The Roman town of Vienne - Gallia Lugdunensis 2

 A view from Mount Pipet above the Roman theatre and looking up the Rhone and across the river to Saint Romain-en-Gal

I stood on the platform at Gare Part Dieu waiting for my train. The announcement for the arrival of the train had been made and I patiently waited for it. The train was destined for Gare St Charles in Marseille, and stopping at Vienne en route. The announcement referred to platform "E", but in French, as everybody knows,  the letter "I" is pronounced "E". Consequently, as I was inquiring from the stationmaster about my train on platform "E", he retorted by pointing across a couple of platforms, gesticulating at a train as it glided easily out of the station on time. An hour or so later I was on my way south heading towards Vienne. That evening Corinne would say that I might have made the same mistake if it was announced as platform "G", because of course as everybody knows the letter "J" is pronounced as "G". She smiled and inquired if I had felt terribly stupid at the time. Not sensing any sympathy I also smiled and ignored the comment.

If I had little interest in Roman Archaeology and the Roman provinces of Gaul and Germania, I might never have heard of Vienne and possibly might not have expressed an interest in stopping there for a visit. Prior to the arrival of the Romans, Vienne was the capital city of the Allobroges tribe, one of the most powerful Gallic tribes controling territory that stretched from the Rhone valley to the Alps. While the Allobroges had some contact and relations with Rome prior to the Gallic Wars, their fate was inevitable once Julius Caesar showed up in Gaul with his legions. The settlement was elevated to the status of a Colonia and despite the turbulent political chicanery of the late Roman Republic Colonia Julia Vienna flourished, in tandem with its neighbour Lugdunum [Lyon]. 

Both Lugdunum and Vienna thrived enjoying all the favour and infrastructure that one would associate with prominent Roman cities. They both had an Odeon and Theatre built, and both cities had a circus for chariot racing, a true barometer of a high level of romanisation. Most people associate the amphitheatre and circus buildings with Roman urban infrastructure. However, the circus was in fact quite rare and typically associated with provincial capitals. Four were built in Gaul; Lugdunum [Lyon], Vienna [Vienne], Arelate {Arles] and Santos [Saintes].  The structures of most of these circuses are no longer visible; the circus in Vienne was excavated during the 19th Century and early 20th Century and little of it remains visible today. However, in Vienne one of the obelisks from the spina still remains in its original position.  The date for the Circus is not definite but it may have been developed at a similar time to the one at Lugdunum, which we know from inscription evidence was developed or extended during the 2nd Century A.D.

 

Obelisk, known locally as La Pyramide, from the Roman circus at Vienne

The future of another Roman circus is currently lying in the balance, a little further north of Gaul, at Colchester in England. Known to the Romans as Camulodunum, this site was a provincial capital and while its prominence may have waned with the passage of time, it is obvious that the settlement enjoyed considerable status in the Roman Britain, and the citizens of Camulodunum appear to have had a keen interest in chariot racing. The circus was discovered in 2004 and may be consigned to history in the near future. I would respectfully suggest that replacing a Roman circus with a modern residential development is an act of vandalism and a desperate error in judgment.

View looking north across the cavea of the theatre, Vienne

 

The theatre in Vienne commands dramatic views over the town, and indeed up and down the Rhone river valley. The archaeological finds from the vicinity of the theatre suggest it was constructed in the mid 1st Century A.D. Constructed against the end of the colline Pipet with small valleys or cuts on either side, the site proved to be the perfect location for a large theatre facilitating the construction larges structures on either side for the management of the spectators access and egress. The diameter of the theatre is 129.8 meters, and it is estimated it could have seated 11,000 spectators. In form, the theatre at Vienne was quite similar to the one at Orange; it originally had a large scaenae frons structure estimated to have been 32 meters in height. The scaenae frons would have been roofed and was terminated at either end by a large basilica block. The orchestra measured 19 meters from which the vast cavea rose quite steeply to a height of 28.5 meters. Underneath the cavea there are the two hemispherical barrel vaulted passages or vomitoria facilitating the easy movemnt of  the spectators. Neither the extremities of these passages nor the cavea and seating above them have been restored.

View looking south across the cavea of the theatre, Vienne

I arrived mid morning and the sun had still not brought about a rise in the air temperature. The orchestra and cavea of the theatre were coated in an undisturbed perfect white covering of snow. It was surprising the theatre was open, but I managed to clamber around eager to experiece the great prospects across the theatre from either end of the summa cavea.  Underfoot the cavea was lethal; as I walked across the modern flat stage below I had slipped several times and 28 meters above the orchestra I took the greatest of care moving around.

During the 18th Century the structure was believed to be the vestiges of a Roman amphitheatre. This long held belief was born out by the street name in the area, because the street that runs along the front of the theatre is called Rue du Cirque. The restoration began on the cavea when a number of properties were purchased allowing for the clearance, excavation and restoration of the site. The theatre finally opened in 1938 and today just over 2/3 of the cavea is available for seating.

 View looking down on the cavea and orchestra from the top of the hill behind the theatre

Prior to this excursion in Lyon, while lunching with my new found friends at Les Adrets on Rue du Boeuf, I was advised to take the time to have lunch at Vienne. After visiting the theatre, and climbing up to the top of colline Pipet behind the theatre, a hunger had set in. I made my way back down through the town and towards 34 Cours du Verdun and to a restaurant called Les Saveurs du Marche, which I was reliably informed was one of the best places to eat in Vienne. I was not disappointed and enjoyed a simple well prepared and presented formule du midi, accompanied by the habitual pot of Cote du Rhone. 

