안내도. 아를(Arles)

안내도. 아를(Arles). 프랑스(France)

 

Le plan Patrimoine antique

 

Les villes de la region Provence-Alpes-Cote d'Azur concernees par le Plan Patrimoine Antique

 

Ancient Heritage Plan

Concerns the Provence-Alpes-Cote d'Azur Region. It aims to restore and enhance an impressive ancient heritage, whose main monuments figure on the UNESCO list of Monuments of World Importance.

 

The State, the Region and the Department of the Bouches-du-Rhone are financing this grand project, together with the 10 towns concerned.

 

The overall budget for the operation is estimated at 107,000,000 Euros. At the same time, a Regional Heritage Agency, created by the State and the Region, is intended to permit these restorations to lead to an opening towards different publics by offering cultureal. artistic, pedagogical and social actions.

 

 

Les maquettes du theatre et de I'amphitheatre visibles au Musee departemental de I'Arles antique

 

 

Elevations des deux monuments aujourd'hui (dessins aquarelles de Arche & Ombre)

 

The Ancient Heritage Plan in Arles

Two major ancient monuments are concerned by this important restoration plan : the roman amphitheatre and theatre. They have been included because of their historical, architectural and archaelogical importance in the regional heritage and the interest shown by french and foreign visitors.

 

Moreover, they are both still today impressive venues for performances and the ｅxpression of local traditions and culture.

 

In the finance plan, participations are as follows : 50% from the Government, 20% the PACA Region, 25% General Council, 5% the Town of Arles. For the amphitheatre of the outering was intristed to Alain-Charles Perrot, architect in chief of historic monuments. 24.7 millions E have been spent on the first phase.

 

For the theatre, the work was supervised by Francois Botton, architect in chief of historic monuments together with Francois Seigneur, architect, for the organisation of the performance area. The cost of the different operations is 5.5 million Euros.

 

 

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L'Amphiteatre D'Arles

 

 

Plan de I'Arles antique (dessin de J.-C. Golvin)

 

L'amphitheatre habite sur une gravure de 1686

 

Statuette de gladiateur en bronze, 1er siecle

(Cliche M. Lacanaud)

 

Torero pendant la faena (Cliche H.-L. Cases)

 

History and Architecture.

Dating from the last ten years of the 1st century A.D. the Amphitheatre of Arles was built on the Northern side of the hill, a vast platform was carved into the rock.

 

136 metres long and 107 metres wide, it ranks 20th amongst Roman arenas. Its 20 metre high facade is composed of 2 levels of 60 semicircular arches forming circular galleries. Ground level has Doric pilasters, above are Corinthian embedded columns.

 

In Roman times, there were 3 main entrances, North, South and West. In the building were 10 seating sections, connected by 188 passages thus allowing 20,000 spectators on the 34 seating rows of the cavea.

 

The central area, the arena, within the podium wall, was about 2 metres higher than today. Scenes took place on wooden flooring. Stage hands could place decors or bring animals up through trap doors. Apart from gladiator combats, the public greatly appreciated shows with animals in combat and hunting.

 

In the Middle Ages, the arena became a fortress and the highly distinctive defensive towers were erected. Houses were built inside and the arena ended up as a neighbourhood of Arles.

 

Scenic Shows

Yersterday...

Gladiator combats (munera) are the best known of many texts and gladiator scenes figuring on everyday objects : ceramics, glassware, reliefs. When a rich citizen or magistrate decided to offer a show, he contacted an "impresario" (Ianista, meaning butcher...) who recruited and trained gladiators in special schools.

 

Troops included several types of combatants, characterized by their costumes and fighting techniques. Often, they bore the arms of enemy tribes defeated by Rome. Gladiators came from many walks of life.

 

... today

In a Camargue bullfight, a rd cockade hangs on a string between the bull's horns. on each horn, a white tassel. The white-clad razeteurs, defy the animal in order to remove these "attributes" using a metallic hook-like comb. The "cocardier" bulls are never killed and some become stars, just like the razeteurs.

