The Arènes de Lutèce are among the most important remains from the Gallo-Roman era in Paris (known in antiquity as Lutetia, or Lutèce in French), together with the Thermes de Cluny. Lying in what is now the Quartier Latin, this amphitheater could once seat 15,000 people, and was used to present gladiatorial combats.
Constructed in the 1st century AD, this amphitheater is considered the longest of its kind constructed by the Romans. The sunken arena of the amphitheater was surrounded by the wall of a podium 2.5 m high, surmounted by a parapet. The presence of a 41.2m long stage allowed scenes to alternate between theatrical productions and combat. A series of nine niches aided in improving the acoustics. Five cubbyholes were situated beneath the lower terraces, of which three appear to have been animal cages that opened directly into the arena. Historians believe that the terraces, which surrounded more than half of the arena's circumference, could accommodate as many as 17,000 spectators.
Slaves, the poor, and women were relegated to the higher tiers — while the lower seating areas were reserved for Roman male citizens. For comfort, a linen awning sheltered spectators from the hot sun. Circus acts showcased wild animals. From its vantage point, the amphitheater also afforded a spectacular view of the Bièvre and Seine rivers.
When Lutèce was sacked during the barbaric invasions of 280 A.D., some of the structure's stone work was carted off to reinforce the city's defences around the Île de la Cité. Subsequently, the amphitheater became a cemetery, and then it was filled in completely following the construction of wall of Philippe Auguste (ca. 1210).
Centuries later, even though the surrounding neighbourhood (quartier) had retained the name les Arènes, no one really knew exactly where the ancient arena had been. It was discovered by Théodore Vaquer during the building of the Rue Monge between 1860–1869, when the Compagnie Générale des Omnibus sought to build a tramway depot on the site.
Spearheaded by the author Victor Hugo (1802–1885) and a few other intellectuals, a preservation committee called la Société des Amis des Arènes undertook to save the archaeological treasure. After the demolition of the Couvent des Filles de Jésus-Christ in 1883, one-third of the arena was uncovered. The Municipal Council dedicated funds to restoring the arena and establishing it as a public square, which was opened in 1896.
After the tramway lines and depot were dismantled in 1916 and line 10 of the Paris Métro was constructed, the doctor and anthropologist Jean-Louis Capitan (1854–1929) continued with additional excavation and restoration of the arena toward the end of World War I. The neighbouring Square Capitan, built on the site of the old Saint-Victor reservoir, is dedicated to his memory. Unfortunately, a portion of the original arena — opposite the stage — was lost to buildings which line rue Monge.
Standing in the centre of the arena one can still observe significant remnants of the stage and its nine niches, as well as the grilled cages in the wall. The stepped terraces are not original, but historians believe that 41 arched openings punctuated the façade.References:
Wawel Hill – a Jurassic limestone rock, a dominant feature in the landscape of Kraków, have provided a safe haven for people who have settled here since the Paleolithic Age. It is supposed that the Slav people started living on Wawel hill as early as the 7th century. Early medieval legends tell stories about a dreadful dragon that lived in a cave on Wawel Hill, about his slayer Krakus, and about the latter’s daughter Wanda, who drowned herself in the Vistula rather than marry a German knight. Towards the end of the first millennium A.D Wawel began to play the role of the centre of political power.In the 9th century it became the principal fortified castrum of the Vislane tribe. The first historical ruler of Poland, Miesco I (c.965-992) of the Piast dynasty as well as his successors: Boleslas the Brave (992-1025) and Miesco II (1025-1034) chose Wawel Hill as one of their residences.
At that time Wawel became one of the main Polish centres of Christianity. The first early Romanesque and Romanesque sacral buildings were raised here, including a stone cathedral that was erected after the bishopric of Kraków was established in the year 1000.
During the reign of Casimir the Restorer (1034-1058) Wawel became a significant political and administrative centre for the Polish State. Casimir’s son, Boleslas the Bold (1058-1079) began the construction of a second Romanesque cathedral, which was finished by Boleslas the Wrymouth (1102-1138). In his last will of 1138, this prince divided Poland into districts, and provided that Kraków was to be the residence of the senior prince. In 1291 the city of Kraków along with Wawel Hill temporarily fell under the Czech rule, and Wenceslas II from the Premysl dynasty was crowned King of Poland in Wawel cathedral.
