ACASA Excursion 2023 PDF

Dear students,
As we are ready to leave for France and Germany, we ask your attention for the following
information. Some of this we have already told you, but it can't do any harm to have it all
together in one document (which we will also place on Canvas). Please read it through
carefully and contact us in case of any questions.
1. Contact & Emergency numbers
Always contact one of the teachers in case of an emergency. Our phone numbers:
Mathieu de Bakker +31-6-34878614

Chiara Cavallo +31-6-12772426
Jan Paul Crielaard +31-6-25245877
Teun van Dijk +31-6-24125587
Shana Zaia +1-440-7815945
Emergency numbers (only in case of life-threatening situations):
France (+33) Germany (+49)

112 General emergency number 112 General emergency number
15 SAMU: in case of medical emergencies 110 Police
17 Police
18 Pompiers (fire brigade)
2. WhatsApp Group
Ella Slot has set up a WhatsApp Group for us called ‘ACASA-excursion 2023’. To be added to
the group, please contact Ella on +31-6-18447146. We will use WhatsApp daily for sharing
practical information with you.
3. What to bring with you:
- Valid Passport/ID Card

- Valid Student Card
- Valid European Health Insurance Card (EHIC) and/or any other proof of
medical/travel insurance
- Mouth mask
- Covid test kit
- Anything that protects against the sun: Sun cream, sunglasses, hat or cap etc.
- Mobile phone
- If you have one: e-reader/Ipad if you want to read the travel guide on a larger screen.
- Pen, paper, notebook
- Notes, articles etc. needed for your own presentation
- Good, solid shoes (no flip flops please - avoid blisters!)
1
- Cash (useful in Germany, bar at the Rheinisches Landesmuseum in Trier is cash only)
- Clothes for a week. Have a look at the forecast but do not forget a warm jumper or
jacket and always have something with you to cover your shoulders in cathedrals and
churches.
- Rain coat/umbrella (pending the forecast)
4. Our touring car
We will travel with a touring car from Wijdemeren tours. The bus seats 54 and has a
bathroom on board. Allowed is one piece of hold luggage (small suitcase, trolley) and one
piece of hand luggage.
Under all circumstances follow the instructions from the bus-driver when you are in the bus.
5. Departure
We depart on Sunday May 14 at 8.30am from Amsterdam, Amstelstation. The bus will park
around the corner of the Meininger Hotel. You can check in between 8.00am and 8.15am.
Please be on time – we leave at 8.30am sharp. Bring along sandwiches, water/softdrinks,
any lite bites (e.g. granola bar, cookies etc.) for the journey. We will make a few stops on the
way to Rheims.
For a detailed version of our itinerary, see the digital travel guide.
6. Hotels
14-16 May IBIS Budget Langres +33-892-680328

Place Bel Air, 52200 Langres, France
16-17 May IBIS Budget Montceau-les-Mines +33-892-700424

La Pelouse, 37 Avenue des Alouettes, 71300 Montceau, France
17-19 May IBIS Styles Trier +49-651-994920

Metzelstrasse 12, 54290 Trier, Germany
19-20 May IBIS Budget City Aachen +49-241-99775220

Schumacherstrasse 12, 52062 Aachen, Germany
In all hotels breakfast is included.
Under all circumstances follow the instructions from the hotel staff when you stay in the
hotel.
See below (§ 11) for the room division based as much as possible on the information that
you provided in your registration forms.
2
7. Health, safety & travel rules during the excursion
- Be always on time, do not miss out on tours, visits, etc.

- Communicate with the teachers in case of health issues, problems, etc. (there is a
first aid kit on the bus and we take a first aid kit with us).
- Please be considerate in the bus and in and around hotels: not too much noise.
- Always obey the bus driver or hotel staff in case of emergencies.
- Please be considerate with your roommates in the hotels.
- Please look after one another. At night, do not go out alone, but always together
with a fellow-student.
- Respect one another at all times. Pay close attention to each other’s presentations.
- No alcohol during the day as long as the program lasts. When the program is finished:
at your own cost and responsibility (NB be careful, make sure that you have enough
sleep and look after yourself well).
- No drugs. NB France and Germany are much stricter on drugs than The Netherlands.
- Never take anything from an archaeological site (e.g. sherds) with you.
- Keep an eye on your belongings. The universities are not accountable in case of
theft/loss of property (consider an insurance if you plan to bring expensive goods)
8. Covid policy
- If you test positive for Covid19 in the week before departure, please contact the
teachers ASAP so that we can discuss the situation.
- All: bring along a mouth mask and a testkit.
- If you test positive for Covid19 during the excursion, immediately start wearing a
mouth mask, avoid close contact with fellow students and inform one of the
teachers.
9. Costs
Included in the excursion are:

- All transfers by touring car
- All hotel nights and breakfasts
- Dinners on May 14, 16 and 19 (water included)
- Lunch (Sandwich + bottle of water) at Bibracte on May 17
- Tourist taxes
- Entries to sites and museums
Excluded (so on one’s own account) are:

- Dinners on May 15, 17, and 18
- (Non-)alcoholic drinks at the dinners on May 14, 16, and 19
- Lunches on all other days except May 17
- Public transport to and from Amstelstation, Amsterdam, on May 14 and May 20.
For details about the insurance, see the relevant Canvas page.
3
10. List of names
1. Sophia Abdi-Wansbrough UvA, Ancient Studies

2. Jeanine Abels UvA, Archaeology
3. Serina Barba UvA, Archaeology
4. Lenna Bartens UvA, Ancient Studies
5. Koen Benard VU, Archaeology
6. Valentijn van den Berg UvA, Classics
7. Luco van den Bergen UvA, Classics
8. Jonathan de Boer UvA, Classics
9. Lien Bomhof UvA, Archaeology
10. Jip Coone UvA, Ancient Studies
11. Julia Derkx VU, Ancient Studies
12. Sarah Fahnøe VU, Ancient Studies
13. Sabina Falgas UvA, Ancient Studies
14. Emma van de Goot VU, Archaeology
15. Jaap-Bram Hannessen VU, Classics
16. Brechtje Hartong van Ark UvA, Ancient Studies
17. Tamar ten Have UvA, Classics
18. Ingmar Heinz UvA, Ancient Studies
19. Jitske van Helden UvA, Ancient Studies
20. Eline Jordens UvA, Archaeology
21. Joël Jurg UvA, Ancient Studies
22. Daniek Korthals Altes UvA, Classics
23. Hanady Kratzheller UvA, Ancient Studies
24. Feline van Leeuwen UvA, Classics
25. Patrīcija Leja UvA, Archaeology
26. Daan van Loo UvA, Ancient Studies
27. Elizabeth Lyle UvA, Ancient Studies
28. Julen McLoughlin-Alcoz UvA, Archaeology
29. Matthieu Meijer UvA, Ancient Studies
30. Christiaan Melis UvA, Ancient Studies
31. Louise Melotte UvA, Ancient Studies
32. Leoni Michel UvA, Archaeology
33. Eveline Miedema UvA, Classics
34. Ellen Mooij UvA, Archaeology
35. Lucas Moolenburgh UvA, Classics
36. Jan Munters VU, Classics
37. Sergei Novozhilov UvA, Archaeology
38. Misha Oberski UvA, Classics
39. Bárbara Paiva UvA, Archaeology
40. Teodora Scorţan UvA, Archaeology
41. Ella Slot UvA, Classics
42. Marijn van Stralendorff UvA, Classics
43. Ethan Tunney VU, Ancient Studies
44. Vlad Ungureanu UvA, Archaeology
45. Maxine van Veelen UvA, Classics
46. Carmem Venema UvA, Archaeology
47. Lucas van der Vooren UvA, Ancient Studies
48. Jamaine Ypma UvA, Classics
49. Robin Zeldenrust VU, Archaeology
4
11. Room divisions: students
Single rooms (in all hotels): Ellen, Eline, Sarah
Langres (14-16 May)
22 x 2p.: Julia and Jitske Brechtje and Lenna Eveline and Tamar
Jan and Lucas M. Joël and Matthieu Daniek and Misha
Feline and Jamaine Elizabeth and Sophia Julen and Sergei
Luco and Marijn Koen and Vladut Ingmar and Daan
Lu and Patrīcija Serina and Sabina Carmem and Leoni
Bárbara and Teodora Jip and Hanady Jeanine and Lien
Jaap-Bram and Jonathan Ethan and Christiaan Emma and Robin
Maxine and Ella
1 x 1p. Lucas van der V.
Montceau-les-Mines (16-17 May)
Maxine and Ella Joël and Matthieu Daniek and Misha
Lucas vd V. and Jonathan Ethan and Christiaan Emma and Robin
1 x 3p. Jaap-Bram, Jan and Lucas M.
Trier (18-19 May)
13 x 3p. Jaap-Bram, Jan, Lucas M. Sabina, Serina, Lu

Jip, Hanady, Lien Carmem, Bárbara, Leoni
Jeanine, Lenna, Brechtje Daniek, Misha, Ella
Sergei, Julen, Christiaan Sophia, Elizabeth, Robin
Ingmar, Joël, Daan Marijn, Matthieu, Luco
Feline, Jamaine, Maxine Jonathan, Ethan, Lucas vd V.
Eveline, Tamar, Emma
3 x 2p. Jitske and Julia
Patrīcija and Teodora
Vladut and Koen
Aachen (19-20 May)
Jan and Lucas M. Joël and Matthieu Daniek and Misha
5
Jaap-Bram and Jonathan Ethan and Christiaan Emma and Robin
Maxine and Ella
1 x 1p. Lucas van der V.
6
Itinerary with times and presentations

1) Lecturers responsible for the day’s program in bold.
(CC = Chiara Cavallo; JPC = Jan Paul Crielaard; MdB = Mathieu de Bakker; SZ = Shana Zaia; TvD = Teun van Dijk)
2) Students who present in Italics
3) Student who first responds to the presentation between brackets, so: John (Maria) means that John gives the presentation, and Maria is
the first who responds with a question or contribution when the presentation is finished. Others can contribute afterwards.

In most museums and sites we have to split up in two groups. We have made the following group division. Please observe this at all times.

Group 1 Group 2

Jeanine Abels Matthieu Meijer Sophia Abdi-Wansbrough Sergei Novozhilov

Serina Barba Ellen Mooij Koen Benard Misha Oberski

Lenna Bartens Jan Munters Lien Bomhof Bárbara Paiva
Luco van Bergen Ethan Tunney Jip Coone Teodora Scorţan

Jonathan de Boer Maxine van Veelen Sarah Fahnøe Ella Slot

Julia Derkx Carmem Venema Sabina Falgas Marijn van Stralendorff
Emma van de Goot Jamaine Ypma Tamar ten Have Vladut Ungureanu
Jaap-Bram Hannessen Robin Zeldenrust Ingmar Heinz Lucas van der Vooren

Brechtje Hartong van Ark Joël Jurg

Jitske van Helden Patrīcija Leja

Eline Jordens Julen McLoughlin-Alcoz
Daniek Korthals Altes
Christiaan Melis

Hanady Kratzheller Lu Melotte

Feline van Leeuwen Leoni Michel
Elizabeth Lyle
Eveline Miedema

Daan van Loo Lucas Moolenburgh

1
Day Morning (departure times before 9am have been Afternoon (lunch included) Evening/night (dinner included)
made bold)

Sun May 14 8.00-8.15h: touring car check-in at Amstelstation, 15.00h-16.30h (appr.): Rheims Cathedral (SZ, TvD) 19.30h (appr.): arrival in Langres
Amsterdam, around the corner of the Meininger Group 1 (SZ): Jan (Jitske) and check-in at IBIS hotel Langres.
Hotel. Group 2 (TvD): Misha (Lucas M.) 20.30h: dinner at La Pignata in
8.30h: departure Langres.
NB Bring along sandwiches and water

Mon May 15 8.45h: departure for Châtillon-sur-Seine (CC, JPC) 13.00h (appr.)-14.45h: Mt Lassois (CC, JPC) 18.30h, optional: Randonnée
10.00h-11.15h: Musée du Pays Châtillonais Lunch, thereupon:
Group 1 (CC): Lenna (Luco) Vix burial & Celtic Oppidum Dinner in Langres (on own account)
10.00h-11.15h: Source de la Douix Group 1 (CC): Jeanine (Jaap-Bram)
Group 2 (JPC): Patrīcija (Ingmar) Group 2 (JPC): Leoni (Bárbara)
11.15h-12.30h: Source de la Douix
Group 1 (CC): Robin (Hanady) 15.00h: Departure for Langres (CC, SZ)
11.15h-12.30h: Musée du Pays Châtillonais 16.00h-17.00h: Langres Musée
Group 2 (JPC): Christiaan (Teodora) Group 1 (CC): Jonathan (Daniek)
16.00h-17.00h: Langres city-walk/walls
Group 2 (SZ): Ella (Jip)
17.00h-18.00h: Langres city-walk/walls
Group 1 (CC): Jonathan (Daniek)
17.00h-18.00h: Langres Musée
Group 2 (SZ): Ella (Jip)
2
made bold)

Tue May 16 9:00h: check out IBIS Langres, on to Alésia (CC, JPC) 12.00h-14.00h: lunch and Alésia archeoparc 20.30h (appr.): arrival in Montceau-
Group 1 (JPC): Elizabeth (Eline and Ellen) les-Mines and check in at IBIS budget
10:30h: Alésia Musée (CC, JPC) Group 2 (CC): Julen and Marijn (Joël) hotel.
Group 1 (JPC): Serina (Emma and Matthieu)
Group 2 (CC): Sabina and Lu (Sophia) 14:15h: Vercingetorix Statue 21.00h: Dinner at Courtepaille
Entire group: Maxine and Lucas van der V. (Sergei around the corner of the hotel.
and Carmem)
14.45h: Departure for Autun (CC, TvD)

16.00h: Autun Cathedral
Group 1 (TvD): Jan (Jitske)
Group 2 (CC): Misha (Lucas M.)
17.00h: Pyramide de Couhard and Roman cemetery
Entire group: Koen and Ethan (Sarah and Feline)
17.45h: Roman Theatre
Entire group: Lien and Brechtje (Julia and Eveline)
18.15h: Portes d’Arroux et Saint-André
Group 1 Porte d’Arroux (TvD): Daan and Hanady
(Jonathan)
Group 2 Porte Saint André (CC): Ingmar and Vladut
(Ella)
19.00h: Temple of Janus
Entire group: Jitske and Lucas M. (Patrīcija and
Robin)

3
made bold)

Wed May 17 8.45h: check out IBIS Montceau-les-Mines, departure 12.30h-13.15h: lunch at Bibracte site (CC, JPC) Bus trip to Trier
for Saint-Léger-sous-Bouvray, Bibracte (CC, JPC) 13.30h-15.00h: visit of the site
10.15h-12.15h: Musée Bibracte (NB Matthieu and Julen change groups at the site) 20.00h (appr.) Dinner at King Pizza
10.15h: welcome by the director, prof. V. Guichard Group 1 (CC): Emma (Elizabeth and Julen) 54 in Nancy (on own account, € 12
(NB Emma and Marijn change groups in the museum) Group 2 (JPC): Matthieu and Sophia (Marijn) p.p.)
Group 1 (CC): Matthieu (Elizabeth and Marijn) Additional guidance by prof. V. Guichard
Group 2 (JPC): Sophia and Emma (Julen) 15.00h-16.00h (if sufficient time left): visit of the 23.00h (appr.): arrival in Trier, check
research centre at Bibracte. in at IBIS Styles.

