Tropaeum Traiani: A Testament to Roman Glory in Ancient Dacia

Rising from the windswept plateau of Adamclisi in Romania’s Dobruja region, the reconstructed Tropaeum Traiani stands as one of the most remarkable testimonies to Roman imperial ambition and military might. This magnificent circular monument, commissioned by Emperor Trajan in 109 CE, commemorates not just a victory, but the brutal reality of conquest that shaped the ancient world.

Metopes on the Tropaeum Traiani monument. Photo by Michel Gybels.

The Historical Context: Trajan’s Dacian Wars

The story of Tropaeum Traiani begins with one of the most decisive conflicts in Roman history—the Dacian Wars (101-106 CE). The monument specifically commemorates the victory at the Battle of Adamclisi in the winter of 101-102 CE, where Emperor Trajan faced the Dacian king Decebalus in what would prove to be a pivotal confrontation. The battle was particularly brutal, with heavy casualties on both sides, though it ultimately resulted in a decisive Roman victory.

The battle arose from Decebalus’s strategic gambit to attack Roman-held Moesia south of the Danube, hoping to force Trajan to abandon his positions near the Dacian capital of Sarmizegetusa. The Dacian army, allied with the Roxolani and Bastarnae tribes, attempted to cross the frozen Danube but suffered massive losses when the ice broke under their weight. Trajan moved his army from the mountains, following the Dacians into Moesia, where the decisive engagement unfolded at Adamclisi.

Architectural Marvel: Engineering Roman Glory

The Tropaeum Traiani  was likely designed by Apollodorus of Damascus, Trajan’s favored architect who also engineered the famous bridge across the Danube. Standing approximately 40 meters tall with an equal diameter, the structure embodies the Roman mastery of monumental architecture. The monument consists of a massive cylindrical drum built on seven concentric rows of stone steps. The drum itself was constructed of concrete (opus caementicium) faced with local limestone blocks, arranged using the sophisticated opus quadratum technique without mortar—a method showing Greek influence adapted to Roman engineering standards.

Tropaeum Traiani. Photo by Michel Gybels.

The structure was dedicated to Mars Ultor (“Mars the Avenger”), with a bilingual inscription preserved fragmentarily on the hexagonal base: “MARTI ULTOR[I] IM[P(erator)CAES]AR DIVI NERVA[E] F(ILIUS) N[E]RVA TRA]IANUS [AUG(USTUS) GERM(ANICUS)] DAC]I[CU]S PONT(IFEX) MAX(IMUS) TRIB(UNICIA) POTEST(ATE) XIII IMP(ERATOR) VI CO(N)S(UL) V P(ater) P(atriae),” translating to “To Mars the Avenger, Caesar the emperor, son of divine Nerva, Nerva Trajan Augustus, Germanicus, Dacicus, Pontifex Maximus…”

Reconstruction of the inscription.

The Metopes: Visual Chronicles of Conquest

The monument’s most striking feature was its frieze of 54 rectangular stone panels (metopes) that encircled the drum like a belt, each measuring approximately 1.48-1.49 meters in height.

Metopes on the monument. Photo by Michel Gybels.

These metopes depicted scenes from the Dacian Wars in remarkable detail, from cavalry charges to hand-to-hand combat.

Metopes – a closer view. Photo by Michel Gybels.

Of the original 54 metopes, 48 survive and are housed in the Adamclisi Museum, while one is preserved in the Istanbul Archaeology Museum. The remaining few were lost over time, with some reportedly falling into the Danube during attempts to transport them to Bucharest.

Roman Legionary with a mail manica and spear with Dacian falxman. Photo by Michel Gybels.

The metopes narrate the progression of war, beginning with cavalry action and heavy fighting, including five scenes of hand-to-hand engagement between Roman legionaries and their Dacian opponents. The narrative includes depictions of Trajan himself, Roman soldiers on the march, brutal battle scenes, and the final subjugation of the Dacian prisoners.

Vexilliferi (Standard Beareres). Photo by Michel Gybels.

The metopes were created by five different groups of craftsmen, each with varying levels of skill—some carved human sculptures clumsily, while others demonstrated sophisticated knowledge of human proportions. Unlike the refined depictions on Trajan’s Column in Rome, these metopes have been described as displaying “barbarian provincial taste,” carved by “sculptors of provincial training” who “reveal a lack of experience in figurative representation.” However, this rawer, bloodier art carries “more power and authenticity for lacking the filter of a refined disdain for the realities of war.”

Legionary and Dacian Warrior. Photo by Michel Gybels.

The simplified nature of the reliefs may have been deliberately designed to clarify imperial iconography for a provincial or foreign audience. As scholar Jas Elsner noted, the reliefs present all the “vitality, vigour and non-classicism of barbarian art,” giving the conquered Dacians a “visual voice” in the narrative that was “familiar, even natural” to them.

Barbarian family in a four-wheel cart. Photo by Michel Gybels.

Destruction and Rediscovery

The monument’s fate mirrored the empire’s own decline. By the second and third centuries CE, it suffered degradation from earthquakes and human activity. In 170 CE, the citadel of Tropaeum Traiani faced attacks from the Goths, and the monument may have been destroyed in an earthquake by 316 CE. A great earthquake in 477 CE further damaged the structure, causing it to lean, as discovered by later topographic surveys.

With the rise of Christianity, the monument faced deliberate destruction as local inhabitants, who “still shared the pagan philosophy,” attacked “the ancient cults represented by sculptures and images.” The process was similar to that experienced by the Tropaeum Augusti in France, where Saint Honoratus initiated the demolition of statues considered pagan idols. The scattering of fragments occurred between the fifth century and the beginning of the nineteenth century. During this time, after the Ottoman empire established its capital in Constantinople in 1453, a Turkish general visited the site and extracted a sculpted metope to send to Constantinople.

Tropaeum by H. Jacobi in 1896, Public Domain

By the 19th century, the monument appeared as “a huge dome-shaped masonry surrounded by massive deposits of earth and debris, where shrubs had grown, among which were carved stones scattered about.” The first modern archaeological investigations began in 1882 under Grigore Tocilescu, the first Romanian archaeologist, who conducted campaigns in 1883, 1884, and 1890.

Tropaeum Traiani at Adamclisi, before its reconstruction in 1977. Source: Remembering victories, remembering losses: Trajan’s Trophy and Altar at Adamclisi.

After extensive debates in the 1960s, Romanian authorities chose to rebuild the monument using new materials while preserving the original pieces in museums. Two solutions were proposed: restore the original pieces to Adamclisi and reconstruct the missing ones, or keep the originals in Bucharest’s History Museum and create copies. The second option was approved, and reconstruction began in 1973, completed in 1977 to coincide with the centenary of Dobrogea’s union with the Romanian state.

Reconstruction works. Source: Tropaeum Augusti (France) and Tropaeum Traiani (Romania): A Comparative Study

The new monument uses a metal structure clad with stone pieces from the same ancient quarries exploited 2,000 years ago, located in the Enigea valley about 4 kilometers from Adamclisi. This approach maintained the monument’s visual impact while preserving the authentic artifacts for posterity. The reconstruction follows the same architectural principles as the original, including the cylindrical base, conical roof with scale-like stone plates arranged in 25 concentric rows, and the hexagonal superstructure supporting the trophy.

Military and Strategic Importance

Tropaeum Traiani was positioned at a crucial strategic location, controlling the ancient road from Tomis (modern Constănţa) to Durostorum (modern Silistra in Bulgaria). This positioning made it not merely a commemorative monument but a statement of Roman territorial control and a warning to potentially rebellious tribes. Trajan settled veterans from his Dacian campaigns in the area, establishing both a fortress and a civil town. The inhabitants, known as the “Traianenses Tropaeenses,” dedicated a statue to their patron emperor between 115-116 CE.

Cities and roads in eastern Moesia, by CristianChirita, CC BY-SA 3.0.

Under Antoninus Pius, the site became home to a detachment of the XI Claudia legion, and its importance grew when it was promoted to the rank of municipium around 180 CE during Marcus Aurelius’s reign. However, the settlement’s exposed position meant it did not prosper during the 3rd century and had to be rebuilt almost from scratch during the time of Constantine the Great and Licinius. A dedication survives to the two emperors, with Constantine tellingly taking precedence. The settlement continued until it was destroyed by the Avars at the end of the 6th century, marking the end of nearly five centuries of Roman presence in the region.

Comparison with Tropaeum Augusti: Two Monuments, One Empire

The Tropaeum Traiani shares striking similarities with its French counterpart, the Tropaeum Augusti at La Turbie. Both monuments celebrate imperial victories over frontier peoples—Augustus over 45 Alpine tribes in 6 BCE, and Trajan over the Dacians in 102 CE. Both use circular architecture with metopes and pilasters, were built according to Vitruvian principles, and served as symbols of Roman territorial control in conquered regions.

La Turbie – reconstruction. Photo by Von Matthias Holländer.

Key differences exist in their current states: Tropaeum Augusti preserves original ancient construction consolidated but incomplete, while Tropaeum Traiani presents a complete reconstruction using new materials. The La Turbie monument stands 35 meters high and retains much of its original stonework, while partial reconstruction allowed only the western facade to be completely restored. In contrast, the Adamclisi monument was entirely rebuilt with copies to preserve the originals in museums.

La Turbie – photo by Von I, Gugerell, CC BY 2.5.

The Adamclisi Museum: Preserving Ancient Testimony

The modern museum, designed as a lapidarium to shelter and promote the original sculptural pieces, houses the authentic metopes carefully arranged and numbered according to their presumed placement on the monument. Beyond the 48 preserved metopes, the museum displays the lower and upper friezes, pilasters, crenelations, parapet blocks from the figured attic, and the colossal statue of the trophy with preserved elements of the statuary group—Geto-Dacian women and captives with hands bound.

Museum. Photo by Michel Gybels.

The museum also contains fragments of the dedicatory inscription and remains from the altar bearing the names of approximately 3,800 fallen Roman soldiers. Archaeological artifacts from the nearby city of Tropaeum Traiani and surrounding areas illustrate both the early habitation of the Geto-Dacians in southern Dobrogea and the continuity of Romanian settlement in this region where Romanization occurred most profoundly.

