Timeline

Heritage classified

Key figures

Origin and history

The Black Gate of Besançon, originally called the Gate of Mars, is a Gallo-Roman triumphal arch erected in the second century under Emperor Marc Aurelius (161–180). At 16.56 meters high, it was originally covered with fine sculptures depicting Greek and Roman deities, as well as scenes of fighting linked to the Marcomanic wars (166–180) and victories against the Parthians (165–166). The interior reliefs, although very degraded, evoke the capture of Ctésiphon (capital parth) and the battles against the Germanic peoples. The arch also commemorates the Germanic triumph of 176, combining Marc Aurelius and his son Commode, promoted Augustus in 177.

The precise dating of the arch was debated: initially between 171 and 175, an in-depth analysis of the decorations proposes a construction between 177 and 180. Its funding could come from the city of the Sequanes, the Roman Senate, or both. Originally, the arch marked the monumental entrance of Besançon (Vesontio) for travellers coming from Italy, without being a fortified gate. It was placed at the southern end of the cardus maximus, between the lower town and Mount Saint-Étienne (former Mons Cælius).

In the third century, in the face of Germanic invasions, Besançon established a rampart incorporating the arch as a city gate. During the Middle Ages, it became a symbolic boundary between the capitular district (around the cathedral) and the agglomeration lying below. The stone used, a soft and easy to sculpt Vergenne stone, however, proved vulnerable to erosion and pollution, erasing much of the original decorations.

Ranked a historic monument in 1840, the Black Gate benefited from major restorations, notably in 1827 under the direction of architect Pierre Marnotte, then in the 21st century (2009–2011), giving the monument its original color. Its style is distinguished by a profusion of mythological reliefs (Dioscures, Theseus, Jupiter pounding the Giants), rare among Gallo-Roman arches, and a slender structure (16 m high for 2 m deep).

The identifiable historical scenes, such as Victoria's depiction of Tutela (the allegory of Besançon's protection), highlight its role as imperial propaganda. Despite the deterioration, the arch remains an exceptional testimony of Roman triumphal art in Gaul, mixing military symbols and mythology to celebrate the Romana Pax and the power of Rome.

External links