Thur May 18 Trier (MdB, SZ) 18.30-20.00h: Walk to

Group 1 (MdB) Group 1 (MdB) Roman Bridge and Barbarathermen
8.45h: departure from hotel, walk to Kaiserthermen 13.15h: lunchbreak 19.30h: Eline, Ellen and Joël (Jan and
9:15h: Kaiserthermen Misha)
Eline and Ellen (Jan) 14.15h: St. Peter’s church and Museum am Dom
10.45h: Amphitheatre Jamaine (Maxine) > 20.00h: Dinner in Trier (on own
Luco (Lenna) 16.30h: Porta Nigra account)
12.15h: Konstantinsbasilika Daan and Hanady (Jonathan)
Jaap-Bram (Jeanine)

Group 2 (SZ) Group 2 (SZ)
9.00h: departure from hotel, walk to Amphitheatre 13.30h: lunchbreak
9.40h: Amphitheatre
Teodora (Christiaan) 14.30h: Museum am Dom and St. Peter’s church
11.10h: Kaiserthermen Tamar (Lucas van der V.)
Joël (Misha) 16.45h: Porta Nigra
12.30h: Konstantinsbasilika Ingmar and Vladut (Ella)
Bárbara (Leoni)
4
made bold)
Fri May 19 8.00h: check out IBIS Trier, departure for 13.00-17.00h: Rheinisches Landesmuseum Trier 19.30h: arrival in Aachen, check in at
Otzenhausen (MdB, TvD) IBIS budget hotel
Group 1 (TvD)
9.00h: Otzenhausen Celtic Park and Wall 13.00h: entry After 20.00h: Dinner at Rose am Dom
Guided tour by Mr. Koch 13.30h: Funerary Monuments
Daniek (Daan)
11.00h-13.00h: return to Trier and Lunchbreak 14.15h: Mosaics
Feline (Brechtje)
15.00h: Inscriptions
Julia (Jamaine)

Group 2 (MdB)
13.15h: entry
13.45h: Inscriptions
Eveline (Tamar)
14.30h: Funerary Monuments
Jip (Vladut)
15.15h: Mosaics
Sarah (Lien)
5
made bold)
Sat May 20 Aachen (MdB, TvD) 13.30h: Lunchbreak

Group 1 (MdB) 14.00h (if possible): Aachen Dom Tour group 1
9.00h: Check-out IBIS Aachen, walk to Cathedral 15.00h (if possible): Aachen Dom Tour group 2
In the vicinity of the Cathedral (opens at 11am): Afterwards: departure
9.30h: Cathedral and Palatine Chapel 19.00h (appr.): arrival in Amsterdam, at
Carmem (Ethan) Amstelstation
10.00h-12.00h: Visit of Cathedral Treasury
Valentijn (Serina) If the Aachen Dom Tour is not possible we will
12.15h-13.00h: visit of Cathedral and Palatine Chapel either make a city-walk or take the bus back to
Amsterdam by 14.30h, arriving in Amsterdam by
Group 2 (TvD) appr. 17.00h.
9.30h: Check-out IBIS Aachen, walk to Cathedral
Treasury
10.00h-10.30h: Cathedral and Palatine Chapel
Sergei (Koen)
10.30h-12.30h: Visit of Cathedral Treasury
Valentijn (Sabina and Lu)
12.45h-13.30h: visit of Cathedral and Palatine Chapel
6
Subject: Treasuries of Aachen; reliquaries that pertain to Charlemagne
Author(s): Valentijn van den Berg
Relevant historical periods, data and/or persons:

Cha rl ema gne (2 Apri l 747 – 28 Ja nua ry 814) | Emperor of the Ca rol i ngi an Empi re.
Cha rl es IV (14 Ma y 1316 – 29 November 1378) | Hol y Roma n Emperor.
Loui s XI (3 Jul y 1423 – 30 Augus t 1483) | Ki ng of Fra nce.
Rel eva nt ti me dura ti on | Ea rl y Mi ddl e Ages - La te Mi ddl e Ages (800-1500).
Rel eva nt s pa ti a l context | Fra nki s h Empi re -> Hol y Roma n Empi re (800 - 1512); Ki ngdom of Fra nce.
Bus t of Cha rl ema gne | Dona ted by Cha rl es IV i n 1349, conta i ns a pi ece of Cha rl ema gne’s s kul l ca p; res tored i n
1870 a nd 1926.
Rel i qua ry of Cha rl ema gne | Dona ted by Cha rl es IV i n 1349, conta i ns Cha rl ema gne’s thi gh bone; res tored i n
1978.
Arm Rel i qua ry | Dona ted by Loui s XI i n 1481, conta i ns Cha rl ema gne’s ri ght a rm.
Cultural and historical context:
After the col l a pse of the W es tern Roma n Empi re i n 476, s ome 300 yea rs ea rl i er, Cha rl ema gne wa s the fi rs t to
rul e over a grea t empi re i n W es tern Europe. Among other thi ngs , he i s ha i led for doubl i ng the s i ze of the
empi re he i nheri ted; for cons ol i da ting the Chri s ti a nizati on of wes tern a nd centra l Europe; for crea ti ng a s ol i d
burea ucra ti c a nd a dmi ni stra tive s tructure a nd for el eva ti ng the devel opment of l i tera ture a nd a rt. In the
Mi ddl e Ages hi s rul e wa s overwhel mi ngl y percei ved a s very s ucces s ful . It i s therefore not s urpri sing tha t ma ny
emperors a nd hea ds of s ta te a cti vel y s ought to l i nk thems el ves wi th hi m.
Cha rl ema gne di ed i n 814 . He wa s buri ed i n the Pa l a ti ne Cha pel i n Aa chen Ca thedra l . In the yea r 1000
Otto III ha d the buri a l va ul t opened, hopi ng to es ta bl i s h hi ms el f a s hi s s uccess or. In 1165 i t wa s Frederi ck I
Ba rba ros s a’s turn to ha ve the rema i ns exhumed . He ha d Cha rl ema gne’s rema i ns di s pl a yed a s rel ics i n Aa chen.
He too wa s ea ger to l i nk hi ms el f wi th the grea t emperor. In the s a me yea r Anti pope Pa s cha l III ca nonized
Cha rl ema gne. After thi s , Frederi ck ha d Cha rl ema gne buri ed i n a ma rbl e s a rcopha gus , depi cti ng the Ra pe of
Pers ephone. Frederi ck II ha d Cha rl ema gne exhumed yet a ga i n . He ma nda ted gol ds mi ths to fa bri ca te a ri chl y
decora ted ca s ket to hous e the bones . Thi s wa s to become the Shri ne of Cha rl ema gne.
In 1349 s ome of hi s rema i ns were removed a nd pl a ced i nto di fferent rel i qua ries by Cha rl es IV, future
Hol y Roma n Emperor. Though he wa s el ected Ki ng of the Roma ns by pri nce-el ectors , hi s pos i ti on wa s very
wea k, a s mos t bi s hops a nd mos t of the i mperi a l ci ties were l oya l to Loui s IV, the Hol y Roma n Emperor a t the
ti me. W i thi n thi s context, he dona ted the Rel i qua ry of Cha rl ema gne a nd the Bus t of Cha rl ema gne to the
Ca thedra l of Aa chen i n 1349. The Rel i qua ry of Cha rl ema gne l a ter hous ed Cha rl ema gne’s thi gh bone; the Bus t
of Cha rl ema gne Cha rl ema gne’s s kul l ca p . He too hoped to s trengthen hi s pos i ti on a ga i nst Loui s IV. Onl y a fter
Loui s IV di ed wa s he crowned Ki ng of Ita l y a nd Hol y Roma n Emp eror, i n 1355.
More tha n a century l a ter, i n 1481, Loui s XI commi s s i oned the Arm Rel i qua ry a nd depos i ted i n i t the
ul na a nd ra di us from Cha rl ema gne’s ri ght a rm. After ha vi ng uns ucces s ful ly revol ted a ga i ns t hi s fa ther’s rul e, he
fl ed to Burgundy. He rus hed to i nheri t the pos s es s i ons of hi s fa ther when he di ed. He i s known for hi s i ntri gues
a nd di pl oma ti c a cti vity. He s ubdued a n a ttempt of Cha rl es the Bol d to ta ke over power. In s i gni ng the Trea ty of
Pi cqui gny (1475) wi th Edwa rd IV of Engl a nd, endi ng the Hundred Yea rs ’ W a r, he ma na ged to i s ol a te hi s
opponent. Pl enty of rea s ons to ha ve been i n need of connecti ng hi ms el f wi th Cha rl ema gne a nd hi s l ega cy.
I pos tul a te tha t rel i cs a nd rel i qua ries a re i n es s ence Li eux de mémoi re. A l i eu de mémoi re i s a ma teri al
s pa ce i nves ted wi th a s ymbol i c a ura ; a crys ta l liza tion of memory ha s ta ken pl a ce a nd i s a cces s ible by ga zi ng
upon the l i eu de mémoi re. The memory tha t i s a s s ocia ted wi th the rel i cs a nd rel i qua ries i s dependent on the
rel i c i ts el f, i ts a es theti cs a nd the correl a ti on between rel i c -cult, rel i qua ry a nd the comi ng-i nto-bei ng of cul t-
i ma ge. Furthermore, i n determi ni ng i ts hol i s ti c mea ni ng, one s houl d s tri ve to l ook a t the bi gger pi cture, i .e.
a pproa ch the memory by i nves ti ga ti ng mul ti pl e rel i cs a nd rel i qua ries tha t a re rel eva nt to i t, i n my ca s e
Cha rl ema gne. Furthermore, Li eux de mémoi re a re ma teri a l , functi ona l a nd s ymbol i c a l l a t the s a me ti me.
Brief description of monument / site / etc
The Bust of Charlemagne ‘s ta nds ’ on a n octa gona l ba s e tha t mea s ures a t 86.3 cm i n hei ght a nd 57.2 cm i n
wi dth a t the bottom. Thi s ba s e ha s two openi ngs a t the s i des to a l l ow for a ca rryi ng s ti ck. It i s ma de of wood
th
a nd ha mmered a nd pa rti a l ly gi lt s i lver. Hi s fa ce i s s ha rpl y defi ned, i n keepi ng wi th 13 century French
tra di ti ons . The l i nes of the brea s tpl a te a re embel l i s hed wi th preci ous s tones a nd a nti que gems . The
brea s tpl a te i ts el f i s orna mented wi th the ea gl e moti f by mea ns of s i l ver ea gl e a ppl i qués .
The Ba s i s ma teri a l of the Arm Reliquary is gi l t s i l ver. It i s further embel l i s hed wi th rock crys ta l , gems a nd
ena mel . Its hei ght i s 85 cm, i ts ba s e di a meter i s 19.9 a nd 17.1 cm. Some of i ts s ymbol i c mea ni ng i s s hown
through the coa t of a rms wi th three fl eurs -de-l i s a nd the fl eurs -de-l i s crown, tha t i s pl a ced s i dewa ys benea th
the s ma l l wi ndow. Stored i ns i de of i t i s pa rt of Cha rl ema gne’s ri ght a rm. Twel ve wi de a rca des cons ti tute the
fra me for the s i l ver ba s -rel ief. On the i ns i de a n i ns cripti on rea ds : Bra chium Sa ncti et gl ori os iss imi i mpera tori s
Ka rol i . Thes e words a re hi ghl i ghted by a doubl e-s na i l -patterned fra me ba r.
The ba s e of the Reliquary of Charlemagne mea s ures a t a hei ght of 125 cm, a wi dth of 72 cm a nd a
depth of 37 cm. It ma kes us e of a mul ti -l evel s tructure. The whol e s tructure i s s upported by ei ght col umns .
Thes e col umns , i n turn, a re fronted by four a ngel s i n the front a nd four fi gures of the Cha rl ema gne l egend i n
the ba ck, na mel y Pope Leo III, Archbi s hop Turpi n of Rei ms a nd the pa l a di ns Rol a nd a nd Ol ivier . The rel i qua ry
ta kes s ha pe i n the form of three cha pel s . Its ba s i c ma teri a ls consi st of s i l ver, ha mmered gi l t, ca s t,
predomi na ntl y gi l t, decora ted wi th pea rl s , preci ous s tones a nd tra ns l ucent ena mel . An i ns cripti on on the ba s e
rea ds ‘feretrum’, whi ch tra ns l a tes a s rel i quary hutch. It i s home to a few Pa s s i on rel ics . Chri st a nd the
s ta tuettes of a ngel s i n the three turrets on the roof ca rry thes e. Addi ti ona l l y, i t hol ds the a rm bone of
Cha rl ema gne, three of hi s teeth a nd s ome other bone pa rti cl es . It a l s o hol ds rel i cs from St. John the Ba pti s t, St.
John, St. Ni chol a s a nd St. Ca theri ne. Thes e a re hous ed i n a cha mber i n the roof.
Bust of Charlemagne Arm Reliquary Reliquary of Charlemagne