Museum. Photo by Michel Gybels.

The Site of the Ancient Town

The remains of the ancient town lies just a couple of kilometers away from the actual village, on a low rise from which a fantastic view can be had of the trophy itself and on to the high plateau up to the east.

Civitas Tropaensium – by Rotaru Florin – Own work, CC BY-SA 4.0.

It is protected on three sides by a natural slope, which was reinforced in the 4th century by a defensive wall studded with horseshoe-shaped towers. Here and there the ground is scarred with the trenches from various archaeological campaigns.

Remains of the ancient walls. Photo by Michel Gybels.

On the town’s main street, around 200 metres from the principal gate, lies the basilica forensis, the civilian basilica, marked out by two rows of column bases that formed the portico of the building.

Columns of the Basilica. Photo by Michel Gybels.

The forum, alongside which the basilica must have lain, is obscured by a jumble of ruins. Nearby, four Christian basilicas from the 4th to 6th centuries are evidence of the Christian life of the city. One, the ‘Cistern Basilica’, was adapted in late-Roman times from a pre-excisting water cistern, which provided a convenient and well-built rectangular structure without the need for extensive new building. Across the main street again are the ruins of the ‘Marble Basilica’, clear only from the shape of its apse, the rest being just an undifferentiated mass of stones.

View on the archaeological site. Photo by Michel Gybels.

The east gate of the city and the adjacent wall have been reconstructed and one tower stands incongruously whole. Leaving the site from the south side, a single jagged arch of a gateway survives, divorced from any surviving stones of the walls, from where a slight scramble leads down to the modern roadway.

Reconstructed tower. Photo by Michel Gybels.

Legacy and Significance

The Tropaeum Traiani stands as more than a monument to military victory; it represents the complex relationship between conqueror and conquered, between imperial ambition and human cost. Its brutal imagery depicts not just Roman triumph but “the subjugation of a nation and the ugliness of war, made all the more unsavoury for its triumphalist tone.” Yet from the Roman perspective, they had merely punished treaty-breakers and brought “peace” to a new province.

The monument exemplifies how Rome used architecture as political propaganda, creating permanent reminders of imperial power that would outlast the battles themselves. The choice to erect such a massive structure in conquered territory, rather than in Rome itself, demonstrates the importance of projecting strength to both subjected populations and potential enemies. The inclusion of local artistic traditions in the metopes suggests a nuanced approach to cultural integration, allowing the conquered some representation in their own subjugation.

*The Tropaeum Traiani can be visited freely, while the Victory Monument and archaeological museum in Adamclisi require admission tickets. The site offers a profound glimpse into the ambitions, achievements, and ultimate limitations of one of history’s greatest empir

Sources: 

“Tropaeum Augusti (France) and Tropaeum Traiani (Romania): A Comparative Study” by Alexandru Ș. Bologa and Ana-Maria Grămescu.

“La propagande impériale aux frontières de l’empire romain: Tropaeum Traiani” by Maria Alexandresca Vianu.

“Inscriptii de la Tropaeum Traiani“. Heidelberg University.

Header photo: By Andrei Lucian Vaida – Own work, CC BY-SA 4.0.

Our friend and TimeTravel Rome author Michel Gybels has been involved in this collaborative effort since its launch – you might remember our post about the project kickoff one year ago. Now, we’re excited to share the key achievements from their research, highlighted in the report called “The Roman North Sea Region – A Resource Assessment and Research Questions“, released in December 2024. More information can be found on the website of the project: https://bridgingthenorthsea.org

Header page of the Report, Dec 2024

Project Scope: A Network Across the Waters

The project looked at how the Roman Empire used the North Sea and Channel coastlines to create an interconnected world of trade, military power, and cultural exchange. The research covers roughly 55 BCE (when Julius Caesar first crossed to Britain) to around 410 CE (when Roman rule in Britain ended).

What’s different about this project is its cross-border approach. Instead of studying these coastal regions separately, researchers have combined their knowledge to see how sites across four modern countries once functioned as parts of a single, complex maritime network. Some of the key highlights of this unique work are summarized below.

The Roman Coastal Landscape

The coastline during Roman times was dramatically different from today. In many places, what is now dry land was once open water, while other areas now underwater were once thriving settlements.

For instance, the Wantsum Channel in Kent once separated the Isle of Thanet from mainland Britain, creating a navigable waterway that Roman ships used regularly. Archaeological evidence shows that Richborough, at the southern end of this channel, served as a major port of entry and supply base. Today, this ancient seaway lies buried beneath agricultural fields, its course marked by earthen sea walls and drainage channels.

The Wantsum Channel at time of the Romans. P 135 of the Report, Dec 2024.

Similarly, in what is now Flanders, the coastline has retreated significantly. The Roman coastal fort of Oudenburg, which once overlooked the sea, now sits over 8 kilometers inland. This dramatic change highlights how dynamic these coastal environments were and the challenges they posed to Roman engineers and sailors.

Schematic reconstruction of the coastal plain during the mid-Roman period. Red line: the current coastline; black line: border of the coastal plain in the Roman period. P 20 of the Report, Dec 2024.

Military Infrastructure

The project has documented a network of forts, harbors, and lighthouses that allowed Rome to maintain control over this maritime frontier. These installations weren’t randomly placed but formed a coherent defensive and logistical system.

Confirmed and possible Roman military installations along the coast of the Netherlands, Belgium and France. P 37 of the Report, Dec 2024.

At Dover (Portus Dubris), traces of harbor works, two lighthouses, and a fort of the Classis Britannica (British Fleet) reveal how the Romans engineered this natural harbor for military and trade purposes. Across the water at Boulogne-sur-Mer (Gesoriacum), a similar arrangement with lighthouses and a substantial harbor installation mirrors the setup at Dover, emphasizing the importance of the Dover Strait crossing.

Dover Castle and the Roman Lighthouse, By Michael Coppins – Own work, CC BY-SA 4.0.

Further north, at South Shields (Arbeia) near the mouth of the River Tyne, a fort was specially redesigned around 198 CE to serve as a supply base for Hadrian’s Wall, with numerous granaries for storing goods delivered by sea. The project has highlighted how these coastal installations were integral to the functioning of Hadrian’s Wall, connecting this frontier to the wider imperial supply network.

Material Culture: The Goods That Moved

Perhaps the most tangible evidence of connectivity comes from the artifacts that were transported across the North Sea. The project’s analysis of material culture has revealed shifting patterns of exchange that reflect broader historical developments.

During the early Roman period (43-165 CE), large quantities of pottery, especially terra sigillata tableware from southern Gaul, were imported into Britain. Metal goods, coins, olive oil in amphorae, and wine also crossed the Channel in considerable volumes. The Pudding Pan Rock site off the Kent coast, where hundreds of pottery vessels have been recovered from what may be multiple shipwrecks, exemplifies this busy trade.

Group of Roman samian ware pottery from Pudding Pan Rock. Source: Ashmolean Museum.

Interestingly, the research shows that the volume of cross-Channel exchange declined significantly after the mid-2nd century, possibly due to the combined effects of the Antonine Plague (165-180 CE) and the Marcomannic Wars that destabilized parts of the empire. At the same time, however, there was an increase in Roman goods moving into the northern Netherlands, suggesting that imperial subsidies paid to Germanic tribes were reshaping trade networks.

By the late Roman period (260-409 CE), the nature of cross-Channel exchange had fundamentally changed. Britain was exporting agricultural products to supply the Rhine legions, while importing far fewer manufactured goods. This shift from a consumer to a producer reflects the evolving economic role of Britain within the empire.

The Human Factor: Travelers Across the Sea

Beyond the infrastructure and artifacts, the project has begun to identify individuals who traveled across the North Sea, putting human faces to this maritime connectivity. Inscriptions, tombstones, and written records preserve the names of merchants, soldiers, officials, and others who made these journeys.

One notable example is L. Viducius Placidus, a merchant from the Rouen area in France, who is known from inscriptions both at Domburg in the Netherlands and at York in Britain, where he constructed an arch and temple. Such evidence demonstrates that individual businesspeople could operate across multiple provinces, maintaining networks that spanned the North Sea.

Dedicatory inscription made in York by Lucius Viducius Placidus. Source: https://romaninscriptionsofbritain.org/inscriptions/3195

Military personnel were also frequently on the move. A tombstone at South Shields commemorates Regina, a British woman who had married Barates, a merchant from Palmyra in Syria. Another records Victor, a Moorish tribesman who had traveled from North Africa to serve in the Roman forces in northern Britain.

These personal stories bring to life the cosmopolitan nature of the Roman North Sea world, where people from across the empire might meet and interact in bustling ports and frontier settlements.

A Landscape Under Threat

Many Roman coastal sites are now threatened by modern coastal processes and climate change. At East Wear Bay in Folkestone, a Roman villa site continues to erode as the cliff face retreats. At Reculver on the north Kent coast, much of the Roman fort has already been lost to the sea.

The Roman villa at East Wear Bay in the 1940s. The yellow line represents the current cliff edge which is progressing northwards. P 141 of the Report, Dec 2024.

In the Medway estuary, Roman industrial sites on low-lying islands are being submerged as sea levels rise, while in the Netherlands, several coastal forts have entirely disappeared beneath the waves due to coastal erosion. The project is highlighting the urgent need to document these vulnerable sites before they are lost forever.

Looking Forward: Future Research Directions

As the “Bridging the North Sea” project moves into its second year, several key research priorities have emerged:

1. Developing better mapping of Roman coastal landscapes: Creating GIS-based maps that can evolve as understanding improves
2. Synthesizing fragmented research: Bringing together the results of numerous small-scale investigations to build a comprehensive picture
3. Fostering cross-disciplinary collaboration: Working with geologists, climate scientists, and maritime specialists to understand the ancient North Sea environment
4. Sharing methodologies: Developing approaches to investigate difficult-to-access Roman landscapes that lie buried or submerged
5. Building international collaboration: Strengthening networks across the North Sea to address shared research questions

One interesting proposal is for a “flagship” experimental archaeology project that would involve constructing a Roman-era vessel, potentially with teams working on different sides of the North Sea. Such a project could provide valuable insights into the capabilities of Roman ships while engaging the public across the region.

