-600
Nemausus
Filming of Nemausus in Nîmes © Culturespaces / Fabien Faizant
© Casterman
The first traces of human habitation in Nîmes date from the late 6th century bc. These were clay huts with roofs of wattle and daub, supported by wooden posts. They were located close to a sacred spring dedicated to the god Nemaus (the site of the current-day Jardin de la Fontaine).
Filming of Nemausus in Nîmes © Culturespaces / Fabien Faizant
Filming of Nemausus in Nîmes © Culturespaces / Fabien Faizant
The prosperity of the Greek colony of Massalia (current-day Marseille) attracted the greed of the Romans. When a conflict broke out between the Massalia and the Celtic tribes of the area, the City turned to the Romans for help. The Romans then settled in the region, extending their territory along the Mediterranean coast of Gaul. This province, extending from the Alps to the Pyrenees, was known as Gallia Narbonensis. During this period, the city of Nîmes was called Nemausus, in honour of a Gallic god whose cult was related to the sacred springs that flowed in the city.
Filming of Nemausus in Rome-Cinecitta © Culturespaces / Fabien Faizant
Filming of Nemausus in Rome-Cinecitta © Culturespaces / Fabien Faizant
58 BC marks the beginning of the Gallic Wars. Julius Caesar sought to conquer the Gallic territories for the Roman Empire. The city adopted Roman law which provided it with a privileged position and relative autonomy. Its inhabitants practised the language, laws and customs of Roman citizens.
-15
Construction of the roman monuments
Under the leadership of the Emperor Augustus, Nîmes became one of the most important cities of Gallia Narbonensis and had the honour of being named ‘Colonia Augusta Nemausensis’ by the Emperor himself. He equiped Nemausus with the public buildings required for the running of the city.
Illustration from the book Les Voyages d'Alix - Nîmes - Le Pont du Gard (J. Denoël - Eric Teyssier - J. Martin) © Casterman
Tour Magne and Roman rampart, engraving © site www.nemausensis.com
In 15 BC, the Tour Magne is bluilt. Ramparts were constructed, extending for 7 km and surrounding more than 200 hectares of land. All that remains of these fortifications today is the Porte d’Auguste and the Tour Magne. This tower was named after the Latin ‘Turris Magna’ meaning ‘great tower’, and was the tallest tower of the fortifications.
Watercolor by Jean-Claude Golvin - Musée départemental Arles Antique © Éditions Errance
Ceremony in the Maison Carrée © AMAK
In 2 AD, the Maison Carrée was built, temple intended to accommodate the imperial cult. The Maison Carrée was dedicated to the Emperor’s grandson. In Roman Times, it was at the heart of the forum. Access was reserved to priests alone. However, rituals, sacrifices and processions were carried out in the presence of the city’s inhabitants.
The construction of an amphitheatre, watercolor by Jean-Claude Golvin - Musée départemental Arles Antique © Éditions Errance
North entrance to the Amphitheatre of Nîmes, illustration from the book Les voyages d'Alix Orange, Vaison-la-romaine (A. Evang - J. Martin) © Casterman
In 100 AD, the construction begins on the amphitheatre. Construction took 39 years to complete. During ancient times, shows were primarily held in wooden theatres. Over time, these theatres were replaced by more solid constructions made of stone.
2nd century AD
The apogee of gladiatorial combats
Sometimes slaves, but most often freemen, the gladiators were all well trained professional fighters who were part of a troupe.
The different gladiators
Thracian
The Thracian carried a small square shield, called a parma, two large greaves on his legs, a curved blade called sica supine, an helmet with wide brim, and a crest, sometimes embellished with a griffon's head. It symbolized the very particular way in which this gladiator fought, his position when he was on guard, was like a big cat ready to pounce, while his method of attack at his opponent's large shield was reminiscent of a predator, swooping onto his pray. The Thracian attacks were extremely rapid and violent, since his aim was to make a breach in his adversary defensive wall.
Retiarus
The retiarius, armed with his trident, net and dagger, is certainly the most well-known gladiator and the most easily identifiable. This combatant, who appeared during the course of the 1st century B.C. was exceptional in every way. He was the only one to fight without a helmet, shield or shin pad. His sole protection was a manica, worn on his left arm, and prolonged by large flared shoulder piece called a galerus. This meagre defence gave him the great advantage of speed. Tactically, the retiarius would pretend to flee in order to make his opponent come after him, strike his helmet and shield with the trident attempting to produce a large shockwave and finally, trap his opponent in his net while running.