Main literature and websites:
Ei nha rd. (2008). Two lives of Charlemagne. Ha rmonds worth, Mi ddl es ex: Pengui n Books .
Gri mme, Erns t Günther. (1972). Goldschmiedekunst im Mittelalter: Form und Bedeutung des Reliquiars von 800
bis 1500. Col ogne: DuMont.
Ki ng. (1987). Charlemagne : translated sources. La mbri gg: Ki ng.
Lepi e, H., G. Mi nkenberg. (2019). The Cathedral Treasury of Aachen. Regens burg.
Nora , P. (1989). “Between Memory and Hi s tory: Les Li eux de Mémoi re,” in “Memory and Counter-
Memory,” s peci a l i s sue, Repres enta ti ons , no. 26: 7–24.
Reudenba ch, B. & Tous s a i nt, G. (2011). Reliquiare im Mittelalter. Berl i jn: Aka demi e Verl a g.
Ros a mond McKi tteri ck. (2008). Charlemagne : The Formation of a European Identity. Ca mbri dge Uni vers i ty
Pres s .
Schol z. (1970). Carolingian Chronicles: Royal Frankish Annals and Nithard’s Histories. Vereni gde Sta ten.
Uni vers i ty of Mi chi ga n Pres s .
Subject: Palatine chapel/cathedral, Aachen
Author(s): Sergei Novozhilov and Carmem Venema

Early Medieval, Charlemagne
Constructed during 790s and consecrated in 805.
The possible architect responsible for the project is Odo of Metz, the favorite of
Charlemagne.
In the time between 772-804, Charlemagne expanded the Frankish Empire to encompass
much of Western and Central Europe. He fought against the Saxons, the Lombards, and
the Avars, among others, and by the end of his reign in 814, he had established a vast
empire that included modern-day France, Germany, Italy, and parts of Spain, Austria,
Hungary, and the Balkans.
He let a royal seat be built in Aachen from which he would reach all edges of the realm at
the same time. Aachen, a town on major trade routes, was chosen to become the literal
and figurative center of the Holy Roman Empire.
What was the inspiration for the Aachen Cathedral? How Roman was the Carolingian
Empire?
These two questions are complicated as they touch on the topic of cognition and self-
identity. What influenced Carolingian architecture? Rome, Ravenna, or Constantinople?
Here we can rely almost only on historical sources and facts.
First of all, Charles the Great has never been in Byzantium and never had direct cultural
contacts with Eastern Roman world. We don’t have any records of Greek influences, no
mentions of Greek architects, in the Carolingian realm, unlike the Byzantine empire which
was strongly influenced by Greek culture.
Despite the obvious similarity between Hagia Sofia in Constantinople and the Cathedral in
Aachen in visual appearance, there are differences in layout, scale, and design. San Vitale
in Ravenna, Pantheon and San Constanza in Rome have a deeper resemblance with
Aachen. Moreover, Charles has visited these cities before and during the construction of
these other buildings, so they could have given him the inspiration for the Palantine
cathedral.
Interestingly, Charlemagne never referred to the Romans in the same way as we see them.
The meaning of the term "Romanness" evolved in medieval times. In the earlier periods,
Rome was associated by chroniclers and other prominent figures with Antiquity and the
Merovingian period. However, with the rise of Christianity, the connection between
Romanness and Christianity became increasingly prominent. This was largely due to the
fact that the head of Latin Christendom resided in Rome, and the bishop of Rome, as the
successor of Peter, gained prestige and importance. It was only through this connection
with Rome that Christianity and its adherents could be considered "Romans". This idea of
Christian Romanness became more prominent from the mid-eighth century onwards, and
the term "Romanus" was increasingly associated with ecclesiastical institutions and
dignitaries.
The meaning of "Romanness" changed significantly between the Merovingian and
Carolingian ages. By the end of the eighth century, the term had become more restricted
in its secular sense, referring mainly to people and institutions of papal Italy. However, the
term was also increasingly associated with religious connotations, as Rome had become
the see of the Catholic pontiff and the capital of Christendom. This notion was not
restricted to a specific area or region and had the potential to encompass the entire
Christian world.

The Aachen cathedral is supposedly inspired on the San Vitale after Charlemagne passed
through Ravenna. The chapel has an octagon shape, modelled after Byzantine buildings
like the San Vitale. Over the centuries, the cathedral has undergone various
transformation, but the chapel itself is structurally still the same today as it was when it
was first constructed. The cathedral has length of 71 meters and a width of 49 meters. The
domed octagonal center space has a diameter of 14.45 meters and reaches a height of
31.40 meters. It is surrounded by a two-story, sixteen-sided ambulatory (‘walking space’, a
covered passage around the center space). The choice of the location of the cathedral on
an historic Roman site, the use of columns and marble stones from Rome and Ravenna in
the building, and the modelling after, among others, San Vitale, are some of the strategic
choices Charlemagne probably used to create a link with the ancient Rome.
The cathedral has a lot of interesting decoration to look at once we are there. First, and
maybe most impressive of all, is Charlemagne's throne. This is one of the few things which
is still original, although it has been repaired over the centuries. This throne can be found
on the second floor of the chapel. Another highlight are the bronze doors with lion heads
on them. These are exceptional for the time, and you can not find other doors of the
eighth century that are this big and impressive. They would have been too big to transport,
and were cast on the spot together with other bronze decorations. Lastly, special attention
should be paid to the mosaics that decorate the interior. These mosiacs were placed in the
19th century and were most likely not there when the chapel was originally build. The
example they used to make these mosiacs is a 1699 painting and does not offer any proof
that they were present in Carolingian times.
Map of location
photo
Aachen Cathedral
Ground plan
Ground plan of the Palantine Chapel, Aachen Ground plan of the S. Vitale, Ravenna
Sources illustrations: Wikimedia Commons

Main literature:
Ganshof, François L. )(1949) Charlemagne. Speculum 24, no. 4 (pp. 520–28).
https://www.journals.uchicago.edu/doi/10.2307/2854638
Kleinbauer, W. Eugene (1965). Charlemagne’s Palace Chapel at Aachen and Its Copies. (pp.
2–11). University of Chicago Press. https://doi.org/10.2307/766678
Nelson, J. (2016). Charlemagne and Ravenna. In J. Nelson & J. Herrin (Eds.), Ravenna: its
role in earlier medieval change and exchange (pp. 239–252). University of London Press.
http://www.jstor.org/stable/j.ctv512x7n.18
Sarti, L. (2016). Frankish Romanness and Charlemagne’s Empire. Speculum, 91(4), 1040–
1058. http://www.jstor.org/stable/26154804
Websites:
https://whc.unesco.org/en/list/3
https://www.aachenerdom.de/en/a-place-of-history/architecture-and-history-of-the-
building/
https://www.khanacademy.org/humanities/medieval-world/carolingian-
ottonian/carolingian1/a/palatine-chapel-aachen
Other:
Viva voce Dr. A.A.A. (Arno) Verhoeven
Subject: Alesia Archeopark
Author(s): Elizabeth Lyle, Julen McLoughlin-Alcoz and Marijn van Stralendorff
Late Roman Republic: First century BCE, Battle of Alesia in 52 BCE
Located in Northeast Celtic Gaul
Armies headed by Julius Caesar on the Roman side and Vercingetorix on

the Gallic side
Alesia was a Celtic oppidum. In the first century BCE, Julius Caesar, the
Roman military leader, was fighting in Gaul in order to gain wealth and
prestige. In 53 BCE, the Gauls rallied around a leader, Vercingetorix, and
began to attack Roman cities in southern France. In response, Caesar
spent the year 52 BC recapturing these cities and marching on the Gauls.
Vercingetorix and his troops retreated to Alesia, a fortified city. Caesar
ordered the building of two walls- one to keep the Gauls inside Alesia, and
another to keep out any reinforcements that might come to help them. This
assistance did arrive, but Caesar defeated both Vercingetorix and his
reinforcements. The Gauls eventually ran out of food and surrendered, with
Caesar bringing Vercingetorix back to Rome. This battle brought Gaul
under Roman control and gave Caesar a level of prestige that contributed
to his later success in his civil war against Pompey the Great, and which
helped him to consolidate his power.
This was the culmination of the Gallic Wars as a part of Caesar’s Celtic
extermination campaign. The site of Alesia was a fortified hillfort at the time
so as to conquer the site operated by Vercingetorix leading a united Gallic
confederation of tribes. It was the last and largest conflict between the
Romans and the Gauls, with the province eventually being subdued and
later made a Roman state.
The site is an oppidum, or hillfort that was popular amongst the Gauls. The
siege of Alesia was conducted with an unexpected ferocity with some
sources saying Vercingetorix intended to use a pincer move to have
reinforcing armies flank and defeat the Romans. Instead, over the course
of a month 40 kilometers of fortifications were built, one set to attack the
hillfort and another to keep out the reinforcements from attacking the
Romans as they made progress. These fortifications include ditches, walls
and towers. In the archeopark, the remains allow visitors to walk through
the village and see the living areas, a temple, the Roman theatre, the
forum and a basilica where Gallo-Romans used to live and walk through
two thousand years ago.
Map of location
Ground plan
Sources illustrations:
https://www.thecivilengineer.org/education/online-historical-data
base-of-civil-infrastructure/walls-at-alesia
https://bootcampmilitaryfitnessinstitute.com/2020/10/03/what-w
as-the-battle-of-alesia-52-bc/
https://www.alesia.com/lieux-de-visite-nl/
Websites:
https://www.alesia.com/
Literature:
“Alesia, Battle Of.” The Ancient World : Extraordinary People in Extraordinary
Societies 2017: 681–681. Print.
Caesar, De Bello Gallico 7.68-90.
Gilliver, Catherine. Caesar's Gallic Wars, 58-50 BC. Osprey, 2008.
Subject: Alise-St. Reine: Alésia Museum
Author(s): Serina Barba, Sabina Falgás, Lu Melotte

We will take you on a journey to the late La Tène and Gallo-Roman period, where the
Alésia Museoparc will immerse us into everyday Celtic life. What interesting objects can we
find about them, and what does it mean in our search for understanding one’s history?
The La Tène period spans from the fourth century BCE and ends with the Roman
subjugation in ca 50 BCE. This conflict reaches a pinnacle point in this exact location: the
Battle of Alésia where Caesar’s forces clashed against Vercingétorix and his allies in 52
BCE. This battle will be explained in detail in the Alésia Archaeoparc.

This museum captures an important moment in the history of Gaul, an apparent shift
of cultures and exchange: Caesar’s invasion into Gaul, recorded by himself in Commentarii
de Bello Gallico. For a long time, his observations have been the main source for our image
of the Celts, but it is known to have been written with clear political intentions. An example is
his division of the regions involved, which have been proven to be divided by him without
regard to actual ethnic differences.
Nowadays, modern archaeology has revealed more information about the Celts as
opposed to the classic Roman narrative. Information such as what is defined as an oppidum
and how they can be noted in the archaeological record along with agricultural practices will
be provided for a general background. Then from this, the focus will shift to common material
finds from this period including grave goods, pottery, etc. We will note the selection of which
artifacts the museum specifically decides to display and explain as opposed to other finds.
Modern archaeological research shows us a culture that was already in contact with
a variety of cultures, which contrasts an idea that has dominated our view of the Celts. This
belief ascribes the Romans as the bringer of civilization for the ‘barbaric’ Celts. But in reality,
these people had already blended foreign elements into their culture, creating their unique
aesthetic and lifestyle.
Brief description of monument / site / etc:

The museum was built in 2012. It was constructed to display artifacts of the Alésia
archaeological site, mainly the ones from the battle of Alésia and the Gallo-Roman period.
The museum has a clear focus on the Battle of Alésia which we see that not only on the
displayed objects of choice, but also on the architectural design of the building itself which
was built to resemble the siege that happened there more than two thousand years ago.
Map of location
photo
Ground plan
Sources illustrations: Ground plan illustration by Bernard Tschumi Architects.
Main literature:
García, Carlos Moral. “El Papel De La Mujer En La Religión De La Galia Céltica.
¿Diosas Y Druidesas?” ’Ilu. Revista De Ciencias De Las Religiones, vol. 28, Complutense
University of Madrid, Mar. 2023, p. e84980. https://doi.org/10.5209/ilur.84980.
Harding, D. W. “The Archaeology of Celtic Art.” Routledge eBooks, 2007,

https://doi.org/10.4324/9780203698532.
McCain, Stewart. “Our Ancestors Were Not Celts: History, Folklore and the Celtic
Past in Napoleonic France.” European Review of History: Revue Europeenne D’histoire, vol.
29, no. 4, Taylor and Francis, May 2022, pp. 674–94.
https://doi.org/10.1080/13507486.2022.2055998.
Reddé, Michel. “Gallia Comata. La Gaule Du Nord. De L’indépendance À L’Empire

Romain.” HAL (Le Centre Pour La Communication Scientifique Directe), French National
Centre for Scientific Research, 2022, hal.archives-ouvertes.fr/hal-03778732.
Toynbee, J. M. C. “Gallic Art and Culture.” The Classical Review, vol. 12, no. 2,
1962, pp. 164–66. JSTOR, http://www.jstor.org/stable/709071. Accessed 12 May 2023.
Websites:
Alésia MuséoParc. “Three Sites to Visit - Alésia MuséoParc.” Alésia MuséoParc, 27

Jan. 2023, www.alesia.com/lieux-de-visite-en.
Recherche - POP.
www.pop.culture.gouv.fr/search/list?museo=%5B%22M0131%22%5D.
Statue of Vercingetorix – Alesia, France
Authors: Maxine van Veelen and Lucas van der Vooren

1st century BCE, Gaul
Battle of Alesia (52 BCE)
The Battle of Alesia was the decisive battle between Caesar and resisting Gallic armies led by Vercingetorix.
19th century CE, France

Statue Vercingetorix (1865 CE), artist: Aimé Millet
The statue of Vercingetorix was built in the Second French Empire, as a symbol of French national identity.