The Untold Stories of Industry: Salt, Pottery, and More

One area that deserves more attention is the industrial activities that took place along these Roman coastlines. The project has begun to document how the Romans exploited coastal resources to fuel their economy, particularly in industries like salt production and pottery manufacturing.

In Kent, over 60 Roman salt-manufacturing sites have been identified, particularly concentrated in the north and north-west of the county. These salt works were strategically positioned to take advantage of tidal flows and sea access for transportation. The production process involved evaporating seawater in large clay containers (briquetage) over hearths, creating mounds of industrial waste that are still visible in some marshland areas.

Similarly, the project has identified more than 50 pottery manufacturing sites in Kent, many located in the north Kent marshes where they could benefit from both the necessary raw materials and easy access to water transport. Black Burnished Ware, produced in large quantities along both sides of the Thames Estuary from the mid-2nd to mid-3rd century, represents one of the major pottery industries. These vessels were widely distributed, including to Hadrian’s Wall, suggesting they may have been used to transport salt or other goods.

Map of Roman Kent showing the location of key sites. P.16 of the Report, Dec 2024.

In Flanders, salt-making was also of considerable economic importance during the Roman period. Finds of briquetage pottery indicate that salt was being produced at several locations spread throughout the coastal plain, always near active tidal inlets. Recent research has shown that the salt industry evolved from small-scale household production to a more industrial scale operation using batteries of up to 15 simultaneously operating furnaces.

The economic networks that supported these industries were complex. Salt was a valuable commodity, essential for food preservation and likely traded widely. Pottery production sites like those at East Chalk near Gravesend seem to have been entire settlements dedicated to manufacturing, with multiple kilns operating alongside domestic structures and small cemeteries.

These industrial landscapes represent an important aspect of North Sea connectivity. The products made in these coastal workshops traveled far and wide through Roman trading networks, while the technologies and skills needed for these industries may have crossed the sea with specialist workers. Studying these industries gives us a different perspective on connectivity – not just of elites and military forces, but of everyday economic life and the movement of essential commodities.

A Connected Past, A Connected Future

The “Bridging the North Sea” project reminds us that the divisions between countries that seem so natural today are relatively recent constructs. For the Romans, the North Sea was not a barrier but a highway that connected regions now split between four modern nations.

By studying this shared maritime heritage collaboratively, the project is not only enhancing our understanding of the past but also strengthening international connections in the present. As research continues, we can expect even more insights into how the Roman Empire created one of the first truly integrated North Sea regions, establishing patterns of connectivity that, in many ways, continue to shape the area today.

This ancient maritime network, with its ports, forts, ships, and travelers, represents an important chapter in the history of North Sea connectivity—one that resonates with our modern world of international trade and cross-border collaboration.

Source of the featured image: Artist’s impression: the port of Boulogne and the estuary in the 2nd century Cl. Seillier and P. Knoblock (2004) – archives of the archaeology service. Page 158 of the Report.

The year was 52 BCE, and Gaul was ablaze with rebellion. After years of Roman expansion, the Celtic tribes had finally united under a charismatic leader named Vercingetorix. What followed would become one of history’s most epic sieges – a make-or-break moment that would determine the fate of Gaul.

The history of the battle

In 52 BCE, Gaul erupted in rebellion as Vercingetorix united the Celtic tribes against Roman rule. After a series of battles, he retreated with 80,000 men to the hilltop fortress of Alesia. Julius Caesar responded with a remarkable military feat: his 50,000 troops constructed two rings of fortifications—one to trap Vercingetorix inside, another to defend against an approaching relief army of 250,000 Gauls.

Reconstruction of Alesia defensive walls. Photo by Timetravelrome.

The siege culminated in a dramatic double battle, with Romans fighting Vercingetorix’s forces attempting to break out while simultaneously defending against the massive relief army. Caesar personally led the defense, and despite being vastly outnumbered, his forces prevailed. Vercingetorix surrendered, effectively ending Celtic independence in Gaul and securing Roman control north of the Alps.

Remains of objects belonging to the besieged Alesia: spearheads, arrows, javelins, sword scabbards. On display in the Visitors center of Alesia. Photo by Timetravelrome.

Alesia: The Search for Caesar’s Legendary Battleground

The Battle of Alesia in 52 BCE marked the final showdown between Julius Caesar and the Gallic leader Vercingetorix. But where exactly did this pivotal siege take place? This question sparked one of the most fascinating archaeological debates of the 19th century

The location of ancient Alesia had been debated for centuries. In 1855, architect Alphonse Delacroix proposed identifying it with Alaise, near Besançon. This sparked what became known as the “Alesia Question,” with multiple communities claiming to be the site of the historic battle. The current site’s discovery and excavation became intrinsically linked to Emperor Napoleon III’s personal and political ambitions.

In the late 1850s, Napoleon III embarked on an ambitious project to write a comprehensive “History of Julius Caesar.” Far from being merely an academic pursuit, this endeavor was deeply intertwined with his political ideology of “democratic Caesarism.” Napoleon III saw parallels between Caesar’s rise to power during the troubled times of the Roman Republic and his own ascension following the French Revolution’s aftermath.

The controversy reached its peak when the CTG (which stands for Commission of Gaul Topography), following Napoleon III’s direct orders, began systematic excavations at Alise-Sainte-Reine in Côte-d’Or in April 1861. The commission, convinced by the site’s topography, conducted rigorous archaeological investigations under the direction of Saulcy, Bertrand, and Creuly.

It was modern archaeology and numismatics that eventually tilted the scales decisively toward Alise-Sainte-Reine. Excavations there uncovered hundreds of Gallic and Roman coins dating precisely to the siege period – exactly what you’d expect to find on a battlefield from 52 BCE.

General map of Alesia. Green lines correspond to archaeological excavations in 1861-1865. Photo by Timetravelrome.

A Day at MuséoParc Alésia: Where Ancient History Comes Alive

Today, visitors to Alise-Sainte-Reine can explore an impressive MuséoParc that brings the siege to life. When you first arrive, you’ll be struck by the modern circular building that seems to rise organically from the Burgundian landscape. Designed by Bernard Tschumi Architects, the MuséoParc’s visitor center is a striking cylindrical building wrapped in a wooden herringbone facade, echoing the ancient Roman fortifications. Its green roof, planted with grass and trees, helps it blend seamlessly into the historic landscape when viewed from the hilltop.

MuséoParc’s visitor center. Photo by Michel Gybels.

MuséoParc’s visitor center -inside. Photo by Timetravelrome.

Throughout the year, the MuséoParc brings history to life through dynamic reenactments. Skilled performers in authentic legionary uniforms demonstrate Roman military tactics and siege weapons, while engaging spectators with educational commentary. These lively shows offer an immersive glimpse into the epic battle that shaped Gaul’s destiny, combining historical accuracy with accessible storytelling.

Roman camp at Alesia. Photo by Timetravelrome.

Part of the reenactment show. Photo by Timetravelrome.

Another reenactment scene. Photo by Timetravelrome.

Below are few highlights from the MuséoParc collection or archaeological finds:

The “Martialis stone” – a stele inscribed in the Gallic language. It commemorates the construction in Alesia of a building to a Gallic divinity — Ucuétis — by a certain Martialis, from whom it takes its name. Photo by Michel Gybels.

Capitoline Triad. Photo by Timetravelrome.

Female bust, 1st c. AD. Photo by Timetravelrome.

The Monumental Roman Alesia: A Tale Written in Stone

Recent archaeology at Alesia has revealed how this famous Gallic stronghold transformed into a sophisticated Roman town, with its grandest development occurring between the reigns of Tiberius and Claudius (14-54 CE). The heart of Roman Alesia tells a fascinating story of cultural transformation through its major public buildings.

Archaeological site of the gallo-roman Alesia. Photo by Timetravelrome.

The Roman theater has emerged as one of the site’s most intriguing structures. Archaeological work between 2004-2007 uncovered its complex evolution – beginning with modest timber structures in the Tiberian period. The Romans’ first attempt at a monumental stone theater was quickly abandoned, but they soon returned with a grander vision. The final theater, expanded southward and southeast, arose during Claudius’s reign. Its elaborate design included a colonnade adorned with Hellenistic-Roman style capitals, fragments of which still survive today.

Theater of Alesia – protected against erosion. Photo by Timetravelrome.

Visiting the Alesia theater today, you can still trace the massive curved walls, see evidence of the various building phases, and imagine the thousands of spectators who once gathered here for performances. It’s a powerful reminder of how ancient Alesia wasn’t just a battlefield – it was a living, breathing city where people gathered to enjoy entertainment just as we do today.

Theater walls. Photo by Timetravelrome.

The civil basilica: this immense Administrative building housed the coria, which was the municipal counsel of the time. It also served as a courthouse it and meeting space. It was richly decorated.

View on the Basilica. Photo by Timetravelrome.

Partial reconstruction of the basilica. Photo by Timetravelrome.

The Forum development marked an even more dramatic change in Alesia’s urban landscape. Around 40-50 CE, the Romans cleared away the old Gallic metalworking quarter to create this new civic center. The forum complex grew to include a grand paved plaza and a series of uniform rooms fronted by a northern portico. In the early 2nd century, the addition of a basilica completed the forum’s transformation into a proper Roman administrative center.

The place of the Forum on the right side from Basilica. Photo by Timetravelrome.

Religion remained central to life in Alesia, with two major sanctuaries dominating the townscape. The central sanctuary evolved from an earlier Gallic sacred site, undergoing significant renovations during the Augustan and Claudian periods. Its decorated friezes and statuary showcased Roman architectural sophistication while respecting the site’s sacred history.

Remains of the Temple. Photo by Timetravelrome.

Reconstruction of the Alesia Temple and its sacred area. Photo by Timetravelrome.

