolem La os 323 285 it sho l e ate to the ellenisti erio ari 1951 . he ren h mission re or e an arena meas rin 51.6 560.0 m as ell as the remains of a ro t arrier in i atin that the fa ilit n o te l ser e for e estrian ra es m hre 1986 505 510 . he ren h s r e ors referre to all this il in a sta i m as the ro a l ass me that its arena as too narro to a ommo ate the anoni al t el e ra in hariots. he e isten e of a arrier in the arena ro es that it f n tione for hariot ra es an therefore it as a hi o rome ir s rather than a sta i m. m hre 1986 136 138 508 ar es for a i er an shorter arena in ee in ith the anoni al or er to a ommo ate t el e ra in hariots. In om arin the i th of the hi o rome ir s near Sera eion to ero s ir s an to se eral other oman ir ses in alestine s h as ea olis She hem a en 1993 1357 1358 Gerasa ller 1938 stras 1989 Ga ara mm eis a ner L et al. 1978 143 a ner L an Vrei en 1982 162 e er 2002 an the one at et She an S tho olis oerster n er the Late oman am hitheater33 1993 226 227 safrir an oerster 1994 113 114 it e omes reasona le to istin ish another lass of ir s ase on arenas meas rin c. 50 m in i th. hese narro er arenas o l ha e a ommo ate ei ht to ten teams an li e ise the carceres o l ha e ha ei ht to ten startin ates. he remains of the initial carceres hase 0 at aesarea see a o e

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onsist of ei ht startin ates ma in ero s ir s a oo e am le of the ro ose small ir s ate or . he onstr tion of ele ate tiers in theaters an sta ia as ro lemati for lassi al Gree an ellenisti ar hite ts. he an ient il ers enerall sele te nat ral asins as sites for entertainment il in s an s l te the seatin tiers into the s rro n in slo es. here er there as nee for seatin to e onstr te a o e the e istin to o ra h the ro s ere ilt into a m ersome s str t re of a fill hel et een re etment alls. his e en en e on the to o ra h limite the lassi al an ellenisti ar hite ts in their sele tion of sites for the onstr tion of li entertainment il in s an to a lar e e ree i tate the seatin a a it of the str t re. he oman ar hite ts on the other han i el em lo e masonr a lts in the infrastr t re to s ort the ele ate a ea of theaters sta ia ir ses an am hitheaters. he ere therefore in e en ent of the nat ral to o ra h an ere free to lo ate mon ments in areas that ha een ns ita le for their re e essors. he tiers of ero s ir s ere onstr te a or in to the earlier ellenisti metho s. he lo er tiers in se eral se ments of the east lon si e ere s l te into the nat ral kurkar e ro hile the remain er of the east si e an all of the So th a ea ere onstr te on a fill et een t o retainin alls. ltho h no e i en e as fo n in the initial hase for a est a ea if s h a onstr tion ha in ee e iste it o l ha e een s orte the e tant soli est all. he a lts of the vomitorium n er the tribunal an a arentl of the So th Gate re resent the a ilit an no le e of oman onstr tion te hnolo a o te in sele te se tors of the fa ilit . It seems that the familiar fill metho as referre o er the a ltin metho for reasons of time an ost see elo . he sear h for ro n n m ers of an ient nits se ero s ar hite ts for the lannin of ero s ir s oints to ellenisti metrolo ase on the 0.308 m lon tti rather than the oman 0.296 m lon pes. he thi ness of the ast an So th a ea is e i alent to 30 an ea h cuneus alon the east si e meas re 1 1 100 . he eneral len th of the arena is almost 10 an its i th is 1 6th of that imension. he se of a nit missin an e i alent in the oman metrolo is an a itional si n of ellenisti ori in in the lannin of the initial ir s.

he erforman es resente in the arena of ero s ir s ere a mi t re of late ellenisti an oman s e ta les ose h s Ant. VI 137 a om ination that attests to the lt ral infl en e the on erin omans ha on the ellenisti o la e. he o ernin lass a ears to ha e rea il a a te to the oman taste in erforman es hi h in l e Gree s orts resente in the oman st le s h as hariot ra in an the re ent im orts of istin tl oman e ents s h as munera an venationes . hile the e ents on te at aesarea in ero s time ere mo ele after those of the oman orl an erforme in fa ilities o ie from oman ar hite t re 34 ero s ir s retains man onstr tion feat res of the re ion s ellenisti tra ition. he initial i.e. hase 0 carceres o l hol ei ht hariots a li ate of the fo r ir s fa tions . he harioteers ra e from the hase 0 carceres to the ri ht si e of the ermanent tho h ise te arrier an ro ee e in a o nter lo ise ra e. In i norin the e isten e of the onstr te arrier an the hase 0 carceres in the initial hase of ero s ir s atri h 2001 erroneo sl on l e that the hariot ra es at aesarea follo e the l m ian st le. learl the resen e of a ermanent arrier emonstrates that hariot ra es in ero s ir s ere hel in oman st le from the fa ilit s in e tion. s note a o e the onstr tion of ero s ir s o l not ha e een initiate ntil at least fi e ears after the e innin of the onstr tion of the so th rea ater of Se astos in 22 . his erio is the minim m estimate time for this marine onstr tion to affe t the nat ral se iment trans ort an for s ffi ient san to a m late in the shallo sea so th of the har or mole an reate a stri of sta le lan s ita le to a ommo ate the ir s. In the north an entral areas this nat ral a m lation o l ha e ha to fill a stri at least 60 m i e in or er to o er ome the ee er marine intr sions into the oastline see lan 2.1 . In a ition a erio of time m st ha e asse efore ero s ar hite ts on l e that the san a m lation as a ermanent an not a tem orar ro ess an one that allo e for the il in of a massi e fa ilit on the re entl forme lan as ell as time for the lannin ro ess. It seems that the ro n rea in as initiate aro n 15 or later an the fa ilit as om lete st in time for the ina ral ele rations. In ontrast atri h 2002 82 2003 166 s ests that the re la ement of

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the hase 0 carceres ith that of hase I sho l e asso iate ith the isit of ar s ri a to ea in 15 fi e si ears efore aesarea s ina ral ele rations ose h s Ant. VI 13 . atri h s histori al re onstr tion is that ero sho e ri a the il in ro e ts of aesarea an hel a hariot ra e at the ir s in his honor. S h a s enario is na e ta le as it res mes the e isten e of a ir s ith a f n tionin arena as earl as 15 . is re onstr tion oes not onsi er the ne essar time for the re isite nat ral ro esses an lannin rior to the initiation of onstr tion. oreo er it oes not ta e into a o nt the la of an orre tion to the efe ti e oin et een the t o e ternal alls of the a ea the in om lete onstr tion of the a ea on the northeast si e an the narro i th of the est si e all of hi h s est that there as no

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s are time. en e s h a emonstration ra e for ri a o l not ha e ta en la e in a ir s that as still ostensi l an immense il in site e en if its onstr tion ha e n as earl as c. 16 . Instea a er ti ht timeta le for the onstr tion of the ir s sho l e en isione .35 ero s ir s is ni e amon the man no n mon mental entertainment il in s of the oman orl . It is the est reser e s r i in e am le of a ir s from the last e a e of the first ent r si nif in the ro ess of omani ation in the re entl on ere ellenisti states of the eastern e iterranean. he stron oman im a t han in han ith the len of infl en es of oth the ellenisti an oman orl s so hara teristi of this transitional erio is refle te in the ar hite t re te hnolo st le of hariot ra es an other ses of ero s entertainment fa ilit at aesarea.

notes he ir s at Le is a na as onstr te a or in to similar rin i les m hre 1986 27 . 2 he nat ral mo ern shoreline as intentionall she est ar m in e ris from the 1959 1964 e a ations of r sa er aesarea an the oman theater on the ea h et een the t o sites. he 1959 shoreline ith t i al marine se iments in l in mo ern artifa ts an man small ro s of tar as nearthe an elineate a ain in the 1992 1997 e a ations. 3 oins from aesarea minte ri a I an oman ro rators to the time of ero ore the ins ri tion that efine it as aesarea hi h is ne t to Se astos har or a an 1992 69 . 4 his henomenon is ell no n amon mo ern marine en ineers an is a lie to reate san ea hes s h as at sh elon el i erzli a etan a an aifa. 5 hese otter fra ments ill e lishe in orath an Gen elman in re . he om rise one let an a fe o fra ments of a ar a arentl from a hil rial. 6 hat area as later o ie a lar e il in e ten in est ar on the romontor see lan 2.1 here a ellenisti rial L7667 as also fo n see lan 3.9 . he est se tion of the il in as e a ate e e itions of the e re ni ersit an of the ni ersit of enns l ania et er ar athan an ato 1986 rrel Gleason an et er 1993 rrel 1996 Gleason 1996 1998 et er 1996 an the east art the I team orath 2000 35 37 in re . . he e i en e re eale the e re ni ersit an ni ersit of enns l ania teams s este the il in as esta lishe in ero ian times an the name it ero s ala e . n the other han the se tor e a ate 1

the I team as ilt not earlier than the se on e a e of the first ent r an f n tione as the ala e of the oman o ernors of Judaea/Palaestina f. L20084 elo an for a etaile is ssion see orath in re . . 7 his i th is i enti al to the a ea of the a riani ir s at tino olis t f. m hre 1986 513 . 8 In most areas the e a ation o l not ro e an ee er or i er e a se of safet an etar onsi erations an th s the f ll e tent of the arrie area o tsi e the a ea o l not e re eale . 9 in to the narro e os re of the e a ation at this an the follo in n tion it as im ossi le to o tain a satisfa tor hoto ra h of this feat re an therefore isometri ra in s are ro i e . 10 See ha ter 5 for a re lar rote ti e s reen hen the so th ortion of the ir s as transforme into an am hitheater in the se on ent r . 11 ne ste ro a l the lo est one as not fo n in the so th orri or L7127 in its ori inal osition mirrorin the o osite orri or. It as sli htl tilte lo ate 2.35 m so th of L1634 an at an ele ation of 2.77 m msl. his osition re resents the remains of later ismantlin . 12 o this n m er one sho l a the ste e orri or L4573 at the north en of the ast a ea an an n no n n m er of stair a s that o l ha e een remo e hen the a roa h to the tiers as han e at the initiation of the Strat m VI ir s see ha ter 4 this total oes not in l e the ste e orri ors 7126 an 7127 of 1000. 13 his henomenon is est o ser e here in Se tor II of the o i m all here it is onstr te of t o o rses of hea ers an three o rses of alternatin hea ers an

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stret hers rea hin a hei ht of 1.54 m see a o e an a le 3.2 . h s the he n s rfa e of the rie ortion of the all hi h onsists of the lo est hea er o rse an m h of the lo er hea er stret her o rse is easil istin ishe . 14 he 53.5 m istan e et een Stair a s 3983 an 3985 is too short for t o s h cunei or m h too lon for one an s oils the ele ant lan o tline here. It is ro a le that the 30 m cunei ere lanne onl for the strai ht east si e. 15 he se aration of the a ien e from the ra ers as ne essar not onl to re l e a i ents t also to re ent taintin the o t ome of e ents. he 1.0 1.2 m hi h o i m all i not reate eno h istan e et een the a ien e an the more iolent e ents in the arena in arti lar rin the munera an venationes s e ta les an it stan s to reason that some in of a tem orar fen e or arrier as ere te in the arena efore s h e ents. hile e a atin in the arena a lar e n m er of shafts into the arena s rfa e ere note ho e er it as im ossi le to ete t an or er to their ositions as the re resent the a m lation of se eral hases of s orts a ti ities. hese holes o l er ell ha e ser e to hol oo or stone osts for a tem orar arrier an see ha ter 4 . 16 orri or 4992 f n tione as a stair a in later hases see ha ter 6 therefore it is ossi le to s rmise that it as ste e in the ori inal hase as ell. 17 he all la e on the rea h of sea a es e to the massi e san a m lation an the est ar lan e ansion that res lte from the onstr tion of Se astos. 18 he fo n ation of the kurkar em e e ortion is hi her an ossesses onl t o o rses of the a o e arran ement o ser e on lan 3.8 Se tion 1 1. 19 Se eral seashells ere noti e at the ermost 0.2 m of L20630 the remain er is re san . Similar a m lations ere n o ere in the area so th of ero s ir s n er the oman Praetorium an ere i entifie as re onstr tion a m lations that o erla the nat ral se iments. he limite imensions of the ro e a oi e ee er e a ations t it is ass me that L20630 re resents here the re onstr tion nat ral se iment. 20 he i th of the freestan in 1409 an a ommo ate to fi e tiers ase on the follo in al lation 5 tiers 0.65 m er tier 1 footrest at 0.5 m 1 est al stra e at 0.4 m c. 4 m. 21 he I team e a ate most of the arena a o t 285 m o t of the 301 m . Its north e e an the carceres ere e a ate the ni ersit of aifa e e ition a om onent of the ire te . atri h. he res lts of the I e a ations are is sse herein t for reliminar re orts of the ni ersit of aifa team see atri h 2001 2011 189 193. 22 he est fa e of 669 an the a a ent arena ere not e ose in the area e a ate the team. 23 he so th half of the arena as eli eratel lo ere to elo the ori inal s rfa e le el rin the mo ifi ations arrie o t to the Strat m VI hase of the fa ilit see ha ter 4 in a ition to those arrie o t rin the tili ation of the fa ilit an ama es a se antine an ost antine a ti ities an the im a t of the sea.

Lo s 570 om rises a se en e of arena s rfa es an inter enin fills. It as aref ll e a ate as one nit an later s i i e as et hei hts an i en letter esi nations. 25 he terms for the onstr te element that lon it inall i i e the ra in tra has een terme in onsistentl mo ern s holars spina euripus an arrier. arrier is the term referre m hre in his mon mental or 1986 an that hi h is a o te here. o e er in this li ation a istin tion is ra n et een the i erse om onents an their se arrier is the entire element om ose of the t o metae an the spina an the spina is the element that as ilt et een the meta prima an the meta secunda either ontin o sl or se mente . a h fa ilit ha a a of ar in i th that se arates the spina from ea h meta. he euripus refers to ater asins onstr te ato the spina note that this term is also se in some ir ses to es ri e ater hannels alon the erimeter of the arena . 26 atri h a e te the e isten e of a hase 0 carceres t inter rete it as a ro isional arran ement that as altere efore aesarea s ina ration atri h 2002 82 2003 166 see orath 2003a an elo for a res onse to atri h s histori al re onstr tion. o e er a more etaile resentation an is ssion of the initial hase m st a ait the formal li ation of the ar hite t ral fin s from the e a ation of the ar eres. 27 s the ar hite t ral elements of the hase 0 carceres ere not n m ere atri h to an in l in his most re ent li ation atri h 2011 an a ho n m erin s stem as a o te here lan 3.11 . 28 he arr in e e te o tsi e 1478 an 1705 as onsi era l more e tensi e than nee e for the fo n ation of the t o alls. It rea hes elo the re ire le el to ro i e a ess to the arena from the so th as the Strat m VII arena le el here is ass me to e 2.30 2.40 m msl see a o e rena an arrier an the arr in rea hes e ths of c. 2 m msl. It is ro a le that the a itional arrie area as re ire to enerate r le for fills in the arena or the a ea the e ro ire tl elo the So th a ea as left nto he . 29 he real o enin of the ate mi ht ha e een i er than 1.85 m hi h is the istan e et een the t o arallel alls as the rie fo n ation is s all i er than the e ose all. he e a t i th of the ate is therefore n ertain an the fi re relates to the istan e et een the fo n ations of 20099 an 20154. 30 he a in of the streets of the so th est one as onl arrie o t a fe e a es after the ir s e an f n tionin an their orientation learl fits the lon it inal a is of the 315 m lon ir s. In ontrast the theater as ilt a or in to a ifferent orientation an th s its onstr tion ro a l e an earlier than ero s ir s. 31 ero s resti io s mon ments ere t i all ilt ith reat are an a stri t attention to form etail an e e tion ma in this o io sl isi le fla ne e te . 32 he ass me fi res for seatin a a it on 1409 if it e er e iste are ase on a est a ea limite to 210 m lon arallel to the ast a ea. ne sho l a 35 to the 24

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seatin a a it of the est a ea in ase it e ten e for the entire len th of 1409. 33 hat is if the earlier onstr tion as reall a ir s a or in to the e a ators an not a sta i m or a lar er am hitheater. he rrent e a ations at et She an S tho olis ha e et to f rnish ositi e e i en e for a ir s n er the am hitheater. 34 he lan of the ero ian theater also o ie ontem orar oman ar hite t re hara teri e the semi ir lar or hestra not that of the elleni ar hite t re ith the ir lar or hestra ie er 1961 .

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ose h s oes not mention hen the e ision as ma e to onstr t a oman st le ir s at aesarea. herefore rather than this ir s ein rea for ri a s isit it is more enti in to s est that this e ision as onl ma e rin or after his so o rn there ose h s Ant. VI 12 14 . 15 a h e amo nt of san o l ha e a m late so th of the har or an a flat san ea h o l ha e offere an in itin lo ale for a ir s al eit ith limite time left for its e e tion. 35

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Chapter 4

Strata VIC and VIB—alteratIonS and ModIfICatIonS to the I nItIal CIrCuS YoSef Porath IntroduCtIon m

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121

m

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122

Chapter 5

Stratum VIa—tranSformatIon Into an amphItheater and the CIrCuS r eVIVed YoSef porath IntroduCtIon m

1

m

5

m e atio e

1

m 11 5 1 64 0 4

m mu era

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m m

m

m

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1

m

m

m

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6 m

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the InItIal amphItheater—Stage VIa4

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63 m

m 2016

m 2001 2

ar ere 01 30 m

m 144

m ar ere

m

14

4

14 15 m 35 m 4

m 16 m

1 0 1 2

52

ater i o er t e am

it eater are a

5 30 m

m

1

m

m

i

1 00

6 55

2 65 m m m ur ar 2

m

2

oo i

ea t

1

mm 21 222

ae area 1 1 3

253 260 6 55

150

i

ater i o er t e am

it eater are a a

t e

et a er at to o

m

6 55

ar ere

6 55 m m

41 5

5

03 0

1

45 3

3 51

4

45 3 5 10

m

5 31

m

3 52

13

m

3 4

3 51

13

3 32 m m 5 meta rima

13

16 m i

m itu m

3 51

2

3 52

3

2

ar ere

3 51

m

et

02 m

3 25 m m 13 5

ar ere

m 3 40 m m

2 65 m m m 13

m

oo i

m 2 3 25 m m 65 m

4

m

m

ae

m

13

0 m

m 16 51

m

m

ur ar m 0 35 0 4 m

m

1 31

5

W1389

151

2 3

4 13

112

5 03

45

35

112

L3951 L

3 25

L3951

3 4

4 63

34 3 4

4 42

4

41 3 34

41

5 05

45 50

2 64

111

W1389

111

0

1 m

W1389

Pa o

45

W1389

106

3P a tair a

106

41 5 03

22

3

3 55

44

3 32 3 6

L3952

4 21

105

105 3 4 21

4 62 5 05

3 3

0

1 m

3P a

Pa o

tair a

152

W135

L4992

118

118

36 3 2 41

3 25

4 43 4 60

4

3 45

4 41

36

4 0

5 30

5 0

6 10

40

117

W1389

24

117

24

0

2

m

Pa

Pa o

tair a

5 11

5 32 5 33

L4992

i

tair a

W1389

oo i

ea t

51

m 0 15 0 20 0 35 0 40 m m

03 04m m m

06m meta rima 16 6 55 m m 5 34 ur ar m 02 m m

m

5 34

m

20

m 1 22 m

3 m

m

12

62

0

16

m 0 24 m 6

5

153

XX

WW

YY

80

ZZ

80

C1900

79

79

W8816

2 40 2 00

2 42 2 12

L1731 2 40 2 05

2 45

2 40 2 05

2 45 2 11

78

1 4 2 11

W8855

2 16

2 44

W8864

1 5

1 2 1 0

77

78

2 10 1 62

2 15 2 10

2 16 16 1 4 1 52

1 5

L8926 1 40

2 25 2 10

77

1

76

12 1 02

W8928

W8940

L1725 L7229

W8954

76

1 26

L20094

75

0 WW

75

2 m XX

YY

ZZ

Pa P a o our u e i e metae t e re ta u ar meta tratum t e ur i i ear metae trata a a tratum a t e i a meta ta e ote re atio i to om e

154

L1731 W8816 L8812

W8855

i

am

e era ie o meta rima it eater i o er

12

L88

a

rom a o e i ut

ote ur a e oo i

o t e i a ort

L8812

W8855

W8816 W8816

L1731

i

o e u o o um rum o ote t e i tru i e

t at ut i to ur a e a ti e e

oo i

out

et

5

155

mm

m m

m

m

m m

m

m

m

m

Summary and hIStorICal r eSultS m m

m

0

1 m

m m

m 51

52 m

m

m

m

mm

i

o arti t re o tru tio o meta rima it oo e eam i erte i to t e er orate ur ar rum ii o

m m

6

i a

m

1

meta

m m

m

m m m

m

2003 34 3 m

1

m

m m

1

m

m m

m

m

m

m

m

m

m

156 m

m m

m

000 tri u a

m

2000 m

m m m

m m

o t uem m 600

11 1 25

13

m

m

5 35 2 1 3 135

m 135

termi u

m m

m m

m

m

5 30 21 222 o t uem

m

4000 m

1 3

m

23

m m

m

5 35 3 1

3

m

m

Praetorium

6

1

m

1

m

m

m

m

m

mm

5 35 5

4 114 6

m

m

5 35 4

2 13

mu era

62

24

1

m 6 55

m

m 21

m

m

m

13 162 termi u o t uem m

m m termi u m

m

m

m

m

m

m

mm

m

22

ae area

Praetorium m

m

m

m

m m

5 35

m

m

2

2400 m m

4000

6

30

m 52

3200 m m

Praetorium m 21061

m

m

e atio e

m 1 m m

1 565

565 56 m

m

m

m

m

m

m

5

157

1

2

3

4

5

6 0

i ae area

50 m

P a o tru ate ir u e a ta ia om are to a a o i a am it eater ero ir u at t e e em ea o i ir u t e era a ir u t e ro i ia ta ium t e et ea t o o i am it eater t e a o i a oma am it eatrum at et u ri eut ero i

m

m m

m mu era

m e atio e

m

158

m

m

1

6

m m

m

25

m m m

m

m

m

m

m m

1

1

mu era

m

m

atio

m

m

m

m

1

4 114

1

3 22 m

3 135

m Praetorium

m

m m

m

m

m

m m

m

m

m m

m

m

m

m

m

1 4 m 6 103 104

m

m

m

m 5 35 6

m m m

Pa ae ti a

m

m

Pro i ia

noteS m

1

m 2

m

m

4

m

m 3 41 3 55 m m m m

m

m

231

m

3

m

m

m

m m

5

6

m

m m

1 22

mm 1 65 m m 0 1 5mm m

4 m

m m

m 4

m

m m 1

1

m

5

m m

m

1

159

m

0 25 m

1

m

1

1

ur ar

5m

m

m

114

1 0

m

6

1

5

m m

361 m 11

m

126 1000 331

12

5

6

m

5

2

m

6

m 6

1 0

6

m 6 5

0

2

3

0

m 1

m m

203 3

m m

62

m m

35 m m m

m m m

m

m

m

m

5 2

m m

m 1

m

m

m

23

25

16

1

1

m

1 52 4

24

m

m m

m

1 m

m

m e atio e θεατρον κινηετικον

m

m

6

305

m

m 6

15

1000

m

21

200 1

14

m m

m

m

m

22

m

13

m

omitorium m

12 m

14

m

316

m

m

20 10

6

2

160

Chapter 6

Stratum V—PoSt-CirCuS r emainS YoSef Porath

he e i ed Circ s ent o t o se sometime e ore the middle o the third cent r CE and the entire acilit as neglected and ne er again sed or mass p lic per ormances. E idence o this ma or change ma e seen in the ills deposited on the e i ed Circ s s ch as L3722 and L3723 in the middle section o the circ s see lan 1.3 ection 4 4 . he inclined compacted la ers o ill 3722 rom the podi m all to ard the arena center represent a process d ring hich the arena as illed ith cit re se a ter the acilit ceased to nction. ill 3722 contained a h ge amo nt o potter sherds ranging rom the third to the o rth cent ries CE and a e coins dated to the same period the latest dated to Constantine 355 361 CE o. 262 83376 see Caesarea 2 Coins . ther e amples o post circ s ills to the north and so th incl de L1387 applied o er a plaster s r ace L1410 2.72 2.69 m msl lan 1.3 ection 5 5 and L4882 lan 1.3 ection 3 3 . he cessation o the circ s se as an entertainment acilit as accompanied other alterations itho t an respect to its earlier se. nl the shrine o C2000 ept its c ltic character and e panded into the deserted arena. he other ma or de elopments incl ded the constr ction o a colonnaded comple C4000 east o the ormer acilit and the installation o a latrine in the ormer o th ate. n a later phase apparentl ith the e pansion o the colonnaded comple a chapel L1362 as added. ll o these de elopments ere ilt pon the remains o the inal phase o the circ s trat m . Despite the lac o an direct architect ral connection et een them ith the e ception o the chapel and the later phase o the colonnaded comple these separate de elopments are assigned to trat m . his lac o contig it is a res lt o later intr sions and acti ities s ch as ilding e.g. a drainage channel stone ro ing and rials. n general these trat m architect ral eat res relate to near Late oman and B antine comple es s ch as the post circ s

athho se in ns la 2 3 orath and endelman in prep. and the neigh orhood ilt pon the ormer Praetorium orath in prep. . Despite the discontin it et een the ario s trat m eat res a local phasing can e discerned in Colonnaded Comple 4000 to hich the post circ s shrine C2000 and a later chapel L1362 can e stratigraphicall related. n ort natel the a sence o a s ccession o preser ed loors ithin the trata shrine o C2000 and the pro lematic connection ith contemporar de elopments to the east precl des its se as a relati e chronological anchor or trat m . s s ch C4000 ill e disc ssed irst in order to esta lish a relati e and a sol te chronolog ollo ed a presentation o other trat m elements.