Around 58 BCE, Julius Caesar, then a proconsul, set out to conquer all of Gaul. Making use
of an enormous army, a divide and conquer strategy, keen military insight, and sometimes brutal
measures of control, he succeeded in greatly expanding the Roman Empire. Caesar faced little
resistance of consequence in the region until 52 BCE, when Vercingetorix managed to unite over a
dozen otherwise divided Gallic tribes to revolt against Roman rule. Vercingetorix, a young Avernian
king whose charisma, rhetorical skill and ability to galvanize was underpinned by even Caesar himself
in his Commentarii de Bello Gallico – the main source on the battle – was probably partially
motivated by the desire to secure his own political position. Vercingetorix’ forces managed to secure
military success, most importantly in the Battle of Gergovia in 52 BCE. However, in the Battle of
Alesia in the same year, the Romans besieged and finally defeated Vercingetorix’ army. His attempt
to unification might in fact have contributed to his downfall: contrary to the guerilla tactics that had
confounded Roman troops in some earlier uprisings, this centralized army was no match for Caesar’s
decidedly stronger army.
Long forgotten, around the time of the French Revolution, Vercingetorix’ life and
achievements were reintroduced to collective memory. Before the Revolution, French monarchs and
elites had identified themselves with the Franks, early Christian monarchs. They distinguished
themselves from the common people, said to be of Gallo-Roman descent. After the French
Revolution, those in power sought to forge a new, unifying national identity by promoting an origin
myth that claimed the Gauls as common ancestors of the French. Vercingetorix’ resistance against
Roman rule earned him the title of national hero. Vercingetorix’s statue was erected by order of
Napoleon III, who stimulated archaeological research and drew from ancient literary sources to root
France’s collective identity in the ethnic mythology of a common Celtic ancestor. Simultaneously,
Napoleon III’s message also praised the benefits of Roman rule, namely as a bringer of civilization.
Identifying with Roman imperialism suited France as a justification of its own colonial practices.
Brief description of the statue

The statue of Vercingetorix is located near the hilltop where the battle between Vercingetorix
and Caesar found place. The statue was made in Paris and exhibited there before it was moved to its
current location. The six-meter-tall statue is made of copper and stands on a six-meter-tall base. The
statue was commissioned by Napoleon III and was erected in 1865. The artist is Aimé Millet. On the
base of the statue, an inscription reads as follows:
Gaul united, / Forming a single nation / Animated by a common spirit, / Can defy the
Universe
These are words written by Caesar, who contributed them to Vercingetorix.
The first thing that stands out when seeing the statue, is the typical Celtic moustache.
However, Vercingetorix’s moustache might actually not be a Celtic element: coins forged during his
rule depict him clean shaven. Napoleon III, however, did wear a moustache. His is the face after
which the sculpture was modelled. In the statue, Vercingetorix wears boots and a tunic, holding a
sword. He is not depicted as a commander amid battle, instead, he has a more thoughtful posture,
leaning on his sword, as a ‘civilized’ thinker rather than a warlord.
Map of location Statue of
Vercingetorix
Ground plan
Sources illustrations: Wikimedia Commons

Dietler, M. “A Tale of Three Sites: The Monumentalization of Celtic Oppida and the
Politics of Collective Memory and Identity.” World Archaeology, vol. 30, no. 1, 1998,
pp. 72–89. JSTOR, http://www.jstor.org/stable/125010. Accessed 26 Apr. 2023.
Dietler, M. “"Our Ancestors the Gauls": Archaeology, Ethnic Nationalism, and the Manipulation of
Celtic Identity in Modern Europe” American Anthropologist, vol. 96, 1994, pp. 584-605.
JSTOR, https://www.jstor.org/stable/682302. Accessed 30 Apr. 2023
Haywood, J. “Vercingetorix and the Failure of Gallic Resistance.” History Today, vol. 59,
no. 9, 09, 2009, pp. 42-47. ProQuest.
Malleson, G. B. “Vercingetorix.” Transactions of the Royal Historical Society, vol. 4, 1889,
pp. 1–40. JSTOR, https://doi.org/10.2307/3678158. Accessed 26 Apr. 2023.
Malleson, G. B. “Vercingetorix.” Transactions of the Royal Historical Society, vol. 4, 1889,
pp. 1–40. JSTOR, https://doi.org/10.2307/3678158. Accessed 26 Apr. 2023
McKnew, M. Construction of a Man, Nationalism, Identity, Vercingetorix, and the Gauls, 2021,
ECOMMONS, https://ecommons.udayton.edu/uhp_theses/326/ Accessed 30 Apr. 2023
.
Subject: Roman gates at Autun & Trier: Porte d’Arroux, Porte Saint-André, Porta Nigra
Author(s): Ingmar Heinz, Hanady Kratzheller, Daan van Loo, and Vlad Ungureanu

Beginning of the Augustan period for the French gates.
Construction date placed somewhere between 20 and 10 BCE for Porte d’Arroux, based on
stylistic dating. Other archaeological data are contradictory.
Construction placed between ca. 75 BCE and 50 CE for Porte Saint-André based on stylistic
dating. Other archaeological data lack.
The French gates acquired religious meanings as early as the 13th century (Porte
Saint-André; Porte d’Arroux in ca. the 14th, maybe even earlier) which seem to have
continued throughout the Middle Ages. They had economic implications for the
municipality in modern times, ca. the 19th century.
Porta Nigra:
- Antiquity → original construction

- Middle Ages → transformation into grave and then church
- 18th century → addition of ornaments
- modernity → restoration to origins and transformation into museum
Autun:
Autun, also called Augustodunum in Latin, is the location of both gates. During the Late
Roman era, the town served as an important military and administrative headquarters in
Gaul. The town's strategic location at the junction of several prominent Roman routes,
including the Via Agrippa, which connected Lyon to Boulogne-sur-Mer, and the Route de
Bibracte, which connected Autun to the former Gaulish city of Bibracte, was a major factor
in the town's rise to prominence. Despite its strategic importance and strong defences,
Autun was not immune to the political and economic upheavals that shook the Roman
world in the fourth and fifth centuries. The town was raided by Germanic tribes in the
middle of the fourth century, which was later made worse by the instability and instability
of the late Roman era.
Nonetheless, Autun continued to play a key role in the region's political and cultural life
throughout the Late Roman period. In the fourth and fifth centuries, it hosted a number of
key church meetings, and trade and commerce flourished there well into the early Middle
Ages.
Functionality of gates:
During the reign of Emperor Augustus, city gate design underwent a so-called revolution.
After more than a century of civil war in which cities had to keep up their defenses,
Augustus promised and delivered a period of peace.
An extensive program involving both the construction of monumental Roman buildings and
the foundation of new cities also included the construction of monumental gatehouses as
means of political propaganda. The goal was to stimulate the economies of cities by
constructing amphitheaters and triumphal arches, symbols of Roman power and
Romaness.
In Northern Italy and Gail in particular, city gate complexes of the Cavaedium-type
emerged: gatehouses with two, three, or even four passages, each passage dedicated to its
own type of passenger. Such a complex gave access to an inner courtyard with
corresponding corridors as the city side flanked by possible towers and one or two floors
where the portcullises could be operated and an attack at the courtyard could be repelled.
These city gates initially functioned as a symbol of the city: they were beautifully decorated
with reliefs, pilasters, and/or semi-columns and, also owing to the number of passages and
occasionally high towers, they were monumental urban front pieces for arriving and
departing travelers. All of these city gates were built over the main access roads and played
the same role as triumphal arches, although the latter were erected to honor a person
while city gates were erected to honor the city as a whole.
During Middle Ages, we see them being attributed ecclesiastical value. Archaeological and
scarce iconographical data suggest a chapel of Notre-Dame d’Arroux being annexed to the
exterior side of the Porte d’Arroux. Although few to begin with, the stop in its graphical
representations of the gate after the second half of the 14th century would offer a
terminus ante quem for its dismantling. Nevertheless, it seems that the worship of Virgin
Mary continued afterwards with a small shrine still holding in place of the former altar.
The Porte Saint-André has been adjacent to the parish church dedicated to St. Andrew in
the 13th century, the building of which can still be seen today, housing a protestant church.
The apse of the church, which is still standing, is thought to have originally been a rounded
tower contemporary with the construction of the gate, in which Roman soldiers could hold
guard.
Porta Nigra:
When the Porta Nigra was constructed, Trier was part of the Roman Empire. But not only
was it a part of the Empire, it was also a very important military and economical center,
being a provincial capital.
The Porta Nigra is the best preserved town gate north of the Alps. It was constructed in the
last quarter of the 2nd century AD. Nowadays the Porta Nigra is on the UNESCO world
heritage list. This is mainly due to the fact that the Porta Nigra and Trier in general serve as
the center of Antiquity in Germany. As a matter of fact it was one of the biggest urban
centers in the Roman Empire. The Porta Nigra never got finished in its original form in
Antiquity and the reason for that is subject to speculation to this day. The unfinished
character of the Porta Nigra can be discovered at the doors and also on the semi-pillars.
The Porta Nigra in Antiquity:

The Porta Nigra was originally built out of sandstones that were held together by iron
clamps. Its construction was started under Marcus Aurelius and never finished. The
sandstone darkened with time and was therefore called Porta Nigra (black) because it
appeared almost black. The Porta Nigra was one of the four city gates of Roman Trier, the
northern one. It is the only one of the four that is still standing today.
The Porta Nigra as a residence and grave:

The Byzantine monk St. Simeon first started residing in the Porta Nigra in 1028 after a
pilgrimage. According to the legend, he lived in a complete enclosure in one of the towers
and even had its entrance closed with bricks. After his death it served as a burial place for
St. Simeon. This transformation into a burial place took place in the 11th century AD.
The Porta Nigra as a church:

Afterwards the Porta Nigra was transformed from a burial place into a church dedicated to
St. Simeon. This happened in the Middle Ages. The Porta Nigra’s facade was transformed
into one of a church, while the gate itself was basically left as it was. The building itself
would have had ribbed vaults and an open staircase which would have been a sensation in
the time of it being built. Altars were installed and graves for St. Simeon and the
archbishop were made to restrict the burial function of the place into one area. One major
alteration, however, was made to the Porta Nigra, the second tower was torn off as it was
not necessary for the church function anymore. Some parts such as the earlier mentioned
iron clamps that held the different building blocks together were stolen in the Middle Ages.
Later on Rococo ornaments were added on top of the Ancient surfaces
Back to the roots of the Porta Nigra:

In 1800 the Porta Nigra was restored again by taking away the additions. Eventually the
Porta Nigra was turned into a museum.

The Porte d’Arroux is a monumental Roman gate in the northwestern area of the city of
Autun. Before the medieval period, when Autun is easiest imagined as a polynucleated
settlement with some centres fortified and some not, this was the only access point
through the Roman ramparts on this side of the enclosure.
It presents two large central bays and two smaller, pedestrian, bays flanking them on each
side. The height is relative since they are referenced to the elevation level of route D980
which passes it and which varies with each construction and maintenance work it
undergoes (see the ground plan for measurements, also for Porte Saint-André).
Interestingly, the modern planning of Autun shows some (minimal) sympathy for the
Hippodamian planning of Augustodunum with regard that the Via Agrippa seemingly being
partly overlapped by the modern road. At least the immediate section which enters the
Porte d’Arroux southwards.
The central bays are presented, towards the exterior face, with two side grooves large
enough to fit a portcullis, which would have closed the gate. The portcullis itself is absent
today.
The side facing the country of the Porte d’Arroux is better preserved than its city side. All
four bays survive on this side, while only three survive on the city side (unfortunately, the
western pedestrian bay collapsed).
The second level presents a complete entablature with an architrave, frieze, and cornice.
On top, a gallery with two sets of ten arcades connects the passages. Today, only seven of
them survive in the country. Eight columns that each have fluted, plainly decorated
pilasters and Corinthian capitals separate the arcades. Each capital is richly composed of
two crowns of acanthus leaves with five lobes and five symmetrical digitations.
On the country side of the gate, the central support jamb presents grooves and relief
features which suggest the annexation of an adjacent structure. Most likely the church
dedicated to the Virgin Mary. Extremely scarce iconographical data attests to its existence,
as well as an archaeologically unearthed layer of ceramics, from the exterior side, which
has been linked to ecclesiastical use. It is speculated that the altar, also holding a statuette
of the Virgin, was fixed against this side of the central jamb and that after the dismantling
of the church, there continued to be a small shrine still holding the statuette, as suggested
by a still existing slot.
The Porte Saint-André is the northeastern gate of Augustodunum. It presents two
protruding walls on its country side.
It appears more massive than the Porte d’Arroux, but this is largely because of the better
state that it is in, owing to restoration works undergone in the 19th century and
coordinated by Eugène Viollet-Le-Duc. This restoration project has been highly invasive,
however, which makes it difficult to assess the gate’s ancient architecture.
Its first level shows, again, four bays. Two large central ones and two flanking, smaller
pedestrian bays. All four of them are level on the city side, while on the countryside, the
two smaller bays are placed more forward than the central ones, opening out of the
protruding walls.
The central bays do not present the same side grooves that can be seen at Porte d'Arroux,
suggesting that this gate too could have been closed by a portcullis. It could be that Porte
Saint-André did not close in ancient times or that traces of its closing mechanism have
been covered by the reworking works it underwent.
The support of the first level interestingly comes on the southern side from the small
flanking tower and on the northern side from the chapel.
The second level consists of a gallery of ten arcades flanked by two protruding projections
into the side of the gate. There are two arcades on each of the two protrusions, leaving six
above the central arches. The arcade pillars on the city side are level, unfluted, and seem
not to have been scraped to fit the dimensions imposed by the capitals. The pillars are
decorated with pilasters surmounted with Ionic capitals, just like the facade facing the
country side.
The side of the gallery facing the city is less preserved.
Porta Nigra:
The Porta Nigra is made out of sandstone blocks. It is ca. 30m tall, 36m wide and 21m
deep. It contains four stories and appears to be quite robust. The gate features a Roman
architectural style and is therefore rectangular with a passageway in the middle and two
smaller arches on the sides. The facade of the gate contains columns and pilasters in
Corinthian style. The Porta Nigra has two towers of which each one of them possesses
multiple levels. Defensive elements, such as openings for archers, that show the military
function of the gate, can be spotted on those towers.
Map of location(s)
Augustodunum
Trier
Pictures
City side: Porte d’Arroux Country side: Porte Saint-André
Porta Nigra frontside Porta Nigra backside
Reconstruction Porta Nigra