Perhaps most telling of Alesia’s unique character is the Monument of Ucuetis. Standing along the forum’s north side, this building honored the local craft deities Ucuetis and Bergusia. Built through local patronage, it symbolizes how Alesia maintained its famous metalworking traditions even as it embraced Roman urban ideals.

Monument of Ucuetis. Photo by Michel Gybels.

The Ucuétis monument in Alesia – underground room in which hundreds of metal offerings were found. Photo by Michel Gybels.

Other monuments on the site include so-called « bronzesmith furnaces ». These enigmatic installations, numerous on the site, relate to a craft activity linked to fire. They have no equivalent outside Alesia.

Bronzesmith furnace of Alesia. Photo by Michel Gybels.

Visiting the Alesia site. Photo by Timetravelrome.

Sources:

• Recherches en cours sur le théâtre d’Alésia. Bilan préliminaire (2004-2008)
• Alesia « Le théâtre gallo-romain » Société des Sciences Historiques et Naturelles de Semur-en-Auxois
• Roland Martin et Pierre Varene, Le monument d’Ucuetis à Alesia. Revue archéologique du Centre de la France  Année 1974  13-3-4  pp. 336-337

The Roman Villa of Casignana is located in the province of Reggio Calabria. The original structure dates back to the 1st century AD and its most significant phase is represented by a major renovation that took place in the 4th century. It was later abandoned in the 5th, but traces of frequentation are visible up to the 7th century.

Location of the Villa Casignana on the sea coast of Calabria. Link to the source: www.locriantica.it

The Maritime Villa

The villa stood on the ancient road connecting Locri Epizefiri and Rhegion (Reggio Calabria). Due to this location on the road, it was initially thought that the Villa was connected to a statio, or that a statio had developed into a villa. However, the discovery in the 90’s of a residential sector with a facade open to the sea and connected to the thermal baths by a large peristyle have proven that the complex represents a residential-type maritime villa, belonging to an extremely wealthy owner.

Due to its richness, the quality and the state of conservation of the structures, the Villa of Casignana  is one of the most important Roman archaeological complexes in southern Italy.

View on the archaeological site. By Marcuscalabresus – Own work, CC BY-SA 4.0.

The History of the Discovery

The first documentation of the Villa’ remains are dating back to 1873 – the discovery was made on the occasion of the construction of the railway line on the Ionian coast of Reggio. The first documented finds date back to 1956, when a marble column was occasionally found. Then, the full archaeological area was discovered in 1963, following work for the construction of an aqueduct, near the road. After this date, the villa was systematically excavated and researched. Since 1998, the site has been managed by the municipality of Casignana which, with the acquisition of the neighboring lands, was able to significantly expand the protected area. Today, thanks to the vast archaeological excavations, the Villa and  a large private thermal complex were brought to light.

Lateral view on the room 25 of the Baths. Photo by Michel Gybels.

The Archaeological Site

The villa, positioned perpendicular to the coastline, was built between the 1st and 3rd centuries AD and then restructured at the beginning of the 4th century with a division into two main sectors: A and B to the west and D and H to the east, separated by a peristyle.

The picture below highlights the general plan of the villa: (A – Nymphaeum; B) – Thermal complex including two Baths; C) – Southern Baths; D) – Residential complex; E) – Central courtyard with a portico that overlooks the sea; F) – Large southern building; G) – northern porticoed building; H) northern building. Note that the North direction on this plan is on the right side.

The map of the archaeological site. Source: “Ville residenziali nell’Italia tardoantica: Dati recente e nuove prospettive di ricerca”.

The residential wing must have been splendid, suitable for an important person, a magistrate or a patrician. The owner decided to build two private thermal facilities next to his Villa, adorned with mosaic floors of great value. In addition to floor mosaics, frescoes and wall marble veneers, it was highly likely that Villa at Palazzi di Casignana was decorated with marble statues, all kinds of movable furniture and artworks.

Partial 3D reconstruction of the site. Source: “Modellazione multiscala e multicanale per la comunicazione del patrimonio culturale: la Villa Romana di Palazzi di Casignana”.

Mosaics of the Baths and the Villa

The Baths and the Villa are characterized by an exceptional size and decorative apparatus: more than twenty rooms feature geometric and figurative mosaics and the discovery of glass paste tesserae also suggests the existence of a decoration of the vaults of the main rooms.

One of the most beautiful and refined mosaics can be seen in the two frigidaria of the Baths complex. In particular, mosaics of the “hall of the Nereids” in the frigidarium of the Eastern Baths, dated to the 3rd century, depict a marine thiasos (“thiasos” – a group of worshippers of a god)  with four female figures riding a lion, a bull, a horse and a tiger ending with a fish tail. The room has an octagonal plan and has four apse sides, it also has two cold water pools.

Mosaic in the frigidarium of the Eastern Baths (room 9) with a Nereid on a lion. Photo by Michel Gybels.

General view on the frigidarium of the Eastern Baths. Photo by Michel Gybels.

The Room 25 represents the continuation of the room 9, and also served as the frigidarium of the Eastern Baths. This room is paved with an exquisite marble opus sectile, and features walls covered with marble veneers some of which still stand in place. The smaller tub located on the south side of the room was used for cold baths.

The Room 25 of the Eastern Baths. Photo by Michel Gybels.

The frigidarium of the Western Baths (Room 12) is decorated with geometrical mosaics. It was one of the most opulent and elegant rooms of the entire villa measuring ca. 6 m. x 6 m. The walls of the room were covered with marble veneers, portions of which are still visible today. The central area of Room 12 is paved with an elegant mosaic composed of white, black and green tesserae forming a perspective cube motif. A great quantity of light blue glass tesserae was
found in the room’s debris, suggesting the presence of a blue glass mosaic decorating the vaulted ceiling. The effect must have resembled a blue sky arching above the room, which was enhanced by the reflection of the water contained in the two tubs also situated in this beautiful room.

The frigidarium of the Western Baths (Room 12). Photo by Michel Gybels.

The calidarium of the Eastern Baths, with its hypocaust heating system, also has an octagonal plan and a mosaic floor in small tiles.

The hypocaust of the calidarium of the Eastern Baths. Photo by Michel Gybels.

The floor of Room 36 – which makes part of the Estaren Baths calidarium – rests on suspensurae and is paved with a complex, polychrome geometric mosaic.

Polychrome mosaic of the calidarium of the Eastern Baths (Room 36). Photo by Michel Gybels.

The floor of the room 24 – Calidarium of the Western Baths – was also built on suspensurae and is decorated with a geometric tesselatum. Remains of many glassy tesserae found in the area suggest the presence of another mosaic on the ceiling. On the photo of this room one can also see “tubuli” – tubes running up the walls to distribute heat.

Calidarium of the Western Baths. Photo by Michel Gybels.

The complex contains a beautiful rectangular hall (Room 7) – a dining room. The floor of Room 7 was paved with an elegant polychrome geometric mosaic featuring a four star motif. This room was identified as a triclinium, or dining room, as it is located in a particularly privileged position near the Courtyard and it has a view of the garden on the east side.

Room 7 – perhaps a dining room. Photo by Michel Gybels.

Mosaic pattern of the room 7. Photo by Michel Gybels.

On the opposite side of the road is located the residential part with numerous articulated rooms and a large courtyard.

Room “T” of the residential part of the Villa. Photo by Michel Gybels.

Mosaic Floors in the residential part. Photo by Michel Gybels.

In this residential part of the villa visitors can admire mosaic of the so-called “four seasons” hall. The floor of this room, used for banquets, is decorated with the personified faces of autumn, winter, spring and summer.

Villa romana di Casignana (room B) By Rjdeadly – Own work, CC BY-SA 4.0.

“Four seasons” mosaic – personification of the summer. By Marcuscalabresus – Own work, CC BY-SA 4.0.

The eastern facade of the Villa di Casignana’ residential area, which looks out towards the sea, represented a portico possibly flanked by two towers. The ground level structures of the portico are preserved, including the lower portions of the walls and parts of its polychrome floor mosaic.

Polychrome mosaics of the portico. Source: By Rjdeadly – Own work, CC BY-SA 4.0.

Detail of the mosaic in he Portico representing the “Indian Triumph of Dionysus“. By Rjdeadly – Own work, CC BY-SA 4.0,

The site of Casignana is considered the largest of those discovered so far in Calabria, and its importance is significant throughout southern Italy.

Sources:

“The Monumental Villa at Palazzi di Casignana and the Roman Elite in Calabria (Italy) during the Fourth Century AD”. Dissertation by Maria Gabriella Bruni, University of California.

“Modellazione multiscala e multicanale per la comunicazione del patrimonio culturale: la Villa Romana di Palazzi di Casignana”, Atti 13a  Conferenza Nazionale ASITA – Bari 1-4 dicembre 2009

“Ville residenziali nell’Italia tardoantica: Dati recente e nuove prospettive di ricerca”, Carla Sfameni. Piazza Armerina Villa del Casale. Scavi e studi nel decennio 2004-2014, edited by Pensabene Patrizio, Barresi Paolo, pp. 231–256. Roma: L’Erma di Bretschneider, 2019

Source of the header picture: Scavi archeologici non coperti della villa romana di Casignana, By Marcuscalabresus – Own work, CC BY-SA 4.0.

Curinga is a small village near Catanzaro in Calabria. The Calabrian area has always been an inexhaustible source of archaeological finds, especially in a well-demarcated area known as the Isthmus of Mercellinara: a narrow strip of land separating the Ionian Sea from the Tyrrhenian Sea. The Roman thermal baths of Acconia di Curinga are situated near the center of the village on a small rural road and the visit is free. They are supposed to be private baths that were part of a large monumental villa, belonging to a very powerful family. Situated near the via Popilia, which led from Rome to Reggio Calabria,  Curinga Roman Baths it is the only example of the use of Roman Africa’s construction techniques in Italy

Map of the Via Popilia. Public Domain

History of the Complex

The thermal complex of Acconia di Curinga is situated in the alluvial plain, shaped by the estuaries of Amato and Angitola rivers, in a very populated region since the Roman times.