Colonnaded Complex 4000

lan 6.1

he longit dinal strip along the east side o erod s Circ s e tending est ard rom 3805 to the top tiers o the East Ca ea as replaced ith a colonnaded comple C4000 lan 6.1 a ter the e i ed Circ s had een eliminated and the Praetorium demolished. he architect ral se ence o this comple ma e di ided into t o principal architect ral s phases. n the irst architect ral s phase t o parallel north so th mar le colonnades 1843 and 1875 ere erected on earlier constr ctions ith a 3.15 m space et een them. he est section o 3853 the trat m C re etment all so th o Dec man s 5 as ar as the ormer threshold 3843 see lan 4.12 as demolished or the constr ction o this comple . he east colonnade 1875 tr ncated and re sed 1781 and 3821 1 hich are north and so th o Dec man s 5 respecti el as a st lo ate or col mns.2 tone pedestals 0.9 0.9 m p to 0.4 m high 3.3 m apart center to center ere constr cted o er 3821 and 3853 or car ed into the top preser ed co rse o 1781. hese ere chiseled o t o the earlier all s loc s ith little regard to the order or shape o the

162

E

9.61

W1302

7.56 78

77

W1312 L1319 W1283

L1362

W1808

W1309

8.96

8.63

8.62

W21069

8.77

9.09 8.74

L1325 W1326

E period

17 0 W

72

5

period

9.08 8.49

W3846

8. 94

W3905 10.10

8.58

8.80

8.71 8.87 7.08 7.71 8.76 8.01

8.84

9.13 8.99

9.40 8.44 8.55 7.04 8.68

8.93

8.45

8.40 8.13

9.38

L9121 9.67

L9105 8.96

9.08 74

8. 70

8.81

75

8. 72

Channel

8.66

7.60

8.97

L3879

8.62

8.41 8.11

L9300

9.43

8.74

10.81 10.47 10.49

10.08

8.86

8.03 8.64

W1806 9.10

9.25

L3878

W3876

C period

10.79

8.87

76

9.75 8.90 9.60

9. 21Channel

W1807

8.17

D period

10.20

8.94

8.59 8.68 8.45

9.16

8.61 L1810

8. 66

period B period

L3820

L3846 L3847 L3848

W390310.34 W3849 9.78

10.00 10.65 10.62

10.50

W183 6 L1832 8.87 8.90 8.67 W1827

W1307

8.41

8.84

77

10.17 10.64

9.97

10.17

8.69

8.73 9.16

L3848

L21062

L3828

L1840

W3881 W3844 L3869 10.21

W3838

1

8.63

L1833

10.17

10.47

8.56

W1276

W1835

75

8.77

8.80

8.52

L1282

10.25

8.85 8.88

78

9.27

10.13

8.83 8.19

W3860

9.55

8.88

W1280

8.57

4000

10.18

L1289

W1281

76

73

8.33

W21063 1

74

8.94

L1320

W1332

W1342

8.76

7.70

7.81 8.13

L3874

W9237

W1311

7.28

79

W3805

7.58

8.94

W1781

11

9.00

W3805

6.00

8.95

8. 89

7 6

9.50

W1875

7.00

8.71 8.49

8.58

W3853

8.52 8.35

8.95

8.87

L3916

W3929

9 8

80

9.49 9.81

Colonnade

8.00

10

79

9.45

9.29

12 11

W3914 W3821

80

8.88

9.00

Colonnade W 1843

W1808 L1289 L21061

9.09 9.32

L9105 73

L3920

8.84 8.60

W3936

8.49

L3928 W3922 L3923 0

72

5 m

Plan 6.1. Plan and section of Colonnaded Complex 4000.

indi id al stones or to the occ rrence o oints et een loc s see igs. 4.41 4.42 . he est colonnade 1843 as erected on pedestals placed in nearl s are holes a o t 0.9 0.9 m 0.3 0.4 m deep arried into the ppermost preser ed loc s

o 1086 and 1705 mirroring those o the east colonnade.3 ter lea ing the c r e o 1705 the est colonnade proceeded so th ard o er st lo ate 3876 similar in constr ction to 3821 and li e ise replacing 3893

C

E 6

o the Praetorium.4 nl se eral pedestal st mps and three col mn ases located in situ preser ed in a limited area north and so th o Dec man s 5 s E 71 80 see orath in prep. attest to parallel colonnades. he st lo ates ere traced so th ard ntil s E 71 here their contin ation as destro ed later constr ction and stone ro ing. t seems that the t o colonnades e tended north ard ntil Dec man s 3 112 here a tr ncated mar le col mn 4.37 m high as nco ered in situ o er the corner o 1781 and 25 the ins la ordering all so th o Dec man s 3 orath and endelman in prep. .5 he area et een the t o colonnades as pa ed ith a concrete s r ace L3848 3 5 cm thic consisting o a large amo nt o gra el and potter ragments spread o er a hamra la er 1 3 cm or re sed trat m r aces 3820 and 3828 see lan 4.12 . r ace 3848 and its later repair L3847 reached east ard to 3805 north o Dec man s 5 and to 3929 so th o the street. r ace 3848 as laid o er the earlier architect re o Comple 1300 the northeast section o the oman Praetorium, and mar s the cessation o its se orath in prep. . n the second architect ral s phase a line o rectang lar rooms 1.2 4.6 m long 2.8 2.9 m ide preser ed along 34 m s D E 72 78 as attached to the est colonnade lan 6.1 ig. 6.1 . he east alls o the rooms here er preser ed ere attached to the est side o the col mn ases o ser ed at 1835 and the sole s r i ing col mn ase along the est colonnade E 74 and ilt o er the e ternal alls o erod s Circ s. he o ndation o the est all 1808 rests o er the circ s tiers se enth ro o the East Ca ea . ome o the partition alls o these rooms s ch as 1276 1280 1312 and 1836 ere constr cted perpendic lar to 1808 and its contin ation 1309 on the est and met either an e isting col mn on the east or the north so th all 1807 1835 ad acent to the col mn ases.6 he o ndation o each perpendic lar all is stepped as the ere ased on the descending tiers. ll the alls o this est line o rooms are onded at their corners here er preser ed and apart rom 1307 are ilt solel o stretchers 0.3 m ide . he est ace o the ppermost co rses o 1808 the all is preser ed no higher than the loor o the rooms is ell inished and creates a straight and ndist r ed line. here ore it indicates that no architect re to ched 1808 on its est side in this phase and the all as intended to

C

C

163

E

L1289

L1319

Fig. 6.1. Foundations of Rooms 1319 and 1289, looking south.

e the est order o Colonnaded Comple 4000 as ell as a re etment all to s pport the loors o the est line o rooms. he architect ral plan and constr ction method o the rooms est o colonnade 1843 indicate that the ere added to an alread e isting colonnade ho e er the length o time that elapsed et een the constr ction o the t o components is indeterminate see elo . he rooms est o the colonnade L1320 L1319 L1289 L1282 L1840 L1833 L1810 L1325 are pa ed ith mosaic or plaster loors none o their entr a s as preser ed. hese loors ere laid o er a ill e.g. L21061 co ering the original tiers and retained in the est 1808. ing to the stepped nat re o the tiers the ill reached its ma im m depth c. 2 m along 1808. n terms o proper constr ction it is nli el that a narro 2 m high retaining all ilt o stretchers o ld ha e een a reestanding e ternal all. h s 1808 as li el s pported on its est side the ill that acc m lated o er the tiers and the arena o the ormer circ s.

164

E

he ragmentar e idence attests to the act that at least t o rooms L1810 and L1833 ere loc ed on the colonnade s side stone alls 1807 1835 and ere entered rom their north or so th sides. he room line loc s the est ard passage o Dec man s 5 and contin es so th ard t its contin ation as not preser ed. s the est line o rooms as added some time a ter the colonnades it seems that this do le colonnade as initiall planned as an ele ated promenade ith a ie to ard the sea. he incomplete attachment o the alls to the est colonnade in contrast to the ell constr cted st lo ate and s stematic order o col mns demonstrates that the comple as planned and e ec ted in t o di erent ilding phases. he chapel L1362 see elo as appended to the est line o rooms o the later phase. r ace 3848 as laid rom the est colonnade to 3805 on the east side and merged ith the stone pa ing o Dec man s 5. he architect re east o C4000 is di erent in the ins lae north and so th o Dec man s 5. he area east o 3805 and north o Dec man s 5 as incorporated into the ildings o ns la 2 5 and as not part o C4000. he ele ation o the loors east o 3805 as 1.2 1.5 m higher than that o r aces 3820 and 3848 c . lans 4.12 and 6.1 . he so th contin ation o r ace 3848 is ordered 3929 and a line o rooms had e isted to its east o hich the est section o L3920 and L3928 as e ca ated or details see orath in prep. . he general architect re o the later phase o C4000 consisting o t o parallel colonnades and a line o rooms ad acent to the est side and another on its east side so th o Dec man s 5 resem les that o a colonnaded street ordered shops on oth sides ho e er the principal reser ation to s ch an identi ication is the a sence o a stone pa ed s r ace hich contrasts ith all other no n streets e ca ated at Caesarea. ote also that the presence o the est line o rooms limited the possi ilit o a roo ed side al or pedestrians to the est side o the colonnaded comple . h s altho gh o io s di erences e ist et een C4000 and t pical oman B antine r an streets the similarities arg e or its identi ication as a street li e comple . he architect ral and stratigraphic e idence o this street li e colonnaded comple precl de it rom ha ing een constr cted ntil a ter the latest stage o erod s Circ s i.e. the e i ed Circ s and the northeast ing o the oman Praetorium i.e. C1300

ent o t o se. he inds re ealed in ill 21061 nder loor 1289 and in r aces 3820 and 3846 present the a sol te chronolog or its constr ction or details see Caesarea 2 Coins . he latest coin o nd in ill 21061 is dated to 330 341 CE Cat. o. 237 . ost o the coins o nd on r ace 3820 are dated to the middle o the o rth cent r CE and the latest one is o Emperor alentian 383 395 Cat. os. 278 280 282 . coin o Emperor Constanti s 330 335 CE Cat. o. 279 as nco ered in the concrete la er o L3846 a repa ing o r ace 3847 . here ore it is possi le to date the constr ction o C4000 to the late third or the eginning o the o rth cent r CE7 and the repa ing o its s r ace to not earlier than 330 CE. he coins on the last s r ace o this comple indicate that the elegant street li e passage a and shops ere still in se at the end o the o rth cent r CE. egarding an post colonnaded comple phases onl a single ndated drainage channel L1288 as o nd hich p t oom 1289 and Chapel 1362 o t o se. imple domestic ildings replaced the magni icent architect re o Colonnaded Comple 4000 d ring trat m . he area as contin o sl ele ated a hea soil ill that acc m lated ntil the end o trat m ho e er most o the latest trat m alls ere remo ed post B antine stone ro ing.

post-CirCus shrine of Complex 2000 he shrine o Comple 2000 trat m also nctioned a ter the e i ed Circ s and as e panded est ard into the a andoned arena lan 6.2 . his shrine as later dismantled to the le el o its o ndations or s se ent ildings and the digging o B antine ells L1792 L1890 L1956 and none o its loors s r i ed. he est ard e pansion o the shrine created a large rectangle 6.0 12.8 m ramed 1839 1922 and 1940 as ell as a smaller one attached to the north side o 1839 5.5 3.9 m ordered 20619 and 6976. he t o rectangles are s di ided 1876 and 6977 into co rts or rooms L1874 L6993 L8918 L8735 . ltho gh none o the loors o this latest shrine and onl one co rse o the e posed alls s r i ed in situ, their concrete o ndations are ell onded indicating the ere ilt together. he entrance to the remodeled shrine as rom the est thro gh one opening in 1922 et een pilasters 8765 and 20620 that ere added to the est side o 1922. he entrance

C

E 6

C

2.75

W6976

2.71 2.79 2.58

L8735 L1792 2.76

LL 1.14

2.40

2.71

2.60

L1890

ell 0.80 LL

1.55

2.67

1.80 1.65

ill

Bedroc 1.30

W1955

L6993

L20618 2.39

2.22 2.23

2.59

81

L1956 L1879 L1889 L1884 1.70 L1174

2.61

2.39 1.58

W1947

81

2.62

L1174 L1880 L1881

2.24

3.32

2.63

2.39

1.63

1.95

5.84

2.38

2.00

1.75

W1940

2.00

2.24 1.44

2.64 2.00

6.63 5.70

W8609 W3962

2.24

L1915 2.62

3.63

2.96 3.82

3.82

4.33

80

5.94

L3956 7.07 6.69

4.98

2.37 1.52

2.63 2.29

4.07

79

0

2.51

W1780

2.33

L1874

W1947

W1897

2.68

W1882

2.28

W1922 80

2.40 2.25

5.90

2.58

2.61

82

5.68

0.78

2.57

W1876

2.86

W1920

Bedroc

2.61

W8765

2.41

1.80

2.46

3.30

Bedroc 2.43 L1830 2.50 L1837 ill

2.11

laster la er 2.73

W20620

W8810

2.65

L8918

82

W1839 L6997 8

3.36

Bedroc

2.42

L3966 5.19

3.29

2.84

2.33

4.71

4.92 4.24

W69772.79

2.89 2.29

83

4.08 2.71

2.77

L6995 2.49 L6997 2.73 L6998 2.71

165

E

2.84 2.28

W20619 83

C

4

m

3.22 4.50

Plan 6.2. Plan of the extended shrine of Complex 2000.

6.25 5.80

79

166

E

is located in the center o L6993 on the a is ith the opening to oom 1879 the central room o this masonr constr cted shrine o C2000 o trat m . he kurkar loc 1.38 0.41 m and 0.56 m high o 8765 is the sole stone that s r i ed a o e the shrine s o ndations and apparentl a similar loc had een placed o er o ndation 20620 to prod ce an entrance et een the t o pilasters. his single central a is entrance to the trat m post circ s shrine contrasts ith the three e i alent openings o the trat m shrine o C2000. t is nclear hether the spaces L1874 and L6993 ere roo ed. he t o smaller spaces in the smaller rectangle L8918 and L8735 ma ha e ser ed as storerooms. Loc s 1874 and the t o storerooms ere entered ia the main entrance thro gh L6993. he trat m shrine as more than three times larger than its predecessor. ltho gh the three rooms o the shrine o C2000 trat m contin ed to nction at the same si e in the ollo ing phase the entrance to the north oom 1830 as changed into an indirect one rom the central room d e to the addition o 1839. s the acilit or p lic per ormances circ s ollo ed amphitheater then circ s again ceased to nction there as no rther need or the tribunal a o e the earlier shrine and it as demolished. he limestone loc ith a lion s oot car ing hich is interpreted a o e as a ragment o an elegant seat see igs. 5.15 5.16 as o nd em edded into the o ndation o 6977. he trat m shrine is stratigraphicall later than that tili ed or the e i ed Circ s. ll o the east est alls are attached to 1955 hose est ace is on the same line as that o podi m 1389. he o ndation o 1940 as placed into the ill that loc ed assage 1915 o the s arena installation C1900 see Chapter 5 . he o ndation o north so th 1922 incorporated ltar 20618 that as demolished hen the arena o the e i ed Circ s as prepared. he 1922 o ndation also c t thro gh r aces 6995 6996 and 8919 o the inal mphitheater see lan 5.4 . ltho gh this shrine clearl postdates the trat m shrine and circ s its stratigraphic relationship to C4000 and Chapel 1362 is less certain and at est indirect. i en the a orementioned arg ment that a ill co ering oth the tiers and the arena as necessar or the sta ilit o 1808 o the second phase o the colonnaded comple it seems li el that the shrine as alread co ered and no longer in se d ring the

constr ction o the est line o rooms and certainl Chapel 1362 see elo . h s this shrine co ld e assigned to an time rom the demise o the circ s to the eginning o the second phase o the colonnaded comple C4000 see a o e . he a sol te dating o the trat m shrine is pro lematic. nl one small patch o an opus sectile loor as o nd ndist r ed in oom 1830 o the constr cted shrine and it is assigned to trat m . he rest o the trat m C2000 shrine as dist r ed the stripping o ilding materials rom its alls and loors and the later intr sions o pits and ells. here ore as noted a o e see Chapters 4 and 5 the o ects nearthed in the shrine s niches represent a mi t re o its long li e.8 i en the later dist r ances that precl de an association o these o ects ith a speci ic conte t ithin the shrine comple a n m er o estions ill al a s remain nans ered s ch as 1 hether the o ects are associated ith a speci ic shrine phase or are the mi ed into secondar or tertiar conte ts 2 hether the older o ects might ha e een ept or contin ed se and inall 3 might there ha e een favissae nder the loor o one or more shrines. n addition gi en the religio s histor o Caesarea some o the items might ha e een hidden nder the loors o ing to episodes o persec tion. n all cases it is clear that the site maintained its sacred character a ter the chariot races ret rned to the East Circ s and the e i ed Circ s as a andoned. ine oil lamps o the late third to o rth cent ries CE ere o nd in the soil acc m lated in iches 1829 and 1856 car ed into 1780 9 the east all o the trat m shrine see lan 5.5 and a le 5.3 . he t o porta le stone altars o nd in close pro imit incorporated in all o ndations a o e the remains o the C2000 shrine igs. 6.2 6.4 demonstrate the inal destr ction and stone ro ing o sacred o ects rom the pagan shrine or ilding material. he date and reason o a andonment o the C2000 shrine is nclear. Bro en and intact lamps o nd in the ill L1174 at the ottom o the niches dated to the late third and o rth cent ries CE indicate that the shrine as an acti e place o orship in the o rth cent r CE as ell c . Caesarea 2 Lamps and Coins . he o r oti e mar le eet o nd together in L1844 seem to elong to some ind o favissa t the cannot e dated acc ratel o ing to the lac o a sec re conte t.

C

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C

C

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167

Fig. 6.2. Portable altar found in a later wall, looking west.

Fig. 6.3. Close-up of the portable altar in a later wall, looking east.

i th similar oti e oot and the t o porta le stone altars mentioned a o e ere o nd in secondar se incorporated in constr ction a o e the trat m shrine. he s cceeding Chapel 1362 maintained the religio s tradition o this general locale.

Chapel 1362 his adrang lar room L1362 3.6 3.9 6.1 m lans 6.1 6.3 as added to the later phase o C4000 to the est oot o 1808 see a o e . he three alls 1281 1332 1342 0.6 0.7 m ide o L1362 ere constr cted o alternating headers and stretchers nli e 1808 0.3 m ide hich as made solel o stretchers. he three ne alls ere ell onded at their est corners hile the east side o the north and

Fig. 6.4. Portable altar after cleaning.

so th alls 1342 and 1281 are merel attached to trat m 1808. hese alls ere ilt on top o the stone tiers o the East Ca ea and the loor as laid o er the acc m lated ill a ter the east section o the acilit had een replaced ith C4000. gap o 1.6 m in the northern hal o 1332 is pres med to ha e een the opening to the room despite the act that the all as later demolished to elo the loor le el. he loor o the chapel as apparentl o eaten earth at 6.10 m msl e tending est ard o the si th tier line c. 6.20 m msl and is indicated the lo er e tent o

168

E

7.81

78

5.70

6.09 6.74

8.33

8.41

78

7.21

W1342

5.70

W1312

5.38

6.50

3.53 3.28

8.85

L1319 8.79

5.91

5.31 5.76

W1808

8.71

77

W1283

77

L1289

8.75

6.10

L1362

W1309

W1332

6.77

8.96

W1281 5.58

76

8.62

7.87

L1279

76

L1282 7.74

6.21

8.84

8.56

W1280

8.03

288

9.13

8.52 6.05

W1

8.82

5.25 8.37

75

0

75

3 m

Plan 6.3. Plan of Chapel 1362.

the plaster on the north ace o 1281 hich is also the onl s r i ing e idence o the room s decoration ig. 6.5 . all 1281 as preser ed 1.6 1.9 m a o e the ass med eaten earth loor. he identi ication o this room as a chapel is ased on the presence o gra iti earing Christian moti s on the plaster ace o 1281 see Chapter 9 . ts constr ction on a terrace created a o e the tiers a o t 10 m so th o the se ence o pagan shrines demonstrates that the locale preser ed its religio s character as Christianit ecame the o icial religion o the Late oman Empire.

o direct e idence or an a sol te date as o nd or the dating o the chapel. o e er in relati e terms the constr ction o the chapel m st postdate that o 1808 i.e. the second phase o C4000. s s ch the chapel co ld not ha e een ilt earlier than the mid o rth cent r CE. ter the chapel ceased nctioning it as illed ith soil. he missing contin ation o the late trat m drainage channel L1288 hich c t loor 1289 o C4000 apparentl c t the ill inside the ormer chapel. his se ence indicates that the chapel ent o t o se e ore the end o trat m .