The portico of temple of the divine Augustus and Livia, Place Charles de Gaulle, Vienne

Time was running out and there was still a lot to see in Vienne. The modern town of Vienne has not developed greatly in the last 2000 years. Newer buildings have clearly employed the stones of their predecessors and in no place is this more evident than Place Charles de Gaulle. One of the most interesting Roman monuments in Vienne is the Temple of the divine Augustus and Livia. The temple benefited from the attentions of Prosper Merimee, who was responsible for it being classified as a national monument, along with other sites in Vienne, in 1840.  On the 24th July 1835 Merimee published his "Notes d'un voyage dans le midi de la France". He visited Vienne on his tour of France in his capacity as Inspector of National Monuments and made the following comments on the condition of this temple:
"My first place to visit was the museum, presently established in a little antique temple, which was in the past converted to a church and horribly disfigured. The columns which surrounded the cella were now engaged in an ugly masonry, and if this was not enough of a barbarity, they have also chipped away the fluting of the columns, for the purpose of aligning them with the enclosing wall."

Significantly the temple in Vienne is one of two Roman temples left in tact in France, the other being the Maison Carree at Nimes. The masonry walls have now been taken away and the columns, some of which have been ravaged by time and the masons chisel, continue to support the architrave and entablature and pediment of the temple. Place Charles de Gaulle is today raised above the antique levels and an incline rises slightly towards the west side, and despite being set on a lower level of the square the temple surrounded by its barrier, stands with great stature and importance surrounded by more recent featureless and irregular constructions.  

 

A broken colossal head neatly placed on an upturned capital, Musee Archeologique Eglise St-Pierre

Much of the collection of stones, cut masonry, and statuary that would have been found in the Museum at Vienne visited by Merimee in the 1830s must now be in the Musee Archeologique Eglise St Pierre. This building is one of the oldest Churches in France dating back to the 5th and 6th Century and was most likely built on Roman foundations. Wandering around the large blocks which carry the marks of some distant important message, one finds broken colossal heads and elsewhere sandaled feet. I recently saw pictures of similar pieces being hauled out of the ground in Turkey at Sagalossos, and thereafter at the British Museum where some of the same items were displayed in the exhibition on Hadrian. In Vienne today these giant sculptures are hidden in a dimly lighted church dating to the 5th century, underneath which are to be found the foundations of ancient walls, streets, sewers and graves of a prolific Roman town.
 

A marble statue of Tutela, a Gallo-Roman goddess associated with Vienne

More recent discoveries found in excavations are exhibited in this museum, of which the statue of Tutela is the most striking. It stands out as being one of the more better preserved objects in the collection and was found during the excavation of the baths or thermes in 1954. Among the mosaics to be seen in this collection is the mosaic of the masks which is attributed to mosaic workers of the third Century A.D.. There are a vast array of objects to be found in this collection which are the soul surviving components of structures from the Roman town, and many of these items only exist today through the efforts of Pierre Schneyder who collected, recorded and investigated the vestiges of Roman structures during the latter half of the 18th Century. 

 Detail of mosaic of the masks at Musee Archeologique Eglise St-Pierre

Across the river Rhone is the smaller modern town of St Romain-en-Gal, which was an affluent residential and commerical area of the Roman town of Vienna. Discoveries of mosaics and other artifacts have been occurring in this area for over two hundred years, many being lost forever due to the weather, once exposed, or the use of the land. The area was well preserved because in the years subsequent to the Roman occupation, it was used primarily as an orchard, and not developed. However, as it was about to be built upon in the late 1960s, further discoveries were made and since 1981 a team of archeologists have been on site. In 1985 the site was classified as an historic monument and a museum now stands above a portion of the 7 hectare site housing many of the mosaics and finds from the excavations.

 

Central panel from an Orpheus mosaic, Musee Gollo Romain Saint Romain-en-Gal 

Mosaic from Musee Gollo Romain Saint Romain-en-Gal 

The Musee Gallo Romain Saint Romain-en-Gal, exhibits a magnificent amount of material found in the excavations. They reveal details of everyday life of the people that lived in Roman Vienna, and in particular the surroundings associated with the wealthy residential dwellings they occupied. Consequently, it is an important insight into the cultural identity of an important economic and commercial urban centre in Gaul. Many of the mosaics are well preserved however the two Orpheus mosaics found survive in fragmentary form. Portions of colourful frescoes that adorned the walls have also been excavated and preserved; one does not have to be too imaginative to envisage examples of the better preserved decoration from the walls in Pompeii and Boscoreale existing in Vienne.

It is surprising how much is visible of Roman Vienna and indeed the extent of the areas which are still to be investigated and excavated. As I have suggested, the Roman remains rest just below the surface or form part of the fabric of the Modern town of Vienne. A number of sites are undeveloped and await attention. One such structure is the Odeon which was built into the hillside of Saint-Juste. It is important because very few Roman towns were provided with a theatre and an Odeon; in particular only Lyon and Vienne had an Odeon and theatre complexes in Gaul. The Odeon in Lugdunum [Lyon] is quite well restored, however the Odeon in Vienne remains closed to the public. One can view the Odeon from further up the hillside of Saint-Just and look down upon the cavea structure without the seating, which would have been similar to the condition Prosper Merimee would have seen the theatre in the early 19th Century.

 A view through a locked gate of the Odeon at Vienne

The cavea of the Vienne Odeon structure measured 72 meters in diameter and had an orchestra which measured 22.3 meters in diameter. The Odeon at Lyon measured 73 meters in diameter and hence one cannot resist making comparisons between these structures. There was an impressive outer hemispherical wall pierced by three doorways, in much the same way as the Odeon built in Lyon. At Vienne the pulpitum, pro scaenum and portions of the scaenae frons area are still visible depite the covering of snow, when I saw this overgrown and dilapidated parcel of ground. The construction of the Odeon at Vienne probably dates to the second century A.D. and would have been a well decorated structure with statuary, and marble veneers from across the Roman Empire.

