View of the theatre's exterior.
View of the theatre's exterior. - 25345
View of the theatre's exterior. The remains of several buildings can be seen in the foreground.
View of the theatre's exterior. The remains of several buildings can be seen in the foreground. - 25346
View of the theatre.
View of the theatre. - 25235
View of the theatre.
View of the theatre. - 25236
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world.
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world. - 16291
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world. In the upper part of the cavea, a rich woman had a small temple dedicated to Cere Augusta built in 35-36 AD. The granite and marble columns and the marble floor belong to a renovation from the 2nd century AD. Along the side of the portico is a base of a statue
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world. In the upper part of the cavea, a rich woman had a small temple dedicated to Cere Augusta built in 35-36 AD. The granite and marble columns and the marble floor belong to a renovation from the 2nd century AD. Along the side of the portico is a base of a statue - 25303
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world.
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world. - 25310
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world.
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world. - 25311
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world.
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world. - 26957
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world.
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world. - 28054
Detail of one of the cavea's vomitoria.
Detail of one of the cavea's vomitoria. - 41889
Detail of the inscription on the colonnade of the front escutcheon.
Detail of the inscription on the colonnade of the front escutcheon. - 42597
Detail of the columns of the front escutcheon.
Detail of the columns of the front escutcheon. - 42596
Behind the theatre stage is an irregular trapezoidal portico, the four sides of which had walls with marble cladding and Corinthian columns of grey granite.
Behind the theatre stage is an irregular trapezoidal portico, the four sides of which had walls with marble cladding and Corinthian columns of grey granite. - 16538
Behind the theatre stage is an irregular trapezoidal portico, the four sides of which had walls with marble cladding and Corinthian columns of grey granite.
Behind the theatre stage is an irregular trapezoidal portico, the four sides of which had walls with marble cladding and Corinthian columns of grey granite. - 25337
View of the theatre's exterior. In the foreground can be seen the remains of several buildings lining the street leading to the Oea Gate.
View of the theatre's exterior. In the foreground can be seen the remains of several buildings lining the street leading to the Oea Gate. - 25344
Behind the theatre stage is an irregular trapezoidal portico, the four sides of which had walls with marble cladding and Corinthian columns of grey granite.
Behind the theatre stage is an irregular trapezoidal portico, the four sides of which had walls with marble cladding and Corinthian columns of grey granite. - 28049
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world. The cavea rests on a slight natural slope only in its lower part, while it is supported in its middle and upper parts by artificial constructions. From the excavations of the theatre come 133 sculptures, intact or fragmented, that formed part of the furnishings. They are now on display in the Museum of Tripoli and partly in the Museum of Leptis Magna.
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world. The cavea rests on a slight natural slope only in its lower part, while it is supported in its middle and upper parts by artificial constructions. From the excavations of the theatre come 133 sculptures, intact or fragmented, that formed part of the furnishings. They are now on display in the Museum of Tripoli and partly in the Museum of Leptis Magna. - 28031
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world. The cavea rests on a slight natural slope only in its lower part, while it is supported in its middle and upper parts by artificial constructions. From the excavations of the theatre come 133 sculptures, intact or fragmented, that formed part of the furnishings. They are now on display in the Museum of Tripoli and partly in the Museum of Leptis Magna.
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world. The cavea rests on a slight natural slope only in its lower part, while it is supported in its middle and upper parts by artificial constructions. From the excavations of the theatre come 133 sculptures, intact or fragmented, that formed part of the furnishings. They are now on display in the Museum of Tripoli and partly in the Museum of Leptis Magna. - 42524
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world. The cavea rests on a slight natural slope only in its lower part, while it is supported in its middle and upper parts by artificial constructions. From the excavations of the theatre come 133 sculptures, intact or fragmented, that formed part of the furnishings. They are now on display in the Museum of Tripoli and partly in the Museum of Leptis Magna.
The theatre of Leptis Magna is one of the oldest masonry theatres in the Roman world. The cavea rests on a slight natural slope only in its lower part, while it is supported in its middle and upper parts by artificial constructions. From the excavations of the theatre come 133 sculptures, intact or fragmented, that formed part of the furnishings. They are now on display in the Museum of Tripoli and partly in the Museum of Leptis Magna. - 42525
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri.
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri. - 16293
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri.
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri. - 16292
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area was separated from the cavea by a high balustrade on which runs an inscription. The stage was decorated by a marble parapet ending with the herms of Liber Pater and Hercules, the tutelary deities of Leptis Magna, and the statues of the two Dioscuri.
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area was separated from the cavea by a high balustrade on which runs an inscription. The stage was decorated by a marble parapet ending with the herms of Liber Pater and Hercules, the tutelary deities of Leptis Magna, and the statues of the two Dioscuri. - 25301
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri.
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri. - 25331
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri.
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri. - 25332
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri.
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri. - 25333
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri.
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri. - 25336
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri.
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri. - 26968
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri.
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri. - 26967
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri.
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri. - 28028
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri.
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri. - 28037
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri.
The stage was decorated with a marble parapet that ended with the herms of Liber Pater (with bunches of grapes and ivy leaves in his hair) and Hercules (with his head covered by the skin of a lion, whose paws are knotted on his chest), the tutelary deities of Leptis Magna, and the statues of the two Dioscuri. - 28048
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription.