Acconia region and Curinga on the Map of the Isthmus of Marcellinara. Source: Openstreetmap

The complex was built during the Imperial era and features various rooms like the frigidarium, the tepidarium and caldarium. The building, wrongly identified in ancient literature as the temple of Castor and Pollux, underwent scientific examination only from the 1960s onwards.

Appearance of the Curinga site in the 1960’s, before the excavations. Source: Klearchos magazine, 1966.

The discovered materials and analyzed masonry techniques corroborate the thesis that the baths were refurbished between the 3rd and the 4th century, and the monument remained in use until the end of the 6th century, serving different purposes.

View on the Baths complex. Photo by Michel Gybels.

The Archaeological Survey 

The visible parts of the complex occupy an area of about 1000 square meters, even if preliminary investigations suggest a planimetric development, and thus land occupation, of at least twice as much. The structure consists of service and utility rooms. The first ones are located on the south-eastern side and are overall six praefurnia, functional to heating air and water. The second ones, starting from the South to the North are caldaria (marked by the letter “C” on the plan below), tepidaria (letter “T”), and a frigidarium (F). A rectangular room, interpreted until today as an atrium or gymnasium (“Atria” on the plan), could correspond to a natatio, according to new excavations. In the almost symmetrical layout, one could distinguish the rooms used by women from those used by men.

Plan of the Curinga Baths. Source: Intervento di valorizzazione e tutela delle Terme Romane di Curinga.

The Rooms

The entrance to the baths was probably on the northern side, where the last excavation campaign revealed several wall structures with an uncertain function. The frigidarium is the largest room in the baths, it has a rectangular shape and it includes two large exedras. The roof consisted of a wide central cross vault, ending with two arches set on quadrangular pillars that connected the space with the two exedras, covered by small domes. The internal face of the walls of the exedras were interrupted by three semicircular niches, carved into the masonry, that probably hosted some statues.

The view on the exedra of the frigidarium from the exterior of the Baths. Photo by Michel Gybels.

From the frigidarium there was an access to a small rectangular room, surrounded on three sides by other spaces: it was a tepidarium, in which acclimatization to the higher temperatures took place. It constituted, both functionally and architecturally, the connecting element between the frigidarium and the rest of the baths complex. Given the state of preservation of the building, bathing paths, related to the functions of each hall, can only be proposed as a hypothesis. The latest excavations have revealed a series of pillars that may belong to the peristyle of a probable gymnasium. The service rooms are all located on the southern and south-eastern side of the building.

A rectangular structure formerly believed to be a gymnasium is probably a pool – a natatio. Photo by Michel Gybels.

On the South side there is a corridor, which allowed the loading of the pre-sufornia for the southern basins of the calidaria. The corridor was accessible through a door on the western side of the wall with three steps, which make it clear that these rooms were located below the floor levels and away from the view of those who used the structure. The corridor has a well-preserved cobblestone pavement.

View on the southern part of the Baths complex. Photo by Michel Gybels.

Building Technique

The building technique that characterizes the first phase of the building is opus testaceum, as face of the wall structures. The bricks used in Curinga are between 3.5 and 4 cm high, varying in colour from bright red to yellow and alternating with mortar. A disastrous event affected the thermal complex in ancient times.

Example of the Opus Testaceum.

This is testified by a massive restoration intervention, both structural and conservative, characterized by a new type of building technique. That was a wall made of horizontal lithic elements alternating with bricks that were probably re-used.

The later wall re-built in opus vittatum using bricks and stones .

Another restoration of the baths, occurred in the 3rd and 4th century, was aimed at the structural reinforcement of the apse of the east caldarium, which was replaced by a curvilinear wall. Between the middle of the 4th century and the beginning of the 5th century the thermal complex was disused and lost its function.

Conclusion 

The construction of the thermal complex of Acconia di Curinga is part of a lively construction activity around the middle of the 2nd century. Its presence is also confirmed by the contemporary structures found in the Roman neighborhood of Santa Aloe in the nearby city of Vibo Valentia, an area where archaeological investigations have shown the presence of building facilities together with bath facilities, attributable to the middle of the 2nd century. It is still unclear whether the baths were public or private. Probably they were part of a private villa, but other hypotheses reveal that the thermal baths could be connected to a public building.

Gone into disuse probably for the extinction of the family that owned it, the structure was transformed during the first half of the sixth century and it was used as a place of Christian worship. The building, especially the frigidarium, well suited as a place of worship for the presence of pools that could be used as baptismal fonts.

Bibliography 

MEDRI M. – PIZZO A. (a cura di), Le terme pubbliche nell’Italia romana (II secolo a.C. – fine IV d.C). Architettura, tecnologia e società, Seminario Internazionale di Studio, Roma 4-5 Ottobre 2018, Roma 2019

CESAREO C.N., Le Terme Romane di Acconia di Curinga (IV sec. d.C.). Sintesi di bellezza e ingegneria, in «Lamezia Storica», numero 1, Agosto 2022

In 2019 a very special event took place: an exhibition called “Domus Grimani”. At this date, part of the Grimany collection joined for a short period the palace of its former owner – the recently restored Palazzio Grimani. For the first time in 400 years the ancient marbles could be seen again in their original setting, and they were exhibited according to the tastes of the time.

I visited this beautiful and unique exhibition – unfortunately finished for a while – and I have the pleasure to share below some photos and memories from my visit.  But first, I would like to say a few words about the family of Grimani, their palace and their Collection, which gave birth to the first public museum in Venice.

Palazzo Grimani – Entrance to the Museum. Photo by Timetravelrome.

The Palace of Grimani

The Grimani Palace in Santa Maria Formosa was built in the Middle Ages at the confluence of the canals of San Severo and Santa Maria Formosa. The palace, originally constructed on a Venetian-Byzantine plan, was modified and enhanced during the fifteenth century, becoming residence of the doge Antonio Grimani – a skilled spice merchant and first doge of the family. Antonio donated the palace to his sons (Domenico, Girolano, Pietro, Vincenzo and Marino), but the palace decorations were achieved by song of his son Girolano, his nephews Giovanni (1506-1593), Patriarch of Aquileia, and his brother Vettore. Until 1865, the palace remained the property of the Grimani family. By our time, and after several changes of owners, the palace was in an advanced state of disrepair – in 1981 it was acquired by the city of Venice. After a long restoration, it opened to the public in 2008.

Photo of the Grimani Palace before restoration. Source: “The restoration of Palazzo Grimani di Santa Maria Formosa in Venice”, Loggia N27, 2014.

The centerpiece of the Grimani palace is the Tribuna – a room that once housed dozens of statues and busts, the most beautiful of the Grimani collection. The room is unique in Venice, as it was inspired by the ancient Roman domus mixing roman style with the cultural climate of the Renaissance. Embellished with ancient and precious marbles such as yellow alabaster, green serpentine and red porphyry – from the eastern Mediterranean where the doge Antonio Grimani made his fortune as a spice merchant and military – the space was conceived as a spectacular reception hall, where part of the family collection was exhibited.

Tribuna East – view during the “Domus Grimani” Exhibition. Photo by Timetravelrome.

Grimani Family and their Collection   

The story of the Grimani collection began with the death of Domenico Grimani (1461 – 1523) – the Venetian Cardinal and son of the doge Antonio. Domenico has accumulated valuable antiquities during his life in Rome – his workers found many ancient statues while building his villa and working in his vineyards located on the Quirinal – there were vineyards in Rome at this time as the city had lost many inhabitants in the Middle Ages. Stricken by an illness in the Roman summer of 1523, Domenico Grimani composed his last will: at his death, a collection of Flemish paintings and some 20 classical sculptures in storage in Venice were to become property of the state.

Cardinal Domenico Grimani – After Lorenzo Lotto – UK Royal Collection. Public domain.

These paintings and antiquities had to be arranged in a room in the donor’s honor. This first collection remained in the Palazzo Ducale until 1586, when antiquities were entrusted to Giovanni Grimani, the Patriarch of Aquileia, pending the completion of the new public museum. A few months later, following the example of his illustrious uncle, Giovanni has decided to donate his own collection of 150 antiquities to the state. So, the collection was first started by Domenico Grimani and was subsequently extended by one of his four nephews – Giovanni.

Portrait of Giovanni Grimani – workshop of Jacopo and Domenico Tintoretto,  Public Domain.

Giovanni Grimani was the youngest among four brothers and he lived the longest live – he has inherited or purchased the assets of his brothers, including the collection of his brother Cardinal Marino. By 1586, when Giovanni Grimani took over the collection of his uncle Domenico, the octogenarian Patriarch of Aquileia was the most knowledgeable collector and connoisseur of antiquities in Venice. Disappointed in middle life in a bid to follow his uncle and brothers Marino and Marco to a cardinal’s honours in Rome, he had contented himself with the patriarchate and retiring to the family palace at Santa Maria Formosa – transforming it into a vast and famous museum of art.

Family tree of the Grimani. Photo by Timetravelrome.

Giovanni Grimani had no direct heirs and he was concerned that his collection would be dispersed after his death. So, in February 1587, he announced that he wished to offer his collection of antique sculpture to the Republic, provided it could be displayed in a “permanent setting”. Giovanni died in October 1593 but the chosen “permanent setting” for his collection at the Biblioteca Marciana was still no ready. The death of Giovanni forced the Signoria of Venice to accelerate the works on the “Statuario Publico” – they were overseen by the Procuratore di San Marco, Federico Contarini, who added to the Grimani collection some 17 sculptures he owned himself. At last, in the summer of 1596 the Statuario Publico at the Biblioteca Marciana was completed. This collection comprising antiquities from collections of Domenico Grimani, Giovanni Grimani and Federico Contarini became the nucleus of the National Archaeological Museum of Venice, where it is still on display until now.

Anton Maria Zanetti il Giovane, Statuario Pubblico della Serenissima, parete d’ingresso, Venezia, Biblioteca Nazionale Marciana. Source: “Immagine originaria e stratificazione di identità mutate“.

Many pieces of the initial collection – busts of Apollo and Caracalla, head of Aphrodite and Dionysus – have been exhibited at the Biblioteca Marciana for 400 years, until the library’s had to undergo a restoration: in 2019 they were moved to the Palazzo Grimani for a temporary exhibition – the “Domus Grimani”.