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169

Fig. 6.5. Remains of plaster with graffiti on W1281, looking south (photograph, N. Davidov).

the latrine in the south Gate

lan 6.4

he o th ate lost its initial nction as the connecting passage et een the di erse phases o erod s Circ s and the oman Praetorium a ter the ere a andoned and altered. e ertheless the e isting in rastr ct re o ater s ppl and drainage that ser ed the earlier ildings mainl the Praetorium contin ed to e tili ed or an alternati e p rpose. latrine Lat. latrina consisting o t o nits an pper L8871 and a lo er L8936 sharing a common drainage and se age channel L8914 L8933 as constr cted o er the demolished northeast corner o the o ernor s alace and at the so th est corner o the o th ate passage lan 6.4 . Latrine 8871 as dismantled d ring the le eling operation prior to the constr ction o a B antine ch rch o er the o th Ca ea and the ad acent area or details see orath in prep. . he onl remnants that s r i ed this destr ction are the plastered se age channel L8871 0.4 0.45 m ide 0.5 0.6 m deep and the la ation channel L8847 8 10 cm ide 6 8 cm deep . he t o channels ere arried into the ide solid 8800 the north portion o the east all o the trat m oman o ernor s alace and co ld ha e een prepared in a period d ring hich the palace no longer e isted. e age Channel 8871 emptied into trat m Channel 8914 sed or se age at this stage thro gh a constr cted l shing o tlet located on the so th side o tair a 8922.

Latrine 8936 is the est preser ed e ample o s ch a acilit that has et een e ca ated at Caesarea lan 6.4 igs. 6.6 6.8 . t is a rectang lar room 1.7 3.8 m ilt against 6550 the est all o the trat m o th ate and as entered thro gh a door in its north all 8955 . ts northeast corner as constr cted o er trat m tair a 6935.10 he east all 8947 as dismantled hen a later drain channel L6552 as installed onl its o ndation elo that channel s loor and some plaster that coated the all ere nco ered in situ. he so th all 8938 is etter preser ed and contains a hidden drain pipe L8921 made o potter pipe segments 36.3 cm long 10.4 cm inner diameter 1.6 cm thic . he pipe as inserted into rectang lar tubuli o a t pe sed in a caldarium 30.3 19.5 cm e ternal dimensions 2.1 cm thic and coated ith a concrete la er igs. 6.7 6.8 . la er o tra ertine 3 5 mm thic hich precipitated and coated the inside o the drain pipe attests to the act that spring ater rom the igh Le el ed ct once lo ed do n the pipe. he drain pipe emptied directl into the se age channel L8933 t its so th origin is ndetecta le d e to later constr ction and dismantling operations. ne line o seats as arranged o er this se age channel. he seats are made o parallel kurkar loc s inserted into soc ets arried into 6550 and ere s pported in the east the pper co rse o the channel s east all igs. 6.6 6.8 . ashing channel L6528 8 10 cm ide 4 7 cm deep as car ed into the ppermost stones o the east all o Channel 8933

170

E

XX

WW

YY

72

72 4.24

4.19

3.92 2.62

4.26

4.35

4.17

4.36

W6550

2.15

4.82

2.69

L6552

L8944 4.32 L8933 Drainage channel

2.42 2.72

4.80 3.31

3.50

W8955

2.80

3.17

4.06

W8947

Latrine seats

3.55

Drain

L8921 3.70

4.10

70

L8936

3.48

4.00

4.75

3.50

10

2.87

4.95

3.68

5.36

L6552

L6528

70

2.90

L6935 L6932

3.48

10

71

4.26

W6540

71

4.80

4.95

5.75

3.94

L8922

W8938

4.54

5.35

4.31

5.15

L8914 C period

L8871

5.75

WW

69

D period

3.95

5.20

W8800

69

B period

5.85

E period

3.75

L8847 5.80 5.30

4.10

0 XX

Plan 6.4. Plan of the latrine (for Section 10-10, see Plan 1.3).

3 YY

m

C

E 6

C

C

E

Fig. 6.6. Latrine 8936, looking southwest.

L8921

Fig. 6.7. Latrine 8936, looking northwest.

171

172

E

Fig. 6.8. Isometric drawing of the latrine, looking northwest.

pro ecting o t a e centimeters a o e the loor at the oot o the seats. he loor o the latrine is composed o se eral mar le sla s in secondar se placed opus sectile. he alls ere plastered and painted se eral times.11 he ater or the t o nits as s pplied pipes no all missing rom the m nicipal s stem most pro a l a secondar re se o an e isting pipeline originall directed to ard the o ernor s alace to meet ne needs. s the ashing channel L6528 egan at the so theast corner o Latrine 8936 a resh ater pipe m st ha e een placed in a no missing segment o 8938 pro a l rom the same so rce that s pplied ater to Drain ipe 8921 see ig. 6.7 . he latrine s se age s stem tili ed the trat m drainage s stem that as parallel to 8800 and passed nder the ormer passage a o the o th ate it then t rned est ard along 1389 and emptied into the sea thro gh Channel 20621 in the est Ca ea see Chapter 5 .

he inds o ill 8944 in Channel 8933 consisted onl o er small potter ragments generall dated to the Late oman period third to o rth cent ries CE and a e coins rom the irst to third cent ries CE.

summary and ConClusions ter the e i ed Circ s ceased to nction the area it encompassed as incorporated into se eral architect ral comple es. Large sections o the three comple es descri ed a o e the street li e colonnaded comple C4000 the post circ s shrine o C2000 and the latrine comprising L8871 and L8936 ere constr cted on the premises o the a andoned mon mental acilit . Comple 4000 and the latrine ere similarl ilt o er the demolished sections o the oman Praetorium. h s the trat m architects ignored the ormer distinction et een the areas o erod s Circ s and

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the Praetorium and tili ed them as one large nit that as a aila le or ne constr ction pro ects. he nction o the ne or remodeled ildings lost most o their p lic character at this stage. ri ate o ners too hold o most o the area in the ollo ing stage hen the ildings o the insulae est o Cardo 1 e tended est ard o er the illed in depression o

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the ormer entertainment acilit . he latest e idence or the e istence o the o ernor s alace a ital component o the Praetorium are the inscri ed col mns dedicated to the co reigning caesars Constanti s and aleri s 293 305 CE meling et al. 2011 214 216 and ill e disc ssed in a t re report orath in prep. .

notes all 3821 replaced 3914 o the oman Praetorium on the same co rse so th o the street see orath in prep. . 2 all 3821 the st lo ate e tension so th o 1781 tili es a dar gra mortar in its constr ction orm la 2 orath 2002a as opposed to the gra ro n hamra mortar sed in the earlier constr cted 1781 see Chapter 4 or the lighter gra mortar o the earlier 3853 and 3914. 3 nl the lo est o ndation co rse remained rom 1843 rom hich the pedestals ere ormed. 4 he mortar o 3876 is similar to that o 3821 and is dar er in color i.e. re lecting a higher amo nt o ash and car oni ed ood than the mortar sed in the constr ction o 1086 1705 3853 and 3893. 5 n et een these t o e tremes the remains o s are stone constr ctions inserted into the partiall dismantled 1086 ere also o ser ed. he seem to e the o ndations o col mn pedestals or the est colonnade. he lac o e idence or 1781 north o s 80 is d e to its ha ing een dismantled do n to the concrete o ndation and the topograph ne t to it ha ing een lo ered d ring the B antine period. 1

he s r i ing element o the col mns is either a col mn ase in the case o 1836 or the pedestal arried into 1086 and 1705. 7 he latest coin o nd in the ill that sealed C1300 and as s perposed r ace 3848 in s 71 72 is dated to Emperor hilipos enior 244 249 CE . or details see orath in prep. . 8 ects dated st listicall to an earlier stage s ch as intact irst and second cent r CE oil lamps see Caesarea 2 Lamps and Coins or te t all li e the charioteer ta let are ascri ed to trat m B. 9 one o the lamps ear pagan s m ols. or details see Caesarea 2 otter . 10 t seems that the east section o tair a 6935 as still in se hen Latrine 8936 as constr cted. he res lt as a considera le red ction o the gate s original passage re lecting the decrease in the importance o this r an area. 11 o r plastering la ers all painted and se eral painted lime ash la ers ere co nted on 8938. 6

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Chapter 7

The STraTum VI PodIum Wall PaInTIngS— dIScoVery, cleanIng and PreSerVaTIon mIndI ePSTeIn the DisCovery In 1993, the archaeologists excavating in the north sector of Herod’s Circus (Sqs G/117–118) cleaned the surface of the arena side of podium W1389 and uncovered patches of mostly white plaster preserved in two layers (Meter [M] 242–247).1 Traces of curvilinear forms in two shades of yellow pigment remained on the wall. The excavations in the south portion of the arena (Sq D/85) approached the podium wall and revealed multiple layers of colored plaster at M 84–85 in a remarkable state of preservation as compared to the north section. At this point, it became clear that most of the arena-facing wall was originally covered with mural paintings for a total area of 170 sq m. The on-site preservation of uncovered wall paintings situated in their original outdoor context along the climatically variable Mediterranean coast presents a series of challenges that surpasses those encountered in a closed and environmentally controlled museum setting. The consensus of opinion among conservators, archaeologists, historians and other professionals consulted regarding the project was that the murals are an integral element of Herod’s Circus and should be left in their original location.2 Following the discovery of the wall paintings in 1993, a complete program was devised to study the original raw materials; to progressively excavate the podium wall and to clean its surface deposits; to document the condition before, during and after treatment; to preserve the mural paintings in situ; to continuously monitor the state of conservation; to provide long-term maintenance; to exhibit the wall paintings for the public in their native setting; to study the painted motifs and designs; and to produce an artistic reconstruction. To these ends, a team of three to five conservators worked in concert with other, local and international, experts in the relevant fields. The scope of the project and the inherent complexities provide an important

case-study for other conservation experts charged with the care of on-site mural paintings. The immediate treatments administered to the freshly exposed plaster in the north, which is a poorly preserved area with only infrequent patches of pigmentation, included dry cleaning, recording the state of conservation, plaster consolidation treatments, and documentation before, during and after the work. In the south, where the plaster preservation was immediately observed to be noteworthy, a more complete work plan was devised. The exposed plaster layers were subjected to dry cleaning, revealing a seemingly well-preserved interior layer covered in patches with multiple painted layers of plaster and lime washes. Mechanical cleaning of the extraneous plaster and lime wash layers then proceeded in an attempt to gain a clear picture of the motif depicted. During the course of mechanical cleaning, deteriorated margins around lacunae were consolidated and all procedures were recorded. After a ten-month period of work, the image of a yellow stag set against a background of schematic plant forms emerged (Color Pls. 1, 2). The discovery of the well-preserved mural painting was cause to stop any further actions until an assessment of the situation had been made. Of primary concern was the disruption caused by the current excavations to the environmental equilibrium of the wall paintings in their buried state and the ensuing damage. Second, the natural climatic regime of the Levant—characterized by long, hot summers and cool, damp winters—was certain to have deleterious effects on the condition of the wall paintings. The winter rains brought a host of problems incumbent to the situation of preserving uncovered wall paintings in situ in a coastal environment. Salt efflorescence, biological growth and moisture-related problems needed to be addressed both immediately and for the long term. Work resumed on the wall paintings adjacent to the stag image in July 1994. A complete documentation system was developed, materials for cleaning

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and preservation were examined, experimentation with different mortar recipes was conducted and the continuous surface of the layer depicting the stag (henceforth, ‘animal’ layer) was traced to either side. During the course of further layer removal and mechanical cleaning in this zone (Sqs D–E/84–86, M 83–90), the wall painting received salt extraction and disinfectant treatments, as well as immediate consolidation of borders and lacunae. Since 1994 and throughout the CTDP, the conservation team worked in tandem with the archaeologists to uncover more of the decorated podium wall. Treatments were administered upon exposure to stabilize the condition of the wall paintings and recording was carried out simultaneously. Stone drainage channels, which were constructed in the Byzantine period over Stratum VIA channels (see Chapter 5) against the podium wall on the southwest side of the facility, had protected the wall paintings from further damage. A limited section (1.5 m out of a preserved 45 m) of this infrastructure was removed (Sq SS/78; M west 43–45), revealing wall paintings with botanical forms in a good state of preservation. In all, more than 170 sq m of mural paintings have been uncovered and at least seven superimposed layers have been counted. Ancient plaster repairs and retouching with multiple layers of lime wash and pigment, coupled with the layers’ different levels of termination (above the relevant arena surface level), offer a unique perspective on the history of Herod’s Circus.

stratigraphy anD DesCription of the Wall paintings Two layers of plaster, which had not been disturbed by the subsequent amphitheater phase (see Chapter 5) or by the ‘sunken garden’ of the superimposed Byzantine palace (Porath 1996:118, Figs. 2, 3), were visible at the north sector of the circus beyond the walls of the amphitheater (Sqs F/105–G/118, M 182–247).3 The first layer bore traces of yellow and some red pigment, as discussed above. The later white layer terminates c. 0.85 m below the top of the podium wall, indicating the arena level in the last phase of the circus (Stage VIA1). In the south portion of the structure, which functioned as an amphitheater in the second century CE, up to five layers of plaster remained intact on the podium wall; all date to the amphitheater phase.4 Each meter of the wall presents its own version of the structure’s history;

in some areas only one or two layers are present, elsewhere numerous layers with ancient repairs can be observed, and in still other areas, only fragments of plaster remain attached to the podium wall. The state of preservation at the south end of the long east side, particularly in Sq B/73, M 19–21, allows for the best observations and, hence, discussion of the different superimposed pictorial themes before considering any of the other areas. not only are most of the schemes readily evident on the podium wall, but the horizontal bottom terminations corresponding to the relevant arena surfaces, which assist in identifying the layers, are also preserved. The layer applied directly over the masonry correlates with the transformation of the facility from a circus to an amphitheater. The motif consists of animals, beginning with a black elephant facing north (Color Pl. 3; M 28–29),5 followed by the upper rear section of a massive animal (rhinoceros?) in brownish-ocher (M 27; not illustrated).6 A faint human leg, perhaps of a hunter, animal trainer or gladiator, may be observed further south (M 20; Color Pl. 4a, b). north of the elephant, the plaster layer of the animal figures is covered with later layers. Further to the north, the podium wall is disturbed by Shrine 1909 and the shrine of C2000 (see Chapters 4 and 5). However, two large patches of reddish-brown color (M 32 and M 35–36) and a few smaller ones—probably of additional animals, but of unidentifiable shape—are observable under the later plaster layers. A schematic plant background ‘filled’ the space between and above the animals. The next plaster layer imitates alternating wide (c. 1.85 m) and narrow (c. 0.75 m) panels of colored stone (Color Pls. 4, 5; M 18–24, M 29, M 31–35, M 37). The panels are framed on both sides by a succession of vertical lines in varied hues and widths (from inside out): yellow (0.4 cm), black (2.0 cm), unpainted (i.e., white; 3.1 cm), red (0.9 cm), unpainted/white (3.0 cm), yellow (0.4 cm) and black (2.0 cm). The bottom of the panel (1.15 m from the top of the wall) is also framed, but with a different sequence of horizontal bands: black (2.0 cm), unpainted/white (5.5 cm), red (2.0 cm), unpainted (3.7 cm) and black (2.0 cm). At the corner, where the vertical and horizontal series of frame lines meet, all of the vertical lines terminate except for the interior black stripe, which curves in toward the frame and continues vertically through the horizontal sequence and below to produce the perception of a

CHAPTEr 7: THE STrATuM VI PODIuM WALL PAInTInGS—DISCOVEry, CLEAnInG AnD PrESErVATIOn

177

Table 7.1. Stratigraphy of Plaster Layers on the Amphitheater’s Podium W1389 (Sq B/73; M 19–21) Layer

Motif

Bottom Termination (measured from top of wall; m)

1 (earliest)

Animals in front of botanical forms and a human leg

1.75

2

Panels of ‘faux marble’

1.44

3

Panel with green, black, and gray brushstrokes

1.40

4

‘red Band’

1.05

5 (latest)

White (unpainted)

1.00

‘plinth’. Beneath the horizontal series of dividing lines, the motif changes to broad diagonal strokes of gray paint as if to separate the ‘plinth’ from the panels characterizing the upper wall decoration.7 The plaster spreads out from the vertical plane beneath the ‘plinth’ to where it once met the contemporary arena surface. Multiple layers of painted lime wash once covered this second layer, but their preservation is so discontinuous that it is impossible to determine the schema of the over painting. The third layer, overlying the ‘paneled’ layer and the associated lime washes, also displays a green and black motif closely resembling the earlier paneled motif; however, it has been rendered with less precision than seen previously (Color Pl. 6). This layer is best observed along the south curve, just under the later layers covering it. The scheme of the second-to-last layer also dominates much of the south portion of the podium wall. It is a thick plaster layer (1.8–2.5 cm) painted white with a broad red horizontal band (Color Pl. 7). Closer examination reveals some white, pink and darker red painting over the band. In some places, the plaster for the ‘red band’ layer had been applied directly to the stones of the podium wall (Sq A/72, M 15), indicating a possible ancient repair to damaged earlier plaster layers. This layer also has a well-defined bottom termination, occurring c. 1.05 m below the top of the podium wall. A plain white plaster layer once covered all of the earlier decorated layers. The adhesion of this last layer to the underlying strata is poor and its preservation is patchy. In most places it appears over the ‘red band’ motif, but in some areas (Sq B/73, M 21), it, too, directly covers the earlier layers. The c. 0.5 cm thick layer terminates c. 1 m beneath the top of the wall (Sq ZZ/71; M 9), indicating the steady rise of the arena surface over time. The stratigraphy in the south sector is summarized in Table 7.1.

The painted plaster is better preserved north of the disruption created by the shrines (Sqs D–E/84–88; M 79–99), up to the area where the north wall of the Initial Amphitheater had once met the podium wall (see Chapter 5). The ‘animal’ layer here is also the first in a series of at least five layers. The cleaning and removal of the overlying strata in this area revealed ten painted figures and some colored stains or patches: 1. A partially preserved dark brown/black animal with some brown stains on his hind part, and the clearly identified hind legs of a bovid (African buffalo?) heading northward (Color Pl. 8; M 80–81). 2. The lower section of an unidentified, brownish-red animal with two hind legs and probably the front legs, facing south (M 81). 3. A black leopard with white spots, running northward (Color Pls. 9, 10; M 81–82). The colors are faded, but the head, a front leg, sections of the body and the long tail are clearly defined. 4. A relatively well-preserved stag, with ocher body, short tail, brown hind legs, running northward (Color Pls. 2, 11; M 83–84). The antlers are damaged but visible. 5. The body of a brownish-red animal (apparently a dog or other type of hound), with a long tail, fore- and hind legs facing the stag (Color Pls. 11, 12; M 84–85). While most of the head is damaged, the nose is visible. 6. A black-purple equid, apparently a horse, running southward with its head turned back. The head, parts of the body, hind and forelegs have survived (Color Pl. 13; M 86–87). 7. A brownish-red body, with a tail, fore- and hind legs, lower neck and the flat nose of an animal (a wild boar?) facing northward (Color Pl. 14; M 87–88).

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8. An ocher-brown fox with typical furry tail, running southward (Color Pl. 15; M 88–89). The head has not survived, but the distinctive tail identifies the animal. 9. A brown-ocher small rabbit, with long ears, brown forelegs, lower and front parts of its body, yellowish upper body and the remnants of a furry tail, facing northward (Color Pl. 16; M 95–96). 10. A dark red feline, with black contour lines, racing southward. The animal’s head is missing. It has a long buttoned tail and hind paws armed with claws, leading to the conclusion that it is a lion (Color Pl. 17; M 98–99). Large patches of a brownish-red color were observed south of animal no. 1, between nos. 8 and 9, and north of no. 10. These, too, are presumed to be additional animals. A schematic plant design in graygreen is observed between and behind the animals. It consists of a single stalk surrounded by elongated leaves, somewhat resembling a rod (Color Pls. 11, 17, 18). The animals appear in arrested motion against a background of schematic plants occurring approximately every 0.2 m (Color Pl. 19). Each animal is about one meter long, with no relation to a common scale, so that the fox (no. 8) and the equid (no. 6) appear to be the same size. The solution employed by the painters for the technical problem of the stepped foundation of the podium wall, which produces a higher elevation, is of interest. The plaster and the associated painting wrap over the stepped configuration of the lower half meter of the wall as if to treat the surface as one straight, vertical plane. For example, the stag’s hind legs do not ‘stand’ on the first ledge, rather they bend across and down, as if the ledge did not exist (Color Pl. 1). The plants and lower portions of all of the animals’ legs are seen to be treated in the same manner, wrapping across and down the first ledge and then, further downward. On the west side of the amphitheater arena, a 45 m long segment is all that remains of the superstructure of the west podium wall. A 1.5 m long sector of the later constructed drains was removed to gain a glimpse of the podium wall (Sq SS/78, M west 41–43). A floral scheme, similar to the one found at the south ‘animal’ wall segments, appears on the first layer (Color Pl. 20), and it seems that the two were painted by the same hand. The floral pattern is overlaid by a plaster layer painted in green and black (apparently the ‘panel’ pattern), and patches of two additional layers can be seen overlying the assumed ‘paneled’ one. Despite the

limited exposure, it is possible to suggest that the same sequence of paintings is preserved on the west side as well. The colors used to paint the ‘animal’ pattern, the schematic plants, and the ‘artist’s touch’ in the north section (north of the C2000 shrine) are slightly different from those of the sphendone and the west probe. It seems the mural paintings were executed by at least two groups of artists: one decorated the sphendone and the other worked along the straight east side. Whether a third group painted the straight west side is unknown, as only the south section of the podium was preserved. Fragments of four plaster layers were preserved along the inner W1780 in the central room of the shrine of C2000, during the ‘extended’ amphitheater phase (see Chapter 5; Fig. 5.12). While the first layer appears to have been unpainted, a faint floral motif in green, red and yellow was clearly seen on the second layer (Color Pl. 21). The third layer bears scant traces of pigment and only a few patches of rendering allude to a possible fourth layer.

the Conservation of the Wall paintings Condition of the Wall Paintings Visual and scientific examination of the wall paintings yielded a list of conservation problems that can be discussed generally with respect to the entire 170 sq m of extant plaster. Documentation The first step in any conservation program is a thorough examination of the subject and the accurate recording of all observations. While this step generally precedes the administration of any treatment, it must also keep pace with all procedures and, because the object’s condition is dynamic in that it is prone to further deterioration over time, the examination and recording process continues indefinitely. While accuracy is a requirement, it must also be counterbalanced by efficiency and utility. A documentation system was developed at Caesarea with respect to these parameters in order to gain an understanding of the nature of the wall paintings for the purposes of devising a work plan, to create an archival resource for comparison in the event of future deterioration, and for the historical record.

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The documentation program for recording the condition of the wall paintings relied on multiple disciplines, each with its inherent strengths and weaknesses that together provide as accurate a report as possible within the limitations of available resources. recording procedures employed photography, computer graphics, drawings and written reports before, during and after conservation treatments for each meter of plaster. With the aid of architectural plans drawn to scale from above the cavea and podium wall, every meter of the podium wall, beginning with zero at the south entrance (see n. 1), was numbered in the field and on the corresponding master plan. All maps, photographs and reports therefore cite not only the ‘square’ number, based on the archaeological field grid system of 5 × 5 m square divisions (see Chapter 1), but also the ‘meter’ number along the podium wall. recording activities began as soon as a conservation technician excavated the last half-meter of fill against the podium wall to first expose the plaster. Photographs were taken at this early stage of both the layer(s) and surroundings. Each photograph was logged in a ledger in order to register the date, photographer, location (square and meter numbers) and the number of the negative, and was recorded on a key plan (date and negative number) to indicate graphically the photograph’s location, angle and distance from the subject. Additional photographs were taken during the course of treatment, after completion of the work and at periodic intervals. Because of the sensitive nature of the wall paintings and the detail required in both the documentation and treatment processes, only limited areas of the podium wall (1–3 m long) were exposed and treated at any one time before moving to another area. After a freshly exposed area had been adequately dry cleaned, a proforma on the state of preservation was completed by the supervising conservation technician. Preservation work for a particular area only began after conducting the proforma examination, and based on these results, the necessary treatment was planned. In an effort to keep recording activities current with the pace in the field, all technicians maintained daily diaries to record observations, work procedures, anticipated problems and questions for future reference. The diary helped cover the time lapse between initial preservation activities and mapping, since the documentation specialist could not prepare a proper map of the area until most of the surface has been cleaned and stabilized.