Reconstruction church in the Porta Nigra
Ground plan
Porte d’Arroux (legend: in brown the preserved parts, in orange solid the attested parts, in orange
outline the restored parts)
Porte Saint-André, ground plan according to Eugène Viollet-Le-Duc for the restoration works
of the 19th century
Porta Nigra Groundplan
- Labaune and Kasprzyk, 2015, p.198.
-Bourgogne Tourisme: Holidays, stays and luxury weekend getaways
(burgundy-tourism.com)
-Wikimedia commons
-Porta Nigra Das Gewaltigste Und Am Besten Erhaltene Römische Stadtor. (z.d.).
Triereroriginal.de.https://www.trierer-original.de/Uns-Trier/spektakulaere-Bauwerke/Porta-
Nigra-51622.html
-Hotel Porta Nigra. (z.d.). Tripadvisor.com.
https://www.tripadvisor.nl/Hotel_Review-g187394-d6485842-Reviews-Hotel_Porta_Nigra-
Trier_Rhineland_Palatinate.html
-Porta Nigra. (z.d.). vakantie-in-rijnland-palts.nl.
https://www.vakantie-in-rijnland-palts.nl/vakantie/766/Porta_Nigra/index.htm
-Van Tilburg, C. (2017). Porta Nigra Reconstruction. Sidestone.com.
https://www.sidestone.com/books/city-gates-in-the-roman-west
-St. Simeon. (z.d.). wikipedia. Geraadpleegd op 12 mei 2023, van
https://commons.wikimedia.org/wiki/Category:St._Simeon_%28Trier%29#/media/File:Ludwig_Neu
reuter_(1796-1871)_-_Die_Porta_Nigra_als_Simeonskirche_(um_1840).jpg
-Barriere, V. (2012). Les portes de l’enceinte antique d’Autun et leurs modèles (Gaule, Italie,
provinces occidentales de l’Empire romain). Université de Bourgogne.
-Clemens, Lukas, Kuhnen, Hans-Peter, Kreikenbom and Detlev (Mainz RWG) (2006). Trier
(CT). Brill’s New Pauly. doi:http://dx.doi.org/10.1163/1574-9347_bnp_e15305210.
-Kerscher, G. (2020). The Porta Nigra in Trier - Bauforschung, Archaeology, and Art History.
[online] Research Outreach. Available at:
https://researchoutreach.org/community-content/the-porta-nigra-in-trier-bauforschung-ar
chaeology-and-art-history/.
-Labaune, Y. and Kasprzyk, M. (2015). Autun/Augustodunum, cité des Éduens. Gallia, 72(1),
pp.195–215. doi:https://doi.org/10.4000/gallia.1521.
-Olivier, A. (2010). La Porte D’Arroux à Autun : observations sur l’architecture et le décor

d’une porte d’enceinte gallo-romaine du Haut-Empire et sa parenté avec l’arc honorifique
de Langres. Revue archéologique de l’Est, [online] (Tome 59-1), pp.265–286. Available at:
https://journals.openedition.org/rae/6488?lang=en [Accessed 4 May 2023].
- van Tilburg, C. (2022). CITY GATES IN THE ROMAN WEST Forms and functions. [online]
Sidestone Press, pp.1–281. Available at:
https://www.sidestone.com/books/city-gates-in-the-roman-west [Accessed 10 Jan. 2023].
‌
ACASA Excursion 2023
Subject: Roman theatre of Augustodunum

Author(s): Brechtje Hartong van Ark and Lien Bomhof

Roman period.
The theater was built around 70 AD when Rome was under Flavian rule. Augustodunum,
which the theatre is situated in was founded and named after Augustus in 13 B.C.
Architects:???
The Roman theatre in the Gallo-Roman settlement of Augustodunum was built around 70
AD. It is argued that this theatre is one of the largest theatres (at least second largest) of the
western Roman Empire. Augustodunum (Modern day Autun, France) was founded and
named after the Roman Emperor Augustus around 13 B.C. and replaced Bibracte, the capital
town of the Aedui tribe (Elaboration about who they were will be discussed later in this
document) who had an alliance with Rome. There are actually two theatres present in the
Gallo-Roman settlement of Augustodunum: one inside the borders of the city and one
outside the borders of the city. We will be discussing the theatre inside of the city borders
which is situated right next to the Amphitheatre from which the remains are no longer
present in modern day Autun. The second theatre outside of the border of the city was
situated next to the Temple of Janus but the remains of this theatre are no longer present.

The Roman theatre of Augustodunum is a theatre which is situated in the Gallo-Roman
settlement of Augustodunum, nowadays known as Autun, in France (region of Burgundy).
Augustodunum was founded by the Roman Emperor Augustus around 13 B.C. and replaced
Bibracte (a Gallic fortified town in the French mountain region of Morvan.), the capital town
of the Aedui tribe (A Celtic tribe from the Roman province Gallia Lugdunensis who settled in
modern Burgundy in the 1st century BC.) who had an alliance with Rome. Augustodunum
became the new capital of the Celtic Aedui tribe and Bibracte was abandoned as the capital
of the Aedui.
Who were the Aedui?: As mentioned before the Aedui tribe was a Celtic tribe from Gallia
Lugdunensis who settled in Gaul or in the region of present-day Burgundy. The Aedui had a
really strong and good relationship with Rome. They became allies with Rome in 121 BC and
gained the title of “brothers”. They were they were defeated by the German Ariovistus
asked Rome for help around 60 B.C. They supported Julius Caesars war in Gaul in 58 B.C.,
but they did briefly join the rebellion in 52 B.C. Under the rule of emperor Augustus, they
became a civitas foederata or “allied community” and they changed their capital from
hilltop Bibracte to Augustodunum. The name Augustodunum translates to “Fortress of
Augustus” Augusto coming from emperor Augustus and dunum coming from the Gaulish
dūnon which means fortress or hill fort. Augustodunum flourished because of the
acceptance of Roman power by the Aedui tribe. Like mentioned before the Aedui had an
1
alliance with Rome and this "bond of brotherhood" is referred to by Tacitus [Annals xi 25.2]
and Julius Caesar [Bello Gallico i.33.2]. The Gallo Roman city of Augustodunum must have
been well populated based on the size of the city and the size of the theatre and
Amphitheatre complex.
Gallo-Roman settlement: The term Gallo-Roman or Gallo-Roman culture shows us the
consequences of the Romanization of Gaul. The Roman Empire occupied Gaul which
resulted in the adaptation or adoption of the Roman culture by the Gallic people. Not only
the culture but also the language and the way of living was adopted by Gaul from the
Romans. Interpretatio Romana is a phenomenon which also happened in Gaul. Interpretatio
Romana is a term used for the identification and association of foreign gods with Roman
deities. As we will probably discover during our trip to Autun building styles are also
adapted and mixed between Gallic and Roman styles.
Use of the theatre: The theatre was mainly intended to be used for dramatic performances.
It argued that it is built in a Classical style. Built on a natural slope, the theatre is in the
classical style with tiers of seats arranged in three semi-circular rows, cut by stairways. A
wall closed the theatre behind the stage. However, other sources talk about the theatre
possibly being built in a Roman style (Just like the second theatre outside of the city
borders.) or at least not in a classical style: “A possible interpretation of this characteristic
would be that the bleachers (and therefore their support system) extend across the main
corridors, almost certainly classifying this building outside the category of classical theatres,
although this may seem obvious at first glance.”1 Bossuet, G., Louis, A., Ferreira, F.,
Labaune, Y., & Laplaige, C. (2015). It is hard to find if any Gallic influences were being used
during the construction of the theatre. The theatre was abandoned after the fall of the
Roman empire and was later used as a quarry. The theatre was partly restored at the
beginning of the 20th century, but the stage and the third level of seating did not survive
through time. The site of Autun is well placed on the classification list of the sizes of theaters
in Roman Gaul. With 148 meters in length, it surpasses that of Mandeure (142 meters), that
of Entrains-sur-Nohain (135 meters), and that of Vienna (130 meters). The theatre was
abandoned in the Middle Ages after the fall of the Roman Empire and became a quarry. As
mentioned, before it was partly restored around 1909 and nowadays shows and cultural
events take place in the remaining theatre.
Excavation: We could not really find any detailed information about the excavations, but it
was excavated around the late 19th, early 20th century.
1
Bossuet, G., Louis, A., Ferreira, F., Labaune, Y., & Laplaige, C. (2015). Le sanctuaire suburbain
d’Augustodunum de la Genetoye à Autun (Saône-et-Loire): apport de l’approche combinée de données
spatialisées à la restitution du théâtre antique du Haut du Verger. Gallia, 72(2), 205–223.
https://doi.org/10.4000/gallia.812
2
Brief description of monument / site / etc.: The Roman theatre in Augustodunum was built
on a sort of natural hillside which is the perfect place for a theatre since the natural height
difference divides the seating area of the theatre into a higher seating area and a lower
seating area. The seating area consisted of three levels of seating. However, the third and
highest row of seating is no longer visible today. Only the first and second rows of seating
remain present in the Roman theatre today but with a little imagination you can imagine the
third row of seating above the trees which are behind the theatre. With a diameter of 148
meter the Roman theatre of Augustodunum is one of the largest theatres in the Roman
imperium. A wall of supposedly 30 meters high closed the theatre from behind the stage
(Stage is no longer visible nowadays.) This wall is argued to have been decorated with
columns and statutes. The wall served as a kind of sound enhancing device. Around 14.000
people could fit into the theatre. They actually wanted a capacity of 20.000 people but this
very hard to achieve. It faces the east to prevent heat from the south just like a similar
theatre in Lyon and is built up against a hill which is in accordance with the Greek- rather
than the Roman type usually built on plains. The theatre was situated right next to the
amphitheater which is no longer visible in present day Autun.
Curiously this theater, like many of these theatres in Gaul, was designed for both stage
performances and ludi, or Games. The tiers, instead of descending to the level of the
orchestra, stop at 2 from the ground and the orchestra is limited by a stone border bearing
a bed of blocks that was still to be surmounted by a ramp or balustrade, up to the height of
the first tier. This arrangement, which resembles the podium in amphitheaters, was to
to allow violent games to be played in the orchestra while keeping the
the spectators out of harm's way. The orchestra is about 50 meters in diameter. According
to 19th century records, it was paved with red marble; but only a few white limestone slabs
were found. On the front of the stage, the curtain piths been discovered,
whose presence attest that the theatre was used for dramatic performances. Based on an
inscription found in the masonry and the findings of several coins the theatre seems to have
been built in the first century, rather towards the end, restored perhaps at the beginning of
the second century and again probably around 311AD.
3
Small house: There is also a small house present on the site of the theatre which was partly
built from the stone of the Roman theatre. The house is called “House of the warden of the
Roman Theatre” or in French “La maison du Gardien”. The house is decorated with
sculptures or reliefs dating from the Roman times and the Middle Ages. The bottom of the
walls were built with small blocks coming from the Roman theatre but the reliefs present on
the small house are funerary stelae which were found at Champ des Urnes (Field of the
Gravestones) an area near the southern walls of the town. The reliefs are poorly executed,
but they seem to show the dead wearing a large cloak and holding some kind of working
tools or sceptre. Some of the funerary stelae are also believed to come from the area
around Pierre de Couhard (the large pyramidal tomb in Autun.). The house is said to be built
around 1845 and seemed to have served as a storage place for archaeological excavations in
Autun during that period.
Source picture: Ville Autun - 5 minutes à Autun / Le théâtre romain.
4
Map of location:
Ground plan:
5
- https://journals.openedition.org/gallia/812
- https://commons.wikimedia.org/wiki/File:Map_of_Augustodunum.svg
- https://augustodunum.fr/infos-pratiques/
- https://www.persee.fr/doc/rea_0035-2004_1940_num_42_1_3158
- Bossuet, G., Louis, A., Ferreira, F., Labaune, Y., & Laplaige, C. (2015). Le sanctuaire suburbain
d’Augustodunum de la Genetoye à Autun (Saône-et-Loire): apport de l’approche combinée
de données spatialisées à la restitution du théâtre antique du Haut du Verger. Gallia, 72(2),
205–223. https://doi.org/10.4000/gallia.812
- Ville Autun - 5 minutes à Autun / Le théâtre romain. (YouTube)
Literature list:
- Bossuet, G., Louis, A., Ferreira, F., Labaune, Y., & Laplaige, C. 2015. Le sanctuaire suburbain
de la Genetoye à Autun/Augustodunum (Saône-et-Loire): Apport de l’approche combinée de
données spatialisées à la restitution du théâtre antique du Haut du Verger. Gallia, 72(2),
205–223.
- Au théâtre d’Autun. 1941. Revue archéologique, 18, 167–167.
- Beacham, Richard. 2007. F. Sear, Roman Theatres: An Architectural Study. Journal of Roman
Studies.
- Wuilleumier, P. (1940). Le théâtre romain d’Autun. Revue des études anciennes, 42(1), 699–
706. https://doi.org/10.3406/rea.1940.3158
Web information:
- https://www.britannica.com/place/Bourgogne-Franche-Comte
- https://www.stedeninfrankrijk.nl/bourgondie/romeins-theater-in-autun/
- https://www.romeartlover.it/Autun.html
- https://www.theatrum.de/956.html
- https://www.pop.culture.gouv.fr/notice/merimee/PA00113102
- https://www.youtube.com/watch?v=1mHhspiN__0
6
7
Subject: Cathédrale Saint-Lazare d’Autun
Author(s): Misha Oberski, Jan Munters
500 - Present
Sculptor Gislebertus (12th century)