‘Domus Grimani’ exhibition

The Tribuna, an actual “chamber of antiquities”, is the inner sanctum where Giovanni Grimani received his most illustrious guests. Illuminated from above and inspired by the Pantheon, it constitutes the pivot and the final destination of the itinerary along the rooms that precede it. It was originally accessible through a single doorway, but some small modifications have been made over the centuries—such as the installation of a large window and a second doorway leading to the Neoclassical room, which was used as a bedroom in the late eighteenth century. Visitors to the Domus Grimani exhibition have seen the Tribuna as it was in Giovanni’s day, thanks to the installation of two temporary architectural niches.

Verso of a drawing by Federico Zuccaro, circa 1582: study after part of the Tribuna of the Palazzo Grimani adorned with antique sculpture. Source: British Museum.

Tribuna South – during the “Domus Grimani” Exhibition. Photo by Timetravelrome.

Tribuna South and West – during the “Domus Grimani” Exhibition. Photo by Timetravelrome.

Exhibition highlights

At the center of the Tribuna one could see the “Rapt of Ganymede”, a roman copy made after a Greek Hellenistic original. In mythology, Zeus wanted to kidnap Ganymede and take him to Mount Olympus, where he would be the ‘cup holder to the gods’. Zeus disguised himself as an eagle, sweeping down from the heavens to carry Ganymede away. According to a legend, this sculpture would be a gift from Suleiman the Magnificent…

Rapt of Ganymede under the ceiling of the Tribuna. Photo by Timetravelrome.

Rapt of Ganymede – close up. Photo by Timetravelrome.

Another highlight of the Exhibiton was Aphrodite, AD 150-200: the sculpture was strongly restored in the Renaissance by Tiziano Aspetti. A hand of Aphrodite was added, as well as its head and the cupid besides…

Statue of Aphrodite or Capitoline Venus AD 2nd c. Head and bust restored by Tiziano Aspetti. Photo by Timetravelrome.

The next bust is probably the most enigmatic one: According to some attributions, it is a portrait of Antinous as a priest of Isis from Hadrian’s Villa in Tivoli. As other busts of Isis priests, there is a cross-shaped mark on the skull of this portrait, but it is hard to say – despite some resemblance –  whether the artist has indeed represented Antinous.

Antinous (?) as a priest of Isis. Photo by Timetravelrome.

My personal favorites of the exhibition include some anonymous portraits, such as this male bust dated to the 3rd century AD and a woman marble portrait, dated to the first half of the 3rd century AD.

Portrait of a man 3rd century AD with a Renaissance bust from Luni marble. Photo by Timetravelrome.

Portrait of a woman 205 – 235 AD bust and neck added during Renaissance. Photo by Timetravelrome.

Imperial portraits were represented by a portrait of Caracalla, a 16-century portrait of Hadrian, a marble bust of Aelius (?) and this well preserved bust of Commodus.

Bust of Commodus as a youth 175-177 AD. Photo by Timetravelrome.

Two masks of Pan were part of the Tribuna decorations.

Mask of Pan – middle of the 2nd c AD. Photo by Timetravelrome.

But the main focus attention at the Exhibition was obviously the Tribuna itself: restored to its original beauty, the Tribuna offered a rare glimpse into the artistic taste of the Renaissance collectors of antiquities. Unfortunately, after the end of this temporary Exhibition in May 2021, the Tribuna returned to its beautifully restored but still less spectacular state.

Tribuna North. – during the “Domus Grimani” Exhibition. Photo by Timetravelrome.

Sources:

https://www.venetianheritage.org/project

Cardinal Domenico Grimani’s Legacy of Ancient Art to Venice, Marilyn Perry, Journal of the Warburg and Courtauld Institutes, Vol. 41 (1978), pp. 215-244

The Statuario Publico of the Venetian Republic, Marilyn Perry, Saggi e Memorie di storia dell’arte, Vol. 8 (1972), pp. 75-150, 221-253

The restoration of Palazzo Grimani di Santa Maria Formosa in Venice, Loggia N27, 2014.

Immagine originaria e stratificazione di identità mutate“. Massimiliano Ciammaichella and Gabriella Liva. 2° Convegno Internazionale dei Docenti delle Discipline della Rappresentazione Congresso della Unione Italiana per il Disegno.

Some exhibitions are not new – they started in 2023 or are being extended. If you see an exhibition that’s missing – feel free to email me at contact@timetravelrome.com and I will add it to the list! :)

🪔 USA

~New York, MET 19/11/2023 – 03/03/2024 “Africa and Byzantium”

~Tampa, Museum of Art 13/01/2023 – 2026 “Life & Death in the Ancient World”

~Penn Museum 03/06/2023 – TBA “Ancient Food & Flavor”

~Arlington, Museum of Art 30/03/2024 – 23/06/2024 “Pompeii: The Immortal City”

🪔UK

~London, British Museum 01/02/2024 – 23/06/2024 “Legion – life in the Roman army”

~Colchester, Castle 15/07/2023 – 14/01/2024 “Gladiators: A Day at the Roman Games”

🪔 Italy & Vatican City

~Rome, Musei Capitolini 24/11/2023 – 05/05/2024 “Fidia”

~Rome Bath of Diocletian, until 21 April 2024 “Dacia. The last frontier of Romanity”

~Rome, École française de Rome 29/05/2024 – 20/12/2024 “School’ own Antiquities Collection”

~Sesto Fiorentino, Ernesto Ragionieri Library 29/09/2023 – 31/07/2024 “Moments of life on the plain before, during and after the Etruscans Archaeology unveiled in Sesto Fiorentino”

~Vatican City, Necropolis of the Via Triumphalis 17/11/2023 – TBA “Life and Death in the Rome of the Caesars”

🪔 France

~Paris, Louvre 29/02/2024 – 28/09/2025 “Near Eastern Antiquities in Dialogues: The MET at the Louvre”

~Paris, Louvre 24/04 – 16/09/2024 “Olympism: Modern Invention, Ancient Legacy”

~Paris, Crypte of the Notre Dame 31/01/2024 – “Objects recovered in the Seine river since prehistory until present days”

~Orléans, Hôtel Cabu 17/06/2023 – 28/04/2024 – “Archaeological treasuries”

~Strasbourg, City Exhibition Centre 11/10/2023–23/02/2024 “Tutankhamun : Discovering the Forgotten Pharaoh”

🪔 Germany

~Frankfurt, Liebieghaus Skulpturensammlung 08/03/2023 – 21/01/2024 “Machine room of the Gods”

~Giessen,  Oberhessisches Museum 31/03/2023 –  TBA “Of Beasts and Men – Menschen und Tiere in der Antiken Kunst”

🪔 Netherlands

~Amsterdam, The Allard Pierson Museum 06/10/2023 – 25/02/2024 “Face to Face: The people behind Mummy Portraits”

~Amsterdam, H’ART  Museum 16/09/2023 – 20/05/2024 “Julius Caesar  I came, I saw, I met my doom”

🪔Switzerland

~Basel, Antikenmuseum 19/11/2023 – 26/05/2024 “Iberians”

🪔Croatia

~Split, Archaeological Museum 25/06/2023 – TBA “Avars and Slavs south of the Drava”

🪔Australia

~Melbourne, Potter Museum of Art 24/07/2023 – 26/07/2024 “Ancient Lives: Insights from the Classics and Archaeology Collection“

Cartagena (called Carthago Nova by the Romans) was a major urban center with the usual range of civic structures to demonstrate the city’s status to the rest of the world. These included a theatre capable of accommodating around 7000 spectators, constructed between the years 5 and 1 BC. In the third century AD a market was built on the site. This in turn was destroyed by the Vandals in 425 AD.

Rediscovered in 1988, the theater has been restored so that much of it appears as it did in Roman times, including much of the seating and evocative remains of the stage building.

3D Reconstruction of the The theater of Cartagena. Source: regmurcia.com

History of a Discovery

The discovery and excavation of the Roman Theater in Cartagena in recent years has been one of the most surprising discoveries of archaeology of the city, as the monumentality and splendor of the theater have by far exceeded archaeologists expectations. The partial overlap of the Old Cathedral on top of the Roman theater is only the end result of a complex succession of neighborhoods and structures that have made this area a real history book.

Various constructions on the site of the theater before excavations. Source: Una experiencia en la recuperación del patrimonio arqueológico el teatro de “Carthago Nova”

Indeed, since medieval times, the site of the theater was occupied by a humble but popular neighborhood – with the passage of time it had become one of the most depressed areas of the old town.

Old buildings on the site of the ancient theater prior to excavations. Source: Una experiencia en la recuperación del patrimonio arqueológico el teatro de “Carthago Nova”

The excavation works started in October 1988. This first campaign revealed a complex superimposition of structures and allowed the discovery of rich architectural elements. In the period between 1996 and 2003, the excavations were completed and the theater could be seen in all its grandeur and splendor.

Theater of Cartagena today. Photo by Michel Gybels.

The monument and its parts

The situation of the theater in one of the highest hills of the city facilitated the construction of the cavea, which appears in its central part excavated in the rock of the mountain, while the lateral flanks are supported by vaulted galleries.

Aerial view of the theater. Source: CARM.es

The cavea with a capacity for 7,000 spectators, is divided into three horizontal sectors (moeniana), again divided by radial stairways.

Cavea of the theater. Photo by Michel Gybels.

The main entrances were made public through two side aisles (aditus) for which two separate entrance doors lintels with dedications to Lucius Caesar, east, and probably Caius Caesar were located on the west. Both dedications, together with the consul mention designatus in the cursus of Caius one of the altars found in the pit of hyposcaenium has allowed realize the date of construction or opening of the building between 5 and 1 a. C.

On the right one can see the entrance door to the Theater with the lintel dedicated to Lucius Caesar. Photo by Michel Gybels.

Dedicatory inscriptions to Gaius and Lucius Caesar. Photo by Michel Gybels.

