Arelate (modern Arles, France)

Augustan, 30–20 BCE

Cavea Width: 102 meters
Orchestra Width: 31 meters

Arelate (modern Arles, France). Cavea width: 102 m., ima 19 rows in 4 cunei; media 8 rows; summa 4 rows. Palpitum: L 60.5 X 10m; orchestra width: 30.63 m; aulaeum slot L 44, W 2.5m; capacity: 5,800/7,250; Augustan, ca 30–20 BCE.

The Roman Theatre of Arelate (Arles, France)

The theatre at Arelate was constructed between 40-30 BCE, during the early years of Augustus’ reign, making it one of the earliest stone theatres in Roman Gaul (Sear 247). Arelate itself was established as a Roman colony for veterans of the Sixth Legion in 46 BCE by Julius Caesar, and the theatre’s construction formed part of the city’s monumental development program (Heijmans 62).

The theatre served as a crucial venue for theatrical performances and political assemblies, reflecting Rome’s use of public entertainment as a tool for cultural assimilation in the provinces (Gros 31). Historical evidence suggests that the theatre remained in active use until the late 3rd century CE, when changing entertainment preferences and the rise of Christianity led to its gradual abandonment (Rivet 80-82).

By the 5th century CE, the theatre, like many Roman entertainment structures, had fallen into disuse and began to be dismantled for building materials. Many of its architectural elements were repurposed for the construction of churches and other structures in medieval Arles (Heijmans 64).

Theatre Specifications: The theatre of Arelate adheres to the classic Vitruvian model with distinctive features:

• Cavea:West facing; semi-circular; 103 meter wide. Ima cavea with 19 rows divided into 4 cunei; media cavea with 8 rows; summa cavea with ?4 rows (Sear 247).
• Dimensions: The overall diameter measures approximately 102 meters (335 feet), making it slightly smaller than some contemporaneous theatres in Italy but substantial for provincial Gaul (Kleiner 237).
• Capacity: The theatre could accommodate approximately 5,800 to 7,250 (Sear 247)..
• Orchestra: The semi-circular orchestra has a diameter of 30.6 meters and was paved in pink breccia, centre in green cipollino, and border in white marble (Sear 247).
• Scaenae Frons: The stage building (scaenae frons) featured a three-story façade adorned with columns of different orders (Doric, Ionic, and Corinthian) and was decorated with numerous statues and reliefs, many of which have been recovered during excavations (Kleiner 237).
• Construction Materials: The structure was built primarily from local limestone quarried from nearby Les Baux, with imported marble used for decorative elements (Rivet 83).

Current Status: The Roman theatre of Arles is a UNESCO World Heritage site (since 1981) with approximately one-third of the original cavea surviving, along with two columns from the scaenae frons and portions of the orchestra (UNESCO). Maintained by the French Ministry of Culture, it remains open to visitors year-round and hosts cultural events including the Arles Festival of Photography (Ville d’Arles). Current conservation efforts address weathering and tourism impacts, focusing on stabilizing remaining elements and protecting the limestone from erosion (Heijmans 68).

Renovations:

• Augustan Completion (c. 25-10 BCE): The initial construction phase was completed with the addition of elaborate marble decorations and statuary for the scaenae frons, including the famous “Venus of Arles” (now in the Louvre) which once adorned a niche in the stage building (Heijmans 63).
• Flavian Modifications (c. 70-90 CE): Under the Flavian dynasty, particularly during Domitian’s reign, the theatre received substantial refurbishments including reinforcements to the substructure and enhancements to the scenic backdrop (Sear 248).
• Antonine Improvements (c. 140-160 CE): During the prosperous period of the Antonine emperors, the seating area was partially reconstructed and the ornamental program was updated with new imperial imagery (Gros 33).
• Severan Repairs (c. 200-210 CE): The last major documented renovation occurred under Septimius Severus, focusing on structural repairs and acoustic improvements to the stage area (Rivet 84).

 Archaeological Excavations: The modern discovery and excavation of the theatre occurred in several distinct phases:

• Early Discoveries (1651): Initial explorations began when the “Venus of Arles” statue was discovered by workers digging a well, prompting recognition of the area’s archaeological significance (Heijmans 65).
• First Systematic Excavations (1825-1845): Auguste Véran, the municipal architect of Arles and Inspector of Historical Monuments, conducted the first methodical excavations and documentation of the theater. His work included creating detailed drawings and supervising initial clearance of the orchestra and lower cavea area (Rivet 85).
• Héron de Villefosse Expedition (1881-1883): Antoine Héron de Villefosse, curator at the Louvre, led a comprehensive excavation that unearthed numerous sculptural fragments and architectural elements, significantly advancing understanding of the theatre’s ornamentation (Gros 34).
• Jules Formigé’s Work (1912-1921): As Chief Architect of French Historical Monuments, Jules Formigé conducted extensive excavations and initial restoration work, establishing the theatre’s ground plan and structural chronology (Sear 248).
• Modern Archaeological Campaigns (1950s-1970s): Led by Fernand Benoit and later Jean-Maurice Rouquette, these excavations employed scientific methodologies including stratigraphic analysis to refine understanding of the theatre’s construction phases (Heijmans 66).
• Recent Investigations (2005-2010): Using non-invasive techniques such as ground-penetrating radar, a team led by Marc Heijmans from the French National Centre for Scientific Research (CNRS) revealed previously unknown substructures and refined the chronology of the theatre’s development (Heijmans 67).

Bibliography / Resources:

Gros, Pierre. “The Roman Theatre of Arles in its Provincial Context.” Journal of Roman Archaeology 21 (2008): 30-46.

Heijmans, Marc. “Urban Development and Decline in Southern Gaul: The Case of Arles.” Journal of Roman Archaeology 28 (2015): 61-72.

Kleiner, Fred S. A History of Roman Art. Wadsworth Publishing, 2007.

Rivet, A.L.F. Gallia Narbonensis: Southern Gaul in Roman Times. Batsford, 1988.

Sear, Frank. Roman Theatres: An Architectural Study. Oxford University Press, 2006.

UNESCO World Heritage Centre. “Arles, Roman and Romanesque Monuments.” UNESCO, 2021. https://whc.unesco.org/en/list/164/.

Ville d’Arles. “The Roman Theatre of Arles: Visitor Information.” Official Tourism Website of Arles, 2023. https://www.arlestourisme.com/en/roman-theatre.html.