Timeline

Heritage classified

Key figures

Origin and history

The Arles arenas, built between 80 and 90 AD under Emperor Domitian, are part of the Flavian extensions of the city. This monument, inspired by the Colosseum of Rome, was designed to accommodate 25,000 spectators in a setting dedicated to great shows, such as gladiator fighting. Its architecture, with its two levels of arcades and 136 meters of length, makes it one of the largest amphitheatres of the Roman Gaul, although less well preserved than that of Nîmes.

At the end of the sixth century, the arenas were transformed into a bastide, an urban fortress housing more than 200 houses and two chapels, in response to increasing insecurity. This residential function continued until the 19th century, when the Baron of Chartrouse, mayor of Arles, launched expropriations to restore the monument. In 1840, Prosper Mérimée classified the arenas as a historic monument, marking the beginning of their preservation.

The arenas returned to their festive vocation in 1830 with Taurin shows, perpetuating a Roman tradition adapted to local customs. Classified as a UNESCO World Heritage Site in 1981, they are undergoing major restorations, such as those carried out between 2003 and 2013 under the direction of Alain-Charles Perrot. Today, they host bullfighting, Camargua races, concerts and re-enactments of gladiators fighting, mixing heritage and cultural life.

The amphitheatre has inspired artists like Van Gogh and Picasso, and appears in modern works, such as the game A Plague Tale: Requiem (2022) or the film Happy that like Ulysse. Its history reflects both the Romanization of Gaul, medieval adaptations and contemporary efforts to preserve this symbol of antiquity.

The restoration work, carried out in collaboration with the Institute for Research on Ancient Architecture (IRAA), allowed to consolidate the structure while studying its archaeological characteristics. Photogrammetric surveys and analyses guided the interventions, as on span 45, serving as a reference for the other parts. These efforts are part of broader projects, such as MINOTEC, aimed at valuing the ancient venues of the show in Europe.

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