The “Theater” at the Herodium

On a recent trip to Israel, we had a chance to visit the Herodium, the famous “volcanic-shaped” mound that is located about 7.6 miles south of Jerusalem and 3.5 miles southeast of Bethlehem.

The extensive excavations carried out by Ehud Netzer have been continued in recent years. In addition, before and during the pandemic, many restorations have been made and newly excavated areas have been prepared to receive visitors. One such area is the “theater.”

View of the north slope of the Herodium.

In the image above, note the modern building on the slope of the Herodium that has three tall windows. This building protects the “Royal Box” and the theater is located just below it. See the following diagram.

A model looking southeast showing the structures on the northern slope of the Herodium.

There have been a number of interesting developments at the Herodium since I last visited the site. One of them was that the “theater” (I think odeum is a better term—given its small size) has been reconstructed.

View looking down at the partially reconstructed “Royal Theater” at the Herodium.

Herod built his small theater (possibly better called an “odeum?”) on the northern slope of the Herodium.  It had a stage (skene) with semicircular rows of seating (cavea) facing it and entrances at both the top and bottom of the structure.  The upper and lower sections of seating are separated by a wider horizontal aisle (diazoma), and three staircases connected them. A total of thirteen rows of stone seats accommodated an audience of about three hundred.

The theater was discovered in 2008 and a “Royal Box” with secco and stucco decorations featured in it. A modern building was constructed to protect these precious finds and for many years we could peek into the building and take photos of some of the frescos—but the building was not open to the public.

View of the small theater (odeum) at the Herodium—before the more recent restoration.

This picture was taken from the stage (skene) area of the theater.  The semi-circular orchestra area is in the lower portion of the image.

In the center of the image, the semicircular rows of seating (cavea) are visible—before the recent reconstruction. A total of thirteen rows of stone seats accommodated an audience of about three hundred.

Above the cavea is a modern building with three large windows.  This building protects the well-preserved remnants of the Royal Reception Hall.  This was a two-story structure that overlooked the theater.  The Royal Box was decorated with stucco reliefs and colorful wall paintings. The theater and room were probably redecorated in anticipation of the visit of Marcus Agrippa, Augustus’s right-hand man, in 15 or 14 BC.

On this visit, it was great to be able to enter the restored “Royal Box.”

View looking into the central room of the interior of the “Royal Chambers of the “Royal Theater” at the Herodium.

Here in the Royal Box the king could host his guests and offer them refreshments before or during the performances.

This central room was decorated with plaster reliefs and colorful wall paintings.  The theater and room were probably redecorated in anticipation of the visit of Marcus Agrippa, Augustus’s right-hand man, in 15 or 14 BC.  The walls have evidence of at least two layers of frescos.

The walls have three longitudinal registers.  The walls of the Royal Room were decorated with wall paintings in the secco technique [painting on dry plaster] and stuccowork.  

The bottom register was decorated with lively-colored frescos with “margins” that imitate Herodian masonry.

The middle register was divided vertically by stuccowork pilasters and decorated with painted ‘hanging pictures’ that were suspended by imaginary ‘strings’ and ‘nails.’  The pictures imitate windows with open shutters affording views of imaginary landscapes.  These scenes evidently stressed the achievements of Augustus and Marcus Agrippa—for example, the victory at the Battle of Actium, the conquest of Egypt, etc. 

The upper register was composed of stucco reliefs.

A wall fragment/painting from the middle register of the Royal Box of the theater at the Herodium. Now in the Israel Museum.

This fresco, actually a “secco,” depicts a naval battle with two ships with sails billowing the wind.  On the deck are soldiers armed with shields and spears.  “The painting may represent the victory at Actium and possibly the beginning of Augustus’s rule following the conquest of Egypt.  The choice of theme supports the possibility that the royal Room was decorated in anticipation of the visit of Marcus Agrippa, Augustus’s second–­in–­command, in 15 BCE, since he was the general responsible for the victory.”

“The walls of the Royal Room were decorated with wall paintings in the secco technique [painting on dry plaster] and stuccowork.  They were divided vertically by stuccowork pilasters and decorated with painted ‘hanging pictures’ that were suspended by imaginary ‘strings’ and ‘nails.’  The pictures imitate windows with open shutters affording views of imaginary landscapes.” (From the descriptions of the paintings in the Israel Museum.)

A wall fragment/painting from the Royal Box of the theater at the Herodium.

“In this painting the artist depicts a sea view along with a bull, trees, a temple, a palm tree, and a boat, recalling sacred scenes from the time of Augustus while also alluding to the conquest of Egypt.”

Audio/visual presentation in the “Royal Box.”

One of the new features that we were treated to was a 9-minute audio/visual presentation on the construction, usage, and destruction of the “Royal Box.” It was time well spent.

For additional images of the theater and Royal Box see Here.

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Herod or Jesus: Which “King” Has Had the Most Lasting Influence?

A site located about 7.5 miles south of Jerusalem called the Herodium is a site that looks like a volcano—but it is not!   The Herodium was built by Herod the Great (Matthew 2).  According to Josephus, a Jewish historian, the Herodium served as a palace/fortress for Herod the Great.  Herod was buried here in 4 B.C.  Later the Herodium served as a base for Jewish rebels during the first (A.D. 66-70) and second (A.D. 132-135) revolts against the Romans.

View looking southwest at the volcanic-shaped Herodium
The Palace, Fortress, and Burial Site of Herod the Great
Click to Enlarge and/or Download — without cost/obligation

In addition, the Herodium is located only 3.5 miles southeast of Bethlehem—where Jesus (called the Christ) was born.

