Finally, our journey takes us to Augusta Emerita, over 1500 kilometers from Lugdunum. Augusta Emerita is located in modern Mérida, a city in central Spain. The colony was founded in 25 BCE by Augustus to resettle legions from the Cantabrian Wars. The city was among the largest in Hispania, and much of its entertainment infrastructure survives today.

The theatre was constructed by Agrippa around 16 BCE. However, the scaenae frons, or elaborate theatrical background, was not constructed until the end of the 1st century CE. The scaenae frons is defined by two stories of corinthian columns. Statues of the gods Ceres, Pluto, and Prosperina would have occupied the niches between columns, but today they are preserved in Spain's National Museum of Roman Art. The theatre was renovated once more during the 4th century under the reign of Constantine.

Much like other theatres we have explored, theatrical productions, including comedies and tragedies, were staged in the theatre for public entertainment. Approximately 6000 spectators could fit into the cavea, or seating area. They were seated according to wealth with the wealthiest citizens sitting nearest to the stage.

Remnants of the props and tools used by actors survive. Here we see a tragic theatre mask that would have been worn by an actor on stage. The mask is reminiscent of those we saw from Pompeii's vivid mosaics. 

A circus also survives in Augusta Emerita. The circus was built between the reigns of Augustus and Tiberius. It could accommodate 30,000 spectators to witness chaotic chariot races. Archaeological evidence suggests that the circus was active until the 7th century CE.

Extant mosaics represent victorious charioteers. Here we see Marcianus with his four horses, one of which was named Inluminator. Marcianus holds palm leaves to emphasize his victory, as noted by the inscription. 

Augusta Emerita's amphitheatre was completed in 8 BCE. Like similar structures, it hosted gladiatorial combat, animal hunts, and executions. The amphitheatre could seat 15,000 spectators.

The building has sixteen entrances and special seating boxes for officials. It also has a cruciform fossa bestiaria where animals were kept before entering the arena. Representations of the venatio, or hunting of animals as entertainment, survive in frescoes from the balustrade of the amphitheater. We see the bestiarius, or hunter of wild beasts, lunge at a fearsome lion against a rather lovely sky. These hunts were also stages against elephants, bears, tigers, and other exotic animals.

Depictions of gladiators also survive from Augusta Emerita. This fragmentary relief captures several gladiators, some fallen and others standing as if speaking to each other. Although the function of the relief is unknown, we can distinguish the fallen gladiator as a murmillo, based on his unique helmet. 

This concludes Surviving Spectacles: remnants of Roman entertainment through the lens of Carole Raddato. Carole Raddato's photographs provide a unique glimpse into the ancient world and its contemporary survivals. This exhibition provides a cursory glimpse at the variety of her work. We encourage you to engage with Raddato's other work in the American Academy in Rome's Digital Humanities Center.