 

Spanish bullfights

started in France in the 1850s thanks to Empress Eugenie de Montijo, wife of Napoleon III. Here, another relationship between man and animal exists, playful dexterity becomes a combat to the death for the bull. Before the ultimate moment comes the "toreo", a ritual in 3 parts : piques, banderillas and the faena. The bulls are heavier, more powerful but less agile than the Camargue bulls. THe toreros and their "quadrille"(team) wear special costumes : the Costume of Light which owes its name to the embroidery and sequins which sparkle in the sunlight of the arena.

 

 

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Les Campagnes de Restauration

 

L'amphitheatre sur une gravure du XIX siecle.

 

Les tranches de la restauration de la couronne exterieure

 

Hydro gommage et sablage

 

Promenoir

 

Pierre choisie en carriere                      Replacement sur chantier     Ragreage d'une pierre non

                                                                                             remplacee 

 

Mortiers et joints

 

Parapets

 

Couronnements en pierre

 

Tour medievale

Successive Restorations

In August 1822, "the great affair" of XIXth century Arles began : clearing out and restoring Roman monuments. This important decision taken by the City Council remained a major desire over 100 years. The City Council strugggled to find the sums necessary.

 

Different phases were as follows :

Between 1845 and 1851 : clearing out, masonry repairs, subterranen entance archways built, vaulting and arcades reconstructed, underground galleries, staircases.

From 1861 to 1938 : reconstruction of vomitoria, vaulting, four rows of stone seating, Saracen tower restored, plus outer decors (pilasters, friezed ; cornices, arcades ...), towers and entrances.

1944-45 : clearing out and cleaning up of galleries after July 17th bombing raid.

1946 to 1979 : regular maintenance.

1984-1987 : topographical and photo-geometrical survey (3 bays) : restauration de la travee 45

 

 

Present Restoration in General

The Amphitheatre of Arles is a monument which has undergone, during its life, major modifications, destructions, alterations and restorations, unfortunate or not. Its present aspect is the result of all this.

 

The preliminary study, produced in 1998 by Architect in Chief Alain-Charles Perrot, sets out generalities on its restoration, conservation and enhancement. Considering the history of the monument, its pathologies, its present use and possible evolution, the building has been "crystallized" in its present form. The various restorations done through centuries are respected, vestiges crystallized and the reception area structures have been modified.

 

Analytical synthesis and the conclusions of the LERM and restorers have led us to define the following treatments for the stonework : a biocide treatment has been carried out previous to any work on the stone according to visible needs on the ornamentation. This treatment has the advantage of facilitating cleaning by hydro-toning ; cleaning of ornamentation by micro-hydro sanding, considered to be the most appropriate method, being the gentlest with ancient ornamentation. In the promenade gallery, the stone slabbing has been rerplaced.

 

Substitute stone and repairs

Research in local quarries has shown that the stone used in the large blocks probably came from a sector of the Fontvieille quarry near Arles. Analysis carried out by the LERM in a study done in 2001 showed that stone from Fontvieille, from the original quarry, is the best substitute possible. The quantity of hard stone in this quarry allows restoration of the exterior of the bays concerned. When the damage to the stone in place is consderable but not irreversible, repair work was done. This gives a new finish to the damaged stonework, protect it, yet keeps the original aspect as much as possible

 

On the outer facade, at the level of the reconstituted promenade, parapets are reinstated, using substitute stone, based on the traces still visible on the amphitheatre. The jonts between coping stones, mainly cement, have been cleared out and replaced by traditional mortar with a water proofing addition, once the entire surface was cleaned by hydro-cleansing. Their surface was shaped to favour rain water drainage to the interior of the monument.

 

The East tower, included in this stage of the work, is entirely in rows of quarry stone and was restored strictly identically to all ornamentation. The upper part of the walls has been dismantled to allow a water resistant finish to be placed. The rows of dismantled stone was then re-erected. Roofing of local tiling resting on wooden beams has been created inside the tower.

 

Since work started, the archaeological follow up of restoration work has been done by Stephanie Zugmeyer. Observation of traces found after demolitions has allowed better understanding of the organisation of the Roman work site and methods of carrying stones and positioning large blocks. At the same time, a study allowing understanding of the system of rain water evacuation in the monument was carried out during the first work phase.

- 안내문에서-

 

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