Provocator
Of all the High Empire gladiators, the provocator was the one whose equipment was most like that of contemporary soldiers. His shield, for example, was curved, rounded at the ends, and fitted with one or two handles, making it very similar to the shields of certain legionaries.
The defensive armour was completed by a grieve or shin protector, an arm protection, a breast plate and a short sword known as a gladius. Technically, the athletic movements of the provocatores were based around a series of violent blows, made with the edge of the shield, enabled him to create gaps and openings in his opponents’ defence, which he could exploit in the combat.
Secutor
When the retiarius appeared in the 1st century BC, he was paired with the murmillo. But during the following century, the murmillo evolved into the retiarius. His equipment was very like that of the murmillo. The only striking difference was in the helmet. Whereas the crest on the murmillo’s helmet was tall, wide and angular, the crest of the secutor was slim, less tall and rounded. He wore a manica made of strips of leather on his right arm, a metal greave, a long shield and a short sword called pugio. The helmet and the large shield were the secutor’s main assets to put up an effective fight against the retiarius.
Scissor
The scissor represents the final stage of evolution among the opponents of the retiarius, and he is typical of the way in which gladiatorial combat was able to adapt and evolve. His name means “the one who lacerates”. The scissor had an helmet with the hemispherical crest, a scaled brass plate which covered him completely from the neck down to the top of his thighs and two short ocreae. Finally, this atypical gladiator was equipped with a short sword and an unusual metal sleeve that finished with a half-moon which was sharpened on both sides. This weapon, used as a defence against the trident, also enabled the scissor gladiator to wield very dangerous blows and to cut the opponent’s net. A combat in which the retiarius opposed the secutor or the scissorwas the ultimate experience in armed duels.
Hoplomachus
Like the Thracian, the hoplomachus would be paired with a murmillo who was armed with a large shield. Although his defensive armour was similar to that of the Thracian, the hoplomachus's fighting weapons were different: a spear and short dagger.
Murmillo
The murmillo appeared in the 1st century B.C., and is distinctive mainly for his large shield, called a scutum, reminiscent of Roman legionary shields. His armour was made up of a wide brimmed helmet, with a very tall heavy crest, useful for striking his opponent, a manica made of strips of thick leather, a small ocrea and a short straight sword.
Thracian
The Thracian carried a small square shield, called a parma, two large greaves on his legs, a curved blade called sica supine, an helmet with wide brim, and a crest, sometimes embellished with a griffon's head. It symbolized the very particular way in which this gladiator fought, his position when he was on guard, was like a big cat ready to pounce, while his method of attack at his opponent's large shield was reminiscent of a predator, swooping onto his pray. The Thracian attacks were extremely rapid and violent, since his aim was to make a breach in his adversary defensive wall.
Retiarus
The retiarius, armed with his trident, net and dagger, is certainly the most well-known gladiator and the most easily identifiable. This combatant, who appeared during the course of the 1st century B.C. was exceptional in every way. He was the only one to fight without a helmet, shield or shin pad. His sole protection was a manica, worn on his left arm, and prolonged by large flared shoulder piece called a galerus. This meagre defence gave him the great advantage of speed. Tactically, the retiarius would pretend to flee in order to make his opponent come after him, strike his helmet and shield with the trident attempting to produce a large shockwave and finally, trap his opponent in his net while running.
Provocator
Of all the High Empire gladiators, the provocator was the one whose equipment was most like that of contemporary soldiers. His shield, for example, was curved, rounded at the ends, and fitted with one or two handles, making it very similar to the shields of certain legionaries.
The defensive armour was completed by a grieve or shin protector, an arm protection, a breast plate and a short sword known as a gladius. Technically, the athletic movements of the provocatores were based around a series of violent blows, made with the edge of the shield, enabled him to create gaps and openings in his opponents’ defence, which he could exploit in the combat.