Bishop Jean Rolin (1408-1483)

Autun was already in the 1st century a fortified city. The current cathedral stands on the highest
and most defensible part of town. Within the church foundations, Roman traces have been found.
In the 5th century, a first church was built on this site. Due to its growing popularity in the 11th
century as a pilgrimage destination, the bishop of Autun, Etienne de Bâgé, decided to rebuild it.
Between 1120 and 1146 a large Romanesque cathedral was erected. In the following centuries, as
Gothic architecture took flight, the cathedral was not razed and rebuilt (as in Reims), but enhanced
and added to. Especially during the lifetime of Cardinal Jean Rolin (1408-1483), at the high-water
mark of the Duchy of Burgundy, Gothic elements such as side chapels and a spire radically changed
the appearance.
Curiously, due to changing views on aesthetics, a lot of work by the 12th-century sculptor
Gislebertus has been preserved. In the 18th century, monks thought that his work was too ugly to
adorn their cathedral, and covered his image of the last judgement with plaster. In so doing, they
saved it from possible destruction during the French Revolution. During the 20th century, it was
rediscovered and restoration finally finished in 2009.
The base of the Romanesque cathedral was completed in the 12th century. The 80-meter-high
clock tower was completed in the 15th century after the earlier one was destroyed by lightning.
From the 13th century onward Gothic elements were added, hiding the original Romanesque
building. Most of the sculptures and ornaments were created by the sculptor Gislebertus. The
tympanum above the central portal depicts the last judgement. Jesus sits in the middle with hell
on one side and heaven on the other. Underneath the feet of Jesus, an inscription says:
“Gislebertus hoc fecit”. On the inside a relief of the biblical scene “noli me tangere” can be found.
Throughout the cathedral, capitals are depicting biblical scenes also created by Gislebertus. Behind
the altar, there is a stained glass window dating from the 19th century.
Source: Wikipedia
Source: Autun Art et Histoire
Source: Wikipedia
Labaune, Y. (2020). Autun (Saône-et-Loire). Cathédrale Saint-Lazare.

Archéologie médiévale, 50, 245–246.
https://doi.org/10.4000/archeomed.35173
Autun, Cathédrale Saint-Lazare : La cathédrale.
https://cathedrale.autun-art-et-histoire.fr/la-cathedrale.html
Subject: Temple of Janus
Author(s): Jitske van Helden en Lucas Moolenburgh

Date of construction: probably ca. 1st/2nd century
Dedicated to: unknown
Style: Romano-Celtic
Date of abandonment (religiously): ca. 3rd century
Location: Autun (Augustodunum)
Historical context
Although the building carries the name “Temple of Janus”, it has probably very little to do with the
actual god Janus. The association with Janus seems to derive from the 16th century and appears to
be based on the word “Genetoye”, which is the name of the neighborhood where the temple is
located, named after the Genistae-flower that grows here in abundance. It is uncertain which deity
was worshiped here. The temple appears to have been part of a bigger sanctuary and it is known
that both Apollo and Cybele were worshiped in the town, perhaps alongside deities of the Aedui, the
Gallic tribe which lived in this neighborhood during the Iron Age and Roman period. The Romans
were quite keen on naming foreign gods by the names of their own gods, so whether Roman gods,
Gallic gods, Gallic gods referred to by Roman names or all three were worshiped at the sanctuary
and the temple, remains unknown.
The whole town of Augustodunum – later called Autun – was built to replace the oppidum of
Bibracte as a new capital of the Aedui. The presence of a sanctuary complex of this size would
suggest a religious significance of the site for the Aedui even before the Romans entered the scene.
This might have been the reason behind the choice to make Augustodunum the new capital.
According to archeological evidence, statuettes for votive usage were manufactured close to the
sanctuary at Porte d’Arroux, so perhaps these were used or placed in the temple. This suggests the
religious significance of the site on a regional scale.
The Romano-Celtic style of the building is a product of the mixed culture that was the result of the
interaction between both parties.
During the 3rd century, the city of Augustodunum depopulated and declined. During the Middle
Ages, the temple was inhabited, and it was probably used as some kind of fort, because a ditch was
found next to the temple. Its location close to the center of Autun is responsible for its perseverance
and usage after its abandonment. Many excavations have taken place in and around the temple,
starting already in 1871. In the 2000’s aerial surveys were taken of the surrounding areas and the
temple has recently been excavated by the University of Burgundy.
The building, which is about 24 meters high, was part of a very large sanctuary area that stretched
out for acres and included temples and other buildings, such as a theatre which is no longer visible
today. The building itself nowadays is severely damaged but the size of what is left still allows us to
imagine how impressive the temple, and the whole surrounding area, must have been. The south
and west walls are around the same size, which suggests that the building probably was an almost
perfect square (16.35 x 16,8 m). The building probably had a pyramid or gable roof with tiles. The
holes in the walls are not windows but were in fact cut out after the building went out of use,
perhaps to provide more light in the building for the people who lived there during the Middle Ages.
The lower facades used to have four brick-arched niches. Above these, you can still see the square
holes (twelve smaller and six bigger ones) which used to hold the structure, which supported the
roof of the portico around the cella. Further near the top, both walls have triangular-shaped holes
with brick arches above them. Above this, you can still see smaller holes which were used during the
construction of the building, in particular for the constructors’ scaffolding. The west wall used to
have two big niches (which are now openings). In between these niches, you can still see a smaller
niche which contained the statue(s) of the god(s). The entrance was probably on the other side of
the wall. The north wall has a big niche (which is now open as well) and two smaller niches.
Map of location Reconstruction
Picture
Sources illustrations: map and reconstruction: Bromwich. 2003. Picture: Wikipedia.

Barral, P., Joly, M., Glaus, M., Izri, S. 2019. Nouvelles données sur les contextes laténiens
du temple dit de Janus à Autun (Saône-et-Loire). Bulletin de l'Association française pour
l'étude de l'âge du fer, 37. 75-78.
Bromwich, J.. 2003. The Roman Remains of Northern and Eastern France : A Guidebook.
London.
Creighton, J., Haselgrove, C., Lowther, P. and Moore, T. 2009 Becoming Roman in southern
Burgundy: A field survey between Autun and Bibracte in the Arroux Valley (Saône-et-Loire),
2000-2003, Internet Archaeology, 25.
Goodman. 2011. Temples in Late Antique Gaul. Late Antique Archaeology, 7(1), 163–193.
King, A. 2002. The Emergence of Romano-Celtic Religion. In The Early Roman Empire in
the West (p. 220–). Oxford.
Verbrugghe, G, Boyer, L.B.F.. 2019. Late Iron Age and Roman stone mortars and pestles
from the oppidum of Bibracte and the city of Autun (Burgundy, France). Ground Stone Tools
and Past Foodways. The 3rd Meeting of the Association for Ground Stone Tools Research,
Sep 2019, Copenhagen.
Wilson, D.R. 1975. Romano-Celtic Temple Architecture, Journal of the British Archaeological
Association, 38:1, 3-27.
https://www.temple-de-janus.net/Plaquette_PCR_Autun_Janus.pdf
Subject: Trier Museum Mosaics
Authors: Feline van Leeuwen and Sarah Fahnøe

Mosaics found in Trier date from the first till the fourth century AD, when the city experienced a great
agricultural and economic boom and became one of the capitals of the Roman Empire. The Rheinischen
Landesmuseum houses a spectacular set of mosaics that were all found in Trier or in the outskirts of the city
in private homes and in public buildings like the Kaiserthermen. Three of them will be discussed below.

Mosaic is one of the major Roman artistic legacies still found in some parts of northern and western Europe
today. The Romans took over the art form from the Greek and perfected it. They used mosaics to make
durable and attractive floor coverings. From the third century BCE mosaics were made with small pieces of
cut stones with cubic forms, the so-called ‘tesserae’, which could be obtained in many colours. When the
northern and western provinces became part of the Roman Empire, mosaics started to appear there as well.
The first ones were clearly based on Italian models and many contained black and white geometric patterns,
which prevailed in Roman Italy at the start of the imperial period. During the second century the northern
regions developed their own artistic style with figurative scenes, depicted in realistic colors, in sperate panels
surrounded by borders filled with abstract ornaments.
Already in 1800, the first mosaics in Trier were found and preserved in situ. The mosaics of Trier were
usually found due to building activities. After the building of the Rheinischen Landesmuseum at the end of
the 19th century, the mosaics were moved there and still more mosaics were excavated. All mosaics went
through different rounds of restoration due to the development of new techniques, damage caused by wars
or neglect. The early restorations of the Trierse mosaics were done with ancient tesserae which makes it
difficult for later scholars and viewers to distinguish the old from the restored. Later restorations were done
with modern tesserae.
Musen-Mosaik aus der Neustraße:

A square mosaic depicts the 9 muses with their attributes in 9 separate square fields. It is dated around the
middle of the 3rd century. It was heavily damaged when found as there had been floor heating underneath it.
As time passed, the mosaic sunk between the floor heating pillars. The theme of muses is common in mosaics
throughout the Roman world with examples such as the Mosaik von Vichten found in Luxembourg, or the
house of muses found in Turkey.
Literaten- oder Rhetoren-Mosaik:
This mosaic is also from the mid-3rd century. It was part of a house which is thought to have belonged to the
official Roman administration and is referred to as the procurator’s palace. The mosaic was damaged by the
building of Constantine’s Basilica and much has been lost. In 1907, the Villeroy & Boch company restored
it with original stones and modern ceramic tesserae. The central part of the mosaic is an octagon with four
squares and polygons surrounding it to create a square. Next to these are six squares containing individual
images. The images are of some philosophers and writers, Athena and Hermes and two conversating muses.
Monnus-mosaik:
The Monnus-mosaic was found during the building of the Provincial Museum (which is now the Rheinisches
Landesmuseum) in 1884-1889. It was used to decorate a room with floor heating. The mosaic was probably
made at the end of the 3rd century. Unfortunately, it was mostly destroyed by medieval building processes
and damaged because of the heating system under the room. The mosaic consists of 53 figurative scenes,
which are all concentrated in circles around one octagon in the middle. Almost all panels contained tituli.
The first circle of squares contains busts of famous Greek and Latin writers. In the second circle and in the
middle, the octagons contain muses teaching a wise man an art. The third circle consists of squares that show
actor’s masks and squares that contain deities that represent the twelve months. The months are grouped in
the corners according to the seasons. The trapezoids at the edge of the mosaic probably contained the signs
of the zodiac.
Literaten- oder Rhetoren-Mosaik.
Source illustration: Hoffmann, P. 1999.
Monnus-Mosaik. Sources illustration: Danial, W. R. 1996.
Books and Articles:

- Daniel, R. W. 1996. ‘Epicharmus in Trier: a note
on the Monnus-Mosaic’, Zeitschrift für
Papyrologie und Epigraphik 114, 30-36.
- Gwatkin, W. E. 1933. ‘Roman Trier’, The
Classical Journal 29, 1, 3-12.
- Hoffmann, P. 1999: Römische mosaike im
Rheinischen Landesmuseum Trier. Landesmuseum
Trier.
- Kuhnen, Hans-Peter, ‘Roma Secunda: Trier in Late Musen-Mosaik. Source illustration: Hoffmann, P. 1999.
Antiquity’, Groniek 191 (2011) 59-71.
- Lin, R. 2015. ‘Mosaics’, In ‘A Companion to
Roman Art’, First Edition. Edited by Barbara E.
Borg.
- Parlasca, K. 1959: Die Römische Mosaiken in
Deutschland. Germanische Forschungen, Band 23.
WEBSITES:
- https://theatrum.de/1809.html (4/5 - 2023)
Close-up of the Monnus-Mosaik. Source illustration: https://theatrum.de/1810.html