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Once this condition had been reached, the specialist was called into the field to digitally photograph the exposed area. The photographs were then imported into the computer, and with the aid of Adobe Photoshop™, were joined together and rectified to yield a straight-on view of the wall paintings according to scale (1:10). The scale was checked against measurements taken in the field. After the specialist had generated a rectified photograph of the area, the prominent features of the plaster and wall were outlined: layers, painted themes, edges, losses, lacunae, exposed stone blocks and joints. The Photoshop file was then converted into a schematic map of the layers on the podium wall. Multiple copies of the area map were made so that the conservation technicians could mark alterations, problems and treatments according to the codes indicated on the proforma. A standardized color key for each item on the proforma was created at Caesarea so that all technicians could mark their maps similarly. The maps were colored in the field while examining the wall plaster and with reference to the daily diary in an effort to record each relevant item on the proforma as accurately as possible. When a technician completed a series of maps for an area, the work was checked by the supervisor before being returned to the documentation specialist. The documentation specialist received the keyed maps and entered the data into the electronic map files. Several backup files were made of each map series and printed copies were generated for daily use and archival purposes. When a technician had occasion to return to a previously mapped area, either for a periodic examination of the condition of the wall paintings or to perform additional treatments, a clean map of the area accompanied the technician to the field and was marked as to the time of examination or treatment. In this manner, the coded graphic representation of the area remained current with the actual situation in the field. In addition to this mapping system, selected areas were traced on transparent nylon (1:1) and reproduced in drawings and paintings by artists. These drawings were used to evaluate the visual effects of different integration and restoration techniques for public presentations of the site. Technical data concerning the wall paintings also made up an important part of the general documentation docket. results of salt testing, relative humidity and

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temperature readings, pigment and rendering analyses and an experiment with infrared photography are an integral part of the written record. General State of Conservation The overall conditions of the wall paintings were studied and treated according to the following divisions and parameters: Support (i.e., walls): (1) high moisture concentration in the wall, plaster and immediate environment; and (2) failed joint fillings. Paint Surface: (1) local areas of loss and gaps in composition; (2) damaged edges; (3) disintegration of rendering; (4) cracks; (5) detachment of layers and (6) penetration of soil and foreign elements between layers. Paint Layer: (1) lacunae; (2) salt efflorescence; (3) salt crystallization below the painted surface; (4) brown and green superficial stains; (5) flaking of pigments; and (6) surface abrasion. Causes of Deterioration The conservation problems encountered in the amphitheater wall paintings derive from three principle agents acting either independently or in conjunction with one another: moisture, atmospheric elements and humans. The causes of deterioration related to moisture without question form the largest and most significant group and are likewise the most difficult to thwart. Moisture affecting the wall paintings comes from: (1) water infiltration through the support, particularly from the cavea behind and above the podium wall; (2) rising dampness, due to the coastal zone’s high underground water table; (3) water runoff onto the surface of the paintings from the adjacent seating tiers; (4) condensation related to the temperature differential between the wall and its microclimate, and between the interior of the wall and the surface; and (5) sea-spray, directly due to the proximity of the wall paintings to the sea. The alterations attributed to salts are usually the outcome of processes involving other agents aggravated by the presence of water. Salt migration and re-crystallization below the surface or superficially (appearing as efflorescence, encrustations and/or veils) result from the presence of soluble salt components: (1) occurring naturally in the kurkar building blocks;

(2) from natural gases in the atmosphere (plant and animal related) and from air pollution (the presence of a power plant and tile factory 2 km away may be sources of adverse agents); (3) present in the soil of a highly saline coastal environment; (4) carried by sea-spray; and (5) introduced by chemicals used for conservation treatments. Salt crystallization has been demonstrated to be one of the principle causes of the following conservation problems encountered in the podium wall paintings: (1) failure of the rendering, i.e., entire sections of plaster may have become detached from the support through the combined effects of moisture penetration and the growth of salt crystals; (2) cracking of the rendering due to stress within the fabric caused by inter-capillary growth of salt crystals; (3) brownish encrustations caused by airborne and water-transported foreign elements attracted to salts crystallized on the surface, resulting in a layer that is frequently harder than the underlying plaster layer; (4) deterioration of the pigment seen as flaking and localized detachment of the pigment layer due to superficial salt crystallization and in the zone beneath the paint layer; (5) detachment between layers, while clearly a moisture related problem, may also be due to salt crystallization between the successive plaster layers. Once separated, soil and other foreign material penetrating between the layers exacerbate the problem. Biological growth of micro-organisms, which appears as green and brown stains on the plaster surface, is directly related to the presence of moisture. Similarly, the growth of plants between the plaster layers, within cracks in the stone support and in the ground adjacent to the podium wall would not occur in the absence of moisture. The mechanical damage caused by plant roots exerting pressure on the plaster is another source of both cracks and rendering failures. The atmospheric elements identified as having potential deleterious effects on the wall paintings, in addition to salts and pollutants discussed above, include: (1) wind-blown sand causing physical damage in the form of surface abrasion; (2) fine airborne particles, whose superficial accumulation may promote biological growth and the formation of encrustations; (3) seaspray, as discussed above, as a source of both moisture and salt concentrations; and (4) sunlight exposure on the seemingly stable pigments creating a warming effect on the surface, increasing the temperature differential between the interior and exterior of the podium wall and

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thereby promoting water evaporation and salt migration. The thermal cycle of sunny, hot days and cool evenings may cause a subsequent cycle of expansion and contraction within the plaster leading to cracking and disintegration of the rendering. Artificial physical causes affecting the wall painting’s condition can be divided between modern factors and those that occurred in antiquity. Of the latter, ancient losses, scratches and indentations in the plaster, most likely related to the regular use of the facility, can be seen to have been treated in the past yet remain a factor affecting the general stability of the wall paintings. A more critical cause of deterioration is inherent in the nature of some of the original renderings. With respect to the ‘animal’ and ‘red band’ layers in particular, the aggregates used in the rendering of the paint layer are seen to be considerably larger than what is universally considered to be suitable for the finish coat (intonaco). In addition to sand and other traditional fine aggregates, these layers include zif-zif (local name for beach sediments containing minute sea pebbles, crushed shell and, here, some weathered ceramic chips), which leaves voids in the process of deterioration. regarding modern artificial causes of deterioration, not the least of which is the exposure of the wall paintings and the subsequent disturbance of their equilibrium in the buried state, some physical damages can be linked to the course of excavation and treatments. The problems of contractors working with heavy equipment on large archaeological sites and of visitors entering closed areas are all too familiar at projects similar in size and scope to Caesarea. The mechanical damage caused by these agents is generally local. In 1996, the construction on top of the podium wall of a drainage channel made from lime mortar inadvertently led to the creation of a calcium carbonate encrustation. rain water came in contact with the

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construction, forming an aqueous solution of calcium carbonate, and then trickled onto the surface of the wall paintings, leaving behind a layer of deposits as the moisture evaporated. While on the one hand this is a moisture-related problem, it is also due to the introduction of an artificial element in the wall paintings’ environment. Intervention Treatments Work on the podium wall paintings began in 1993; except for a six-month hiatus between 1993 and 1994 for assessment and planning purposes, conservation activities in the entertainment facility’s arena continued without interruption (see Color Pl. 4b). All areas of the 170 sq m of preserved plaster, whether painted or not, received primary treatments, whereas only select zones were subjected to further measures. Primary Treatments Support: (1) general cleaning (dry and wet); (2) vertical and horizontal joint fillings; and (3) replacement of structural losses (Sqs D80–81, M 57–66; Sq SS/80, M west 52–55). Painting Surface and Layer: (1) general cleaning (dry and wet); (2) consolidation of edges and lacunae; (3) crack filling; (4) local consolidation between layers; (5) chemical treatment following biological attack; and (6) construction of drainage channel on top of podium wall. Full-Scale Treatments (1) Mechanical cleaning of surface deposits and progressive removal of incoherent layers of plaster; (2) local consolidation of disintegrated rendering; (3) salt extraction; (4) complete consolidation between layers; (5) integration of losses; (6) reconstruction of lacunae; and (7) long-term testing.

notes The conservation team marked each meter segment of the wall in order to establish a more precise location for the wall paintings. All meter references ‘M’ are for the east side, while the west side is indicated by ‘M west’; these measurements were taken from the respective arena side jambs of the Stratum VI South Gate. The meter number refers to one1

meter-long units that terminate on the cited number (M 10, for example, begins on 9.00 and terminates at 10.00 m from the east jamb of the South Gate). 2 The Department of Conservation of the Israel Antiquities Authority first assembled a team of Israeli specialists from among its own ranks and other institutions, including

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Professor Arthur Segal (university of Haifa), Dr. Talila Michaeli, the late Professor Israel roll (Tel Aviv university), and Amnon Bar-Or (architect, national Parks Authority). Later, international conservation specialists were consulted: Professor Sharon Cather (Conservation of Wall Painting Department, Courtauld Institute of Art, London), Gianluigi Colalucci (former chief conservator/restorer of the Sistine Chapel, Vatican Museums, rome), Michele Cordaro (Instituto Centrale del restauro, rome), Marisa Laurenzi Tabasso (ICCrOM, rome) and Ippolito Massari (consultant for humidity in masonry, rome). 3 A third layer of plaster, which coats the lower steps of Stairway 4992 and the adjacent podium wall (Sqs G/117– 118, M 245–247) and dates to the post-circus phase, was also observed along the north edge of the podium wall. This layer is a local one and not included in this discussion. 4 It seems that the two plaster layers mentioned above had been peeled off the podium wall when it was ‘elevated’ for the first stage of the amphitheater in the Stratum VIA facility.

5 The elephant’s heavy and massive body, rounded buttocks and short tail, typical head with a looped trunk, and characteristic log-shaped legs are clearly observable on this side view of the figure. 6 For an illustration of an elephant and a rhinoceros, one after the other, in similar colors, see the wall painting in burial cave no. 1 of the Hellenistic period at Marissa (Peters and Thiersch 1905:15–28, Fig. 2, Pl. 10). 7 The First Pompeian Style is characterized by the imitation of ashlar masonry in plaster. The plinth or socle is generally delineated by recessed borders or a ‘string course’ (Ling 1991:14). While the ‘paneled’ layer does not exhibit this level of sophistication, the plinth is clearly distinguished from the upper ‘eye-level’ design. For details on this style, see Ling (1991) and Laidlaw (1985).

r eferenCes Laidlaw A. 1985. The First Style in Pompeii: Painting and Architecture. rome. Ling r. 1991. Roman Painting. Cambridge. Peters J.P. and Thiersch H. 1905. Painted Tombs in the Necropolis of Marissa. London.

Porath y. 1996. The Evolution of the urban Plan of Caesarea’s Southwest Zone: new Evidence from the Current Excavations. In A. raban and K.G. Holum eds. Caesarea Maritima: A Retrospective after Two Millennia. Leiden. Pp. 105–120.

Chapter 8

The Roman amphiTheaTeR Wall painTings—the picToRial pRogRam Talila michaeli

the wall paintings on the podium wall of the secondcentury CE amphitheater at Caesarea (Stratum VIA; see Chapter 5), which replaced Herod’s Circus, are among the best preserved examples of extensive paintings on podium walls known in the Roman Empire. A strip of paintings about 110 m long was exposed on the east side of the facility, and a strip more than 40 m long was left untouched and protected behind ancient constructed drain-channels on the west side. At least five superimposed plaster layers were observed on the Stratum VIA podium wall (see Chapter 7: ‘Stratigraphy and Description of the Wall Paintings’); the earliest one contains animal and human figures and the second one bears a well-defined ‘panel pattern’. As the technical description was presented in Chapter 7, the following discussion concerns itself with the pictorial program, beginning with the latter and concluding with the animal and human depictions.

IConography the state of preservation allows us to deal mainly with the two earlier layers of the painted plaster: the panels and the animals. Other motifs will also be dealt with briefly according to their state of preservation. Panels the second and third layers of the wall paintings on the podium wall of the Roman amphitheater that replaced Herod’s Circus were decorated with panel motifs (see Chapter 7: ‘Stratigraphy and Description of the Wall Paintings’ and table 7.1). the better preserved second layer has a painted plinth under colored panels (Color Pls. 4, 5). Series of panels with multicolored marble imitation are known throughout the Roman world, including Palestine. the patterns depicted within such panels differ not only from one place to another, but sometimes several variations can also be seen within

a single edifice. the lower parts of the painted ‘tomb of the Nymphs’ at Ashqelon can serve as an example of the use of three different patterns repeated several times in a single room (Michaeli 2009: Figs. 38–49; see also Ory 1939:43–44, Pl. XXVIII:2). Panels depicting incrusted marble slabs appear at Masada, for example, in the lower terrace of the north palace (Yadin 1966:48–49, fig.). the same type of decoration also appears in Pompeian wall paintings (Ling 1991: Figs. 12, 13). Depictions of panels with only a single pattern in the same room can be seen, for example, in the first and second Pompeian styles, such as in the ‘House of the Griffins’ at Rome (Barbet 1985: Pl. Ia), or in a tomb at Costanza, Romania (Barbet 1998:75, fig.). A ‘plinth’ containing a single continuous pattern below ‘marble’ panels is also very frequent. the ‘House of Loreius tiburtinus’ at Pompeii (Barbet 1985:211, Fig. 146), for example, features diagonal free-form lines on a plinth reminiscent of the gray plinth at Caesarea. the separation of the lower part (or parts) into rectangular segments is also frequent in Pompeian wall paintings, as can be seen, for example, in a firststyle ‘wall decoration in garden’ (Ling 1991: Pl. IA), or in the house under San Giovanni in Laterano, Rome (Ling 1991: Fig. 204). In both cases, the entire length of the plinth is decorated with the same pattern. Parallel lines of different colors on a neutral background, framing a central ‘marble’ panel resembling the Caesarean pattern, can be seen in a tomb discovered at Serdica, the ancient Sofia, Bulgaria (Barbet 1998:76, fig.). the curved line on the lower part of the panel at Caesarea seems to depict a stylized scotia of a column or pilaster base. If this is correct, the straight lines separating the panels from one another could have represented a stylized and schematic canellura. the so-called ‘Cenatorium’ at Ephesus (Ling 1991: Fig. 211) features patterns resembling those at Caesarea; they consist of rectangular panels, separated from one another by a pilaster with four flutes, resting on a base.

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the composite bases separate the plinth into sections. this plinth, too, is decorated with a diagonal and freeform pattern reminiscent of that at Caesarea. Less composite bases resting directly above a plinth, though of the trompe d’oeil style, can be seen in Pompeii (VII Ins. Occ. 39) or in Rome at the ‘House of Augustus’ (Ling 1991: Figs. 32, 33). Paintings imitating marble slabs were frequent from as early as the end of the second century BCE and continued to be in fashion throughout the Roman era (and even later). While several patterns are common worldwide, others display a unique character and possibly reflect imitations of locally used stones. thus, the green veins depicted at Caesarea resemble the Anatolian marble used for panels, still in situ, in several wealthy buildings at Caesarea, such as the baths, as well as several collapsed columns found in the area. A somewhat similar pattern can be seen at the ‘House of the Four Styles’ (Ling 1991: Fig. 13) and at ‘the House of the Griffins’, both at Pompeii (BianchiBandinelli 1970: Fig. 120). Imitations of incrusted marble panels also seem to have decorated the ‘podium’ of the amphitheater at Pompeii. A fresco discovered in a nearby house depicts an event that took place in the amphitheater and, thus, the entire edifice is portrayed in detail. the pictorial scheme—according to this fresco—reveals a sequence of painted marble panels bearing the same pattern of elliptically shaped marble veins (BianchiBandinelli 1970: Fig. 70). these decorations appear to belong to the early stage of the Pompeii amphitheater. the lower part of the ‘podium’ was covered with more-or-less the same pattern in the later stage, too, alternating with other decorative patterns and separated from one another by a candelabrum (Golvin and Landes 1990:53, fig.). Animals Animals in moving positions were painted on the earliest plaster layer of the podium wall along the amphitheater’s east side (see Chapter 7: ‘Stratigraphy and Description of the Wall Paintings’ and table 7.1). Most of the animals were painted to fit the full height of the panel and lack a common scale. they were arranged without any relationship between one another, as if each were painted separately. Most were depicted moving northward, while others are in the opposite direction. the animals were painted with a

schematic vegetation background between and behind them (Color Pls. 1–3, 8–20). Rows of animals in monumental scale are one of the oldest patterns known in the history of art, not to mention the smaller works of art such as metal works, ivory carvings or painted pottery.1 Depictions of a variety of animals frequently appear in scenes of the Roman world, such as: (a) arena games (discussed below); (b) hunting scenes, either of animals chasing animals or of men and animals;2 (c) animals within vine trellises or acanthus scrolls; and (d) Orpheus enchanting the animals. the arena games are frequently depicted in Roman and early Byzantine art. Quite often the representations feature men vs. animal and animal vs. animal hunting scenes, and appear to have drawn their images from the same source of inspiration. Moreover, it is frequently unclear whether a ‘sportive’ hunt or an arena fight is being depicted. the Zliten mosaic depictions include men vs. animal confrontations with combat between men (either prisoners or gladiators) against wild beasts, such as lion, leopard or boar, or trainers and animals (Auguet 1972: Figs. 13a, 13b). Another group consists of animals chasing animals, such as a hound chasing a goat or a bull after a bear (Auguet 1972: Fig. 9c).3 A two-register relief from thrace depicts gladiators fighting and taming wild animals. the animals are portrayed in different activities, but are all depicted in the diagonally outstretched-legs position (Robert 1971: Pl. XXIV, n. 27). the ‘Colchester vase’ and the tomb of Umbricius Scaurus are of salient interest, depicting scenes of a hunt, a duel between gladiators, and male figures taming a wild beast (Cagnat and Chapot 1920: Figs. 463, 468). A similar perspective can be seen in the stylized bas-relief from Serdica, Bulgaria (Auguet 1972: Fig. 10). A mosaic from Smirat, tunis depicts a venatio with four bleeding leopards being severely wounded by the venatores (Blanchard-Lemée, Slim and Slim 1996: Fig. 162). the same position can be seen in a mosaic from the Solleriana Domus at elDjem, tunis, in which wild animals are attacking condemned prisoners (Blanchard-Lemée, Slim and Slim 1996: Figs. 163a, 163b). Hunters chasing animals are also a frequent subject for depiction, especially in mosaic pavements, such as in the ‘House of Dionysus’ at Paphos (Kondoleon 1990:172, Figs. 8, 10, 11), and many North African sites (Blanchard-Lemée, Slim and Slim 1996: Figs. 74, 129, 130). In all of these cases, the animals are

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placed on or above a ground line, usually running with their legs outstretched diagonally, sometimes with their heads turned back, and often separated from one another by a schematic vegetal motif.4 Animals within vine or acanthus scrolls form a frequent depiction in mosaic pavements throughout the Hellenistic and Roman worlds (Lavin 1963:217 and n. 160 for further references; for a more updated bibliography, see Ovadiah and turnheim 1994). In the floor mosaic decorating the baths of ‘the Seven Sages’ at Ostia (Lavin 1963: Fig. 47), as well as in many other mosaics,5 the composition is circular, and the animals are placed within, around and above the trellises. the depiction of Orpheus playing his harp (or other musical instrument) and enchanting both wild and domestic animals appears in mosaic pavements, as well as in wall paintings, in pagan and in Early Christian art. the animals depicted are isolated, often placed on a ground line, and usually depicted with both fore- and hind legs diagonally outstretched, as if running, jumping, or about to do so.6 the theme of Orpheus enchanting the animals was also performed as a spectacle in the arena, as can be learned from Martial (Lib. Spect.: 24(21); see Pailler 1990), who describes the set as being arranged like the garden of the Hesperides. Since the arena and its spectacles were identified with the emperor, this could perhaps be understood as the identification of the emperor with Orpheus. It may also have served as an allusion to the tranquility and good life that the emperor bestowed upon his empire, reflecting the Garden of the Hesperides (often analogous to Elysium).

DeCoratIon of amphItheaters anD theaters It appears to have been a common practice to decorate the ‘podium’ of amphitheaters in the Roman world, sometimes with expensive and durable materials, especially when facing the panels of the magistrates’ seats. this practice is attested in a written description by A. Daux from 1869, of the arena of Utica in tunis, which was surrounded with black marble columns and a high iron or bronze grille or fence (Kolendo 1988:260). Moreover, the lower seats—usually reserved for distinguished citizens—were decorated with marble slabs of diverse shapes and colors. Unfortunately, nothing of the Utica decorations has survived. In many amphitheaters and theaters, such as in thysdrus, Carnuntum, Leptis Magna and elsewhere,

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remnants of painted plaster were discovered, but their fragmentary state of preservation allows no further interpretation (Golvin 1988:318–319). the amphitheater at Lixus seems to have had depictions of hunting scenes (based on remnants of a wheel and a horseshoe, wild vegetation and vertical bands), probably forming parts of panels (Ponsich cited by Golvin 1988:310, 318, n. 98). the Roman theater discovered in Corinth was transformed into an arena and, during this use, its ‘podium’ wall was elevated, plastered and decorated with wall paintings representing venatio scenes with gladiators and athletes (Stillwell 1952: passim and esp. pp. 86–94). the venatores seem to be wearing short tunics, boots or other footwear, and the hems of their tunics are purple. the animals are depicted in the diagonal attacking position, with their legs outstretched (Stillwell 1952: Figs. 76–83). the actual arena life is further stressed in these paintings through depictions of the wooden cages in which the beasts were kept (Stillwell 1952: Figs. 78–79). two stages of wall paintings were observed on the podium of the Pompeii amphitheater. the earlier stage of the edifice consisted of panels imitating marble slabs (see above). the later one was probably executed between the earthquake of 62 CE and the destruction of Pompeii in 79 CE. According to an aquarelle by Nicolini, documenting the amphitheater after its excavations, there existed three types of depictions within panels: the patron of the games with the gladiators proclaiming the start of the games; a battle between two animals tied to one another with a rope; and a sequence of geometric and multi-colored marble imitations, resembling those depicted on the earlier stage (Golvin and Landes 1990:53, Plate). As noted for other aspects concerning the amphitheater, the decorative system of the core of the Roman Empire also seems to have influenced the east periphery. However, only three small fragments of the wall paintings that covered the podium wall of the amphitheater at Bet Guvrin have survived.7 the parallel vertical ocher bars appearing on the larger fragment might have represented animals within or next to their cages, perhaps even with gladiators, as can be seen in the theater at Corinth. the remains of painted plaster found in the Bet She’an amphitheater8 might also have represented a similar subject. It appears that the events actually performed in the arena might have been those displayed on the podium walls.