Secutor
When the retiarius appeared in the 1st century BC, he was paired with the murmillo. But during the following century, the murmillo evolved into the retiarius. His equipment was very like that of the murmillo. The only striking difference was in the helmet. Whereas the crest on the murmillo’s helmet was tall, wide and angular, the crest of the secutor was slim, less tall and rounded. He wore a manica made of strips of leather on his right arm, a metal greave, a long shield and a short sword called pugio. The helmet and the large shield were the secutor’s main assets to put up an effective fight against the retiarius.
Scissor
The scissor represents the final stage of evolution among the opponents of the retiarius, and he is typical of the way in which gladiatorial combat was able to adapt and evolve. His name means “the one who lacerates”. The scissor had an helmet with the hemispherical crest, a scaled brass plate which covered him completely from the neck down to the top of his thighs and two short ocreae. Finally, this atypical gladiator was equipped with a short sword and an unusual metal sleeve that finished with a half-moon which was sharpened on both sides. This weapon, used as a defence against the trident, also enabled the scissor gladiator to wield very dangerous blows and to cut the opponent’s net. A combat in which the retiarius opposed the secutor or the scissorwas the ultimate experience in armed duels.
Hoplomachus
Like the Thracian, the hoplomachus would be paired with a murmillo who was armed with a large shield. Although his defensive armour was similar to that of the Thracian, the hoplomachus's fighting weapons were different: a spear and short dagger.
Murmillo
The murmillo appeared in the 1st century B.C., and is distinctive mainly for his large shield, called a scutum, reminiscent of Roman legionary shields. His armour was made up of a wide brimmed helmet, with a very tall heavy crest, useful for striking his opponent, a manica made of strips of thick leather, a small ocrea and a short straight sword.
300
The end of the Roman Games
Gradually, gladiatorial contests became increasingly bloody, and at times fighting even broke out amongst the spectators.
Emperor Theodosius I at the Council of Constantinople, Latin manuscript, Turkey 9th century © A. Dagli Orti - De Agostini Picture Library - Bridgeman Images
At this time, the Roman Empire was little more than a giant with feet of clay, whose rule was contested in many parts of the Empire: the frontiers were under attack from the Barbarians, and within the Empire, there was a growing threat from Christians whose values had little regard for Pagan pleasures. The Emperor Theodosius declared Christianity the state religion in 391. Former pagan temples were transformed into churches and the violence of the Roman Games was called into question.
From 417
The Amphitheatre at the heart of history
In 417, a few years after gladiatorial contests had been definitively forbidden, the amphitheatre, no longer having any real use or function, was transformed into a fortress. It was surrounded by a strong wall made from blocks recycled from the Roman era. Besieged on several occasions, the amphitheatre proved to be particularly efficient in terms of defence.
Map of Nîmes in the Middle Ages © site www.nemausensis.com
Seal of the Knights of the Amphitheatre © site www.nemausensis.com
From 1194, under the suzerainty of the counts of Toulouse, the amphitheatre become the seat of the Viscount of Nîmes and his vassals. A castle was built inside the amphitheatre. Over the course of a century, inhabitants of the castle lived alongside local Nîmes residents without any real interaction between the two populations. However, control of the city was shared with the local bourgeoisie.
Castle of the Porte d'Auguste, built in 1391, illumination by Ferdinand Pertus © site www.nemausensis.com
In 1226, the amphitheatre lost its military value when the Languedoc Region became part of the Kingdom of France. The Knights were evicted from the amphitheatre by the troops of King Louis VIII, who took up occupancy of the site until the 14th century, before moving to a new castle built on the site of the Porte d’Auguste. The abandoned amphitheatre was then taken over by private individuals.
Map of the Amphitheatre, ink drawing and watercolor on various assembled papers, 53 x 63,8 cm © Collection Musée du vieux Nîmes
Once the amphitheatre passed into the hands of the local population, a veritable village sprung up inside its walls. It housed some 700 inhabitants by the 18th century, with more than a hundred homes and two churches, St. Peter’s and St. Martin’s. This small district with its lanes survived until 1809, when the many constructions that surrounded it were demolished
Map of Nîmes under François I in the 16th century © site www.nemausensis.com
King François I was keen to restore the amphitheatre to its former glory. However, at the time, only the buildings of the first-floor gallery were cleared, leaving the disorganized cluster of houses standing in the stage area.