My visit to Vienne was brief, but I did managed to get a good understanding of the Roman town that existed there. In fact, I was left with an impression that Rome and its culture was not as distant as it could have been; the veins of the citizens of Vienna clearly ran with loyal Roman blood, and that there was a strong connection with not only Rome, but the Empire itself. In particular, what struck me was the wealth of material found at Vienne and in contrast the lack of material to be found in Orange, which would have been in the heart of Gallia Narbonnensis. This may be due to a lack of opportunities to investigate and excavate the lands surrounding Orange, but I did form the opinion from leafing through the field archeology magazines on the news stand waiting for my train, that discoveries of Roman villas and sites continued and that a great deal of Roman archeology remained hidden just below the surface of many French villages and towns.

An evening view looking south down the Rhone river valley from Vienne

A short trip to Lyon - Gallia Lugdunensis 1

A view across the Rhone towards Notre Dame de Fourviere

It was 20 years since I had been to Lyon and back then I did not stop for too long before moving on to my ultimate destination to the southeast of Lyon. For this trip, at the end of January, I decided to read up on Lyon to identify a few sights I would like to visit and add to my basic knowledge of the city, and its culture. I decided to refer to Elizabeth David's book on Provincial French Cooking, but I was surprised at her comments. She was of the opinion that one must be a Lyonnais to properly appreciate the local cooking and then proceeded to moan in an unappreciative manner about the anti climax that she experienced from the fountainhead of French cuisine. I suppose I should not be surprised to read this from somebody who ignored the Jura and Franche Comte in the same publication, but it still a good book despite these shortcomings. To assist me on my journey, I decided to travel with three books The cuisine of the Rose by Mireille Johnston, The White Cities by Joseph Roth, and Roman Gaul and Germany by Anthony King.

 

Lyon is not a monumental and decadent city in the mould of Paris. This ancient city has grown up and expanded at the confluence of two of France's most important waterways; the Rhone and the Saone. The Roman colony of Lugdunum was founded in 43 B.C by Lucius Munatius Plancus, a leading officer serving under Julius Caesar during his campaigns and battles to subdue the Gallic tribes. The site chosen by this officer, who is also reputed to have founded Augusta Raurica in 44 B.C. not far from Basel, was previously a Gallic hill fort occupied by the Segusiani, and today this vantage point towers over Lyon and is known as the Fourviere hill. Its significant position on the Rhone and Saone lended this site to being used as an administrative centre with easy and speedy access north and south on the navigable river systems which passed through the city. Over the next three hundred years this settlement would be favoured by a number of Emperors and Lugdunum flourished as a result. Features of this development still visible today are the numerous aqueducts, theatre, odeon and the amphitheatre.

A view looking south across the Roman theatre, Fourviere, Lyon

The steep featured flanks of the Fourviere descend to the Rhone and a number of bridges and passerelles make communication with Presqu'ile quite easy. As the name suggests, Presqu'ile is not quite an island but a strip of land that has been cut and narrows to a point where it finally reaches the confluence of the Rhone and Saone.

Roman Gaul is proving to be a tourist attraction for the modern town of Lyon and the Roman theatre on the Fourviere hill is the most visible representation of this period of the city's history. When the Roman builders arrived on site in or about 15 B.C. to build the first theatre structure in Gaul, they must have welcomed the prospect of building a theatre structure on this site because the steep hillsides in the vicinity could be easily employed in the construction of a theatre. While the slopes would minimise the need for a freestanding outer wall and a complicated series of vaults, arches and supports there are visible remains of radial substructures supporting the cavea. The theatre measures 108 meters in diameter which makes it a little larger than those built at Arles (Arelate) and Orange (Arausio). The remains of three cavea are visible, the media cavea and summa cavea are only to be identified by the series of vaults and hemispherical wall structures that would have supported them, and the remains of the ruined vomitoria quite immense. The date of the initial construction of this theatre places it firmly within the reign of the Emperor Augustus and there is evidence to suggest it was restored and extended during the reign of Hadrian, and it is suggested the scaena frons was added during this period.

A view looking west towards the cavea of the Roman theatre, Fourviere, Lyon

Although it faces east and overlooks most of the city of Lyon today, the scaena frons structure situated in front of the seating would originally have been approximately 30 meters high, and thus the great panoramic view to be seen today over Lyon would have been not a particular feature of this theatre. The structure would have been ornately decorated and some elegantly carved column bases are to be found on site today.  The hillside has a number of other interesting structures, and just to the south can be found the Roman odeon which is thought to have been constructed during the 2nd Century A.D. This is 73 meters in diameter and also backs onto the hillside for support and its cavea are surrounded by an immense boundary or outer wall, which is quite distinctive and sets it apart from its neighbour the theatre. The orchestra measures 21 meters in diameter and is decorated in opus sectile with porphyry and other exotic stones and marbles from the distant far flung corners of the Roman Empire.

A column base from the Roman theatre site

To the north of the theatre and also nestled into the hillside is the musee de la civilisation gallo-romaine the exhibition spaces of which are sunk into the hillside. It houses an important collection of sarcophagi, inscriptions, decorative mosaics and other materials found in excavations from the area. The mosaic of the circus race is quite well preserved and evidence of the fact that one of the four circus tracks to be found in the Gallic provinces was located not too far from the Fourviere hill, and in close proximity to the Gier Aqueduct. The aqueduct may have been the source of the water used in the fountains along the spina depicted in the mosaic.

Detail of the Circus Mosaic, Musee de la Civilisation Gallo-Romaine, Lyon

The remains of the amphitheatre are to be found to the north west of Place des Terreaux. Leaving this grand square, travelling north, and proceeding towards the district of La Croix Rousse, it was not long before I was walking up a steep hill into which the amphitheatre was built in circa 19 A.D. This is another example of the Roman engineers and builders exploitation of the terrain to construct and support their structures.