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the InterpretatIon of the Caesarea row of a nImals the Caesarean frescoes would seem to depict the arena games as performed throughout the Roman world. the gladiatorial fights are identified through the remnants of a human leg with a boot(?) and a red mantle (Color Pl. 4a, b). this depiction is in accordance with such portrayals, and the red mantle is also mentioned by tertullian (De Spect, XII) as the uniform of the combatants. the row of animals painted at Caesarea, most of which face the same direction, with the occasional exceptions, and most of which are placed diagonally, is also well-rooted in the Roman tradition of arena depictions. It could be interpreted as a row of show animals, including such special ones as the Africanos; however, it could also suggest an animal vs. animal fight as suggested by the positioning of several animals in pairs facing each other or of one chasing the other. As mentioned above, the animals represented in hunting and arena scenes throughout the Roman world are of all kinds and sizes: rabbits and hares, equines, canines, ungulates, herbivores, carnivores, ostriches, and in one case (the Serdica relief), even a crocodile is depicted fighting. Clearly, not all of the representations of animals in art—at Caesarea and elsewhere—necessarily depict venatio events in the arena; neither did the animals necessarily participate in any specific game at the particular place where they are depicted. However, it is documented that exotic animals were included in the animal exhibitions, thereby demonstrating the importance and wealth of the patron. Such was the case with both Julius Caesar and Pompey the Great, who showed a large range of animals in the games they organized (Pliny NH: VIII, xx; Dio Cassius XXXIX, 38, 2). For less ostentatious or provincial games, it would seem that local animals were used in the arena and they were probably depicted there as well. the utilization of a pattern book would explain the running position, the selection of animals depicted and the vegetation. Although not even a single fragment of such a book has survived, the repeated patterns found all over the Roman world imply that such a method must have been employed. this hypothesis is further supported by the ‘animal catalogues’ of mosaics, such as those found in Carthage and Radès (Lavin 1963: Figs. 82, 83), where a variety of animals are depicted

separately, quite a few in the diagonal running position, several with their heads turned back. In Radès, they are all identified by inscriptions, while in Carthage only some of them are. three non-specific plants (depicted one above the other in Carthage) separate the left group from the rest without any clear reason. It thus might represent the foliage so frequent in the depictions of rows of animals, as seen for example in a mosaic from Sousse identified as ‘animals at the amphitheater’. A variation on this plant is also found in Caesarea, usually but not solely behind the animals (Color Pls. 11, 17, 18).

exotIC anImals anD theIr plaCe In the arena games Exotic animals were introduced early into Rome, as recorded by ancient writers. Elephants were among the favorite, having made their appearance in Rome already in the third century BCE, brought by Curius Lentulus as an expression of his triumph over his enemies (Eutropius Brev.: II, 14). It would seem that these animals were mainly displayed in a parade to show off their magnificence and to extol the patrons. Cicero mentions a gift of panthers brought from Africa (Ad Fam.: VIII, ix, 3) and states that many more of these animals can be caught there. Seneca (Brev. Vit.: 13, 5–6) tells about this same kind of honor bestowed by the king of Mauritania, in the giving of exotic animals—lions this time—by the king to Sulla. Other less belligerent animals that were introduced into the arena, such as the hippopotamus and the crocodile (see the Serdica relief), are also mentioned (Pliny NH: VIII, xl). It was not easy to obtain such exotic animals, and the games held in Italy usually made do with local animals such as stags, roes, boars and other quadrupeds, without the introduction of African beasts. Moreover, these more modest spectacles were said to be no less fine than those conducted with African beasts (Varro Re Rust: III, 13). I believe that the depiction of animals in the amphitheater at Caesarea displays the local animals (such as stags, foxes or wild boars) along with the fashionable and much praised and possibly expensive Africanos (such as an elephant and, perhaps, a rhinoceros), which probably never actually took part in the games held in Palestine. this could be in conformity with a Jewish law from the second century BCE, according to which it was forbidden to sell bears, lions and other harmful creatures to the heathen

CHAPtER 8: tHE ROMAN AMPHItHEAtER WALL PAINtINGS—tHE PICtORIAL PROGRAM

(Acta Martyrum, cf. Jennison 1937:167). this is also indirectly implied by tertullian, who notes that the spectacles throughout the empire resembled those of Rome but on a much smaller scale (De Spect.: VII, 2).

stylIstIC aspeCts the fragmentary state of preservation of the Caesarea wall paintings allows only a partial examination of their style. It is clear that on most of the layers the artists worked with freehand brush strokes and no contours can be discerned. Clear contours were observed on the wall paintings of the second layer (‘panel’ pattern) only. the row of animals is depicted in a free and painterly manner. It displays a rhythmical sequence of animals with what seems to be locally applied color, almost without hues and shading. Moreover, the scale of colors along the row is very limited, mainly black, brown-red and ocher. the lack of details seems to me indicative and intentional. Since the minimum distance from which the paintings were observed was about 50 m, there was no point in employing fine detail.9 I believe that the artist also took into account the location of the spectators when he designed the different figures along the podium. Seen in this light, the lack of details does not make the artist (or paintings) inferior or untalented. On the contrary, deliberately distorted and generalized images might have provided a better perspective from a distance. to this, I believe, should be added the unusual way in which the artist chose to solve the problem of the low step of the podium wall (i.e., the exposed section of the initial foundation). the plaster and painting were wrapped over both surfaces, relating to it as if it were a straight and continuous plane (for example, Color Pls. 1, 8). this method is apparent in both the animal and vegetal motifs. It might have been carried out this way due to the limited, relatively low height of the podium. Ignoring the step enabled the artist to exploit a few more centimeters and thus enlarge the images. the animals as well are depicted individually, and no overlapping can be discerned. there is a clear space separating the animals from one another, sometimes filled with a delicate green plant (or plants). the artist used a distinctly different color for the depiction of neighboring animals. Most of the animals are portrayed as being of the same size, regardless of their real dimensions and relative proportions. thus the elephant, the stag and one of the foxes are of the same height. this phenomenon

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is frequent in almost all known depictions of animal rows, as can be seen in the corridor mosaic of the peristyle at Castel Porziano (Lavin 1963: Figs. 117, 118). the ‘animal catalogues’ of Carthage and Radès show the same approach (Lavin 1963: Figs. 82, 83). In the Carthage catalogue, the vegetal motifs resembling reeds are also arranged in a vertical row between the animals. the animals are all of the same size, including an elephant and a stag, in the Orpheus mosaic from Blanzy-les-Fismes (Lavin 1963: Fig. 132). the use of painterly free style without using contours appears to be prevalent from the later first century CE (Pompeian Fourth Style) and continued in use almost until the end of the third century. Examples of this method can be seen in a fresco from Pompeii depicting a view of the harbor (Lessing and Varone 1996:12, Fig.) and in the ‘tomb of the Nymphs’ at Ashqelon, where vine trellises and lotus flowers and reeds are depicted (Michaeli 2009: Figs. 32–34, 50–52, 56a, 61–64, 74–75), as well as in the vegetal motifs of the Migdal Ashqelon tomb (Michaeli 2010: Figs. 2, 5; the latter two dated to the mid-third century CE). the same applies to the later c. 300 CE Or ha-Ner tomb (Michaeli 1998: Fig. 4; 2009: Fig. 118), where small unidentified red flowers are depicted on top of stalks painted freely in one hue of green with rounded leaves in the same shade. A difference in coloring between the northeast and the south animals and plants along the east wall of the podium can be discerned. this might suggest two groups of artists working on these parts; a very logical process if one considers the length of the podium. the imitation marble slabs of the ‘panel’ pattern, unlike the animal ‘pattern’, are framed by parallel straight lines; however, the marble veins are freely depicted. the panels imitating marble slabs in the painted ‘tomb of the Nymphs’ at Ashqelon, dated to the mid-third century, are of the same nature (Michaeli 2009: Figs. 38, 39), as are the panels of the south wall at the Or ha-Ner tomb (Michaeli 2009: Figs. 107–110). the marble ‘vein’ pattern at Ashqelon is very free and picturesque, but each panel is framed by emphasized and somewhat perspective ‘ruler lines’ (Michaeli 2009: Figs. 42–50).

summary the above observations have led me to assume that the artists used pattern books, at least for the non-native

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animals, and that they either did not recognize some of the animals or they preferred to show them in a way that could be more clearly viewed by the spectators, regardless of the restricted space (less than 1.5 m high) reserved for them. It should also be noted that the earlier the paintings, the better their quality. the row of animals is undoubtedly the earliest and the most

varied in shape as well as color. the earlier panels are rather uniform in their pattern and color; however, they are vividly displayed with freehand brush strokes. the later layers of color indicate stylistic deterioration: the patterns are very simple with minimal use of shades, restricted to red and white stripes. the uppermost layer is a solid white.

notes Examples can be seen in the seventh- to sixth-century BCE rows of combined mythical and realistic animals on the Ishtar gate at Babylon (Strommenger 1964: Figs. 275, 276, Pls. XLIII–XLIV), where they appear to convey some kind of a religious or royal ritual. During the Greek era, the animalrow became merely of decorative value, as exemplified in numerous vase paintings from the seventh century BCE (Richter 1969: Figs. 420–421). Rows of animals can also be seen in some Etruscan tombs, such as the Tomba del Cacciatiore at tarquinia (Steingräber 1985: Pls. 52, 53, and p. 301); they also seem to have continued the Greek way of depicting rows of animals purely for their decorative role. 2 Hunting scenes are very common in the Roman world. Examples of such depictions can be seen in wall paintings at Pompeii (Barbet 1985:133; Ling 1991: Fig. 89) and in numerous mosaic pavements such as those found at el-Djem in tunis (Le Glay 1990: Fig. 1) or in Mazra‘ al-‘Ulya in Syria (Matthews 1988–1989: Photographs 1, 2, 6, 12–14). 3 the frieze of the Paphos mosaic with its hunt scene can thus actually be compared with the almost similar composition of the Zliten mosaic in Libya, where various arena games are depicted (Kondoleon 1990: Fig. 8 for Paphos; Fig. 9 for Zliten). the entire composition of the Zliten mosaic can be seen in Lavin (1963: Figs. 20, 21). 4 Many other examples bear the same characteristics, such as the ‘Worcester Hunt’ from Antioch, or hunting mosaics 1

from Carthage and Piazza Armerina (Lavin 1963: Figs. 2, 79, 110). 5 For example, see the frigidarium at tuburbo Majus, tunis (Lavin 1963: Fig. 58) or the sculptured frieze from Bet She’an (Ovadiah and turnheim 1994: Figs. 33, 34, 36, 37, 41, 44, 87–89, 93–95, 107, 155). 6 the examples are numerous. See, for instance, SaintRomain-en-Gal (1996:53–55, Figs.), Pompeii (Ling 1991: Fig. 160) and Oudna (Lavin 1963: Fig. 72). 7 Fragments of fresco were discovered on the podium’s south side of the Bet Guvrin amphitheater and were dated from the end of the third to the beginning of the fourth centuries CE. three small fragments of painted plaster, located approximately 2.5 m above the arena surface, were discovered. the largest fragment contains a pattern of vertical parallel lines in dark color over a light colored background. I would like to thank Prof. Amos Kloner for providing me with photographs of these fragments. 8 the fresco remains in the Bet She’an amphitheater were not identifiable (Foerster and tzafrir 1990:37). 9 Although it is possible that people visited the arena on days with no performances and observed the wall paintings up close.

r eferenCes Auguet R. 1972. Cruelty and Civilization: The Roman Games. London–Paris. Barbet A. 1985. La peinture murale romaine: Les styles décoratifs pompéiens. Paris. Barbet A. 1998. De Kazanlak à Silistra. Huit siècles de peinture funéraire en thrace et en Dacie. Dossiers d’archeologie 238:62–79. Bianchi-Bandinelli R. 1970. Rome: The Center of Power. London.

Blanchard-Lemée M., Slim H. and Slim L. 1996. Mosaics of Roman Africa. New York. Cagnat V. and Chapot R. 1920. Manuel d’archéologie romaine II. Paris. Cicero Ad Fam. Epistulae ad familares. W. Glynn Williams transl. (Loeb Classical Library). London–Cambridge, Mass. 1972.

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Dio Cassius. Dio Cassius. Roman History. E. Cary and H.B. Foster transls. (Loeb Classical Library). London 1914– 1917. Eutropius Brev. Breviarium ab urbe Condita. H.W. Bird transl. Liverpool 1993. Foerster G. and tsafrir Y. 1990. Beth Shean: Le quartier de l’amphithéâtre. Le Monde de la Bible 66:37–39. Golvin J.C. 1988. L’amphithéâtre romain, essai sur la théorisation de sa forme et de ses fonctions. Paris. Golvin J.C. and Landes C. 1990. Amphithéâtres and Gladiateurs. Paris. Jennison G. 1937. Animals for Show and Pleasure in Ancient Rome. Manchester. Kolendo J. 1988. Le cirque, l’amphithéâtre et le théâtre d’Utique d’après la description d’A. Daux. In A. Mastino ed. L’Africa Romana: Atti del VI convegno di studio Sassari, 16–18 dicembre 1988. Sassari. Pp. 249–264. Kondoleon C. 1990. Domestic Romanitas: the Case of the House of Dionysos, Paphos. In E. Pérez Olmedo ed. VI Coloquio internacional sobre mosaico antiguo. Palencia– Mérida. Pp. 167–178. Lavin I. 1963. the Hunting Mosaics of Antioch and their Sources. A Study of Compositional Principles in the Development of Early Mediaeval Style. DOP 17:179–286. Le Glay M. 1990. Les amphitéâtre: Locri religiosi, 1990. In C. Domergue, C. Landes and J.-M. Pailler eds. Spectacula 1: Gladiateurs et amphithéâtres (Actes du colloque tenu à Toulouse et à Lattes les 26, 27, 28 et 29 mai 1987). Lattes. Pp. 217–230. Lessing E. and Varone A. 1996. Pompeii. Paris. Ling R. 1991. Roman Painting. Cambridge. Martial Lib. Spect. On the Spectacles. In Epigrams I: Spectacles, Books 1–5. D.R. Shackleton-Bailey ed. and transl. (Loeb Classical Library). Cambridge, Mass. 1993. Matthews M. 1988–1989. Some Zoological Observations on Ancient Mosaics. Bulletin de l’association internationale pour l’étude de la mosaïque antique (AIEMA) 12:334–349. Michaeli t. 1998. the Pictorial Program of the tomb near Kibbutz Or-ha-Ner in Israel. Assaph Studies in Art History 3:37–76.

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Michaeli t. 2009. Visual Representations of the Afterlife. Six Roman and Early Byzantine Painted Tombs in Israel. Leiden. Michaeli t. 2010. A Painted tomb Depicted with Naked Youths, Ashkelon. Bollettino di Archeologia 1:73–82. Ory J. 1939. A Painted tomb near Ascalon. QDAP 8:38–44. Ovadiah A. and turnheim Y. 1994. “Peopled” Scrolls in Roman Architectural Decoration in Israel: The Roman Theatre at Beth Shean/Scythopolis. Rome. Pailler J.-M. 1990. Le poète, le prince et l’aréna, à propos du ‘Livre de Spectacles’ de Martial. In C. Domergue, C. Landes and J.-M. Pailler eds. Spectacula 1: Gladiateurs et amphithéâtre (Actes du colloque tenu à Toulouse et à Lattes, les 26, 27, 28 et 29 mai 1987). Lattes. Pp. 179–183. Pliny NH. Natural History VIII: Books VIII–XI. H. Rackham transl. (Loeb Classical Library). Cambridge, Mass.– London 1983. Richter G.M.A. 1969. A Handbook of Greek Art. London– New York. Robert L. 1971. Les gladiateurs dans l’Orient grec. Amsterdam. Saint-Romain-en-Gal. 1996. Guide des collections musée archéologique Saint-Romain-en-Gal Vienne. Paris. Seneca Brev. vitae. De brevitate vitae. P. Grimal ed. Paris 1959 Steingräber S. 1985. Catalogo regionato della pittura etrusca. tokyo–Milan. Stillwell R. 1952. Corinth: Results of Excavations Conducted by the American School of Classical Studies at Athens II: The Theatre. Princeton, N.J. Strommenger E. 1964. The Art of Mesopotamia. London– Munich. tertullian De Spect.: The Shows, or De Spectatulis. S. thelwall transl. In A. Robert and J. Donaldson eds. AnteNicene Fathers III. Peabody 1995. Pp. 79–91. Varro Re Rust. In Cato and Varro. On Agriculture. W.D. Hooper and H.B. Ash transls. (Loeb Classical Library). London 1967. Yadin Y. 1966. Herod’s Fortress and the Zealots’ Last Stand. New York.

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Chapter 9

Chapel 1362—Graffiti with a MaritiMe SCene ZaraZa friedMan

IntroduCtIon

rim, ten boats, and some other items that are unclear, rendering their identification and interpretation unwarranted speculation. Only distinct objects will be described below.

Incised graffiti with maritime scenes, accentuated with red pigments, were distinguished by the excavators on the plaster north face of W1281 in Chapel 1362 (Stratum V; see Chapter 6 and Plan 6.3). The only surviving evidence of the graffiti is the drawing on the lower part of the plaster, very close to the floor (Figs. 6.5, 9.1).1 The scene covers the entire extent of the preserved plaster and it appears that the scene was incised when the plaster was still moist and, subsequently, a red wash or paint was applied. The scene comprises two human figures, a cylindrical basket with the head of a fish projecting above the

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Both human figures are depicted schematically (Figs. 6.5, 9.1, 9.2). The larger figure to the right is shown facing forward, with elliptical eyes and a straight nose defined by two vertical parallel lines. The head is surrounded by a halo. The neck and the right shoulder suggest the torso. The left shoulder seems to be attached to the head with no indication for the neck. The

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human FIgures and a Basket

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Fig. 9.1. The plaster with the graffiti on W1281 (drawing, L. Filipov; computer processing, Z. Friedman).

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arching halo crosses the lower edge of the left neck and shoulder. above this section, in the area corresponding to the right ear, are two oblique lines resembling rays. The same pattern appears on the upper right side of the halo. The second human figure is much smaller and is represented schematically by a round head and some other parts of the body. The eyes, nose and mouth are very schematic and lack details. The upper torso can be deduced from the short oblique lines on either side of the head that probably indicate the shoulders. On the lower part of the figure are two slightly oblique parallel lines that probably represent the legs, although their anatomical placement is incorrect. a cylindrical basket is depicted almost in the middle of the scene. a horizontal line indicates the upper rim, while the bottom is shown as an ellipse viewed from below. Two small elliptical handles are attached on either side of the rim. The basket body is indicated by a crisscross pattern of oblique lines, resembling basket weaving. The head and the upper part of a fish project above the rim of the basket. The meaning of the patterns formed by the oblique and horizontal lines beneath the bottom of the basket is unclear.

the Boats2 Ten boats of varied sizes are associated with the maritime scene (Figs. 6.5, 9.2, 9.3). They are numbered and described from left to right, in a clockwise direction. no water line or any other indication of an aquatic

environment is apparent in the scene. The vessels seem to be anchored or sailing in open waters, although no anchor, anchoring facilities, or steering apparatus are represented. all of the vessels are depicted from the long side. Boat No. 1 (Fig. 9.3:1) The hull has a narrow banana shape formed by two nearly equidistant lines. The ends differ somewhat: the straight-cut left end probably represents the transom bow, while the stern is incomplete and seems to narrow toward its end. The vertical line amidships indicates the presumably stepped mast. a short oblique line is attached below the right side of the masthead that may be the upper part of a stay. Boat No. 2 (Fig. 9.3:2) The narrow hull is rounded and spoon-shaped. The high, raised ends are not very clear, but slight differences permit the identification of the left vertical end as the stempost, with a pointed tip, and the slightly oblique right end as the sternpost. The latter has a slight outer projection with a pointed tip. The vertical line, slightly off amidships, represents the mast. The oblique line crossing the tip of the masthead is the yard or the head of the sail. The starboard yardarm projects above the stem, while the port yardarm is lowered on the sternpost. The vertical line stretching between the tips of the

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Fig. 9.2. Detail of the maritime scene (drawing, L. Filipov; computer processing, Z. Friedman).

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ChaPTer 9: ChaPel 1362—GraFFITI WITh a marITIme SCene

masthead

masthead

yard brace or leech

mast

yard

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forestay

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Fig. 9.3. Details of the ships (computer processing, Z. Friedman).

