Durrës Amphitheatre
Visitor Information
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Official Website: www.durres.gov.al
Country: Albania
Civilization: Byzantine, Roman
Remains: Entertainment
History
The amphitheatre of Durrës, Albania, was constructed during the early 2nd century AD by the Roman Empire. It was likely built under the reign of Emperor Trajan or possibly his successor Hadrian. This structure served as a venue for gladiatorial contests and public spectacles, as evidenced by an inscription recording the participation of twelve pairs of gladiators at its inaugural games. The amphitheatre remained active for such events until the mid-4th century AD.
Around 345 or 346 AD, a significant earthquake caused damage to the amphitheatre, which likely contributed to the end of gladiatorial shows. Alternatively, the cessation of these events may be linked to Emperor Theodosius’s decree prohibiting pagan entertainments. In the late 4th century, the site underwent a religious transformation with the construction of an early Christian chapel within the amphitheatre’s confines. This chapel was initially adorned with frescoes and later embellished with mosaics during the 6th century. A medieval chapel featuring frescoes was added in the 13th century, indicating continued religious use.
From approximately 500 AD, the amphitheatre was integrated into the defensive walls of the city, reflecting a shift in its strategic importance. Beginning in the 7th century, the arena and its surrounding corridors were repurposed as a burial ground. During this period, three early Christian chapels were erected between the 9th and 11th centuries, further emphasizing the site’s ecclesiastical role. Over time, the amphitheatre’s stone seating was extensively quarried for building materials, causing substantial structural loss. Only the mortar foundations of the seating remain visible today.
Following the Ottoman conquest in the 16th century, the amphitheatre was largely obscured and partially built over. The urban street pattern of Durrës reflects the amphitheatre’s original footprint. Early 16th-century historian Marin Barleti described the structure as well-constructed despite its partial concealment. The amphitheatre was rediscovered accidentally in 1966 during construction activities. Subsequent archaeological excavations took place in the 1960s under Vangjel Toci and in the 1980s led by Lida Miraj. In 1973, the site was officially designated a national cultural monument.
Restoration efforts commenced in 2004, spearheaded by the University of Parma, aiming to prevent further deterioration. The amphitheatre is currently recognized as a museum and is included on Albania’s tentative list for UNESCO World Heritage status. Despite these measures, the site faces threats from urban encroachment, structural vulnerabilities, water damage, and the decay of its mosaics and frescoes. In 2013, Europa Nostra listed the amphitheatre among Europe’s most endangered cultural heritage sites.
Remains
The amphitheatre exhibits an elliptical layout oriented roughly along a north-south axis. Its external dimensions measure approximately 132.4 meters by 113.2 meters, while the arena itself spans about 61.4 meters by 42.2 meters. The structure rises to a height of around 20 meters on a hillside, with the western side ascending the slope and the southern seating supported by freestanding substructures. Unlike typical Roman amphitheatres, this one features a single continuous gallery (maenianum) and irregularly spaced vomitoria, or exit passages, with only essential corridors carved into the rock. The amphitheatre’s design was impressive, accommodating up to 20,000 spectators, making it the largest in the Balkan Peninsula.
Constructed in the early 2nd century AD, the amphitheatre’s main entrance for gladiators and animals is located on the northern side, accessed through a tunnel reaching up to nine meters in height. A secondary entrance lies slightly off-axis on the southern side. The arena floor remains partially filled with debris and is situated below the current groundwater level. Until recent municipal interventions, parts of the site were covered by modern housing.
Within the western pulvinar, or honorary box, lies an early Christian chapel measuring approximately six meters in length and narrowing from two to three meters in width eastward. This chapel features an apse with two tall, narrow windows opening into the arena. Its walls and floor were built using opus mixtum, a construction technique combining reused stones and bricks. The chapel contains mosaics primarily dating to the 6th century, depicting figures such as Mary, Sophia (Wisdom), and Eirene (Peace) on the rear wall. The southern wall displays mosaics of angels, saints, and donors accompanied by inscriptions.
These mosaics overlay earlier frescoes, and the chapel’s ceiling once bore a now-damaged painting of the Pantokrator, a representation of Christ as ruler of the universe. The chapel remained in use until at least the 11th century, with evidence of a raised floor and a new altar added, likely in response to rising groundwater levels. Adjacent to the chapel, archaeologists uncovered a basin interpreted as a baptismal font. Access to the chapel was provided through the nearest vomitorium on the north side, whose stone steps show greater wear than others, indicating frequent use.
The amphitheatre’s original stone seating has been removed, leaving only the mortar substructure visible. However, staircases and galleries at multiple levels remain within the structure, facilitating movement throughout the site. Modern conservation efforts have stabilized these features, allowing for continued study and preservation.