 The remains of the amphitheatre, La Croix Rousse, Lyon

The amphitheatre was excavated and investigated in circa 1818, and the quartier was developed thereafter. The remains, which are now incorporated into a garden, are presently covered by roads, modern buildings and indeed cut in half by a tunnel built to alleviate the flow of traffic leading up to La Croix Rousse. The size of the amphitheatre is debatable but is clear that it was improved and extended through the centuries and must have been an impressive sight. Some commentators are of the opinion the structure was smaller than those at Arles and Nimes. However my impression is that, in its most developed state the amphitheatre in Lugdunum would have been as significant as the amphitheatres built at Arles and Nimes. The principal difference in Lugdunum, is that the amphitheatre was both reliant upon and contained by terrain it was built into.

An important inscription was found in 1957 yielded evidence for not only the build date but the people who financed its construction; the inscription pays testament and records the fact that a Gallo-Roman family from Saintes (Santons), most likely seeking to underline its loyalty to Rome and the Emperor, constructed the amphitheatre at their own expense. It must be noted that there is also a magnificent amphitheatre to be found not far form the centre of Saintes.
 

 An aerial view of the amphitheatre using Google Earth

Having left Corinne at the ugly Gare SNCF Perrache, (she was going home for the day), I struck out for La Croix Rousse on foot. After viewing the amphitheatre, I descended through the town peering in through the windows of various boulangeries as I went. This city has a number of sweets and delicacies which were invented here, and can only be found elsewhere in specialist shops. The lush red pralines, crystalline crusty coated almonds, appear in most windows in one guise or another; dotted in various types of sweetened bread or tart pralinee or sables pralinees. The choclatier Voisin has a number of stores around the city, and they are responsible for the famous coussin de Lyon; a sugared elegant green marzipan filled with rich chocolate grenache in the shape of a cushion.

I crossed the city towards Fourviere and climbed the steep hill, absolutely breathless and weak by the time I found the theatre in bright winter sunshine. The day was bitterly cold and nobody was there. After spending half an hour wandering around looking for the remains of the aqueducts, and various mausoleums, I was quite conscious of the fact that the bells had stopped chiming in the nearby churches, and lunch would be now available. Wandering back through the streets of St Just towards Vieux Lyon, I eventually arrived at the point where I had commenced my ascent of the Fourviere hill at the top of Rue du Boeuf.

The path of least resistance led me down the narrow cobbled street to a restaurant on Rue du Boeuf called Les Adrets. Being both hungry and thirsty, I entered a long narrow dining room paved with tiles with strained and heavily deflected ,wooden beams overhead. It was full but a space at a table was found and I ordered terrine de gibier to be followed by tete de veau along with a refreshing pot of cote du rhone. Despite being obviously foreign, my choises engendered me to those sitting beside me, and they inquired about my little adventure and what I places I had visited and offered advice on what I should see next.

In the restaurants of Lyon you frequently end up wondering if there is anything that you would like to eat on the menu. You need to be adventurous. The menus can be viewed with some intrepidation if you are anxious about ordering various types of tripe, offal or combinations of both. My tete de veau probably shortened my life by two weeks, but it was unctuous and bitter and satisfying; the mellow sweet flavour of the gelatinous fat was cut by a parsley vinaigrette dressing. This dish would be relished and devoured, without a second thought, by a boatman who had been working his vessel up the Rhone, from perhaps Valence, for the previous 20 hours, against a strong current and a bitterly cold mistral wind. Arriving at the quays in Lyon, with his hands paralysed by the cold wind, this dish would have revived such a man. My meal was finished with a fantastically rich quenelle of chocolate mousse and a coffee, and the knowledge that I would be sentenced to at least three months hard labour for eating everything that put in front of me on this trip.

Opus reticulatum and opus mixtum still visible on a support of the Gier Aqueduct, Lyon

As Lugdunum thrived in the 1st Century A.D. the requirement to augment the water supply became a necessity and it was decided that four aqueducts would be built to attend to this need. The longest of the aquaeducts is 86 kilometres in lenght using the river Gier as its source. Evidence from inscriptions and archaeology has not been of great assistance in the dating of this aqueduct. Some archaeology suggests it could have been constructed during the reign of Augustus but it is more likely that it was operational under the reign of Claudius. Inscriptions found at Chagnon and St Joseph date to the reign of Hadrian and introduce a ban on ploughing and sewing in the vicinity of the aqueduct.

I have already refered tothe lenghty pondering I experienced reading a number of Lyonnais restaurant menus, and my chosen reading prior to the trip had not fully prepared me for this very distinctive cuisine. The books probably were too heavily influenced by Dijon and the Bourgogne and neglected the indigenous fare of the Lyonnais. Over the five days of thisparticular visit I have discovered the Bouchon, which is a type of Lyonnais restaurant serving earthy, homely food, but typically Lyonnais using just about every edible part of a pig, cow, chicken or available fish; lentils, onions and macaroni are a feature of the Lyonnais cuisine.

The first Bouchon we dined in was La Meuniere. It was one the most enjoyable meals I have ever had. Most of the prepared food was laid out on a bench in the middle of the very dated and somehow complimentary dining room. It appeared not to have been decorated since the 50s or 60s and was somewhat spartan in appearance, however posters celebrating Beaujolais wine served as a strong suggestion as to what you should be ordering with your meal. The staff engaged with you in a very familiar way, and some diners received a reproach for failing to clear their plates. While I had a terrine to start, I decided to have poulet fermier a la vinaigre for my main course. I did not expect this dish to be as agreeable as it was. It was very good. Thereafter, I received slap on the hand when I thought the canut, a soft cream cheese with herbs and garlic, was my cheese course of preference. Instead I was directed to two large wooden boards full of locally produced cheeses.