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription. - 16296
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription.
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription. - 16297
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription.
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription. - 16294
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription.
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription. - 16295
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription.
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription. - 16250
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription.
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription. - 16290
The frontescene, articulated in three wide semicircular exedras, was decorated by a triple order of columns, perhaps originally made of limestone and later replaced by marble columns. The marble facing of the frontescene also dates back to the same period, as recorded by the inscription on the architrave of the lower order.
The frontescene, articulated in three wide semicircular exedras, was decorated by a triple order of columns, perhaps originally made of limestone and later replaced by marble columns. The marble facing of the frontescene also dates back to the same period, as recorded by the inscription on the architrave of the lower order. - 25304
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription.
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription. - 25305
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription.
The semicircular orchestra has a series of low steps on which the seats for the city authorities and important people were placed. This area, in the centre of which stood an octagonal altar, was separated from the cavea by a high balustrade on which runs an inscription. - 25306
The exterior of the semicircular cavea has a series of arcades on the lower level, five of which lead to the vomitoria, while the others lead to service rooms, covered by vaults, that were probably used as storage rooms for theatrical equipment.
The exterior of the semicircular cavea has a series of arcades on the lower level, five of which lead to the vomitoria, while the others lead to service rooms, covered by vaults, that were probably used as storage rooms for theatrical equipment. - 25302
The frontescene, articulated in three wide semicircular exedras, was decorated by a triple order of columns, perhaps originally made of limestone and later replaced by marble columns. The marble facing of the frontescene also dates back to the same period, as recorded by the inscription on the architrave of the lower order.
The frontescene, articulated in three wide semicircular exedras, was decorated by a triple order of columns, perhaps originally made of limestone and later replaced by marble columns. The marble facing of the frontescene also dates back to the same period, as recorded by the inscription on the architrave of the lower order. - 25314
The frontescene, articulated in three wide semicircular exedras, was decorated by a triple order of columns, perhaps originally made of limestone and later replaced by marble columns. The marble facing of the frontescene also dates back to the same period, as recorded by the inscription on the architrave of the lower order.
The frontescene, articulated in three wide semicircular exedras, was decorated by a triple order of columns, perhaps originally made of limestone and later replaced by marble columns. The marble facing of the frontescene also dates back to the same period, as recorded by the inscription on the architrave of the lower order. - 25315
The exterior of the semicircular cavea has a series of arcades on the lower level, five of which lead to the vomitoria, while the others lead to service rooms, covered by vaults, that were probably used as storage rooms for theatrical equipment.
The exterior of the semicircular cavea has a series of arcades on the lower level, five of which lead to the vomitoria, while the others lead to service rooms, covered by vaults, that were probably used as storage rooms for theatrical equipment. - 25338
The exterior of the semicircular cavea has a series of arcades on the lower level, five of which lead to the vomitoria, while the others lead to service rooms, covered by vaults, that were probably used as storage rooms for theatrical equipment.
The exterior of the semicircular cavea has a series of arcades on the lower level, five of which lead to the vomitoria, while the others lead to service rooms, covered by vaults, that were probably used as storage rooms for theatrical equipment. - 25340
The exterior of the semicircular cavea has a series of arches on the lower level, five of which lead to the vomitoria, while the others lead to service rooms. The cavea rests on a slight natural slope only in its lower part, while it is supported in its middle and upper parts by artificial constructions.
The exterior of the semicircular cavea has a series of arches on the lower level, five of which lead to the vomitoria, while the others lead to service rooms. The cavea rests on a slight natural slope only in its lower part, while it is supported in its middle and upper parts by artificial constructions. - 25308
The frontescene, articulated in three wide semicircular exedras, was decorated by a triple order of columns, perhaps originally made of limestone and later replaced by marble columns. The marble facing of the frontescene also dates back to the same period, as recorded by the inscription on the architrave of the lower order.
The frontescene, articulated in three wide semicircular exedras, was decorated by a triple order of columns, perhaps originally made of limestone and later replaced by marble columns. The marble facing of the frontescene also dates back to the same period, as recorded by the inscription on the architrave of the lower order. - 25309
The frontescene, articulated in three wide semicircular exedras, was decorated by a triple order of columns, perhaps originally made of limestone and later replaced by marble columns. The marble facing of the frontescene also dates back to the same period, as recorded by the inscription on the architrave of the lower order.
The frontescene, articulated in three wide semicircular exedras, was decorated by a triple order of columns, perhaps originally made of limestone and later replaced by marble columns. The marble facing of the frontescene also dates back to the same period, as recorded by the inscription on the architrave of the lower order. - 25319
The frontescene, articulated in three wide semicircular exedras, was decorated by a triple order of columns, perhaps originally made of limestone and later replaced by marble columns. The marble facing of the frontescene also dates back to the same period, as recorded by the inscription on the architrave of the lower order.
The frontescene, articulated in three wide semicircular exedras, was decorated by a triple order of columns, perhaps originally made of limestone and later replaced by marble columns. The marble facing of the frontescene also dates back to the same period, as recorded by the inscription on the architrave of the lower order. - 25334

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