These side corridors led to the orchestra – semicircular space in front of the stage or proscenium which develops with a length of 43.60 m. On the orchestra there were also three rows seats of honor (proedria) reserved to the authorities.

The stage of the theater. Photo by Michel Gybels.

The bases, cornices and especially capitals were adorned with rich decoration, characteristic of the Augustan era.

Marble relief of the Rea Silvia, mother of Romulus, found in the Theater. Photo by Michel Gybels.

Restoration

The restoration of the Roman Theater in Cartagena has resulted in a combination of techniques aiming at the replenishment of areas where the remains of the theater had disappeared completely, consolidation of some other areas, and partial re-building so that the building can be visited with comfort and also can be better understood by tourists. Importantly, all necessary measures were taken to ensure that the new additions can be dismantled without any damage to the original work, and the material impact of reconstructions was minimized.

Restored elements of the scene are clearly visible. Photo by Michel Gybels.

Later history of the Theater

After the 3rd c. AD, the theater was extensively modified to serve as a market and public commercial space – a macellum. Ornamental materials were reused for the marketplace, which explains why most of the building’s fragments were found at the site of the theater itself, but in a re-used position. It is estimated that around 60% of the building’s original materials remain in situ. After the destruction of the city by the Vandals in 425, the macellum was severely damaged and probably abandoned. With the reconquest of the region by Emperor Justinian, the city was refounded as Carthago Spartaria. The ruins of the theater were once again the site of a commercial district in the 6th century AD.

Later on, in the 13th century, the St. Mary’s Cathedral was built on the site of the theater – its walls contain architectural details dating from Republican to Late Antique times, some of which can be attributed to the theater.

Sculpture of a lyre-playing Apollo in Cartagena’s Roman Theater Museum. Photo by Michel Gybels.

Jupiter altar – one of the three round altars dedicated to the Capitoline Triad found in situ. Photo by Michel Gybels.

Sources

Museum brochure The Roman Theatre and Museum of Cartagena

Una experiencia en la recuperación del patrimonio arqueológico el teatro de “Carthago Nova”, 2007, by Sebastián F. Ramallo Asensio

Header image: By Holger Uwe Schmitt – Own work, CC BY-SA 4.0.

History of Carthago Nova

Originally named Martia, this settlement on the southern Iberian coast was refounded by the Carthaginian general Hasdrubal Barca (Hannibal’s brother) around 227 BC as Qart Hadasht (the “New City”). Its time as a Carthaginian possession was short-lived. Just seventeen years later, as the Second Punic War was drawing to a close, the Roman general Scipio Africanus took the city, using it as a military stronghold.

No doubt on account of its proximity to Spain’s vital silver mines, Carthago Nova prospered throughout the mid to late Republic: the historian Polybius describing it as a magnificent capital resplendent in palaces, temples, and, of course, its all important harbour. Indeed, the city’s remarkable natural harbour—one of the finest in the Roman world—didn’t just benefit the Romans strategically. It also yielded some of the best garum (a fish sauce used in all types of Roman cooking) in the entire Roman Empire.

Geographical location of Carthago Nova. Source: “Carthago Nova : la ville et le territoire. Recherches récentes”.

The granting of colonial status (Urbs Iulia Nova Carthago) in the year 54 BC marked the beginning of an intense process of urban development which culminated in the reign of Augustus (63 BC to 14 AD). This was when the new elites, made rich by trade and mining, brought about important developments within the city, with a new urban street network in which the streets formed blocks or insulae. In this period some of the most important buildings of the 1st century appeared, the ultimate goal of the transformation being to design a city in the image and likeness of the capital of the empire.

Panoramic view of the ancient Carthago Nova. Source: regmurcia.com

Carthago Nova also played a vital role in the civil war known as “The Year of the Four Emperors” in 69 AD. It was the seat of Galba, Spain’s governor, who was the first to respond to Julius Vindex’s call to free humanity from the Emperor Nero. Galba made his way from Carthago Nova to Rome, where he briefly ruled as emperor before being assassinated at the request of his rival, Otho. Under Diocletian in 298 AD, the city was renamed Carthaginesis and made the provincial capital of Hispania, and in 550 the Byzantine Emperor Justinian named it the capital of Spania (despite the fact it was under the Visigoths).

Roman Monuments of Cartagena

Cartagena has no shortage of Roman remains. Many have become interpolated either within or on the face of its subsequent buildings. However, there are plenty of well preserved independent sites too: the Augusteum (a college for the imperial cult) sits in the heart of the historical center alongside the remains of the Roman Forum and the Casa de la Fortuna—arguably one of the best examples of a luxury Roman villa in existence. The main Roman landmark is the amphitheater: a wonderful architectural feat dating from 5 – 1 BC to which the city’s archaeological museum is attached. Just on the outskirts of the historical center is the Torre Ciega: a monument dating from the first century BC that formed part of an enormous Roman necropolis.

Main archaeological areas in Cartagena. Source: “Cartagena City in the early roman empire era. Generation and analysis of a digital elevation model.”

The Molinete Roman Forum Museum

The museum allows you to dive into the history of the Cerro del Molinete from the 19th and 20th centuries back to the Old Carthago Nova. Over its three floors a selection of the most significant pieces found in the excavations around the Forum is exhibited, among with the paintings of Apollo and the Muses, the horn of plenty or the painting of a hunter are of particular interest.

Apollo and Muse Calliope, found in the Atrium Building. Source: “La pittura romana in Spagna: questioni di metodo e prospettive di ricerca“

Horn of abundance displayed in the Museum. Photo by Michel Gybels.

Fresco with a hunter. Photo by Michel Gybels.

As early as the 2nd century BC the Cerro del Molinete (Arx Hasdrubalis) was organised into terraces with public and private buildings. At its top stood the walls that defended the city and the temple. With urban renewal in the 1st century BC, several rectangular blocks were laid out at the foot of the hill.

Reconstruction of the Forum of Carthago Nova. Source: regmurcia.com

What we now call the Roman Forum Quarter was built on these blocks which consisted of a thermal complex with a wide arcaded square, the Atrium Building for holding religious banquets, the Sanctuary of Isis and the neuralgic center, the Colonial Forum with the most important religious, political and administrative buildings among which the Curia or local senate was of particular note. The blocks of Molinete were delimited by decumanus and by cardo (north-south streets).

A section of the Cardo – the north-south street. Photo by Michel Gybels.

The Colonial Forum and the Curia

The Colonial Forum stood at the foot of the acropolis located on the Cerro del Molinete, a short distance from the port. Its monumental buildings would be from the 1st century AD, within a domestic and artisan neighborhood of the 2nd and 1st centuries BC, whose buildings were abandoned and destroyed. The square and its buildings were the scene of the Imperial cult ceremonies and processions on the occasion of state holidays, the center of the city’s political and administrative life and a privileged space for tributes to the Imperial House, patrons and local notables.

Screen capture from the video about the Roman Forum of Cartagena. Source: regmurcia.com

It was organised in a large rectangular square over three terraces. On the upper terrace a temple dedicated to Augustus was built, it dominated the whole complex, emphasising the power of the sacred over the political, judicial and administrative sphere. The middle terrace was flanked by the Curia and communicated with the upper one through side stairs. At its head was a large altar or podium perhaps for tributes to the colony. The lower terrace, the largest, must have been flanked by buildings such as the basilica, corporate headquarters, local administration buildings and chapels.

The “curia ordinis” was the meeting place of the local senate. Its characteristics, function and location make this building one of the most emblematic in the forum and in the city, reaching the rank of a temple due to its ritual inauguration combining sacred and political aspects. It consisted of two spaces: a patio, probably like an open-air lobby, and a hall richly decorated with marble where senate meetings were held. It was built in the reign of Tiberius (1st century AD) on a previous curia from the 1st century BC.

Screen capture from the video about the Roman Curia of Cartagena. Source: regmurcia.com

The riches and most prestigious families of the colony were represented in the senate, who financed works and other expenses in the city and had some rights such as having reserved places at events and celebrations. The functions of the Senate were, among others, decurional decrees, contests and adjudications or appointment of positions. The meetings were presided over by a monumental statue of the Emperor Augustus, dressed in a senatorial toga as the first citizen of Rome and with his head covered by his status as Pontiff Maximus.

The Temple of Isis

Archaeological excavations carried out in the area of the Molinete in 2015 and 2016 resulted in the recovery of another block of Roman Cartagena. This block was occupied by a sanctuary dedicated to the Hellenistic ad Roman gods Isis and Serapis, according to inscriptions dedicated to these deities which were found in the area some years ago. The sanctuary, perhaps associated with the Atrium building, was in uninterrupted use from the last third of the 1st century until the end of the 3rd century, when it ceased to be sacred and was reused in an industrial capacity.

Temple of Isis. By Nanosanchez – Own work, CC BY-SA 4.0.

Isolated from the surroundings and the people outside the cult by an imposing wall, the sanctuary was dominated by a small temple housing a sculpture of the deity, accessed by a staircase and with a facade featuring four Ionic columns. Around the temple was an open courtyard with porticoes on three of it sides, to the rear were three chapels opening out onto the portico related to ceremonies in honor of the divinity and there were also spaces reserved for the priests and the furnishings of the sanctuary.

In the basement of the courtyard in front of the temple were four vaulted cisterns to collect rainwater used in the purification rituals performed in the complex, such as washing of the sculptures.

Between the temple and the chapels there was another oval cistern for storing rainwater.

A cistern on the site. Photo by Michel Gybels.

This deposit and other walls were built in  the Punic era towards the end of the 3rd century BC and were discarded when the temple was built in the last of the 1st century AD.

The Thermal Baths of the Port

This is a thermal bath complex accessed via a substantial porticoed courtyard or peristyle with a central open-air space paved with bricks arranged in a herringbone fashion (opus spicatum). This space served not only as an entrance but also as a meeting and mixing place for the local elites; it was presided over by a statue of a figure carrying a cornucopia of Carrara marble topped with a basket of fruit, in clear allusion to the “pax romana” achieved by Augustus after the end of the civil wars. This horn of plenty is the only element of the sculpture which has been found. A painting representing a hunter was also discovered in the same place.

