Much
of Roman Leptis Magna is still standing, disclosing monuments
such as the Theater, the Market and Forum, the Nymphaeums, Baths, Temples, Arches, and
Basilicas. Outside the Byzantine city walls are the large Amphitheater and the
Circus. Living quarters are hardly noticeable as they generally remain hidden
under the sand.
The
entrance to the site of Leptis Magna is only revealed once we reach the steps
leading down to the Roman street
level. Here stands the imposing Arch of Septimius Severus, a
quadrifrons, an arch with four equal sides. Each side straddles the
intersection of the roads, the north-south Cardo leading to the Old Forum and
the Decumanus Maximus connecting Carthage
to Alexandria.
Although
the Italian archaeologists did their best shifting through the many broken
pieces, this reconstructed arch from 202 AD looks different from what
one would expect. For instance, the eight peculiar pointed triangles on top of the Corinthian
columns are totally out of place. The original marble reliefs in
honor of Septimius Severus and his family are copies of the originals at the Leptis Magna and Tripoli museums. It is one
of the strangest contraptions I've ever seen! This quadrifrons was clearly
meant to impress as it stood on a pedestal three steps above the Roman street level.
It is believed to be the work of craftsmen from Asia Minor.
From
here onward, the Cardo is lined with undefined buildings till it reaches two
honorary arches. One to Emperor Tiberius and the other one to Emperor
Trajan. This last one was erected in 109 AD to celebrate his granting
the city the status of colonia.
Next
to Trajan's Arch is a large rectangular building, the Chalcidicum. It is
surrounded by a portico and flanked on either side by a Nymphaeum. Between them, a series of wide steps leads to a podium crowned with four
Corinthian columns. The wall behind these columns is covered
with an inscription where the word Chalcidicum appears. The name may refer to
the trade of metals or the building's bronze doors. An outer colonnade surrounds
this Chalcidicum erected by a local dignitary during the reign of Augustus
in 11-12 AD.
At
this point, my attention is drawn to the many columns standing high
on top of a circular wall at the back of the Theater. This Theater is the
calling card of Leptis Magna,
as it appears in every travel brochure. It is awe-inspiring, with a diameter of 70 meters
and its slow-rising rows of seats to accommodate 10,000 visitors. The columns above the seating area have been partially restored to
illustrate the connection point of the covered portico that covered the Theater. At its
center stood a small temple dedicated to Ceres, a typical Roman concept to
bring play and religion together. It yielded a statue of Tyche (Fortuna) which
is now at the Museum
of Tripoli.
Of
particular interest is the bilingual inscription in Latin and Punic carved on
the lintel above the side entrances below the stage. It tells us that this
Theater was built during the reign of Emperor Augustus (27 BC - 14 AD)
and donated by a wealthy citizen, Annobal Rufus. The Latin text mentions that he was the son of Himilchon and held the position of Consul Suffectus
(the consul who completed the term of a deceased consul) and of flamen (priest
devoted to the worship of a single god, meaning that he came from a patrician
family).Imp
Ceasare Divi f(filio) Aug(usto) pont(ifice) max(imo) tr(ibunicia) pot(estate)
XXIV co(n)s(ule) XIII patre pat(riae) Annobl Rufus ornator patriae amator
concordiae / flamen sufes praef(ectus) scr(orum) Himilchonis Tapapi f(ilius)
d(e) s(ua) p(ecunia) coer(avit) idemq(ue) Dedicavit
Interestingly,
the imperial figure of Augustus was left out of the Punic
text!
The Dioscuri and Castor and Pollux statues once stood on either side of the stage.
The marble balustrades were decorated with the heads of Heracles and Liber
Pater (god of fertility and
wine, later identified with Dionysus). Altogether, 133 statues have been retrieved and moved to the Museums of Tripoli and Leptis Magna. The many statues and decorations are indisputable and could rival only Rome.
Immediately
behind the podium of the Theater is a strange trapezoidal square, the Porticus
post scaenam, delimited by tall gray granite columns. It surrounds the
Sanctuary of the Divine Emperors or Dei Augusti, a shrine to the
emperors, who were considered gods after their death. The Monument to the
Severans has been added as an extension.
Unlike
the Romans, today's visitors to the Theater can thoroughly appreciate the contrast
of the deep blue sea with the many cipollino and granite columns of the Theater
and the Porticus.
Nearby
is the Market from 8 AD, an actual luxury square financed by the same Annobal
Rufus. The master builder is said to have taken his inspiration directly
from Rome,
which he had visited. The main attraction here is the twin round kiosks in the
middle of the market square. The slabs between the columns served as sale
counters for fish, meat, vegetables, and fruit. They look like today's Market, but I can't imagine the unavoidable stench of
fish and meat on a blistering hot day like today! Both kiosks were surrounded by octagonal porticos with columns made of
cipollino marble with white marble Ionic capitals for the first and
Pergamese for the second. We must mentally recreate the now-lost wooden table tops resting on the marble feet in the shape of dolphins.
Noteworthy
are the panels and lists where customers can check the correct measurement
of their goods. One such panel shows three standard measures of length: the Punic
cubit, which equals 51.5 cm; the Graeco-Roman foot, of 29.6
cm; and the Ptolemaic or Alexandrian cubit, which is 52.5 cm long. All
measurements are divided into halves, thirds, fourths, eighths, sixteenths,
and multiples. Who would have
thought there were strict laws regulating the weights and
measures in antiquity? The original panel is displayed at the local museum, but having a copy in situ is worthwhile! There are also large stone blocks with round and
square holes where the correct quantity of grain
and the like could be checked. Bronze control stamps confirm their official approval. Enough to
leave anyone speechless!
Two tetrapylons with ship reliefs on their
base stood between these lovely buildings, once holding statues of the city's wealthy shipowners. Another statue honored a certain Porphyrius, who brought
five live elephants to Leptis Magna. Just imagine them walking through here! The
luxury of Leptis Magna is
beyond anything I've ever seen, and I find it hard to believe how Rome could
surpass this beauty, grandeur, ostentation, and extravagance. And yet there is
more to come.
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