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starboard yardarm to that of the stempost indicates the left brace or the leech of the square sail. In any kind of art depiction of the open sail, the bunt is usually shown with a checker pattern formed by the intersection of the brails and the reef-bands or seams. The two arching lines attached to the tip of the port yardarm are probably the braces used to work the yard. The nearly parallel lines projecting beneath the rounded stem probably indicate the mooring lines or two slanting oars attached on either side of the starboard hull. Boat Nos. 3 and 4 (Figs. 9.2, 9.3:3, 4) These boats are depicted one above the other (Figs. 9.1, 9.2). Boat 3 seems to be represented by its short, rounded hull (Fig. 9.3:3). The horizontal gunwale seems to extend to the right, over the end of the hull. Boat 4 (Fig. 9.3:4) is fragmentary and represented by a partial gunwale, one post (stem or stern) and other lines. The projecting vertical line may indicate the mast set amidships of Boat 3, crossing its hull and ending above the gunwale of Boat 4. The short horizontal line attached to the tip of the masthead indicates the yard. The oblique line to the right side of the masthead stretching from beneath the yard to the gunwale of Boat 4 may represent either the back- or the forestay. The top line parallel to the gunwale of Boat 4 is presumably the top edge of the bulwark or a screen. The fragmentary line beneath the gunwale probably indicates the top edge of the upper wale or the seam between the upper planks. The short post, missing its top and attached to the right edge of Boat 4, probably represents the sternpost. Boat No. 5 (Fig. 9.3:5) This is the smallest vessel depicted in the scene and is placed to the right side of Boats 3 and 4 (Figs. 9.1, 9.2). The rounded banana-shaped hull is seen from its port side. The ends are quite distinct. The slightly angled stem is finished by a projecting bowsprit. The mast is missing. The fore- and backstays are the only rigging of the boat. Their upper ends intersect at a point above where the masthead should be placed. Boat No. 6 (Fig. 9.3:6) The hull of the vessel is only partially shown. It has a very rounded shape and only the left end is complete. The gunwale has a short projection above the left edge

that may indicate the bowsprit or is an artist’s mistake. It appears that the person who incised the graffito wanted to depict the vessel solely by a schematic hull. Boat No. 7 (Fig. 9.3:7) This vessel is depicted with some distinctive elements. The spoon-shaped hull is shown from its port side, deduced from the distinct stem and stern posts. The narrow strip surrounding the hull probably is the keel with mounted stem- and sternposts. The raised, angled stempost has a pointed tip. a rounded end adorns the sternpost with two lines projecting from its top edge. This decoration may be interpreted either as the schematic aphlaston or mooring lines, probably connected to the shore.3 The horizontal gunwale extends between the stem and the stern post. a small projection, close to the sternpost, may indicate the raised quarterdeck or an aft cabin where the helmsman sat and operated the steering oars. The only rigging of the vessel is comprised of a forward billowing square sail and several lifts. The head of the sail and the yard are merged in one line. The arching starboard leech emphases the billowing bunt; the port leech was not completed. This depiction may symbolically indicate that wind blows from astern or the starboard quarter, or it may have resulted from the artist’s desire to portray perspective. apparently the mast is hidden by the billowing bunt. The oblique lines projecting from either side of the yardarms toward the point of the masthead indicate the lifts that supported the yard. The masthead is not shown, but it may be deduced from the merging upper ends of the lifts. no steering gear is shown. Two oblique lines projecting beneath the rounded stem intersect with the rays of the halo (see above) and may represent the mooring lines (Figs. 9.1, 9.2). Boat No. 8 (Fig. 9.3:8) The banana-shaped hull is depicted behind the basket with the fish (Figs. 9.1, 9.2). The ends are distinct: the rounded stem surmounted by a slightly upraised stempost with a pointed tip indicates that the hull is seen from the port side. The curving stern is surmounted by an arching sternpost above the aft-quarter. The lower stem and the bottom of the boat are incomplete. Two vertical lines on the bow and another fragmented line beneath the fore gunwale may represent symbolic cords used to tighten papyrus or reed bundles for making such boats. The fragmentary line beneath the

ChaPTer 9: ChaPel 1362—GraFFITI WITh a marITIme SCene

gunwale may indicate the upper plank or the seams between the planks. Similar decorations appear on representations of wooden papyriform vessels wellknown beginning in the Pre-dynastic period and onward in egypt. This scheme of decoration continued to appear in representations of similar vessels in the later hellenistic period, as evidenced by the papyriform sailing ship depicted in the late second-century BCe nile mosaic from Palestrina, Italy (Gullini 1956: Pls. XV.1, XVI.1, XVII.2, XIX.2).4 Boat No. 9 (Fig. 9.3:9) This vessel, between the basket with the fish and Boat 10, is probably in a capsized position (Figs. 9.1, 9.2). The long and slim hull is defined by a rounded stern surmounted by an almost vertical sternpost adorned with a fishtail decoration; the bow is missing. Two segmented lines above the gunwale probably indicate a bulwark or a screen on the port side. The rounded projection close to the sternpost may represent the roof of a quarter-cabin for the crew or the seating helmsman who operated the steering oars. Boat No. 10 (Fig. 9.3:10) The rounded narrow spoon-shaped hull is finished with a vertical post on the left side, but its right end is missing. Careful consideration suggests that the raised fore end is the stempost, indicating that the hull is seen from its port side. a netlike pattern, several lines of which are associated with the rigging of the sail, is depicted above the hull. The tallest vertical line set amidships is the mast. The horizontal line attached to the right side of the masthead is the port yardarm; the starboard yardarm is missing. The oblique lines extending from the right side of the masthead to the yardarm represent the port lift that supports the yard. The oblique line stretching from the lower masthead just above the port yardarm to the port quarter is probably the backstay that secured the mast in its vertical position. The forestay is missing. The vertical and horizontal lines forming a netlike pattern probably represent a wooden container or a screened structure to carry bulk cargo or animals.5

saIlIng Vessels The vessels within the scene, other than Boat 9, have rounded spoon-shaped hulls, and they seem to be built

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of wooden planks. Boat 1 is the only example with a transom bow. Such vessels are known from middle Kingdom egypt. Boats 1, 2, 3, 4, and 5 and Boats 7 and 10 are shown with partial sail and standing or running rigging. Boats 5 and 6 are depicted with the forward projection of a bowsprit, whereas, in general, the forestay and, on occasion, the brace or sheet was tied around it (Friedman 2011:118, Fig. 3.7.33; 123, Fig. 3.7.39). Boat 7 is the only vessel depicted with a billowing square sail. all the craft are missing their steering gear or the auxiliary row-oars. as noted above, the rounded spoon-shaped hull of most examples (Boats 1, 2, 3, 5–8, 10 and the elongated hull of Boat 9) resembles the wooden papyriform boats best known from middle Kingdom egypt. Such vessels sailed on the nile, as well as along the mediterranean coasts, transporting varied cargoes and passengers. Both vertical lines on the stem of Boat 8 and the fragmented line parallel to the gunwale symbolically represent the cords or ropes used to tighten the papyrus/reed bundles for building such boats.6 In the middle Kingdom, wooden hulls of the vessels were painted with green, black and brown hues in a scheme designed to resemble papyrus boats. One of the best preserved examples of the papyriform vessel tradition appears in the Palestrina nile mosaic (Gullini 1956: Pl. XIX.1; Friedman 2011:73, Fig. 3.6.5). The occurrence of a fishtail decoration on the sternpost of Boat 9 demonstrates that this motif, which is known from the classical period and originates in Greece during the seventh to sixth centuries BCe (Basch 1987: Figs. 353, 374, 388, 394, 477, 482, 490, 494, 524, 551, 552), was still used on vessels in the fourth to fifth centuries Ce. The papyriform hulls in the ship graffiti from Caesarea maritima, although represented schematically, permit us to identify them as merchantmen that most probably originated in egypt.

the Caesarea m arItIme graFFItI sCene In its ChrIstIan Context This complex maritime scene with ten vessels, two human figures, one with a halo, and the fish projecting from a basket, suggests the execution of a symbolic act consistent with the well-established role of maritime graffiti as ex votos (artzy 1999:21). Given the scene’s location in a building near the shore and the fourth- to fifth-century Ce dating of the room—a period when Caesarea was a center of Christianity— this act should

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be viewed as a Christian motif, and it is within this context that the graffiti should be interpreted. The large figure with a halo around his head probably represents Jesus Christ.7 If so, the depiction of the fish projecting from the cylindrical basket could be related to the miracle of the multiplication of the loaves and the Fish, thus symbolizing an element of the eucharist. Boat 8 (Figs. 9.2:8; 9.3:8), behind the basket with the fish, may symbolically refer to andrew and Simon (later Peter), who, while fishing in the Sea of Galilee, were called by Jesus to become his followers (mark 1:16–17).8 as Christ called them saying, “and he saith unto them, Follow me, and I will make you fishers of men” (matthew 4:19), the fish became the symbol of the disciples (alexander 1950:244), as well as a symbol of spiritual nourishment (Becker 1996:114). The schematic representation of the second figure does not allow for a proper interpretation. however, it may symbolically represent pilgrims to the holy land, a phenomenon that began following the visit of empress helena, the mother of Constantine, who arrived in Jerusalem in 326 Ce, and became a model for later pilgrimage to the holy land (holum et al. 1988:194). The ships within the graffiti may symbolize the successful journey and safe arrival of such pilgrims. They would have visited Caesarea because it was one of the holy land’s principal ports. a ship depiction, with a latin inscription that reads Domine ivimus (‘O lord, we have come’), was found sketched in charcoal on a stone from an old pagan temple that was set into the wall of the later Church of the holy Sepulcher. It is dated to c. 330 Ce and is evidence that Caesarea served as a point of entry and a way station on the coastal road to and from Jerusalem (holum et al. 1988:195, Fig. 143). This sailing ship is depicted with the mast lowered on the deck (i.e., indicating the ship is at anchor, although lacking any mooring devices) and is evidence of these early pilgrims. In Christian art, the ship is a symbol of the church, steering a safe course through the waves of worldly danger (Becker 1996:268).9 The ship and its voyage are a symbolic reference of a safe journey to everlasting life with Christ (alexander 1950:245). The vessels in the Caesarea graffiti (and the example from Jerusalem) may also refer to the seaborne trade in the eastern mediterranean, where Caesarea maritima was still one of the important ports in the fourth to fifth centuries Ce and a busy gateway for pilgrims until the arab conquest in 640/641 Ce. alternatively, the graffiti ships at Caesarea may symbolically refer to Paul’s second journey from Corinth to Jerusalem (50–52 Ce),

and then the voyage to rome (Comay and Brownrigg 1980:335).10 during the Byzantine period, the south bay of Caesarea still served as a fair weather anchorage from which goods or passengers could be carried by lighters to and from ships anchored in open waters offshore. apparently, some part of the herodian harbor had been destroyed due to the continuous silting and subsidence of the breakwaters, resulting from sinking and seismic events that occurred in the eastern mediterranean between the mid-fourth and mid-sixth centuries Ce; a large number of sixth-century Ce coins found in underwater excavations just outside the harbor’s entrance attest to Sebastos still being in use during this period (holum et al. 1988:185). Procopius of Gaza, a contemporary of emperor anastasius (491–518 Ce), described how the inhabitants of Caesarea watched helplessly from the shore as ships approaching the harbor ran aground the submerged ruins of the breakwaters and sank within the harbor. For this reason, anastasius ordered the renovation of the harbor. Some superstructures were added on the submerged breakwaters, with the purpose of restoring the glorious function of Sebastos. With these improvements to the harbor, Procopius wrote that the city “welcomes ships with confidence, and she is filled with all the necessities” (holum et al. 1988:185).

summary The presence of a maritime graffiti scene at Caesarea with Christian elements suggests that the room may have functioned as a chapel, where visitors from overseas, upon reaching solid ground, came to make prayers and offerings by recording their safe voyage through schematic graffiti. Such habits of incising or painting graffiti ships in places of worship are mostly observed in churches from Greece and exist still in modern times.11 The maritime graffiti at Caesarea should not be considered exceptional, as its Christian activities as early as the first century Ce are well-known, with their zenith in the fourth to fifth centuries Ce. Caesarea, being a prosperous provincial capital of Palaestina Prima in the Byzantine era and having an active harbor, was the entry point for ships that brought cargo and many visitors. Thus, Caesarea’s Christian history and its inclusion in the pilgrims’ itinerary brought a new kind of tourist to Caesarea, who themselves brought large sums of money that contributed to the prosperity of the city and other holy sites.

ChaPTer 9: ChaPel 1362—GraFFITI WITh a marITIme SCene

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notes 1 The author relied on the drawings produced by the expedition architect, photographs taken in the field by members of the Iaa restoration department and her own personal observations. Unfortunately, the photographs do not allow any of the features to be distinguished clearly (e.g., Fig. 6.5). 2 Terminology referring to boats is taken from dear and Kemp 1997. 3 The aphlaston was a distinctive sternpost decoration of hellenistic warships. later, in the roman period, it became a common decoration on merchantmen and warships (Basch 1987: Figs. 721, 737, 792, 874, 895, 902, 910, 952, 953, 954, 974, 969B, 984, 1001, 1073, 1092, 1101, 1116). 4 The vessels within the maritime scene in the lower part of the nile mosaic from Palestrina have been studied in depth by the author (Friedman 2007:120, Fig. 4; 123, Figs. 7, 8; 124, Fig. 9; 125, Fig. 10; 2011:68–88, Figs. 3.6.3a–3.6.17). 5 Vessels carrying wooden containers on the deck are represented on tomb reliefs and paintings from the new Kingdom in ancient egypt, such as the Tomb of Viceroy huy and neferhotep, dynasty XVIII; cf. landstrom 1970: Figs. 390–394. 6 See the construction of a papyrus boat as depicted in the dynasty V Tomb of Ptahotep at Saqqara (Schulz and Seidel 1998:90, Fig. 87).

Originally, the halo was associated with Christ the lamb, God the Father and the dove of the holy Ghost. Since the fifth century Ce, the halo has been used for mary, the apostles, prophets and saints as well (Becker 1996:136). 8 a good depiction of the scene described above appears in a sixth-century Ce mosaic frame at ravenna (Capeti n.d., 21 top). 9 The main area in the church is the nave (latin navis, ‘ship’), where the worshipers symbolically are seafarers on a spiritual journey protected by God from the storms of misfortune (Fontana 2011:136). 10 at Patara, on the south shore of asia minor, Paul and the elders of the Church of ephesus boarded a cargo ship to Tyre. They sailed along the coast of Phoenicia with a day stop at acre (Ptolemais), and then on to Caesarea, where they enjoyed the hospitality of Philip the evangelist (Comay and Brownrigg 1980:339–340). 11 Ship graffiti of varied types are incised on the painted walls behind the altar in the Church of aghia Sofia in the Upper Town of monemvasia on the southeast coast of the Peloponnese (maggi and Troso 2004:254). These graffiti were still visible when the author visited the site in September 2002. 7

r eFerenCes alexander m.a. 1950. The Symbolism of Christianity. Archaeology 3:242–247. artzy m. 1999. Carved Ship Graffiti—an ancient ritual? In h. Tzalas ed. TROPIS V: 5th International Symposium on Ship Construction an Antiquity, Nauplia 1993, Proceedings. athens. Pp. 21–29. Basch l. 1987. Le musée imaginaire de la marine antique. athens. Becker U. 1996. The Element Encyclopedia of Symbols. dorset. Capeti S. n.d. I Mosaici di Ravenna. ravenna. Comay J. and Brownrigg r. 1980. Who’s Who in the Bible: The Old Testament and the Apocrypha; the New Testament. new York. dear I. and Kemp P. 1997. Oxford A–Z of Sailing Terms. new York. Fontana d. 2011. The New Secret Language Symbols: An Illustrated Key to Unlocking Their Deep and Hidden Meanings. london.

Friedman Z. 2007. The nile mosaic of Palestrina: an Illustration of Shipbuilding Traditions. Archaeologia Maritima Mediterranea 3:115–145. Friedman Z. 2011. Ship Iconography in Mosaics—An Aid to Understanding Ancient Ships and Their Construction (Bar Int. S. 2202). Oxford. Gullini G. 1956. I Mosaici di Palestrina. rome. holum K.G., hohlfelder r.l., Bull r.J. and raban a. 1988. King Herod’s Dream: Caesarea on the Sea. new York. landstrom B. 1970: Ships of the Pharoahs: 4000 Years of Egyptian Shipbuilding. new York. maggi S. and Troso C. 2004. The Treasures of Greece. Vercelli. Schulz r. and Seidel m. eds. 1998. Egypt—The World of the Pharaohs. Cologne.

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Chapter 10

Summary and ConCluSionS yoSef Porath

Caesarea, Herod’s new city on the Mediterranean coast, was furnished with a chariot-racing facility, which was utilized for the first time in the city’s inaugural celebrations in 10/9 BCE. Thus did the historian Josephus Flavius mention the construction of the facility and its location “… south of the harbor … and conveniently situated for a view of the sea.” However, he recorded it as an ‘amphitheater’ (αµφιτεαθρον in Greek, see Josephus Ant. XV, 341; War I, 415), a term that stymied generations of modern scholars. Only with the IAA excavations at Caesarea was a Roman-style circus discovered to have been constructed in Herod’s time exactly in the area where the αµφιτεαθρον was mentioned by Josephus. This discovery has solved once and for all the issue of ambiguity of the term αµφιτεαθρον/amphitheater in Greek records of the first century BCE to first century CE, the location of the facility, and whether the circus that functioned during the inauguration of Caesarea was a provisional or permanent facility. We have thus named this recently uncovered facility for chariot-racing ‘Herod’s Circus’ out of respect to the ‘Builder King’ Herod, who opened Judea to Roman civilization, and to avoid confusion with the later circus in the eastern sector of the city, which has been known since the nineteenth century CE.1 The revelation of Herod’s Circus exactly on the location mentioned by Josephus, albeit with some doubts about Flavius’ accuracy (Reifenberg 1950–51:25), is additional proof of the reliability of the geographical descriptions by this famous Jewish historian. Herod’s Circus, like the theater, was constructed in the yet-uninhabited southwest sector of Caesarea (Stratum VII; Chapter 3). They both adopted the plan, shape and performance style of contemporary Roman facilities. The construction of the circus could only be initiated after the recently constructed breakwaters of Sebastos, Herod’s artificial harbor at Caesarea, had caused the accumulation of sufficient sandy sediments south of the harbor to push the shore line seaward. Modern marine

structures along the coast of Israel cause similar results about three to five years after construction. Therefore, it may be assumed that the decision to build Herod’s Circus “… south of the harbor…” was made not earlier than 17 BCE,2 and was accomplished under a very tight timetable for the celebrations in 10/9 BCE. From that point onward, Caesarea was a rich, developing harbor town involved in intensive sea-trade with both Mediterranean and inland communities. Herod’s Circus was constructed according to simple, inexpensive and rapid building methods using the local kurkar sandstone. The tiers were laid over fill supported by the podium and the exterior walls,3 utilizing as much of the original topography as possible. The auditorium was limited to a huge J-shaped cavea, projected on the natural scarp that had faced the pre-Herodian beach. The advanced method of vault construction, a technology more expensive and time consuming, was limited to a single short section of the prestigious tribunal of Complex 1000. The cavea was separated from the surrounding area by a deep and wide depression, either natural or quarried, and the audience arrived at their seats after crossing the arena and climbing up stairways whose openings were cut into the podium wall. The initial carceres (‘Phase 0’) was arranged along an arc and radially oriented. A constructed barrier longitudinally bisected the arena. The barrier was built in segments, with unconstructed gaps, and aligned at about 2° to the east of the central axis. The radial arrangement of the carceres and the orientation of the constructed barrier indicate the style of the chariot races followed the contemporary Roman style and not the Olympian style. The example closest to Herod’s Circus in date, orientation, method of construction, the radial arrangement of the carceres stalls, and the existence of a constructed barrier is the Augustan circus at Bovillae, about 17 km south of Rome, first studied in 1823 (Humphrey 1986: Fig. 268). However, the Caesarea facility is less disturbed, was excavated according to modern methods and was

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studied within the context of the cumulative results of the last 150 years of research. Therefore, its evidence and interpretation are more reliable. The latest coins found in Surface 7419 of the original facility (Stratum VII) were minted by Herod Archelaeus (ruled 4 BCE– 6 CE), King Herod’s son and heir (see Caesarea I, 2: Coins). Herod’s facility functioned for chariot races until the second quarter of the second century CE, and during its long period of use underwent many modifications and alterations (Strata VIC and VIB; Chapter 4). The first essential change was the rapid and thorough filling of the depression outside the East Cavea to the level of the twelfth tier (Stratum VIC). The leveling of the area east of the circus enabled the transformation of the audience entry from one of ascending from the arena, to one of descending from the highest tier and, concomitantly, devoting the arena solely to performances. Most of the finds revealed in the massive fill outside the East Cavea originated in the first generation of the city’s existence, i.e., Stratum VII of Herod’s Circus. The numismatic evidence offers a terminus post quem of 10 CE (Year 40 of Augustus) for this swift filling operation. An additional chronological refinement is provided by a coin of King Agrippa (40 CE) found upon the floor of Stratum VIC Complex 3800 that seals and serves as a terminus ante quem for this massive fill. This modification of the facility presents a rare opportunity to distinguish a discrete subphase of material culture in the so-called ‘Herodian period’, between Herod’s enthronement in 37 BCE and the Jewish revolt against Rome in 66–70 CE (see Caesarea I, 2).4 The rising importance of the city and the growth of its population were followed by the increase in the circus’ seating capacity by the addition of a full west cavea to the original building. The West Cavea was constructed according to the advanced principles of Roman construction: opus cementeum and vaulting. Presumably, the covering of the Stratum VII tribunal with ordinary seating indicates that the tribunal was transferred from the left side of the facility, according to the direction of the race, to the customary right side as part of the overall architectural modifications of the circus. The podium wall of the Stratum VIC circus, originally constructed of ‘bare’ kurkar ashlar, was plastered and decorated with colored wall paintings. Several other alterations were carried out to meet the evolving fashion of the ‘Roman circus’, such as the

replacement of the ‘Phase 0’ carceres by ‘Phase I’, the widening of the South Gate, and the linking of the barrier to the municipal water supply. The arrangement of these water installations during the period of the Roman Procurators rather than during the use of the original Stratum VII facility strengthens the suggestion that the initiation of an external water supply system to Caesarea by the High Level Aqueduct should be assigned to the Roman Procurators rather than to Herod (Porath 2002b). The transition from Stratum VIC to Stratum VIB of Herod’s Circus was interrupted by a hiatus in its original function for chariot racing (Intermediate Stratum VIC–B). This divergence from its initial use is attested by two architectural constructions that would have rendered chariot racing impossible: (1) the demolition and blocking of the ‘Phase I’ carceres discerned by the CCE excavations; and (2) the digging of several pits and installations into the arena, some lined with walls protruding above the arena surface. The circus regained its original use by the filling of the depressions dug into the arena and the demolition of walls protruding above its planned surface (Stratum VIB). The pottery fragments found in the fills date to the mid–late first century CE; therefore, it is assumed that the hiatus was somehow related to the Jewish War against the Romans (66–70 CE).5 The renewed arena was arranged with a slightly inclined surface, achieved by the slight, controlled lowering of the surface from the carceres southward, a cumulative difference of about 0.7 m near the south end. The lead pipe, which provided water to the meta prima in Stratum VIC, was uprooted, either during the hiatus or during the preparations for the Stratum VIB arena. The water supply to the circus’ barrier was, subsequently, never restored. The architectural modifications observed in the circus during Stratum VIB included the replacement of the ‘Phase I’ carceres by ‘Phase II’, as well as some alterations in the barrier. A shrine was quarried into the kurkar bedrock under the Southeast Cavea after the lowering of the arena surface. The shrine had two openings cut into the podium wall, each facing a semicircular niche. Pagan shrines were a common feature in Roman circuses (Humphrey 1986). The one at Caesarea was introduced at a relatively late date in the history of the facility, probably after the Jewish community lost its power in the stormy events of 66– 70 CE.

CHAPTER 10: SuMMARY And COnCLuSIOnS

The facility was still functioning for chariot races in the second quarter of the second century CE at least, according to coins of the emperor Hadrian (117–138) found in the latest arena surface. Then, its role in municipal life was replaced with a larger and more elaborate circus that was built in the east sector of the city (Stratum VI; Chapter 5). The new East Circus was constructed in response to the rising number of Caesarea’s inhabitants and the city’s increasing prestige. Excavations in the East Circus indicate that it was constructed in the second century CE and was apparently initiated by the emperor Hadrian.6 The southern third of the neglected circus was converted into a Roman amphitheater (Stage VIA4; Chapter 5) for the performances of gladiator combats (munera) and wild beast games (venationes). The transformation of a public entertainment facility— circus, stadium or theater—to an amphitheater is a common phenomenon in the Roman Empire; however, Herod’s Circus is one of the earliest examples. Three architectural stages were observed at the amphitheater (‘Initial’, ‘Extended’ and ‘Final’ = Stage VIA4– VIA2), each with a narrow wall blocking the occupied section of the arena on its northern side. While only minor alterations to the cavea were made, the height of the podium wall was increased for the initial stage by lowering the arena surface down to the wall’s foundation, in order to provide protection for the audience. This enlarged wall face was replastered and painted with colorful wild animals in front of a schematic plant background. Human feet in sandals are the remnant of a figure (gladiator or animal trainer?) painted during the initial stage (VIA4) at the southeast section of the podium wall (Chapters 7, 8). The amphitheater was extended northward for about 45 m (equivalent to a 48% increase in its size) in the next stage (VIA3; the ‘Extended’ Amphitheater). The arena surface was leveled once again, requiring some kind of a screen to be added to the podium wall for the audience’s protection. The screen was fastened to the wall with the aid of a set of diagonal holes drilled into the wall’s freestanding corner, in a manner very similar to the reconstruction at Aphrodisias (Welch 1998:559, Figs. 11, 12). In this stage, the painted animal design from the previous wall was replaced with a panel design, an imitation of a faux marble wall in opus sectile (Chapters 7, 8). The Southeast Cavea was furnished with an elaborate architectural complex, consisting of a tribunal over a

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constructed shrine that replaced the ‘quarried shrine’ of the earlier stages. A sub-arena installation was also added in the northern section of the Extended Amphitheater, utilizing an unused room of the Stratum VII vomitorium. A shrine and a sub-arena installation were very common components of the standard Roman amphitheaters. The screen was later replaced with a more solid fence supported by wooden(?) columns inserted into the top of the podium wall at distance of 1.2–1.6 m. This construction rendered the lowest tier unusable and even dangerous for spectators, but the seeming decrease in the amphitheater’s seating capacity was compensated by the northward extension of the arena and tiers of the Extended Amphitheater (Stage VIA3). The amphitheater was reduced to about its original dimensions in the next stage (the ‘Final’ Amphitheater; Stage VIA2). A new sub-arena installation was constructed in the middle of this arena, utilizing the south unused section of the quarried shrine, and the arena surface was plastered. The plaster on the podium wall of the Final Amphitheater was retouched and repainted several times, each with a successive decrease in quality and accuracy of execution. In the third century CE, the entire facility was rearranged to hold chariot races once again—the Revived Circus (Stage VIA1)—by constructing a new set of starting gates (the ‘Phase III’ carceres), preparing a new meta prima, and laying a new arena surface. no written documentation for the date of the return of chariot races to Herod’s Circus has yet been found; however, coins found in and under the latest arena surface indicate that it happened not earlier than the first third of the third century CE, under or after Emperor Elagabalus (218–222 CE). It is logical to assume that the return of chariot races to Herod’s Circus occurred simultaneously with the time required for the barrier remodeling of the East Circus: the erection of granite obelisk, the placing of three conical columns on each meta, and adorning the spina with a marble-walled euripus. The area east and south of the Revived Circus was reorganized in the early decades of the fourth century CE (Stratum V), when the Praetorium of Provincia Palaestinae was shifted to another location in Caesarea and the use of this urban area was altered: a colonnaded promenade was arranged on the upper east section of Herod’s Circus, utilizing the twelfth tier as a stylobate for the west colonnade and extending southward over

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the offices and chambers of the Praetorium; a public latrine was built into the east wall of the Praetorium and the facility’s South Gate; and the shrine was expanded into the arena of the deserted Revived Circus. The following generations witnessed the filling of the circus depression and the gradual encroachment of the private and public buildings from the east and south over the abandoned facility. The cavea served as revetment walls to hold fill. Fill layers buried the East and South Cavea, and Byzantine buildings—such as the bathhouse in Insula W2S3, the Terraced Palace, the underground silos and the church compound— superposed its remnants. The facility’s west side was exposed to the force of the sea waves, which had

accelerated due to the partial submergence of the artificial harbor. Caesarea lost its status as the capital of Provincia Palaestinae Prima and the leading center of commerce after the Arab conquest of Palestine in 640/1 CE. Most of the city was abandoned, and the southwest sector of the prosperous Roman–Byzantine city was left uninhabited. The Byzantine buildings were gradually dismantled, as well as the west side of Herod’s Circus. The rest of the facility, which was not affected by Late Roman and Byzantine building activities or by post-Byzantine stone-robbing, was left untouched under the ruins and sand dunes until the excavation reported herein.

