Architecture, Poetry and Law: The Amphitheatre of Capua and the New Works Sponsored by the Local Élite

Abstract

Despite the spoliations which affected it over the centuries, for two thousand years the colossal amphitheatre of Santa Maria Maggiore Capua Vetere has dominated the surrounding landscape, testifying to the glory of the ancient Roman city of Capua [Figs. 2.1–2.2].1 Second in size only to the Colosseum in Rome, the Capuan amphitheatre, also known as the “Anfiteatro Campano”, still preserves its monumental arena and wide underground structures. Two adjoining arches of the lower order and part of an arch of the second one in the east sector remain to remind us of the external double portico which surrounded the cavea. Built with regular blocks of local limestone, the portico was originally formed of three stories of arcades in the Tuscan order and an upper level adorned with statues. The portraits of Diana and Juno which adorn the two keystones of the arches at ground level survive as remnants of the extraordinary iconographic scheme which consisted of eighty half-busts of divinities which originally decorated the first level of the arcades, the most distinctive feature of the Capuan amphitheatre. Early modern sources tell us that what we still see today was more or less the state of the amphitheatre in the fifteenth and sixteenth centuries, when the monument became the most important ruin embodying the antiquity of the city. In this essay I will demonstrate how, in this period, in the context of a new and general antiquarian interest in the history and in the monuments of ancient Capua, the amphitheatre became the central element in a strategy of urban identity carefully devised by the local elite of the new Capua, which had the same name as the ancient city, but had been built a few kilometres away. By sponsoring the creation of new all’antica works of art and architecture which explicitly redeployed its spolia as well as new literary works in praise of its vast