The next Bouchon, was the similarly celebrated Le Garet. The menu of the day was noteworthy because it sums up for me what Lyonnais cuisine is all about; Salade de dent lion aux oreilles de cochon (a salad of dandilions with pigs ears); Omlette a la truffe Francaise; Ris de veau a la creme et champignons. I began my meal with an offering of five bowls from the kitchen containing, Lentil salad, mousseau (pickled face of cow thinly sliced), pied de veau, saucisson de veau et cochon, and tripe; collectively known as salad de cochonailles. A pot of Crozes Hermitage worked very well with this selection and the following plate of le tablier du sapeur, which was a section of marinated and fried tripe. The dessert was a homemade blackcurrant ice cream, barely sweetened, which was served with a bottle of vieux marc to use as you pleased, and I did!

 Some of the creations of the Patissier and choclatier Richard Seve

Food forms a very important part of Lyonnais living and they are proud of their traditional servings and just as proud of their influences on the new modern cuisine developing in France today. It is not based upon fusion or any passing weakness for a modish taste but merely a celebration and presentation of French food and its industry at its very best. The master boulangers, patissiers and affineurs that base themselves in Les Halles Paul Bocuse are representative of this ideal. They are some the best boulangers and patissiers in France and strive to produce the best quality food to a very high standard. You rarely witness crowds of people surrounding a butcher stall focusing on a butcher dressing a rack of lamb but this occurs most days at les Halles Paul Bocuse.

Street markets are also a feature of Lyon life, as they are of most French villages, towns and cities. Local producers sell their fresh vegetables and fruit and anything else they think the pubic will purchase. I spotted one vendor selling walnuts, walnut spreads, and huile de noix; the oil produced from the pressing of the walnuts. They also sold the tourteaux de noix, which is the dried remains of the pressed walnuts. It can be used much in much the same way as chestnut flour to flavour flour in making biscuits or in general baking.

My personal preference leans towards the everyday and traditional food of the bouchon which preserves the old dishes in an unglamorous and less ostentatious way. This food is generally consumed with the three princes of Lyon; Beaujolais, Cotes du Rhone, or Crozes Hermitage and after a few days my fear and intrepidation has turned, with a little understanding, into a sense of surprise at every menu. This understanding will no doubt encourage me to return and continue my exploration of the Gallo Roman ruins.

Roman mosaic found in Cotswolds

Photo: Wilts and Gloucestershire Standard

The Wiltshire and Gloucestersire Standard reported on Tuesday, 20th January, that a Roman Mosaic had been found in the Cotswolds near Kemble by a pair of metal detector enthusiasts. They made their discovery on Sunday after returning from a day’s unsuccessful metal-detecting but noticed the field, which they had covered previously, had been freshly-ploughed.
After noticing several tesserae, which are small tiles used to make a mosaic, the pair got permission from the landowner to dig a one square foot hole, and uncovered the edge of the mosaic. The article went on to state that the mosaic which has been uncovered is believed to be the biggest Roman mosaic discovered to date in north west Europe, and there is a suggestion that the mosaic could be 40 foot in diameter.

The mosaic is described as depicting an Orpheus scene. The fragment of mosaic pavement published in the Wiltshire and Gloucestershire Standard reveals an animal's foot and thorax as it walks around an arc or circle. Orpheus was represented in a number of ways on mosaic pavements during the Romano-British period, but is typically portrayed seated with a lyre on his left knee, and wearing a Phrygian cap. Uniquely in the Roman world the Romano-British mosaic workers portrayed Orpheus at the center of their mosaics surrounded by concentric circles depicting animals and birds. It will come as no surprise that this mosaic follows in that tradition but it remains to be seen how big and elaborate the mosaic is. The part uncovered is reported as being undamaged, however the fact tesserae were found alerting the two men to the possible existence of the mosaic suggests the mosaic will not be in perfect condition. Furthermore, the story clear illustrates the mosaic is not buried deep enough to prevent damage from ploughing.

The most noted and elaborate of these Romano-British Orpheus mosaics was first referred to in 1695 in Gibson's "Camden". It was not until 1797 when Samuel Lysons published his work on the this particular mosaic pavement entitled "An Account of the Roman Antiquities discovered at Woodchester". Woodchester is situated off the Roman road that connected Gloucester (Glevum) to Cirencester (Corinium), where the mosaics were found in a graveyard. It is interesting to note the Woodchester mosaic is approximately 9 kilometers from Kemble (as the crow flies).

The Gloucester countryside and the Cirencester hinterland have yielded a number of significant finds such as the Roman villas at Chedworth, Barton Farm, Withington, Frocester Court, Great Witcombe, not to mention the individual finds in Cirencester (Corinium) and Gloucester (Glevum). It is clearly evident the region supported a prolific demand for mosaics and mosaic workers. Scholars researching and studying the Romano-British mosaics are in general agreement that there were up to three workshops, or officinae, working in this region during the 4th century. They are as follows; the Corinian Orpheus officina operating circa 300 A.D. - 320 A.D., the Corinian saltire officina operating circa 320 A.D. - 350 A.D., and finally the Durnovarian officina operating 340 A.D. - 370 A.D.

I am always captivated by these stories relating the discovery of mosaics and other archaeological remains. They invariably give a little extra insight into the romanisation of the tribes, lands and provinces of north western Europe. On a more personal note, my university thesis examined Romano-British mosaics and the existence of evidence to suggest economic and cultural links to other provinces in the Roman world. The adoption of Roman culture by the Gallic, Germanic, and British kingdoms and tribes was to some extent universal with theatres, amphitheaters, fora and richly decorated houses and villas appeared in most of the new settlements developed under Roman control.