Notes 1 Archaeological excavations in the East Circus by the JECM (Humphrey 1975; Riley 1975) and the IAA (Porath, in prep. a) have proven that it was constructed in the second century CE. 2 The reconstruction described above refutes Patrich’s suggestion that the ‘Phase 0’ carceres functioned only one time, on the occasion of Marcus Agrippa’s visit to Judea in 15 BCE (2003:166–167). 3 The dimensions of the cavea are sufficient for 13 tiers; however, only evidence for 12 tiers has been preserved. 4 The Jewish Revolt is an archaeological landmark in Judea and the Galilee. However, no signs of catastrophe related to the riots at Caesarea in 66 CE, which triggered the revolt, have yet been found in the excavations carried out in the city since 1959.

neither the archaeological evidence nor the historical records specify any utilization of Herod’s Circus during that period. I suggest that it could have held the winter camp for the Roman legions mentioned by Josephus (War III, 409– 412), and reject Patrich’s proposal that it functioned as a prison-camp for Jewish captives (Patrich 2001:276). 6 Hadrian sponsored many building projects throughout the empire. Inscriptions found at Caesarea indicate the construction of Channel B of the High Level Aqueduct (Porath 2002b: 126 with references) and the Hadrianeum (Levine 1975ba:21–22). Avi-Yonah (1970) suggested identifying the large headless porphyry statue uncovered at Caesarea in 1951 with Hadrian, originally located in the Hadrianeum. 5

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Appendix 1

List of ArchitecturAL compLexes

Complex

Description

Square(s)

Stratum

E–G/91–94

VII

WW–D/79–84

VI–V

C1000

Composite tribunal upon and vomitorium through East Cavea

C1300

East of South Cavea, south of W3853 (see Porath, in prep. b)

C1900

Sub-arena installation

C2000

Shrine and tribunal/pulvinar in East Cavea

D–F/80–82

VIA–V

C3800

Pillared complex

G–I/74–78

VI

C4000

Colonnaded complex; ‘street-like’

D–E/72–78

V

C7000

Sub-arena installation

ZZ–E/93

Originated in VIA

C7900

Installation

SS–VV/77

Intermediate Phase VIC/B

208

YOSEF POrAth

Appendix 2

List of Loci and WaLLs

Locus/Wall

Description

Square

Stratum

W25

North bordering wall of Insula W2S4

I/112

V

W135

Wall above W540 (see Porath and Gendelman, in prep.)

G–H/118

Byzantine

L139

Marble floor of Byzantine complex

K–L/119–120; L/121–122

Byzantine

W249

See Porath and Gendelman, in prep.

H/119

V

W301

Wall of Byzantine public complex

L–N/122

Byzantine

W303

Wall of Byzantine public complex

M/122

Byzantine

W348

East continuation of W540 in Stratum VIC

I–K/118

VII

W477

South wall of L4573

H–I/118

VII

W415

North–south wall above W650

G–H/119

V

W540

North supporting wall of East Cavea

H–I/118

VII

L543

Constructed water conduit

G–I/117–118

VIC

L546

Fill

L547

Series of surfaces and fills above and west of W415

H/118

V

L548

Fill between L567 and L547

G–H/118–119

V

W563

Construction later than W669 and earlier than W650 G–H/119

L567

Plaster floor with W650

G–H/118–119

VIA–V

L568

Fill above L569

G–H/118–119

VIA–V

L569

Arena surface

G–H/118–119

VIB?

L570a

Fill above L570b

G–H/118–119

VIB?

L570b

Arena surface

G–H/118–119

VIB?

L570c

Fill between L570d and L570b

G–H/118–119

VIB?

L570d

Arena surface above L580

G–H/118–119

VIB?

L580

Leveling fill under initial arena surface

G–H/118–119

VII

L609

Similar to Fill 1612

K/111

VIC

W650

Above W669

G–I/118–129

V

W669

Arena bordering wall between the East Cavea and the carceres

G–I/118–129

VII

W1086

External wall of East Cavea

E–I/75–118

VII–VI

W1113

South bordering wall of Insula W2S4

K/93

VIC

W1114

North bordering wall of Insula W2S5

K–L/91

VIC

L1150

Fill and accumulation above tiers L1152

F/92–94

V

L1152

Tiers (portion of East Cavea)

E–G/90–100

VII–VI

L1174

Fill at the bottom of niches in W1780

D–E/80–82

V

L1185

Fill above dismantled tiers of East Cavea

G/97

Byzantine

W1276

East–west wall of C4000

D–E/75–76

V

L1279

Fill above East Cavea

D/76

V

W1280

East–west wall of C4000

E/76

V

W1281

South wall of L1362

D/76

V

V

210

YoSEF PorATH

Locus/Wall

Description

Square

Stratum

L1282

Plaster floor in room of late C4000

E/75–76

V

W1283

East–west wall of C4000

E/77

V

L1288

Drainage channel cutting L1289

D–H/73–77

V

L1289

Mosaic floor in a west room of C4000

E/76–77

V

W1302

Wall of late C4000

E/78

V

L1303

Steps from L1305 (to cavea?); see Porath, in prep. b

B/70

VIA

L1305

Mosaic floor (see Porath, in prep. b)

C–D/70–71

VIA–VIB(C?)

W1307

West wall of L1325 and L1810

D/72–73

V

W1309

North–south wall of C4000

E/74–75

V

W1311

East–west wall of C4000

E/78

V

W1312

East–west wall of C4000

E/77

V

L1319

Narrow room of late C4000

E/77

V

L1320

room of late C4000

E/77–78

V

L1325

Plaster floor room in late C4000

D–E/72–73

V

W1326

South wall of L1325

D–E/72

V

W1332

West wall of L1362

D/77

V

W1342

North wall of L1362

D/76–77

V

W1356

North–south wall, west of stairway in Terraced Palace

F/101

V

L1362

room above tiers; graffiti on south W1281

D–E/77

V

L1387

Post-hippodrome fill above L1410

F/101

VIA?

W1389

Podium wall of East and South Cavea of Herod’s Circus (W1955 in Stratum VIA)

rr–H/71–118

VII–V

L1398

Fill within vomitorium

E–F/93

Late roman/Byzantine

W1409

West wall of Herod’s Circus

rr–SS/76–83

VII–V

L1410

Plaster surface above L3719

F/101

VIB? VIA?

L1427

Fill under tiers of East and South Cavea

YY–I/71–118

VII

W1430

External wall of West Cavea

QQ/76–83

VI

W1478

External wall of Southwest Cavea

QQ–XX/70–75

VII

L1612

First phase of fill east of Herod’s Circus

G–K/90–96

VIC

L1619

Fill layer in L7126

F–G/93–94

VIA/V

L1620

Fill layer in L7126

F–G/93–94

VIA3

L1621

Fill layer in L7126

F–G/93–94

VIA/V

L1622

East foundation trench of W1086

G/92–94

VII

L1623

Natural beach sediments under L7128

I–K/90–94

Pre-VII

L1624

Kurkar layer above L7128

H–I/92–93

VII

L1625

Inclined vault possibly replacing west section of L1634

F–E/93

VI

L1634

Vaulted passageway of vomitorium

E–G/93

VII

L1635

‘Sand Channel’

D–E/77–89

VIA3

W1640

East blocking wall of L1634

G/93

VIC

L1654

Surface layer

I/90

Surface

W1705

External wall of Southeast Cavea

XX–E/70–75

VII

L1710

Fill above arena

TT–D/74–84

Byzantine or later

L1718

Disturbed fill within arena not far from the shrine

VV–79

Byzantine or later

L1719

robber trench of stylobate W1960

NN–70

Byzantine or later

L1722

Concrete arena surface of amphitheater

XX–A/77–81

VIA

211

APPENDIX 2: LIST oF LoCI AND WALLS

Locus/Wall

Description

Square

Stratum

L1725

Hamra arena surfaces of circus

XX–A/76–79

VIB

L1731

Byzantine well

YY/78–79

IV?

L1756

Fill within arena

C–D/80–81

Byzantine or later

W1780

East wall with niches of shrine of C2000

E/80–82

VIA–V

W1781

North–south wall, later a stylobate for east colonnade of C4000

G–H/72–113

VI(B?)–V

L1792

Byzantine(?) well dug into post-circus shrine of C2000

D/83

V?

W1806

East–west wall of C4000

D–E/73

V

W1807

North–south wall of C4000

D/73

V

W1808

North–south wall of C4000

D–E/73–78

V

L1810

Mosaic floor in room of C4000

D–E/73–74

V

L1825

Byzantine fill above East Cavea

G/82–83

Byzantine

W1827

East–west wall of C4000

D–E/73–74

V

L1829

Niche in W1780

E/81

VIA–V

L1830

Floor in north room of C2000

D–E/82

VIA3–V

L1832

Plaster floor in room of C4000

D–E/74

V

L1833

Plaster floor in room of C4000

D–E74–75

V

W1835

North–south wall of C4000

E/74–75

V

W1836

East–west wall of C4000

D–E/74

V

L1837

Fill under (missing) L1830

D/82

VIA–V

W1839

East–west wall of post-circus shrine of C2000

C–D/81–82

V

L1840

Floor of C4000

E/75

V

W1843

West marble colonnade of C4000

E–I/72–112

V

L1844

Fill (favissa?)

D–E/81

VI(–V?)

L1846

Niche in W1780

E/81

VIA–V

L1847

Niche in W1780

E/81

VIA–V

L1848

Niche in W1780

E/81

VIA–V

L1849

Niche in W1780

E/80–81

VIA–V

L1849a

Niche in W1780

E/80

VIA–V

L1850

Niche in W1780

E/81

VIA–V

L1851

Niche in W1780

E/81

VIA–V

L1852

Niche in W1780

E/80–81

VIA–V

L1853

Niche in W1780

E/80

VIA–V

L1854

Niche in W1780

E/80

VIA–V

L1855

Niche in W1780

E/80

VIA–V

L1856

Niche in W1780

E/80

VIA–V

L1874

South courtyard of post-circus shrine of C2000

C–D/80–81

V

W1875

East marble colonnade of C4000 (above W1781)

F–G/72–80

V

W1876

East–west wall of post-circus shrine of C2000

C–D/81

V

L1879

Middle room (no floor) of post-circus shrine of C2000

D–E/81

VIA3–V

L1880

South room (no floor) of post-circus shrine of C2000

D–E/80–81

VIA3–V

L1881

Fill above L1909 under L1880

D–E/80–81

VIA–V?

W1882

Dividing wall in post-circus shrine of C2000

D–E/81

VIA3–V

L1884

Portion of Fill 1844 containing four marble feet and an inscribed slab

D–E/81

VI(–V?)

L1886

See L6955

WW–ZZ/76–83

VIA1

W1888

North–south wall of sub-arena gallery

YY/80–81

V

212

YoSEF PorATH

Locus/Wall

Description

Square

Stratum

L1889

Fill in L1909 under L1879

D–E/82

VIA–V?

L1890

Byzantine(?) well dug into post-circus shrine of C2000

C–D/82

V?

L1892

North–south passage in C1900

YY–ZZ/80–84

VIA2

W1897

South wall of L1915 and L1932

XX–D/80

VIA2

W1907

North wall of L1932 (C1900)

XX–A/80

VIA2

L1909

Quarried shrine

D–E/79–82

VIB

W1911

West wall of L1932 (C1900)

XX/80

VIA2

L1915

East–west passage in C1900

A–D/79–80

VIA

W1918

North wall of post-circus shrine of C2000

D–C/82

VIA

W1920

Division wall in post-circus shrine of C2000

D–C/82

VIA

W1922

North–south wall of post-circus shrine of C2000

C/80–82

V

L1927

Corridor between W1409 and W1430

QQ–SS/76–82

VIC–VIA

L1932

East–west passage in C1900

WW–A/80

VIA

W1933

East–west wall; north wall of L1915

A–D/80

VIA2

W1940

East–west wall of shrine in C2000

C–D/79–80

V

W1947

South wall of L1874

C–D/80

V

W1953

South wall of L6885

YY/82

VIA

W1955

West facade wall of shrine on C2000 (= W1389)

D/80–82

VIA

L1956

Byzantine(?) well quarried into C2000

D/81

V?

L1963

Furnace above C7900

SS/77

V?

L1987

Post-roman well dug into C7900

SS/77

?

L2085

Fill similar to L1612

I/107

VIC

L2131

Fill similar to L1612

H/102–103

VIC

L3052

Drainage

Area III

roman

L3719

Fill under L1410

E–F/101

VIA?

L3721

Series of arena surfaces

E–F/105

VIB

L3722

Fill layer above L3723

E–F/105

VIA–V

L3723

Fill above L3721

E–F/105

VIA?

L3725

Pit in L3721

F/105

VIB?

L3726

Arena surfaces

F/105

VII–VIC

L3728

Fill layer between L3726 and L3721

E–F/105

VI

L3730

Arena surface

E–F/101

VIB?

L3731

Arena surface

E–F/101

VIB?

L3732

Arena surface

E–F/101

VIB?

L3734

Kurkar layer

E–F/105

VII

L3736

Fill

E–F/101

VIB?

L3739

Patch of mortar

E/105

VII

L3740

Kurkar fill

E–F/105

VII

L3741

Natural beach sediments

F/105

Pre-VII

L3749

Kurkar leveling layer

E–F/101

VII

L3750

Sandy kurkar fill/leveling layer

E–F/101

VII

L3751

Sandy fill under L3749 and L3750

E–F/101

VII

L3752

Mortar refuse from W1389 construction

F/101

VII

L3753

Natural beach sediments

F/101

Pre-VII

W3805

North–south wall of C3800 (modification of W3811)

G–H/77–78

Late VIB–VIA

213

APPENDIX 2: LIST oF LoCI AND WALLS

Locus/Wall

Description

Square

Stratum

W3811

West wall of colonnade (C3800)

G–H/75

VIB?

L3820

Kurkar surface over L3836, east of W1781

E–G/74–80

VI(B?)–V

W3821

Stylobate; south continuation of W1781

F–G/71–73

VIA3

L3827

room in C3800, no floor preserved

H–I/74–75

VI

L3828

Similar to L3820, west of W1781

E–G/74–80

VI(B?)–V

L3836

Kurkar surface over fill

F–G/73–80

Late VIC

W3838

North–south wall

G–H/76–77

VI–V

W3843

Threshold of passageway in W3853 (see Porath, in prep. b)

G/73

VI

W3844

Wall replacing W3885

H/77

VIB

L3846

Surface replacing L3847

E–F/73–74

V

L3847

Surface replacing L3848

E–F/73–74

V

L3848

Concrete surface of C4000

E–F/73–74

V

W3849

East–west wall (east of C4000)

H/76

VI–V(?)

L3852

room in C3800, without floor

H–I/75–76

VI

W3853

South limit of fill 3877 E-F/73 VI

E–F/73

VI

W3854

South wall of L3872

H–I/76

VI

L3856

Plastered basin in L3900

H/76

Late VIC or early VIB

W3860

East–west wall

H/78

VI–V(?)

L3862

room of C3800

H–I/77–78

VI

L3869

room of C3800

H/77

VI–V(?)

L3872

room of C3800

H/76–77

VIC–VIB

L3874

North of W3860

H/78

VI–V(?)

W3876

South continuation of west stylobate of C4000

E/72–74

V

L3877

Fill between Herod’s Circus and kurkar ridge

E–F/73–80

VIC

L3878

Drainage channel

E–G/74

V

L3879

East–west drainage channel

E–F/74

V

W3881

East–west wall of C3800

H–I/77

VIC

L3882

Mortar bedding of stone paving of C3800

H–I/76–77

VIC

W3884

Buttress northwest of L3869

H/77

VI–V(?)

W3885

East–west wall of C3800

H–I/77

VIC

L3889

Mortar bedding of stone paving of C3800

H–I/77–78

VIC

W3893

North–south wall of C1300, under W3876

E/72–73

VI

L3896

Drain from L3856 to L3898

G–H/76

Late VIC or early VIB

L3898

Cesspit

G/76

Late VIC or early VIB

L3900

Plaster floor

H–I/76

Late VIC

L3901

Fill between L3900 and L3902

H–I/76

VIC

L3902

Mortar bedding of stone paving of C3800

H–I/76

Early VIC

W3903

East–west wall of C3800

H–I/76

VIC

W3904

East–west wall of C3800

H–I/76

VIC

W3905

East–west wall of C3800

H–I/75

VIC

W3906

East–west wall of C3800

H–I/78

VIC

W3914

North–south wall on same line with W1781

F/72–73

V

L3916

Fill

F–G/72–73

V

L3917

Crushed kurkar surface

F–G/74–76

VIC

L3920

Mosaic floor east of W3929

G/73

V

W3922

Partition wall above Praetorium

G/72

V

214

YoSEF PorATH

Locus/Wall

Description

Square

Stratum

L3923

Plaster floor above Praetorium

G/72

V

L3928

Mosaic floor above Praetorium

G/72

V

W3929

North–south wall

G/71–73

(VIB?)–V

W3936

Partition wall

G/72–73

V

L3946

Fill under L3934 south of W3853

E–F/72–73

VIC

L3951

Stairway in line with Decumanus S3

G–H/111–112

VIC

L3952

Stairway above L3982

F–H/105

VIC

L3953

Stairway north of C1000

E–F/95

VIC

L3954

Stairway south of C1000

E–F/89

VI

L3955

Stairway north of C2000

E–F/82–83

VI

L3956

Stairway south of C2000

E–F/81

VI

L3957

Stairway in line with Decumanus S5, above L3985

D–E/76

VIC

W3961

Balustrade of L3955

E–F/82

VIA

W3962

Balustrade of L3956

E–F/80

VIA

L3963

Plastered terrace of C2000

E/80–82

VIA

W3965

Plastered wall in line of Tier 5

E/80–82

VIA

L3966

Small landing at bottom of L3955

D–E/82–83

VIA

L3982

Stairway under L3952

F–H/105

VII

L3983

Stairway under L3952

E–F/86–87

VII

L3985

Stairway under L3957

D–E/76

VII

L3986

Stairway east of gate

ZZ/71

VII

L3987

Stairway west of gate

VV–WW/71–72

VII

L4416

Fill on Domus of the Dioscuri (see Porath and Gendelman, in prep.)

S/121

VI

L4816

Fill on Domus of the Dioscuri (see Porath and Gendelman, in prep.)

S/121

VI

L4573

Stepped(?) corridor south of W348 (under L4992)

H–I/118

VII–VI

L4882

Post-circus pit

G/112

V?

L4887

Arena surface

F–G/112

VI

L4890

Arena surface

F–G/112

VI

L4891

Leveling layer below arena surface (L4890)

F–G/112

VI

L4892

Arena surface

D–G/112

VI

L4897

Arena leveling fill

D–G/112

VII

L4898

Natural beach sediments

D–G/112

Pre-VII

L4906

Fill in pit

D–E/112

VI

L4908

Sandy layer above L4909

E/112

VI

L4909

Fill in pit cut by L4906

E/112

VI

W4911

West wall of L1932

XX/80

VIA

L4992

Stairway south of W540

H–I/118

VIA–V

L5066

Installation

F–G/111

Intermediate Phase VIC/B

W5067

North wall of L5066

F–G/111

Intermediate Phase VIC/B

W5068

East wall of L5066

G/111

Intermediate Phase VIC/B

W5069

South wall of L5066

F–G/111

Intermediate Phase VIC/B

W5070

West wall of L5066

F/111

Intermediate Phase VIC/B

215

APPENDIX 2: LIST oF LoCI AND WALLS

Locus/Wall

Description

Square

Stratum

W5265

Line of perforated blocks

D–F/106

VI

L6007

Fill for leveling arena of Stage VIA4 amphitheater

D–C/85

VIA3

L6057

Fill above arena of Final Amphitheater

D/86

V

L6055

Plaster floor south of W6040

D/86

L6156

Drainage channel

H/87

VI?

W6196

Foundation into L1612

G/91

V?

L6523

Late(?) fill within arena

YY/71–72

Byzantine

L6528

‘Washing’ channel of L8936

XX/70

V

W6540

East wall of widened South Gate

XX–YY/70–71

VI

L6542

Fill within arena above Byzantine pavement

XX/71

Byzantine or later

W6649

See Porath, in prep. b

NN–rr/71

VI

W6550

West wall of widened South Gate

XX/70–71

VI

L6552

Drainage channel under L6932

XX–YY/69–71

V?

W6690

North wall of the Praetorium and South Cavea

NN–rr/75–76

VII–V

L6755

Sandy fill under L6611 (similar to L8830)

YY/69

VIC

W6884

North wall of L6885

WW/82

VIA

L6885

East–west passage in C1900

YY–A/81–82

VIA

W6886

West wall of L6885

YY/80–82

VIA

W6917

North wall of L6885

YY–ZZ/82

VIA

L6920

See L6955

WW–ZZ/76–83

VIA1

L6932

Late stairs in South Gate

XX/70

VIA?