Subject: Langres (Andemantunum)
Author(s): Ella Slot, Jonathan de Boer
- Langres was founded in La Tène D1, at the end of the second century BC. It is the civitas
Lingonum, named after the Lingones. According to Livy, this Celtic tribe moved from
northern Italy to this area between the Saône and the Seine in the fourth century BC.
- During Caesar’s conquest of Gaul, they supported the Roman side, supplying amongst
other horsemen. In return, he granted them the status of a federal city.
- Langres is shown on the Tabula Peutingeriana, which is a 13th-century copy of a fourth-
century travel map that shows the Roman road network. This was indispensable
information for travellers, merchants and armies. This Late Antique map is said to be
based on an original roadmap created by Agrippa (63-12BC).
- Langres has always been a crucial element in land infrastructure, due to the many
roads crossing it. Amongst the routes were Lyon-Trier, Reims-Besançon and at least
eight other connections. After the Roman conquests by Caesar, the Lingons’ land
transferred from Celtic Gallia to Belgian Gallia, and Langres, then called
Andemantunnum, took on a strategic position: it became an important intersection of
trade roads on the road network formed by Agrippa.
- This interconnectivity contributed to the development of trade and cultural links, as
witnessed by the many coins and fibulae that have been found in the city. It was also an
administrative centre for the Lingones. For military exploits, it was a logistical hub.
Roman soldiers stationed there helped to build more roads.
- Located five hundred meters above sea level on a limestone plateau, it has been
defended with ramparts and fortresses. After some invasions in Late Antiquity, it gained
power during the Middle Ages as the seat of the Bishop of Langres. This Bishop even
carried the royal sceptre during sacred rituals at the court.
- In the Renaissance, the arts and craftsmanship flourished due to that same French
royal court. The decline started in 1731 when the bishop of Dijon, hundred km to the
south, took over the role of the most important royal diocese. In the 19th and 20th
century wars, Langres played a role in defending Paris. The continuing building projects
led to the disappearance of Roman history: no traces of a forum, amphitheatre, temple,
or public baths have been found, even though we have epigraphical evidence of their
existence.
- The town still has a rich cultural, academic and culinary life, maintained by a wealth of
associations. The archaeological findings have been preserved mostly in local
museums, in Langres itself and in surrounding towns.
Brief description of monument/site / etc
- A Gallo-Roman arch, possibly from 20BC but certainly before the third century AD,
functions as an entry gate to the city on the north-west side. It is 19,95 meters wide
and 10.7 meters high. Above the two semi-circular arches, there used to be a frieze
decorated with arms and shields. The archivolts consist of three unequal bands.
The gate lay on the decumanus maximus, which was an important trade road,
leading from Rome to Boulogne-sur-Mer. From Langres it leads in the direction of
Reims.
- In 1986 the Bacchus Mosaique was uncovered, which covered the dining room floor
of a second century villa in Langres, on the site where now the Langres Museum is
located. The mosaic is made of limestone and depicts a symposium, part of the
Greco-Roman cultural legacy.
- One of the most prominent features of Langres is the almost 4-kilometer-long city
wall with six gates and seven towers, built from the late Middle Ages to the early
modern period onwards. This is what you see on the map. The Tour de Naverre is
unique with walls up to seven meters thick. The quality of the fortifications is so high
that even in 1840, more than five centuries after the start of building works, Langres
was classified as a first category fortified town. This also led to the decision to build
a citadel.
- During the digging for the citadel, many archaeological objects were found, with
inscriptions pointing to local Roman public buildings, e.g., temples baths and a
theater. A sign to the town’s religious importance is the medieval Cluniac cathedral.
From the Renaissance remains several grand houses and during the early modern
period, various reformed religious orders settled there and started magnificent
building projects.
A modern map of Langres, with the walls and towers
A 19th century map of the

fortifications of Langres
Tabula Peutingeriana, a medieval copy of an

ancient Roman road map The contemporary view on Langres
https://www.tabula-peutingeriana.de/list.html?sect=1a5
https://www.tourisme-langres.com/nl/BALADE-LANGRES-01_rond-de-stadswallen-van-
langres
https://commons.wikimedia.org/wiki/File:Plan_de_la_ville_de_Langres,_avec_ses_fortific
ations_anciennes_et_nouvelles.png
https://lesdroners.fr/guide-voyage/voyage-en-france/partir-en-vacances-en-france/visiter-
le-grand-est/visiter-langres/
Carroll, M. (2001). Romans, Celts & Germans : the German provinces of Rome. Stroud:
Tempus.
Frézouls, E. ‘’Andemantunum (Langres) Haute-Marne, France’’, in Stillwell,R.

MacDonald, W., McAlister, L. Holland, M. (1976). The Princeton Encyclopedia of
Classical Sites, retrieved on May 8, 2023 from
https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0006%3
Aentry%3Dandematunum
Frézouls, E. (1988). Les villes antiques de la France / Germanie Supérieure / Edmond

Frézouls 1, Besançon, Dijon, Langres, Mandeure. Strasbourg: AECR.
Historantik, (s.d.). ‘’Porte gallo-romaine de Langres’’, Historantik. Retrieved on May 8,

2023 from https://historantik.fr/2020/05/21/porte-gallo-romaine-de-langres/.
Joly ,M. Izri, S. & Maligorne, Y . (2015). ‘’Langres/Andemantunum, capitale des

Lingons’’, Gallia, 72(1), 217–230.
Massy, A. (2022). ‘’Bernard Dimey et le Québec : Une histoire d’art et d’amitié entre
Montréal (Canada), Montmartre (Paris) et Langres (berceau de Jeanne Mance en
France)’’ Études canadiennes, (93), 79–96.
Vurpillot, D. , s.d. “Luxeuil-Les-Bains (Haute-Saône)”, Agglocene. Retrieved on May 8,

2023 from https://agglocene.huma-num.fr/notices-de-sites/haute-saone/luxeuil-les-
bains-haute-saone/.
Bibracte, a Celtic-Gallo Roman oppidum and its museum
Sophia Abdi-Wansbrough, Emma van de Goot, Matthieu Meijer

 La Tène D, Late Roman Republic
 Early 2nd century BCE Bibracte is founded as a hilltop settlement.
 121 BCE alliance of the Aedui with the Romans
 58-50 BCE Gallic Wars waged by Julius Caesar
 52 BCE, in the summer Vercingetorix led a coalition of Gallic tribes to revolt against the Roman
conquest. Julius Caesar defeats Vercingetorix and installs his winter quarters at Bibracte where he
wrote a part of his Commentarii de Bello Gallico
 15 BCE Augustus moved the capital of the Gallia Lugdunensis province from Bibracte to
Augustodunum (Autun)
 Rediscovered by Jacques-Gabriel Bulliot in the 19th century in
 1984 research is relaunched at the site on request of French president François Mitterrand
 1995 opening of the Bibracte museum

The Aedui were a powerful people residing in the modern French region of Burgundy during the Late Iron
Age and the Roman period. It is in the 2nd century BCE that the oppida of Bibracte was built coinciding
with the appearance of hundreds of similarly fortified cities across the region between the Atlantic and
Central Europe. Bibracte was the capital of the Aedui whose territory included numerous towns and
settlements. Bibracte’s standing as an artisanal, commercial, cultic, and political centre counting at its
height a population of ca. 10,000 people renders its ephemerality a surprising feature which sheds light on
the influence wielded by the Romans on these territories. Indeed, the Aedui being one of the many warring
tribes dwelling in Gaul during the late Iron Age, appealed for an alliance to the Romans ca. 121 BCE in
order to overpower their rivals especially the Averni tribe. This alliance provided for the Romans a window
of opportunity for involvement in the region. From 58-50 BCE Julius Caesar wages a war of conquest in
Gaul, an endeavour initially supported by the Aedui. However, they eventually join Vercingetorix’s coalition
in 52 BC revolting against Roman domination. This revolt fails and Bibracte continues to thrive as the
capital of the Roman province of Gallia Lugdunensis. The decline of Bibracte comes in 15 BCE when the
capital is moved from Bibracte to Autun, named at the time Augustodunum in honour of Augustus. The
ancient site is gradually abandoned with little activity before its rediscovery in the 19th century Jacques-
Gabriel Bulliot. The atmosphere of rediscovery coincides with a period of cultivation of national
consciousness across Europe. In France it is spearheaded by Napoleon III’s endowment of archaeological
research programs. After Bulliot’s death, research at the site is continued under the supervision of his
nephew Joseph Déchelette to whom we owe the discovery of the oppida phenomenon. Research came to
a halt in 1914 but was resumed in 1984 on request of the French president François Mitterrand. The site is
proclaimed to be of national interest, is labelled as one of the ‘important projects of the state’, and now
houses a museum as well as a European archaeological research centre providing opportunities for
research and education of young archaeologists from across all of Europe.

Bibracte was a Celtic-Gallic oppidum, a large fort on top of a hill, spanning ca. 135 hectares, with two
rampart systems protecting it. The town featured a central forum similar to other Roman-style fora, and
was divided in various quarters based on their type or function. Bibracte, and the territory of the Aedui in
general, was located on a strategic position on the borders of the 3 largest river basins in France, and on
the route between Rome and the rest of the Gallic world, which brought a lot of wealth to the town.
Nowadays the site of Bibracte is actively excavated, but only 5% of the entire area has been excavated so
far. The museum, featuring finds from the site itself and from other nearby places, is located at the
entrance of the site, in the northeast, just outside of the original outer rampart. Bibracte’s old necropolis is
located next to the museum. From this north-eastern entrance, one main road leads through the entire
site as a north-south axis. When following this main road southwards from the museum, it first leads
through the Porte du Rebout, one of the entrances of the inner rampart. Located Just past this gate are the
remnants of Le Champlan and La Côme Chaudran, two artisanal neighbourhoods. Further down the road
lie the remnants of the monument town centre, along with an ancient water basin and a 15th century
Franciscan monastery. South and west of the centre mostly residential areas were located, with the Gallic
PC15 ensemble of buildings and the Roman houses PC1 and PC2 as highlights. In the very south of the site,
on top of the highest hill there is a viewpoint called La Chaume, which offers a great view over the entire
site of Bibracte.
Map of location Reconstruction
Ground plan
Sources illustrations: Cunliffe 2018, Powerpoint

of the April 13 lecture, Wikimedia Commons
Main literature:
Cunliffe, B. (2018). The Ancient Celts (2nd

edition). Oxford University Press.
Guichard, V., & Nouvel, P. (2013). Bibracte et le

Monde Celtique. Éditions Errance.
Garcia, D. (2010). Bibracte: une cité gauloise du

Mont Beuvray. Éditions Gallimard.
Websites:
https://www.bibracte.fr/fr
Subject: Celtic Oppidum of Mont Lassois
Author(s): Leoni Michel, Jeanine Abels

Hallstatt period (specifically mid and late)
La Tène period
Was built and used in the Hallstatt period, then some parts seem to be abandoned and used again
in the mad La Tène period, while others seem to be continuously used from the Hallstatt to the
early La Tène period.

Our knowledge on this Celtic Oppidum during the Hallstatt and La Tène period is based on
excavations and research on excavated material, the most recent conducted in 2018. This seems
to have been an area of extensive trade and multiple Mediterranean products such as pottery
have been found. The connection of these products to certain social classes and how they were
used is a big field of study in the area. Together with that the layout of the oppidum in the
different time periods and which parts of it were inhabited by which kind of people (meaning
occupation and social position).
Brief description of monument / site / etc.

The Oppidum was situated on Mont Lassois, in Département Côte-d’Or, modern France. The
mountain is west of the French town Vix. The Vix Burial is situated east of the oppidum and
multiple other big grave structures have been found in the vicinity of the Vix Grave and the
oppidum. The river Seine runs along the north-eastern foot of the mountain.
So far, the oppidum seems to have been surrounded by 10 to 11 separate ramparts, some of
them with corresponding ditches. Not all of the areas of the mountain have been thoroughly
researched, but the researched areas include: the top of the mountain, the northern slope, and
the western slope.
Map of location
Ground plan
Green: ramparts
Sources illustrations: Mötsch et al. (2019), Google Maps, Regeot et al. (2019)

Mötsch et al. (2019). „Essen und Trinken am Mont Lassois in Burgund: Neue Erkenntnisse zu Bedeutungen
und Funktionen lokaler und importierter Keramik in der frühen Eisenzeit“. In P. Stockhammer and J.
Fries-Knoblach (Eds.), IN DIE TÖPGE GESCHAUT: Biochemische und kulturgeschichtliche Studien zum
früheisenzeitlichen Essen und Trinken, (pp. 51-112). Sidestone Press, Leiden
Winkler, A. (2017). Status des Handwerks und des Handwerkers in der Späthallstattzeit: Eine Überlegung
am Fallbeispiel der Grabung eines Handwerksareals am Mont Lassois (Burgund, Frankreich). In R. Karl and
J. Laskovar (Eds.), Interpretierte Eisenzeiten. Fallstudien, Methoden, Theorie. Tagungsbeiträge der 7. Linzer
Gespräche zur interpretativen Eisenzeitarchäologie. Studien zur Kulturgeschichte von Oberösterreich,
Folge 47, (pp. 151-162). Österreichisches Landesmuseum
Von der Osten-Woldenburg et al. (2006) New Archaeological discoveries through magnetic gradiometry:
the early celtic settlement in Mt. Lassois, France. In The Leading Edge. (pp. 46-48). SEG
Winkler, A. & Rageot, M. (2019). Neue Forschungen am Mont Lassois (Vix, Burgund): Ein späthallstatt-
zeitliches Handwerksareal. In P. Stockhammer and J. Fries-Knoblach (Eds.), Was tranken die frühen Kelten?
Bedeutung und Funktion mediterraner Importe im früheisenzeitlichen Mitteleuropa. (pp. 273-285).
Sidestone Press
Regeot at al. (2019). New insights into Early Celtic consumption practices: Organic residue analyses of
local and imported pottery from Vix-Mont Lassois. PLOS ONE
Ballmer et al. (2022). Der Westabhang des Mont Lassois (Vix/F.): Befestigung, Unterstand und Kulturplatz
der Eisenzeit. Librum Publishers & Editors LLC
Bruno Chaume (2011). ARCHÉOLOGIE EN BOURGOGNE: VIX (CÔTE-D’OR), UNE RÉSIDENCE PRINCIÈRE AU
TEMPS DE LA SPLENDEUR D’ATHÈNE. DRAC Bourgogne, Service régional de l'archéologie
Subject: The Pyramide de Couhard and Roman cemeteries of Augustodunum
Author(s): Ethan Tunney, Koen Benard

The city of Augustodunum is surrounded by 9 necropoli. Site 1-6 were used during the 1st -3rd century CE,
while site 7-9 date to the 3th to 4th century CE (see figure 1). The pyramid of Couhard was constructed
during the 1st century CE and is located on the “Champ des Urnes/Field of Urns”.