I would subscribe to the view that the ebb and flow of the Roman army's superiority and control of the Rhine frontier caused economic uncertainty in the Gallic and German provinces towards the end of the third century, and consequently some mosaic workers may have have fled to Roman Britain, which they saw as a safe and strong economic haven. Many mosaic pavements can be dated with some certainty to the second and third centuries in Roman Britain, however the the size, quality, and subject matter of many of the pavements that date to the late third and fourth centuries reach a new level, enriched by the availability of newly arrived mosaic craftsmen and workshops with the latest designs.

To illustrate the speed with which traditions and fashions spread throughout the Roman Empire, it is interesting to note that following the official toleration of Christianity in the Roman Empire in 312 A.D. archaeological evidence suggests the Christian faith was flourishing in Roman Britain within a very short period of time. Mosaics discovered at Hinton St Mary and Frampton in Dorset are decorated with Christian symbols and iconography. Only 16 miles apart, these mosaics not only depict the Chi Rho symbol, but images of Christ, alongside a repertoire of traditional mythological pagan images.

A number of questions arise. Were the Christians in Roman Britain mono-theistic? Can these mosaic pavements truly represent a flourishing of Christianity? The romanisation of Roman Britain was in many respects a thin veneer of Roman culture applied or imposed on the Celtic tribes and the practice of indigenous pagan gods does not appear to have been fully suppressed by the Romans. Druidism was an notable exception. It could be said that the subject matter of these mosaics are more likely to be a barometer of a desire for religious subjects than the practice of an official religion. The historian and biographer Aelius Lampridius records in his life of the Emperor Alexander Severus, who reigned between 222 A.D. and 235 A.D., the fact images of Christ, Orpheus, Abraham and Apollonius of Tyana were to be found in his lararium [XXIX].

Worship in the Christian faith throughout the empire may have changed in the hundred years that separate the reign of Alexander Severus and the production of the mosaics at Hinton St Mary and Frampton, however one cannot escape the enduring contradiction that over this period the pagan repertoire of Greco-Roman mythology, including the depictions of Orpheus, remained current in many mosaics connected with the Christian faith. Moreover, and using the example of the lararium of Emperor Alexander Severus, one can easily support a theory that the typical wealthy Roman-British villa owner would commission an overall moral theme for the rooms to be decorated with mosaics, which could be represented by depictions of Christ, Orpheus and the Belerophon and Chimera scenes.

One might think that the discovery of Romano-British mosaics was a frequent event across southern England. It is true that the discovery of mosaic pavements is not infrequent but they are rarely as dramatic and potentially significant as the one discovered near Kemble. John Paddock, curator of Corinium Museum, stated: "The discovery of any mosaic in Britain is a significant one... It’s a new site which is very exciting and in an architectural career spanning many years I have never discovered a mosaic." Indeed, Romano-British archaeology is going through a period of exciting discoveries as I note in August 2008 the Telegraph newspaper reported another significant find on the Isle of Wight, following the commencement of further excavations at Brading Roman villa.

One can only hope the site where the mosaic was discovered can be properly excavated and the mosaics preserved. There have been incidents in the past, and in recent times, where the mosaic pavements have been clandestinely removed never to be seen again. An unfortunate incident occurred in 1948 when a mosaic was stolen from Brantingham Roman villa in Yorkshire. On another note, it would be rather nice to see an image of the entire mosaic some time soon, rather than being hidden away for a number of years in a museum storage facility. There is a tendency for these wonderful objects to be stored away from the public view and effectively disappear. An extreme example of this occurred in 1820 following the discovery of an Orpheus mosaic at 11 Dyre Street in Cirencester, Gloucestershire; a drawing of the mosaic was finaly published 66 years later in a "History of Cirencester" K. J. Beecham.

Autun - Augustodunum Roman Theatre

View of the remains of the Roman theatre from the road

On the 23rd December we decided to venture outside the Franche-Comte region and made our way westwards towards Burgundy and the city of Autun. Crossing the Saone you are greeted by the flat Burgundian countryside, however once you pass the quaint city of Beaune the road meanders its way through Pommard and Volnay, and other familiar wine producing towns, the terrain slowly dominated by long sweeping hills covered in vines.

Before I set out for Autun I had some understanding of the towns significance, primarily becauce of the size of the theatre situated there, however I was not prepared for the extent and size of the this Gallo-Roman settlement. Nearby in Burgundy a number of sattelite towns were romanised such as Dijon, Nuits-St-Georges and Chalon-sur-Saone, but they do not appear to have had the same amount of sustained development during the Roman period.

View of the Roman gate from the river Arroux

Augustodunum was founded by the Emperor Augustus and replaced Bibracte, the capital town of the Aedui tribe. Bibracte was, by this time, a modernised but dated iron age hilltop fort settlement. which was situated about 15 miles to the west of Augustodunum. It had the unfortunate fate of being the site where Vercingetorix was nominated as commander of the Gallic forces in their war against the Roman army, which was under the command of Julius Caesar. This may have been a catylist for the founding of the new Roman grid based capital city with all the trimmings such as walls, gates, forum, thermae, theatre, amphitheatre and aquaducts for the Aedui at Augustodunum, and with it the imposition of an urban administrative and political center in the area. However, Bibracte may simply not have suited the Roman requirements to support their model of a "civilised" urban center and hence a new site was selected bording on and serviced by the Arroux river.

It is not simplistic to state that Augustodunum flourished because of an acceptance of Roman power by the Aedui. The Aedui had a long established alliance with Rome and this "bond of brotherhood" is referred to by Tacitus [Annals xi 25.2] and Julius Caesar [Bello Gallico i. 33.2]. The foundation of the Gallic cities in the early empire appears to have been an attempt to define the bounderies of the tribes and a number of these cities received Imperial patronage. Thus there is a distinct difference between the founding and subsequent development of the cities of Gallia Narbonnensis such as Nimes, Arles, Frejus, and Nice. This period of reorganisation in the north under Augustus resulted in the modest naming of cities such as Augustodurum [Bayeux], Augustobona [Troyes].