The Grotto of the Nativity
The “Traditional” Site Where it is said that Jesus was born
Click on Image to Enlarge and/or Download — without cost or obligation

Herod was the king when Jesus was born—the same one who killed not only three of his sons, his favorite wife (Mariamne), the High Priest, his mother-in-law, but also the babies of Bethlehem (Matt 2:16).

Visitors to Israel are keenly aware of all the places built by Herod the Great and will probably visit Caesarea Maritima, the Temple Mount, and Masada.  And there are many others.  If fact, the land is littered with archaeological remains of places and buildings built by Herod.  But really, one must consider the lasting (cosmic?) significance of Herod versus that of the child that was born in the insignificant hamlet of Bethlehem—namely Jesus.

The Ascended  Jesus Surrounded by Mary and John the Baptist
From the Hagia Sophia Church in Istanbul
Click on Image to Enlarge and/or Download — without cost or obligation

In spite of all the “oohing and aahing” at Herodian remains, today no one actually “worships” Herod—as they do Jesus.

King Herod’s Tomb at the Israel Museum

Besides the naval and nature paintings (secco—on dry plaster) at the Israel Museum that I mentioned in my previous post, fragments from the roof of Herod’s Tomb at the Herodium are also on display in the Israel Museum.

On the left notice the concave roof and on the right one of the acroteria (urn).  For both of these, compare the style of “Absalom’s Tomb” in the Kidron Valley that is slightly earlier in date than Herod’s Tomb.

“Absalom’s Pillar” (2 Samuel 18:18) in the Kidron Valley. Note especially the “hat” that is similar to the fragments found at the Herodium.  Click on Image to Enlarge and/or Download.

Note, this tomb is NOT from the days of David’s son Absalom (2 Sam 18:18), but was probably constructed in the first century B.C.  It is of mixed styles. The conical-shaped roof is Syrian style, while the columns on the lower portion are of the Greek Ionic style.  Behind, and to the left of, the “Pillar of Absalom,” is the so-called “Tomb of Jehoshaphat.” The grave markers scattered in the green grass are from the “modern” Jewish cemetery on the lower slope of the Mount of Olives.

This is the model of the reconstructed Tomb of Herod that is on location at the Herodium.  Note the “pilasters” (rectangular column–like protrusions) on the base portion and the five “acroteria” (urns) on the roof of it—see one of the originals above.  It is evident that those who made this reconstruction based it not only on the archaeological finds, but also on parallels like “Absalom’s Pillar” above and tombs found at Petra.

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The Treasury (Khasneh) at Petra. Note on the center top the “urn” (like that found at the Herodium) on the top of the tholos (circular structure at the top of the “temple/tomb”).  Click on Image to Enlarge and/or Download.

The “Treasury” was probably constructed during the reign of the Nabatean ruler Aretas III Philhellene (82-62 B.C.).  Since Herod married a Nabatean woman it is probable that he was familiar with this structure—probably a temple and not actually a tomb.

The “Monastery” (Deir; Arabic) at Petra—from slightly after the time of Herod the Great. Click on Image to Enlarge and/or Download.

The Deir, or monastery, was probably built by the Nabatean ruler Malichus (40–70 A.D.)—thus slightly after the time of Herod.  In the upper center of the monument note the rounded tholos and the “urn” (like the one found at the Herodium) on the top of it.

It is also suggested that it dates to the time of King Rebal II in the early 2nd century A.D.  And because of its two side benches in the interior (and altar), that it was used for the meetings of religious associations.

In summary, the near parallel to the “tomb of Herod at the Herodium” is the “Pillar of Absalom” in the Kidron Valley, but its probable predecessor—known to Herod—was the “Treasury” at Petra, and its successor was the “Deir” at Petra.

Did Ehud Netzer discover the “real tomb” of King Herod?  There are significant researchers who think not.  Although Netzer found a significant mausoleum and fragments of sarcophagi, neither the size of the mausoleum and nor the sarcophagi are overwhelmingly impressive—that is fitting for a king of Herod’s ego/stature (see conveniently the summary of Shanks below—and more on the sarcophagus in the next post).

Shanks, Hershel. “Was Herod’s Tomb Really Found?” Biblical Archaeology Review 40 (2014): 40–48.

Herodium Display in Israel Museum

There is an impressive display in the Israel Museum where a number of wonderful finds from the Herodium are prominently displayed in the Second Temple Section.

These included two wall paintings from the Royal Box that was associated with the theater.

Naval Battle A wall fragment/painting from the Royal Box of the theater at the Herodium.  Click on image to Enlarge and/or Download.

It depicts a naval battle with two ships with sails billowing the wind. On the deck are soldiers armed with shield and spears.

“The painting may represent the victory at Actium and possibly the beginning of Augustus’s rule following the conquest of Egypt. The choice of theme supports the possibility that the royal Room was decorated in anticipation of the visit of Marcus Agrippa, Augustus’s second–­in–­command, in 15 BCE, since he was the general responsible for the victory.” — From the description of the painting in the Israel Museum.

Nature A wall fragment/painting from the Royal Box of the theater at the Herodium. Click on image to Enlarge and/or Download.

“In this painting the artist depicts a sea view along with a bull, trees, a temple, a palm tree, and a boat, recalling sacred scenes from the time of Augustus while also alluding to the conquest of Egypt.

“The walls of the Royal Room were decorated with wall paintings in the secco technique [painting on dry plaster] and stuccowork. They were divided vertically by stuccowork pilasters and decorated with painted ‘hanging pictures’ that were suspended by imaginary ‘strings’ and ‘nails.’ [See the picture above] The pictures imitate windows with open shutters affording views of imaginary landscapes.” — From the description of the painting in the Israel Museum.

The Royal Box in the spring of 2014.

Royal Box A view of the interior of the “Royal Box” above the theater at the Herodium. Note the well–preserved paintings on the wall.