Archaeological excavations of the ‘circular room’ © Musée archéologique, Ville de Nîmes
Lift for gladiators during combat © D.R.
It wasn’t until the 19th century that the last houses were cleared and architect Henri Revoil completed the restoration of the monument. He cleared the underground areas of the amphitheatre and the room known as the ‘circular room’. Holes point to the presence of Trap doors through which the gladiators would have entered and exited during performances.
From 1000 AD
The Maison Carrée over centuries
© Culturespaces / M. Fasol
© Culturespaces / Pixelle
Up until the 16th century, the Maison Carrée was used as a municipal consular building and was known as ‘Le Capitole’. Local historian Léon Ménard explains how the changes brought to the building effaced many of the vestiges of the ancient architecture, particularly in the interior.
The Maison Carrée is transformed into a church by Augustinian monks, drawing, National Library © D.R.
The Maison Carrée by A. Beaumont, engraved by Apostool, illustration by A. Beaumont, 1794, Musée du vieux Nîmes © site www.nemausensis.com
In 1670, Augustinian monks purchased the Maison Carrée with the purpose of transforming it into a church of dressed stone. They remained the owners of the site until 1789 when it was taken over by the département. It would become a Prefecture, the first in the département of Gard, in 1800.
Maison Carrée Museum at the beginning of the 20th century, postcard, Gérard Taillefer collection © site www.nemausensis.com
The Maison Carrée before the construction of the grid, engraving, Gérard Taillefer collection © site www.nemausensis.com
Following the visit of Marie-Thérèse, the Duchess of Angoulême (daughter of Louis XVI and Louis XVIII's niece), the Maison Carrée became a museum and opened its doors to the public under the name of the ‘Musée Marie-Thérèse’. The museum housed collections of paintings dating from modern times, as well as mosaics, sculptures and architectural fragments from Ancient Rome.
2005
Culturespaces becomes a delegate
On 9 July 2005, the Municipal Council of the city of Nîmes entrusted Culturespaces with the development, running and promotion of three of the city’s Roman monuments: the amphitheatre, the Maison Carrée and the Tour Magne.
2010
The first edition of the Great Roman Games
Every year, more than 400 history enthusiasts come together in Nîmes from all over France, as well as Germany and Italy, in order to re-enact the legendary Roman Games.
Great Roman Games 2019 © Culturespaces / V. Chambon
This event is a historical evocation of the amphitheatre games as they could have taken place in 122 AD. The costumes, weapons and equipment used are based on accurate historical and archaeological sources. The fighting techniques displayed are also the result of rigorous experiments. This intentionally historical approach is unique in the field. It allows us to experience the reality of Ancient Rome.
‘While watching a highly entertaining show, the spectators of the Grands Jeux Romains (Roman Games) in Nîmes can play an active role in an original experience of historical experimentation.’
Eric Teyssier, Lecturer in Roman History at the University of Nîmes
Great Roman Games 2018 © Culturespaces / V. Chambon
Great Roman Games 2019 © Culturespaces / V. Chambon
Gladiatorial contests, chariot races, parades of legionnaires, offering ceremonies, etc. The Great Roman Games have now become a major event and tourist attraction during the spring season in Nîmes.
2019
The first edition of the Nemaus Nights
For the first time, Culturespaces will open the Nîmes Amphitheatre in the evening for a unique event especially created for the Amphitheatre. ‘Les Nuits de Nemaus’ (‘Nemausus evenings’) provides an excellent opportunity to discover Nîmes’s historical and cultural heritage.
Nuits de Nemaus 2019 © Culturespaces / E. Spiller
Nuits de Nemaus 2019 © Culturespaces / E. Spiller
The Roman Amphitheatre is plunged into a poetic atmosphere via the projection of images, sound and lighting effects, and live and equestrian performances.
‘Nemausus was primarily the tutelary god of Nimes, the sacred fountain sanctuary in antiquity. Some even claimed that he was the son of Hercules himself. Nîmes, the former “Colonia Augusta Nemausa”, was named after him. In the show, near the end of his life at the end of the nineteenth century, he tells his story and transports the spectators right into the soul of Nîmes!’
Christophe Beth, Director of the Nîmes Amphitheatre