The development of Augustodunum may not have been swift and there is evidence that the city was developed throughout the 1st century and continued into the second century. In fact archeological evidence suggests that the theatre and amphitheatre may not have been completed until the reign of Vespasian. A possible terminus post quem dating for this building is based upon a bronze coin from the reign of Vespasian which was found in the theatre's structure. It is feasible to suggest that the city's development and exspansion may have been temporarily stalled during a Gallic revolt during the reign of Tibeius in 21 B.C. when an Aeduan named Iulius Sacrovir was stirring up dissent. One contributory factor for the revolt was the overwhelming Gallic dissatisfaction at the extortionate taxes levied by the Romans. Iulius Sacrovir's uprising was dealt with by the German legions and in his flight he was denied entry to Augustodunum. Shortly after Sacrovir chose his own fate. There are contradictory views asa top what extent the city was developed following the end of the 2nd century, and one treatise states that the dwellings and buildings in the city never filled the 6 kilometer walled defences due to the political and economic turmoil that existed in the 3rd century.

The Gallo Roman city of Augustodunum must have been well populated given its size, and the size of the theatre and amphitheatre complex. Scholars warn us that the existence of these large public buildings are not a reliable guide to city population but it seems wasteful to build such structures when they would not have been exploited to the full. From a brief walk around the city today and reading the available text upon the archeological surverys it is clear that there was more than one theatre and an ampitheatre in existance when the Augustodunum was in its hey day.

A fragment of mosaic pavement from the Musee Lapidaire, Autun

We did not get into the Musee Rolin where a number of good Roman mosaics that have been unearthed in Autun are kept. The collection includes fragments of a Neptune mosaic and a mosaic depicting a seated philospher. One theory suggests that the person depicted is Epicurios. During the Roman period Augustodunum became noted for its school of rhethoric and as a seat of learning. Thus the discovery of such a mosaic must not be too surprising. Given the obvious importance of this Roman city one can only imagine what discoveries lie in wait below the streets and buildings of Autun.

A corinthian capital from the Musee Lapidaire, Autun

Augustodunum is said to have embraced christianity earlier than most Roman cities, and certainly by the 3rd century there was a large christian community reported to be there. Some historians attribute this thriving of the Christian community at Augustodunum to Constantius Chlorus, the father of Constantine the Great, who was based in the West under the emperor Diocletion.

funerary stele of a young women embedded into the wall of a building

Many funerary stele are laid out in courtyard of the Musee Lapidaire at the Roman Church of St Nicholas, and some appear built into the walls of more modern structures in the town. The Musee Lapidaire was closed when we were there, however the gates were open to receive some new stones for their collection and we managed to wander in and take a few photographs. Within the small church there is a small collection of capitals and some sculpture, presumably from Autun itself as there was very little information relating to the artifacts. A number of mosaic fragments have also been preserved there.

A large gallo-roman necropolis, which was excavated in 2004, is situarted about 600 meters to the north east of the ramparts and some of the stele have made their way into this collection, which appears to be an overflow facility for the Musee Rolin. The necropolis had circa 48- tombs with 79 stele reported to have been excavated intact.

Funerary stele of a women holding a chalice and rod

The Roman theatre, like the one at Mandeure was built into a natural hillside, and consisted of three layers of seating or cavea. The diameter of the theatre is 148 meters making it one of the largest in the Roman world, with a potential capacity of 13,800 (there are higher and less conservativre estimates for the capacity of this structure in the tourist information). The theatre at Mandeure, which was built during the 2nd century faces West, and the theatre at Autun utilises a hilside facing east-north-east. From about 14:30, when I was there, it was almost fully shaded in its current state not receiving any light from the setting sun. The semi-circular orchestra area infront of the scenae is reported to have been reduced in size from 30 to 20 meters. To put this into perspective, the orchestra at Mandeure measures 14 metres.

A view looking south east across the media cava and remains of supports for summa cavea

It is clear from the remaining structures today that the media cavea and summa cavea ie. the second and third layers of seating were substantial and were supported on a series of 49 vaults so that the full height of the structure could be achieved. It appears that each of the cavea were divided by a series of 8 cunei giving access to the rows of seating. Beyond the summa cavea there was probably an arcaded and covered ambulatory or ambulorum. The end structures are largely in ruins but a series of six niches acted as supports or butresses can still be seen. There was a scene building but this no longer exists however, archeological excavations have recorded the existence of some structures below the soil surface which can be conected with a scene building.

A view looking south east towards the orchestra ima cavea and media cavea

Today trees planted around the perimeter of the theatre give some indication of the original shape and to some extent the size of the structure. The vomitoria to either side of the cavea are not as large as those in Mandeure probably because there was access available to the rear of the structure where none was possible in Mandeure.

A view looking north towards the remains of the media cavea and reconstructed ima cavea

Looking down from a tree onto the remains of the summa cavea, orchestra and scaena area

Augustodunum was probably the most western city of an economic group of Roman cities and tribal groupings, which appear to have thrived during the 1st and 2nd centuries; studies of carved and decorated stonework including capitals from Avenches (Aventicum), Besancon (Vesontio), Mandeure (Epamanduodorum), Nyon (Noiodunum), and a little later Augst (Augusta Raurica), share similarities which would suggest a possible common regional link. The reigns of Claudius, 41 - 57 A.D. and Vespasian, 70 - 79 A.D., brought stability and confidence to the region by elevating some Roman cities to the status of colonia, and granting latin rights including citizenship. The fact that these cities have monumental public buildings, some being the largest of their type in the empire, interests me. It is evident there was a concerted effort made to develop these provincial cities that were quite close to the Rhine and Danube borders. I hope future travels will bring me to visit the large Roman theatres and amphithatres at Augst, Avenches and Nyon and to understand a little more about the interaction between these cities during the Roman period.