L6935

Early stairs in South Gate, under L6932

XX/70–71

VIA

L6955

Arena surface of revived Circus (= ‘wet layer’; combined with L1886, L6920 and L8749)

WW–ZZ/76–83

VIA1

L6967

East–west passage of C1900

WW–A/83–84

VIA2

W6972

North wall of L6967

XX–A/84

VIA

W6976

North–south wall of post-circus shrine in C2000

C–D/82–83

V

W6977

East–west wall of post-circus shrine in C2000

D/82

V

L6984

Late(?) fill within arena

B76, C/75

Byzantine

L6993

Central courtyard(?) of post-circus shrine in C2000

C–D/80–81

V

L6995

Plaster floor above L6996

C–D/81–82

VIA

L6996

Plaster floor above L8919

C–D/81–82

VIA

L6997

Surface outside extended shrine above L6998

B–C/82–83

V

L6998

Surface outside extended shrine

B–C/82–83

V

L7055

Kurkar surface

K/92

Late VIC

L7057

Kurkar surface above fill L1612 (8.74–8.60 msl)

I–K/92

VI or later

W7064

Foundation into L1612

H/90

V?

L7065

Late(?) fill east of circus

I/91

VI

W7069

West bordering wall (with W9244) of Insula W2S5

I/90–91

VI

L7090

Feeder channel of L7360

I–K/93

VIC

W7091

West bordering wall of Insula W2S4

K/93–95

VI

L7126

North stepped corridor of C1000

F–G/93–94

VII

L7127

South stepped corridor of C1000

F–G/91–93

VII

L7128

Hamra layer east of W1086

G/93

VII

W7143

Foundation into L1612

H/90

V?

216

YoSEF PorATH

Locus/Wall

Description

Square

Stratum

L7208

Light gray soil surface (includes L7183, L7228 and L7452)

A–C/90–92

VIA2

L7229

robber trench of earlier spina (= L7496)

XX–ZZ/76–90

VIB

W7231

North wall of Initial Amphitheater

A–D/89–91

VIA

W7237

North wall of passage, C7000

ZZ–C/93

VIA3

W7243

North wall of Initial Amphitheater

A–D/89–90

VIA4

W7251

South wall of L7361

ZZ–B/92–93

VIA

W7289

North wall of Final Amphitheater

A–B/92

VIA2

W7296

North wall of L7314

C–E/93

VIA

W7299

South wall of L7314

C–E/93

VIA

W7301

Wall/step in passage, C7000

C/93

VIA3

L7314

East segment of passage, C7000

C–E/93

VIA3

W7316

North wall of L7361

ZZ–B/93

VIA

W7331

Blocking wall in C1000, west opening

E/93

Late VIC

L7342

Drainage pit with L7370

I–K/93

VIC

L7360

Drainage pit with L7090

K/93

VIC

L7361

West segment of passage, C7000

ZZ–C/93

VIA3

L7370

Drain and feeder channel of L7360

K/93

VIC

L7409

Fill of foundation trench for W7069

I/90–91

VIC

L7410

Fill over L1612 and L7411 (contaminated)

K/93–95

VIC

L7411

Fill of foundation trench for W7091

K/93–95

VIC

L7412

Foundation trench of W1640

G/73

VIC

L7414

Coarse sand layer over L1623 and L7415

I–K/90–94

Natural

L7415

Wind-blown orange, terrestrial sand

I–K/90–94

Natural

L7419

Fill and occupation surfaces

H–I/90–95

VII

L7421

Fill and occupation surfaces, similar to L7419

H–I/90–95

VII

L7446

Fill layers for arena infrastructure

YY/87

VII/VI?

L7458

Fill under tiers at exit from L7127

F/92

VIC

W7459

Foundation course at bottom of entrance to L7127 (probably part of south wall of L1634

E–G/93

VII

L7496

robber trench of initial spina (=L27229)

YY–ZZ/84–90

VIB

L7497

robber trench of demolished (later) spina

YY–ZZ/84–90

VIB

L7498

Layer of earth between W8602 and W8603

ZZ/86

VII/VI

W7505

North wall of Extended Amphitheater

E–D/96–98

VI

W7535

Wall facing a well shaft

D/97–98

V or III

L7602

Late fill within cistern in Praetorium courtyard (Porath, in prep. b)

LL–MM/67–8

Byzantine

L7667

Hellenistic burial (see Porath, in prep. b)

MM/77

Hellenistic

W7865

Wall of C7900

SS–TT/77

W7866

North wall of L7883

SS–TT/77

W7867

West wall of L7882 in C7900

TT/77

W7868

North wall of L7882 in C7900

VV/77

W7870

South wall of L7882 in C7900

TT–VV/77

L7871

Fill under L8878

SS–E/71–84

VII

L7873

Sandy fill

SS–VV/77

W7879

East wall of L7882, C7900

WW/77

Intermediate Phase VIC/B

L7880

Beach sediments under L7871

SS–E/71–84

Natural

Intermediate Phase VIC/B

217

APPENDIX 2: LIST oF LoCI AND WALLS

Locus/Wall

Description

Square

Stratum

L7882

Chamber in C7900

SS–VV/77

L7883

Chamber in C7900

SS–VV/77

W7884

South wall of L7885 in C7900

SS–TT/77

L7885

Chamber in C7900

SS–VV/77

L7908

Breach for drainage channel

rr/77

VI–V

W7925

West wall of L7883 in C7900

SS–VV/77

Intermediate Phase VIC/B

L7962

Post-roman well

SS/77

?

L8133

Post-arena fill

A/75

Late roman/Byzantine

W8602

East spina wall

ZZ/84–90

VII–VIB

W8603

West spina wall

YY–ZZ/84–90

VII–VIB

W8609

South wall of shrine in C2000

D–E/80

VIA3–V

L8615

Fill within L6967 in C1900

YY/83–84

VIA1

L8629

Column drum with a hole north of C1900

YY/86

VIA

L8633

Late fill within arena = L1710

ZZ–C/75–78

Byzantine or later

W8636

West wall of L6967

XX/84

VIA

W8639

East–west wall of north corridor in C1900

ZZ–A/83–84

VIA4

L8640

Late fill within arena

YY–B/82–85

Byzantine or later

W8644

East wall of L6967

A/84

VIA

W8648

West wall of L6885

YY/82

VIA

W8717

West wall of L8744

XX–YY/83

Intermediate Phase VIC/B

L8721

Steps in C1900

ZZ/84

VIA

W8727

North wall of L8744

XX–YY/83

Intermediate Phase VIC/B

L8735

North room of late C2000

C–D/83

V

W8741

South wall of L8744

XX–YY/83

L8744

Installation

XX–YY/83

Intermediate Phase VIC/B

L8749

See L6955

WW–ZZ/76–83

VIA1

L8759

Arena layer

ZZ/89

VI

W8765

South pilaster of post-circus shrine in C2000

C/81

V

L8768

Steps in C1900

YY/80

VIA

W8794

See Porath, in prep. b

rr–WW/68

VI

W8800

East wall of north compartment of vestibule, Governor’s Palace; see Porath, in prep. b

WW–ZZ/67–69

VI

W8803

North wall of L8806

XX/81

VIB

W8805

South wall of L8806

XX/80

L8806

Installation

XX/80–81

Intermediate Phase VIC/B

W8810

North wall of shrine in C2000

D–E/82

VI–V

L8812

Concrete arena surface

YY–A/78–79

VIA

W8816

Meta prima

XX–YY/78–79

VIA1

L8820

Sandy fill above L8823 (disturbed by later architecture)

XX–A/70

VIB?

L8823

Kurkar surface outside W1705 (east of Governor’s Palace)

XX–A/70

VIC

L8827

robber pit

ZZ–A/69

L8829

Sandy fill west of W8868 and south of W1478

rr/67–71

VIC

L8830

Sandy fill east of W8868 and south of W1705

YY/69–70

VIC

Intermediate Phase VIC/B

218

YoSEF PorATH

Locus/Wall

Description

Square

Stratum

L8835

Foundation trench of W1478

rr/72

VII

L8847

‘Washing’ channel of upper latrine

WW–XX/69

V

W8855

Meta prima

XX–YY/78

VIB

L8863

robber trench of L8864

XX–YY/76–77

VIB

W8864

Meta prima

XX–YY/77

VIB

W8868

North–south wall, south of widened gate

XX/66–69

VIC

L8871

Sewage channel of the upper latrine

WW–XX/69

V

L8877

Arena layer

A/80–ZZ/82–83

VI

L8878

Initial Stratum VIB arena surface, preserved in patches in the southern third of the facility

SS–E/71–84

VIB

L8914

Drainage and sewage channel

WW–XX/67–69

VI–V

L8918

South room of late C2000

C–D/82

V

L8919

Plaster floor under L6996

C–D/81–82

VIA

L8921

Drain pipe at southwest corner of L8936

XX/70

V

L8922

Stairs in W8800

WW–XX/69

V

L8926

Cavity in W8864

XX/77

VIB

L8927

Late(?) fill within arena

XX–C76–81

Byzantine or later

W8928

East wall of earliest meta prima

YY/76

VII–VIC

L8933

Drainage and sewage channel of L8936 (renovation of L20091)

XX/70–71

V

L8936

Opus sectile floor of the lower latrine

XX/70

V

W8938

South wall of lower latrine

XX/70

V

W8940

West wall of the earliest meta prima

XX/76

VII–VIC

L8944

Fill in L8933

XX/70–71

V

W8947

East wall of the latrine

XX/69–70

V

L8950

Drainage pit south of gate

XX/69

Late VIC

L8953

Early fill in L8950

XX/69

Late VIC

W8954

South wall of earliest meta prima

XX–YY/76

VII–VIC

W8955

North wall of lower latrine

XX/70

V

L9105

Stone pavement of Decumanus S5

G–H/74

VI–V

L9121

room of C3800

G–H/75

VI–V(?)

W9163

Insula W2S5 bordering wall

G–?/74–75

VIC–V

W9164

East–west wall

I/75

VI

W9237

East wall of L9121

H/75

VI–V

W9244

Insula W2S5 bordering wall

I/74–76

VI

L9300

room of C3800

H–I/75

VI

L9381

Stairway to L3852

I/75–76

VI

L9385

room of modified C3800

H–I/75–76

VI

W9388

North wall of L9381

I/76

VI

W9389

South wall of L9381

I/75

VI

L20028

Kurkar surface outside South Gate

XX/69

VIA3

L20072

Constructed water conduit

XX–A/68–70

VIC

L20084

Kurkar surface

XX–A/68–70

VII

L20091

North continuation of L8914 (= L20139)

rr–WW/70–77

VI–V

W20092

Inner pilaster of northeast side of South Gate

YY/72

VIA?

L20094

robber trench of L20121

XX/67–76

VI

W20099

East wall, earlier South Gate

YY/70–71

VII

219

APPENDIX 2: LIST oF LoCI AND WALLS

Locus/Wall

Description

Square

Stratum

W20119

Earlier threshold, widened gate

XX–YY/71

VIC–VIA4

L20121

Mortar fragments at bottom of L20094; remnants of a lead pipe

XX/67–76

VI

W20154

West wall, earlier south gate

XX/70–71

VII

W20155

Thickening of ֹpodium wall adjacent to east side of widened South Gate

YY/71

VI

W20156

Thickening of podium wall adjacent to west side of widened South Gate

XX/71

VI

L20162

Fill under stairs

YY/70

VI

L20168

Stump of constructed altar

C/81

VIA

L20182

Lead pipe replacing L20196

XX/69

VIC

L20196

West extension of L20121

SS–XX/69–71

VIC

L20227

Lead pipe (south extension of L20121?)

South of XX/69

VI

L20383

See Porath, in prep. b

L20460

Fill between bedrock and L20084 outside South Gate

XX–YY/69–70

VII

W20461

North threshold of South Gate’s passageway

XX/71

VIA

L20618

Constructed altar

C/81

VIA3(?)–VIA2

W20619

North wall of late C2000

D/83

V

W20620

North pilaster of late C2000

C/82

V

L20621

Drainage outlet in West Cavea

QQ–SS/77–78

VIA

L20622

Drainage channel along W1409

SS/78–83

VIA

L20624

(see Porath in prep. b)

QQ/75

VI

L20627

Living surface above L20628

QQ/75

VII

L20628

Fill supported by W6690 and under W1478

QQ/75

VII

L20630

Natural yellow sand under L20628

QQ/75

Pre-VII

W20631

Narrowing wall of west opening of L1634

E/93

VIC

L20632

Foundation trench of W1705, under L20060

YY–A/70

VII

L21061

Fill under L1289

E/76–77

V

L21062

Drainage channel under L1289

E/76

V

W21063

Early east–west wall of C4000 under L1289

E/77

V

W21069

East–west wall of C4000

E/75

V

40055

Fill south of theater

Area IV

Byzantine or later

40064

Fill south of theater

Area IV

Byzantine or later

L40100

Lead pipe

Area IV

VI

40102

Fill of foundation trench for water pipe

Area IV

Byzantine or later

40270

Fill south of theater

Area IV

Byzantine or later

VI

220

YoSEF PorATH

The STraTum VI PodIum Wall PaInTIngS

The STraTum VI PodIum Wall PaInTIngS Color PlaTeS

The STraTum VI PodIum Wall PaInTIngS

Color Pl. 1. Stag, M 84–85. Note the plant motifs in the background.

Color Pl. 2. Artist’s rendering of the stag (L. Filipov).

CaeSarea I

Color Pl. 3. Black elephant, M 28–29.

a Color Pl. 4. ‘Paneled’ motif, M 19–20: (a) general view.

The STraTum VI PodIum Wall PaInTIngS

b

c Color Pl. 4. ‘Paneled’ motif, M 19–20 (cont.): (b) conservator at work; (c) detail after conservation.

CaeSarea I

Color Pl. 5. Artist’s rendering of ‘paneled’ motif (L. Filipov; photographer E. Marcus).

Color Pl. 6. Second ‘panel’ motif.

Color Pl. 7. ‘Red band’ motif overlying ‘panel’, M 23–24.

The STraTum VI PodIum Wall PaInTIngS

Color Pl. 8. African buffalo, M 80–81.

Color Pl. 9. Leopard, M 81–82.

CaeSarea I

Color Pl. 10. Artist’s rendering of the leopard (L. Filipov).

Color Pl. 11. Stag and dog/hound after conservation, M 83–84.

The STraTum VI PodIum Wall PaInTIngS

Color Pl. 12. Dog/hound M 84–85.

Color Pl. 13. Equine (black horse?), M 86–87.

CaeSarea I

Color Pl. 14. Boar(?), M 87–88.

Color Pl. 15. Fox, M 88–89.

The STraTum VI PodIum Wall PaInTIngS

Color Pl. 16. ‘Rabbit’, M 95–96.

Color Pl. 17. Lion(?) on background vegetation, M 96–97.

CaeSarea I

Color Pl. 18. Close-up of vegetation, M 96.

a

b Color Pl. 19. Animal line: (a) animal Nos. 2–7; (b) artist’s rendering of the animal row in front of vegetation (L. Filipov).

The STraTum VI PodIum Wall PaInTIngS

a

b Color Pl. 20. ‘Floral’ motif on the west side (M 41–43 west): (a) general view;(b) detail of a ‘flower’.

CaeSarea I

Color Pl. 21. Faint wall painting of the second layer in the Stratum VIA shrine.

The STraTum VI PodIum Wall PaInTIngS

Iaa r ePorTS

No. 1 g. avni and Z. greenhut, The Akeldama Tombs: Three Burial Caves in the Kidron Valley, Jerusalem, 1996, 129 pp.

No. 16 Y. goren and P. Fabian, Kissufim Road: A Chalcolithic Mortuary Site, 2002, 97 pp.

No. 2 e. Braun, Yiftah’el: Salvage and Rescue Excavations at a Prehistoric Village in Lower Galilee, Israel, 1997, 249 pp.

No. 17 a. Kloner, Maresha Excavations Final Subterranean Complexes 21, 44, 70, 2003, 183 pp.

No. 3 g. edelstein, I. milevski and S. aurant, Villages, Terraces and Stone Mounds: Excavations at Manahat, Jerusalem, 1987– 1989, 1998, 149 pp. No. 4 C. epstein, The Chalcolithic Culture of the Golan, 1998, 352 pp. + plans. hardcover. No. 5 T. Schick, The Cave of the Warrior: A Fourth Millennium Burial in the Judean Desert, 1998, 137 pp. No. 6 r. Cohen, Ancient Settlement of the Central Negev I: The Chalcolithic Period, the Early Bronze Age and the Middle Bronze Age I (hebrew, english Summary), 1999, 396 pp. No. 7 r. hachlili and a. Killebrew, Jericho: The Jewish Cemetery of the Second Temple Period, 1999, 202 pp. No. 8 Z. gal and Y. alexandre, Horbat Rosh Zayit: An Iron Age Storage Fort and Village, 2000, 247 pp. No. 9 u. dahari, Monastic Settlements in South Sinai in the Byzantine Period: The Archaeological Remains, 2000, 250 pp. No. 10 Z. Yeivin, The Synagogue at Korazim: The 1962–1964, 1980–1987 Excavations (hebrew, english Summary), 2000, 216 pp. No. 11 m. hartal, The al-Subayba (Nimrod) Fortress: Towers 11 and 9, 2001, 129 pp. No. 12 r. gonen, Excavations at Efrata: A Burial Ground from the Intermediate and Middle Bronze Ages, 2001, 153 pp. No. 13 e. eisenberg, a. gopher and r. greenberg, Tel Te’o: A Neolithic, Chalcolithic and Early Bronze Age Site in the Hula Valley, 2001, 227 pp.

Report

I:

No. 18 a. golani, Salvage Excavations at the Early Bronze Age Site of Qiryat ‘Ata, 2003, 261 pp. No. 19 h. Khalaily and o. marder, The Neolithic Site of Abu Ghosh: The 1995 Excavations, 2003, 146 pp. No. 20 r. Cohen and r. Cohen-amin, Ancient Settlement of the Negev Highlands II: The Iron Age and Persian Period (hebrew, english Summary), 2004, 258 pp. No. 21 d. Stacey, Exavations at Tiberias, 1973–1974: The Early Islamic Periods, 2004, 259 pp. No. 22 Y. hirschfeld, Excavations at Tiberias, 1989–1994, 2004, 234 pp. No. 23 S. Ben-arieh, Bronze and Iron Age Tombs at Tell Beit Mirsim, 2004, 212 pp. No. 24 m. dothan and d. Ben-Shlomo, Ashdod VI: The Excavations of Areas H and K (1968–1969), 2005, 320 pp. No. 25 m. avissar, Tel Yoqne‘am: Excavations on the Acropolis, 2005, 142 pp. No. 26 m. avissar and e.J. Stern, Pottery of the Crusader, Ayyubid, and Mamluk Periods in Israel, 2005, 187 pp. No. 27 e.C.m. van den Brink and ram gophna, Shoham (North), Late Chalcolithic Burial Caves in the Lod Valley, Israel, 2005, 214 pp. No. 28 n. getzov, The Tel Bet Yerah Excavations, 1994–1995, 2006, 204 pp. No. 29 a.m. Berlin, Gamla I: The Pottery of the Second Temple Period, the Shmarya Gutmann Excavations, 1976–1989, 2006, 181 pp.

No. 14 r. Frankel, n. getzov, m. aviam and a. degani, Settlement Dynamics and Regional Diversity in Ancient Upper Galilee: Archaeological Survey of Upper Galilee, 2001, 175 pp.

No. 30 r. greenberg, e. eisenberg, S. Paz and Y. Paz, Bet Yerah: The Early Bronze Age Mound I: Excavation Reports, 1933–1986, 2006, 500 pp.

No. 15 m. dayagi-mendels, The Akhziv Cemeteries: The Ben-Dor Excavations, 1941–1944, 2002, 176 pp.

No. 31 e. Yannai, ‘En Esur (‘Ein Asawir) I: Excavations at a Protohistoric Site in the Coastal Plain of Israel, 2006, 308 pp.

CaeSarea I No. 32 T.J. Barako, Tel Mor: The Moshe Dothan Excavations, 1959–1960, 2007, 276 pp.

No. 43 J. Seligman, Nahal Haggit: A Roman and Mamluk Farmstead in the Southern Carmel, 2010, 277 pp.

No. 33 g. mazor and a. najjar, Bet She’an I: Nysa-Scythopolis: The Caesareum and the odeum, 2007, 316 pp.

No. 44 d. Syon and Z. Yavor, Gamla II: The Architecture, the Shmarya Gutmann Excavations, 1976–1989, 2010, 216 pp.

No. 34 r. Cohen and h. Bernick-greenberg, Kadesh Barnea (Tell el-Qudeirat) 1976–1982, 2007. In 2 parts. Part 1: Text, 410 pp.; Part 2: Plates, Plans and Sections, 332 pp.

No. 45 a. Kloner, e. eshel, h.B. Korzakova and g. Finkielsztejn, Maresha Excavations Final Report III: Epigraphic Finds from the 1989–2000 Seasons, 2010, 247 pp.

No. 35 a. erlich and a. Kloner, Maresha Excavations Final Report II: Hellenistic Terracotta Figurines from the 1989–1996 Seasons, 2008, 208 pp.

No. 46 Y. dagan, The Ramat Bet Shemesh Regional Project: The Gazetteer, 2010, 360 pp.

No. 36 g. avni, u. dahari and a. Kloner, The Necropolis of Bet Guvrin—Eleutheropolis, 2008, 238 pp. No. 37 V. Tzaferis and S. Israeli, Paneas I: The Roman to Early Islamic Periods: Excavations in Areas A, B, E, F, G and H, 2008, 196 pp. No. 38 V. Tzaferis and S. Israeli, Paneas II: Small Finds and other Studies, 2008, 256 pp. No. 39 Z. greenhut and a. de groot, Salvage Excavations at Tel Moza: The Bronze and Iron Age Settlements and Later occupations, 2009, 363 pp. No. 40 m. hartal, Paneas IV: The Aqueduct and the Northern Suburbs, 2009, 212 pp. No. 41 n. getzov, r. lieberman-Wander, h. Smithline, and d. Syon, Horbat ‘Uza, the 1991 Excavations I: The Early Periods, 2009, 168 pp. No. 42 n. getzov, d. avshalom-gorni, Y. gorin-rosen, e.J. Stern, d. Syon, and a. Tatcher, Horbat ‘Uza, the 1991 Excavations II: The Late Periods, 2009, 232 pp.

No. 47 Y. dagan, The Ramat Bet Shemesh Regional Project: Landscape of Settlement: From the Paleolithic to the ottoman Periods, 2011, 356 pp. No. 48 r. Bar-nathan and W. atrash, Bet She’an II: Baysān: The Theater Pottery Workshop, 2011, 411 pp. No. 49 Y. alexandre, Mary’s Well, Nazareth: The Late Hellenistic to the ottoman Periods, 2012, 180 pp. No. 50 d. Ben-Shlomo, The Azor Cemetery: Moshe Dothan’s Excavations, 1958 and 1960, 2012, 238 pp. No. 51/1 e.J. Stern, ‘Akko I: The 1991–1998 Excavations, The Crusader-Period Pottery, Part 1: Text, 2012, 192 pp. No. 51/2 e.J. Stern, ‘Akko I: The 1991–1998 Excavations, The Crusader-Period Pottery, Part 2: Plates, 2012, 172 pp. No. 52 d. Ben-ami, Jerusalem, Excavations in the Tyropoeon Valley (Giv‘ati Parking Lot) I, 2013, 396 pp. No. 53 Y. Porath, Caesarea Maritima Volume I: Herod’s Circus and Related Buildings Part I: Architecture and Stratigraphy, 2013, 244 pp.