Reconstructed view of the Roman Baths. Source: regmurcia.com

The thermal baths of the port were built in the 1st century AD along a simple linear axis. They feature the typical sequence of cold rooms (frigidaria) which also served as dressing rooms, warm rooms (tepidaria), where the hypocaust or heating system can still be seen, and hot rooms (caldaria) located below the present street. Finally, the complex contains another small warm room and a sauna room. In ancient times the thermal baths were large complexes in which leasure mixed with hygiene, and were used to strenghten social, economic and political bonds.

Hypocaust of the Baths. Photo by Michel Gybels.

Palestra of the Roman Baths. Photo by Michel Gybels.

The Decumanus

A stretch of the Decumanus Maximus was found in 1968 following the demolition of the Guardia Civil barracks, along with the ovens that heated the tepidarium and caldarium in the thermal baths and the remains of a commercial area consisting of a portico with shops. They were built in the times of the Roman Republic and re-modelled in the 4th century AD, re-using some of the original materials: the clearest example of this is an inscription dedicated to Numisius Laetus, a powerful family in Carthago Nova, which would initially have been in the Forum of the colony and was relocated to this area to form part of the wall of the thermal baths.

Decumanus Maximus, By VIATOR IMPERI – Cartagena, CC BY-SA 2.0.

The Atrium Building

The Atrium Building was built in the 1st century AD and may have been the seat of a religious group devoted to the celebration of ritual banquets in honour of the gods Isis and Serapis, who were worshipped in the adjoining sanctuary. Over the course of three centuries several alterations led to the original layout being modified, and in its final stage it was converted into a housing complex in which each of the rooms was home to a family. The building was in use until the late 3rd of early 4th century, when a fire destroyed the entire block.

Inner yard of the Atrium Building. Photo taken in situ by Michel Gybels.

Occupying an area of more than 2000 m², the Atrium was organized around a courtyard of columns from which stairs led up to the second floor. Open to the central courtyard were four large rooms in which there are still vestiges of the decorations and where banquets were held, with the diners reclining on couches.

The Atrium Building. Photo taken in situ by Michel Gybels.

The building also contained a hall used for worship, where the mural paintings which mimic the effect of marble still remain, and an altar which stood against the wall of the hall for worship. Service rooms stood on either side of the entrance corridor while there were shops in the exterior facade.

Restitution of the Atrium Building. Photo taken in situ by Michel Gybels.

The most significant findings in the Atrium Building are the paintings of muses and the god Apollo, a painted text commemorating the reform of the building during the time of emperor Elagabalus in the year 218 and the paintings of female masks framed by garlands.

Exploitation of the Site

The first excavations of the Decumanus were carried out by Pedro San Martin Moro, who in 1971 unearthed the first items of value found in the Plaza de los Tres Reyes. Subsequently, in 1997, the Town Hall of Cartagena installed a glass dome over the ruins to preserve them better, and in 2003 Cartagena Puerto de Culturas proposed  that the site should be covered and the remains presented in an accessible format for the public.

Work began on the hillside of the Molinete in 1982 with a team of archaeologists led by Miguel Martinez, who continued the excavation of the baths and provided new data leading to a better understanding of the remains of the Decumanus. Since 2008 excavations have continued throughout the side of the hill under the direction of José Miguel Nogera and Maria José Madrid.

All of these excavations have been managed by Cartagena Puerto de Culturas in an ambitious project which was awarded the National Prize for the Restoration and Conservation of Cultural Assets by the Ministry of Culture in the year 2012. The architectural design of the project was undertaken by Nicolas Maruri and Andres Canovas.

The Tour of the Site

• The Molinete Roman Forum Museum: exhibition of more than 300 pieces distributed over three floors from Cartagena to Carthago Nova, Carthago Spartaria and Carthago Nova to Qart Hadast.
• The Colonial Forum and the Curia: neuralgic center that housed the main buildings of every Roman city, among which the Curia or local senate were of particular note.
• Sanctuary of Isis and Serapis: the holy enclosure dedicated to the oriental gods whose images were guarded by the priests in the small temple which occupies the area.
• The Thermal Baths: views of the characteristic different spaces of a thermal complex with cold, warm and hot rooms. The porticoed courtyard which served as access to the thermal baths and in which the herringbone style paving is still in very good condition.
• Decumanus: this area contains more of the facilities of the thermal baths with an oven and ancillary spaces, and it is possible to walk along the Decumanus Maximus, the main road which crossed Carthago Nova from east to west.
• The Atrium Building: a chance to visit the various banqueting rooms, admiring the height of the walls and its ornate decoration.

A stand in the Museum with amphorae of various shapes, illustrating commercial links of the ancient Cartagena. Photo by Michel Gybels.

Sources:

• Cartagena Museum brochure “The History and Excavations of the site of the Molinete Roman Forum – Cartagena”.
• The “Carthago Nova” 3D restitution movie:  Link 
• Carthago Nova : la ville et le territoire. Recherches récentes.
• Cartagena City in the early roman empire era. Generation and analysis of a digital elevation model.
• La pittura romana in Spagna: questioni di metodo e prospettive di ricerca.

Main roman roads of the Northern Gaul. Source: Les voies romaines par la Wallonie

A Roman column erected in the center of Arlon to commemorate its Gallo-roman past. Source: Timetravelrome.

Arlon is home to several Gallo-Roman ruins and sites, each with its unique historical significance.

The Neptune Tower

The Roman Neptune Tower, discovered during excavations in 1948, was part of the rampart built in Roman times. This tower was an integral part of the Gallo-Roman ramparts of the city of Arlon dating from around the year 400. The ramparts had an approximate length of 850 meters and had between 15 and 20 defense towers.

Arlon – Perimeter of ancient defensive walls. Source: Timetravelrome.

Entrance to the Neptune tower site. Source: Timetravelrome.

The Neptune tower. Source: arlon.be

The reason the “Neptune” tower bears this name is that a magnificent block representing Neptune and his trident was discovered here. It is preserved in situ, in the heart of the tower’s foundations.

Relief with Neptune. Source: https://www.cirkwi.com/fr/point-interet/179240-tour-romaine-neptune

The Jupiter Tower

The Jupiter Tower was discovered in September 2009 at a distance of approximately 125 meters from the Neptune Tower. The tower is located along rue du Marquisat, on the ground floor of an extension of the Résidence de la Knippchen.

Jupiter Tower in Arlon. Source: Timetravelrome

The bas-relief of Jupiter Caelus at the Jupiter Tower. Source: Timetravelrome.

Two other defensive towers are known in Arlon but they are not yet open for visits.

Thermal Baths

The Orolaunum thermal baths were discovered in 1907 when locomotives depot was built on the “Vieux Cimeière” site. The baths had a classic tripartite layout: cold bath (frigidarium), warm bath (tepidarium) and hot bath (caldarium). A religious inscription dedicated to Hercules was also discovered on the site.

The site of the roman baths of Arlon. Source: arlon.be

Arlon Archaeological Museum – Hypocaust of the Baths.

The Roman column

In 1972, a drainage contractor discovered a large fragment of a religious monument erected to the glory of Jupiter, the celestial god and protector of families and their possessions. It is usually associated with a coronation featuring a horseman slaying a half-human, half-serpent monster. This type of monument was inspired by a model created in Mainz in honor of Nero. It is assumed to have an octagonal base dedicated to the gods of the week. The column in the Grand’ Rue is a reconstruction made from copies, installed in the early 1990s to evoke the city’s Gallo-Roman past.

Base of the “Roman column”. Source: Timetravelrome.

“Roman column” of Arlon. Source: Timetravelrome.

Arlon Archaeological Museum

Founded in 1934, the Musée Archéologique d’Arlon brings together a wealth of Gallo-Roman artefacts discovered in the province of Luxembourg. The Gallo-Roman Lapidary Gallery is the largest of its kind in Belgium, with the best-quality artefacts. It contains more than 425 sculptures from funerary monuments and civic buildings. The remarkable preservation of these sculptures is due to their re-use in the foundations of the rampart built at the end of Antiquity to protect Orolaunum vicus from Germanic invasions. At the end of the third century, Gaul, like the rest of the Roman Empire, experienced great instability, due to the presence of Germanic populations coming from the east. The inhabitants of Orolaunum, who until then had occupied the valley, took refuge on the hill and fortified it. They use stones from cemeteries or civil monuments, cut them, and make the foundations of a defensive wall. These remains are now exhibited in the Archaeological Museum of the city.

Below are a few highlights from the Museum’s collection.

Bacchic procession relief.

Relief depicting a meal scene in a house. Source: Timetravelrome.

Relief on the mausoleum of Vervicius depicting Ariadne on Naxos uncovered by Silenus on behalf of Bacchus. Source: Timetravelrome.

A relief with a warrior found in 1971 on rue de la Caserne. Source: Timetravelrome.

One of the my preferred objects in the Museum of Arlon are spherical-shaped balsamarii found at the necropolis of Hochgericht. I think they really look like Christmas balls.

Hochgericht Necropolis spherical balsamarii. Source: Timetravelrome.

Spherical balsamarium from Hochgericht Necropolis. Source: Timetravelrome.

Another exceptional and probably unique object displayed in the Museum of Arlon is a lead (!) mold used to produce fake coins. It was found in 1898, near Schadeck (Belgian Luxembourg), in a field where remains of a roman building could be seen. The imprint is that of a denarius of Nero. The forty-four imprints were made with the same piece placed successively at forty-four different locations of the mold. It is debatable what metal was used for the production of the fakes – it seems that the only possibility was to produce fake coins using an alloy of lead and tin.

Lead counterfeiting molds -found in 1898 near Schadeck. Source: Timetravelrome.

Another foto of the counterfeiting molds. Source: Timetravelrome.

I hope you have enjoyed this little story about the Gallo-roman Arlon and its archaeological museum !

Sources:

Les voies romaines par la Wallonie. La voie Metz-Tongres.

Revue Belge de Numismatique, 1920.

Header picture: Arlon Archaeological Museum – balsamarii found at the Hochgericht Necropolis. Source – Timetravelrome.