Besancon

View looking South over the rooftops of Besancon from Fort Griffon towards the Citadelle

I first arrived in Besancon in March of this year and have been back a number of times with Corinne (my better half). The East of France and the Franche Comte region had eluded me up to this time, and admittedly I knew few details of its history, culture and folklore; I was in general terms aware of the expansion of the Roman provinces in Gaul and a little more recent general history of the area but was totally unprepared for the uniqueness of the region incorporating the Doubs, Haut Doubs and Jura.

Upon leaving the train station at Besancon, I was driven away by Corinne's father on a circuitous route, which navigated its way through old fortifications, redoubts and ramparts in the north of the town and then eventually eastwards along the Doubs. This city is not big but impressive and located on a significant strategic site, on a vast sweeping bend in the river Doubs. It has been settled for many thousands of years, but came to prominence as Vesontio over two thousand years ago, when it was the first city of the Sequani tribe. They in turn came were subjugate by and came under the influence of the Romans, under the command of Julius Caesar, and despite a number of revolts during the early empire the site was further developed and romanised with an aquaduct, lavishly decorated buildings, an amphitheatre and triumphal arch known locally as "la porte noire".

Roman Amphitheatre remains at Besanson

Neptune Mosaic found on the site of the Abbey of St. Paul in 1973, Musee des Beaux-Arts et d'Archeologie de Besancon.

Reading the ancient historian's and source's descriptions of places, and routes taken, it is easy to be misled by dry narratives evoking generic landscapes, mountains, rivers and passes, however Julius Caesar in his De Bello Gallico describes this settlement with extraordinary clarity, care and conciseness. Roman preparations for war left little to chance and Julius Caesar identified a base that could sustain his armies in Winter and through the Summer, with the unsettled and enemy frontiers not too distant.

Book 1:38 recounts as follows:

"When he had proceeded three days' journey, word was brought to him that Ariovistus was hastening with all his forces to seize on Vesontio, which is the largest town of the Sequani, and had advanced three days' journey from its territories. Caesar thought that he ought to take the greatest precautions lest this should happen, for there was in that town a most ample supply of every thing which was serviceable for war; and so fortified was it by the nature of the ground, as to afford a great facility for protracting the war, inasmuch as the river Doubs almost surrounds the whole town, as though it were traced round it with a pair of compasses. A mountain of great height shuts in the remaining space, which is not more than 600 feet, where the river leaves a gap, in such a manner that the roots of that mountain extend to the river's bank on either side. A wall thrown around it makes a citadel of this [mountain], and connects it with the town. Hither Caesar hastens by forced marches by night and day, and, after having seized the town, stations a garrison there."

An early incription refering to Vesontio possibly dating to the period of the Emperor Trajan

Following the demise of the provinces of Roman Gaul, Besancon was eventually incorporated into the Holy Roman Empire until it came under the influence of the Dukes of Burgundy, and thence following a strategic marriage, the Habsburgs. In 1674 Besancon became a French town and a few years later the city was in effect transformed by the arrival of the military architect Sebastien le Prestre de Vauban. He was commissioned by Louis XIV primarily to redesign and reconstruct the Citadelle, a grand task which took 30 years, being completed in 1711.

Other fortifications, on hilltops around the city received attention including Fort Griffon, and these forts, ramparts redoubts and defences still dominate and characterise the city today. These new strategic defences were planned in great detail and utilised the local contours, terrain and features of the land upon which they were constructed, a particular feature of Vauban's planning and engineering; the Roman amphitheatre was incorporated and utilised in the establishment of some of the outer defences and ramparts at Fort Griffon.

View of the inner entrance gate of the Vauban Citadelle

Palais Granvelle 16th Century

Buildings on the banks of the Doubs in Besancon

One of my primary interests when arriving in a town is to discover the food and local produce, and local markets are key to this experience. In Besancon, as with most French cities and towns, there is a covered market selling produce daily and an open air market in front of the Musee des Beaux-Arts et Archeologie selling fresh fruit and vegetables.

Before I ever thought of visiting Besancon I was aware of the two most famous cheeses produced in the area; Mont D'Or and Comte. The local breed of cow is the Montbeliard, and these cute docile beauvines are primarily used for dairy production. Smoked hams and sausages called saucise de morteau are full of flavour and are traditionally boiled and served with boiled cabbage and potatoes. However, more modern recipes combine the saucise with reductions of local wines, such as a Poulsard. Artisanal charcuteries such as the one operated by Pierrette and Daniel Buchiex [www.lafermettecomtoise.com] produce a wonderful selection of cured meats and charcuterie; not always shaped in the familiar manner of a sausage, a small square not dissimilar to a pont leveque make these cured meats very tempting indeed. While some features and characteristics of Besancon are thoroughly French, there is an undeniable connection and suggestion of a German or Swiss tradition and the proximity of the Swiss border and the mountains is inescapable.


One surprise for me was the fact that the Theatre in Besancon was built to the designs of Claude Nicolas Ledoux. Ledoux, a unique architect for his time, was favoured by royal commissions for a period prior to the revolution and was commissioned to design and build the Royal Saltworks at Arc-et-Senans, not far from Besancon. He has since gained notoriety for his futuristic designs and projects proposed in the area of the Loue valley, but sadly many of these were not undertaken. The designs produced by Ledoux for the theatre were ground breaking for the time, and incorporated a sunken orchestra and sound box behind it, to project and enhance the acoustics of the theatre. Unfortunately, due to a fire all that remains today of the original theatre is the exterior facade.

In my recent adventures, I have also visited the Royal Saltworks, Haut doubs, Loue river valley and other places of interest in the region and hope you will visit this webpage again in the coming weeks to catch up, or take some time out during your day to see these places and read my comments.