In 1306 the Duke of Kuyavia Ladislas the Short (1306-1333) entered Wawel and was crowned King of Poland in the Cathedral in 1320. It was the first historically recorded coronation of a Polish ruler on Wawel Hill. Around that time, at the initiative of Ladislas the Short, the construction of the third Gothic cathedral began, the castle was expanded and the old wooden and earthen fortifications were replaced by brick ones. The tomb of Ladislas the Short in the cathedral started a royal necropolis of Polish kings in Krakow.The last descendant of the Piast dynasty, Casimir the Great (1333-1370) brought Wawel to a state of unprecedented splendour. In 1364 the expanded gothic castle witnessed the marriage of Casimir’s granddaughter Elizabeth to Charles IV accompanied by a famous convention of kings and princes, subsequently entertained by a rich burgher Wierzynek. The accession to the throne in 1385 of Jadwiga from the Hungarian dynasty of Andegavens, and her marriage to a Lithuanian prince Ladislas Jagiello (1386-1434) started another era of prosperity for Wawel. The royal court employed local and western European artists and also Rus painters. During the reign of Casimir Jagiellon (1447-1492) the silhouette of the hill was enriched by three high brick towers: the Thieves’ Tower, the Sandomierz Tower and the Senatorial Tower. The first humanists in Poland and tutors to the king’s sons: historian Jan Długosz and an Italian by the name Filippo Buonacorsi (also known as Callimachus) worked there at that time.
The Italian Renaissance arrived at Wawel in the early 16th century. King Alexander (1501-1506) and his brother Sigismund I the Old (1506-1548) commissioned the construction of a new palace in place of the Gothic residence, with an impressive large courtyard with arcaded galleries which was completed about 1540. Sigismund’s patronage also left an indelible impression in the cathedral, where a family chapel was erected, known today as Sigismund’s Chapel - the work of Bartolomeo of Berrecci Florence, and through various foundations, one of which was that of a large bell, called the Sigismund to commemorate the king. Close artistic and cultural relations with Italy were strengthened in 1518 by the king’s marriage to Bona Sforza. Alongside Italian artists, German architects, wood workers, painters and metal smiths worked for the king. The last descendant of the Jagiellonian dynasty, Sigismund II Augustus (1548-1572), enriched the castle’s interiors with a magnificent collection of tapestries woven in Brussels. In the “Golden Age” of Polish culture Wawel became one of the main centres of humanism in Europe.
The reign of Sigismund III Waza (1587-1632) also made a strong impression on the history of Wawel. After a fire in the castle in 1595 the king rebuilt the burned wing of the building in the early Baroque style. The relocation of the royal court to Warsaw was the cause of a slow but nevertheless steady deterioration in the castle’s condition. The monarchs visited Kraków only occasionally. Restoration of the castle was undertaken during the reign of John III Sobieski, the Wettins and Stanislas Augustus to counteract neglect.
After Poland had lost its independence in 1795, the troops of partitioning nations, Russia, Prussia and Austria, subsequently occupied Wawel which finally passed into the hands of the Austrians. The new owners converted the castle and some of the secular buildings into a military hospital, and demolished some others, including churches. After the period of the Free City of Kraków (1815-1846) Wawel was once more annexed by Austria and turned into a citadel dominating the city. By the resolution passed by the Seym of Galicia in 1880, the castle was presented as a residence to the Emperor of Austria Franz Josef I. The Austrian troops left the hill between 1905-1911. At the turn of the 20th century a thorough restoration of the cathedral was conducted, and shortly afterwards a process of restoration of the royal castle began which lasted several decades.
When Poland regained its independence in 1918, the castle served as an official residence of the Head of State, and as a museum of historic interiors. During the Nazi occupation the castle was the residence of the German governor general, Hans Frank. Polish people managed to remove the most valuable objects, including the tapestries and the “Szczerbiec” coronation sword to Canada, from where they returned as late as 1959-1961. At present, the main curators of Wawel are Wawel Royal Castle – State Art Collection and the Metropolitan Basilica Board on Wawel Hill.