The city of Augustodunum was founded under the reign of Augustus to replace the nearby city of Bibracte
as the capital city for the Aedui. It quickly grew to become an important city for the wider region. The
Maenian school, which taught Greek and Roman rhetoric became a popular location for sons of aristocrats
in Roman Gaul to be sent for education. While the construction of the city was methodically planned out,
there was no place allocated for a necropolis within the city walls. Instead, the necropolises were placed on
various locations just outside the city walls. Together, the necropoli around Augustodunum were used for
more than 400 years, giving archaeologists and historians a fascinating look into the funeral practices of the
inhabitants of the city as well as giving insight about their social and economic status.
In the 1st century CE, cremation was the dominant funerary practice. Numerous cremation fields can be
found dotted around Augustodunum. When inhumation became the dominant practice throughout the 2nd
and 3rd century CE many necropoli continued to be used, along with new necropoli that got their start in
the 3rd century. Excavations at these necropoli have unearthed lavish funerary gifts, lead coffins, feasting
remains, personalized grave markers and, notably, one of the first inscriptions referring to Christianity in
this part of France.

On the surface, not much is visible for most of the necropoli, with one glaring exception: The pyramid of
Couhard. The now 22.6 meter tall ruin once towered a massive 35 meters above the crest of the hill it is
located on. Its square footprint had sides of at least 10 meters. While today only the solid core of the
pyramid is still standing (see figure 2), it is likely that it was once covered with a outside layer of white
marble plates, not unlike the pyramid of Cestius in Rome. Unlike it’s counterpart in Rome, however, the
entire outside has since been removed and likely reused in different construction projects. Excavation
attempts and natural weathering have significantly damaged what remains of the pyramid, giving the
pyramid its iconic unstable and disheveled look. Numerous restoration/preservation attempts have been
made throughout history, the most recent finishing in 2021.
Main literature:
Bromwich, J. (2006). The Roman Remains of Northern and Eastern France: A Guidebook. Classics Ireland
(Dublin. 1994), 13, 78.
Chermain, C. (2017, May 27). Le champ des urnes, un cimetière païen. . . et chrétien. Le Journal.
Duval, P. (1963). Relevés inédits des monuments antiques d’Autun (Saône-et-Loire). Persée.
Sickle, C. E. van. (1934). Eumenius and the Schools of Autun. The American Journal of Philology. Vol 55. pp.
236-243.
Rebourg, A. (1998) L'urbanisme d'Augustodunum (Autun, Saône-et-Loire) Gallia, Vol.55. pp.141-236
La nécropole paléochrétienne de Saint-Pierre-l’Estrier à Autun. (2020, November 13). Inrap.
Labaune, Y. (2009). La topographie funéraire antique d’Autun : Bilan et nouvelles propositions à la lumière
des découvertes récentes. Bulletin Archéologique, 97–128.
Labaune, Y., & Kasprzyk, M. (2015). Autun/Augustodunum, cité des Éduens. Gallia, 72(1), 195–215.
Map of location
Figure 1: Map of ancient Augustodunum and surrounding necropoli

Autun et ses nécropoles, Archéologie en Bourgogne (2006)
Figure 2: The pyramid of Couhard as it stands Figure 3: Excavation plan and section of the pyramid
today. Planche XXXVI de Roidot: la pierre de Couard, Paul-Marie Duval (1989)
Pyramide de Couhard, Autun. Chabe01 (2017)
Subject: Notre Dame de Reims
Author(s): Misha Oberski, Jan Munters

3rd century - present
The present cathedral stands at the site of earlier cathedrals dating back to the fifth century, and
boasts the baptism of Clovis, the first king of the Franks. Completely rebuilt from 1211 onwards.
Choir finished in 1241. Roof finally closed in 1492. Heavily bombarded in WW1, restaurations
finished in 2017.
Archbishop Aubry de Humbert (1207-1218)

Site of baptism and later coronation of the kings of France. Thus a seat of vast power.
In the third century, the first version of the Cathedral of Reims was built east of the current
location. In the fifth century, a new church was built on the current location. In front of this
cathedral Clovis was baptised. After the 8th century, many French kings were crowned in this
cathedral and after 1241 almost all of them were. After being “accidentally” destroyed by fire in
the 13th century, the cathedral was completely rebuilt. It has suffered greatly during the centuries:
it was destroyed by fires and a tornado, parts were destroyed during the French Revolution, and it
was heavily damaged during the First World War.
After the French monarchy was abolished, the cathedral remained a place of national pride,
exemplified by the restoration during the 20th century. It was for instance the location of a highly
symbolic meeting between French president De Gaulle and German chancellor Adenauer.

A massive cathedral, 149 meters long, and 87 meters high. The main structure was raised in the
first half of the 13th century. With its two towers, rose windows, stained glass, and architecture
designed to let as much light into the building as possible, it is a stunning example of French Gothic
architecture. Heavily damaged in the First World War, many of its features are quite recent, but
efforts have been made to preserve the links with the past.
The cathedral has two towers of equal height on the west side. On the left portal, we find the
“smiling angel”, which became known worldwide during the Great War. The west façade also
features at the top level the famous gallery of the kings, depicting biblical kings surrounding the
baptism of Clovis. Above the gallery, a pignon decorated with the annunciation is found. The
cathedral is dedicated to Mary and we find her again in multiple scenes around the central portal.
In between is the pride of the Cathedral: the rose window, still in its original 13th century state.
Throughout the cathedral the restored stained glass windows show mediaeval styles as well as
modernism, even including abstract windows.
On the north façade, we find in the centre the Gate of the Last Judgement and a porch depicting
the miracles of Saint Remigius. In front of as well as inside of the cathedral a statue of Jeanne d’Arc
again binds the French kings to the cathedral.
Source: In the footsteps of De La Salle Source: Smithsonian Magazine
Source: Union des Maisons de Champagne
Paroisse Notre-Dame Saint-Jacques de Reims.
https://www.cathedrale-reims.com/
Tourisme in Marne en Champagne.
https://www.tourisme-en-champagne.nl/
France.fr : Actualités, destinations et infos du tourisme en France.
https://www.france.fr/
Subject: St Peter’s Cathedral, Liebfrauenkirche and Constantinian ceiling paintings
Author(s): Tamar ten Have and Jamaine Ypma

Foundations in Late Antiquity (4th century)
Constantine the Great (273/280-337; emperor from 306-337) and his mother (St.) Helena (ca. 248- ca. 329).
Four principal construction phases of the Cathedral: 4th, 11th, 17th/18th and 20th century
Liebfrauenkirche: built between 1227-1260
Constantinian ceiling paintings: discovered in 1945/46, dated to the 4th century.

The St Peter’s Cathedral (Dom) and Liebfrauenkirche are built on the same Roman foundations and were part
of the same Doppelkirchenanlage (‘double church complex’) which originally consisted of four buildings. The
northern church formed the basis for the Cathedral and the Southern church formed the basis for the
Liebfrauenkirche.
According to medieval legend, Helena gifted her palace to bishop Agritius of Trier to build a new church. The
Constantinian ceiling paintings attest that the Cathedral was indeed built on top of a palace, but it is most
probable that it was Constantine himself who gave the order to build a new church on top of this palace This
church was finished in 340. In the late 4th century the eastern part of the church was transformed into a
quadrat basilica, of which the precise function is unknown. After destruction of the church by the Vandals and
Franks during the 5th century, bishop Nicetius restored the church in the 6th century. But it was destroyed again
in 882 by the Vikings. In the 10th century it was partly restored again and in the 11th century the archbishop
gave the order to restore and expand the whole church, giving it its current form (with two towers and an
apsis in the middle). Between 1227-1260 the Liebfrauenkirche was built by a French architect, after the
archbishop Theoderich von Wied commissioned it to be built on top of the previous southern church of the
Quadratbau. In 1512 the most important relic of the Dom, the Heiliger Rock (‘Holy tunica’ which was worn by
Jesus Christ and which Helena herself, according to the Gesta Treverorum, had brought to Trier), was shown
for the first time to pilgrims. In the 17th century the baroque Heilig-Rock-Kapelle was built. In 1717 the church
was damaged extensively by fire but was shortly thereafter rebuilt. The French took Trier in 1794, after the
French revolution, and wanted to destroy or privatize all churches. The cathedral was privatized, but the
people of Trier convinced the French not to destroy the Liebfrauenkirche, since it was made by a French
architect and was thus a French masterpiece.
During WWII Trier was bombed constantly, which resulted in extensive damage both to the Cathedral and the
Liebfrauenkirche. After WWII restorations began and with them extensive excavations, which resulted in the
discovery of the Constantinian ceiling paintings.

The St. Peter’s Cathedral and the Liebfrauenkirche are located in the city centre of Trier next to the
Domfreihof. The interior of the cathedral is approximately 112.5 by 41 meters. The collective history of the
churches, which spans over a period of 1600 years, has resulted in an eclectic mixture of architectural styles.
The romanesque Cathedral is made of intricate brickwork from various periods, and the facade is decorated
with arches of red and white brickwork. The apsis has two towers on either side: two stair-turrets and two
square towers of different lengths. The Chapel of the Holy Tunic on the east side was built in the baroque
style. The Liebfrauenkirche on the other hand is a High Gothic church with a diameter of 41,43 m. It is
characterized by rose windows and sculpture mainly on the main portal. The layout of the church is unique as
it has a floor plan that resembles a rose; the twelve ‘petals’ of the rose are symbolic of the twelve apostles.
The two churches are connected via a cloister (Kreuzgang in German) as well as a passageway.
The cathedral also has a treasury, which contains relics, manuscripts, the Trier Ivory, and other objects. The
treasury is located close to the Heilig-Rock-Kapelle, which are both accessible via the same stairs at the east
side of the church.
Constantinian ceiling paintings
The Constantinian ceiling paintings were excavated by archeologist Kempf in the periods 1945-46 and 1965-
68 after the cathedral was bombed, and the painstaking assembly of the ceiling’s fragments into their original
form was finished in 1980. The paintings are currently visible in the Cathedral Museums as panels on the wall,
rather than as a whole. It has been estimated that the ceiling paintings were part of a room of approximately 7
by 10 meters. (Early scholarly work suggested 7 x 14 meters, but this isn’t the case since the panels aren’t
symmetrical). The paintings are compartmentalized in a coffering system of rectangles and squares, in which
rich ladies, winged putti and men are depicted. Each scene has a rich blue background, which is framed by
broad red and green bands, and all scenes are connected by red bands with twisted golden ropes and rosettes.
There is much debate about the portraits of the men and women, some scholars argue that the figures are
allegorical, others that they are historical. Because the women have a nimbus behind their heads, they have
been compared to icons. However, it is not entirely clear if the paintings were made in a christian or pagan
context.
Ground plan
Photo Dom: Roland Morgan,

https://www.dominformation.de/bauwerk
Ground plan: Deutse Lande Deutsche Kunst –
Deutscher Kunstverlag Berlin, 1952
Trierer Dom & Liebfrauenkirche
Ceiling Paintings
Hartog, E. 1992. Romanesque architecture and sculpture in the Meuse Valley. Leeuwarden.
Lavin, I. 1967. ‘The Ceiling Frescoes in Trier and Illusionism in Constantinian Painting.’, Dumbarton Oaks Papers
21, 97-113.
Schelbert, G. 2011. ‘Zeigen und Bewahren. Die barocke Heilig-Rock-Kapelle am Trierer Dom im Kontext der
künstlerischen Konzepte ihrer Zeit, insbesondere im Vergleich mit der Kapelle des Heiligen Grabtuches in
Turin.’, ART-Dok.
Rose, M.E. 2006. ‘The Trier Ceiling: Power and Status on Display in Late Antiquity.’, Greece & Rome 53 (1), 92-
109.
Unruh, F. 2017. Trier: Biographie einer römischen Stadt. Darmstadt.
Websites:
https://www.trierer-original.de/Uns-Trier/spektakulaere-Bauwerke/Trierer-Dom-51632.html
https://www.trierer-original.de/Uns-Trier/spektakulaere-Bauwerke/Liebfrauenkirche-51630.html
Trier: historical overview
Julia Derkx, Sarah Fahnøe, Jaap-Bram Hannessen, Tamar ten Have, Eline Jordens, Joël Jurg,
Feline van Leeuwen, Eveline Miedema, Ellen Mooij, Bárbara Paiva, Jamaine Ypma
1. Treveri
The German city of Trier is named after the Treveri. This Celtic tribe inhabited a region that
nowadays stretches from southeastern Belgium across Luxembourg into southwestern
Germany. A region well-known for its many hills and valleys. Their territory was bordered by
the Meuse in the West and the Rhine in the East. Trier itself lies in the valley of the Moselle
river, which joins the Rhine in Koblenz.
This area was part of the Hunsrück-Eifel culture, known for its burials with much jewelry,
during the late Hallstatt and early La Tène periods (6th century until 3rd century BCE). The
transition into the period of the Treveri (250/220 – 20 BCE) appears to be free from ethnic
upheaval (as the absence of archeological finds suggest), which points to an autochthonous
origin of the tribe.
One of the larger oppida in the region was that of the Titelberg, located about 80 km from
Trier in the south of Luxembourg. The Titelberg probably functioned as the central hillfort of
the Treveri. There is much evidence for economic and political contact with the Mediterranean
world (wine from Greece and Spain and Etruscan ceramics for example), but the Treveri
considered themselves ethnically linked to the Germani, as they - if we can trust Caesar -
stated to Caesar himself (Bello Gallico 2.4). They had made the Segni and Condursi tribes into
their clients.
The Treveri were famed for their cavalry, and they played an ambivalent role during Caesar’s
campaign in Gaul. They sometimes allied themselves with the Romans, due to their
traditionally good contacts with them, and sometimes distanced themselves from them.
However, they never entered an alliance with other Celtic or Belgian tribes and subsequently
were not part of the uprisings of Ambiorix and Vercingetorix. After Caesar’s conquest of Gaul,
the territory of the Treveri became part of the Roman province of Belgica. In 29 BCE they
rebelled and were defeated by Nonius Gallus.
2. Augusta Treverorum
The official ‘birth’ of Augusta Treverorum is usually put after the building of the wooden bridge
used for Agrippa’s road from Lyon to Cologne (c. 17 BCE). The city was located favorably for
transportation, next to the river Moselle and along Agrippa’s road. During Augustus’
reorganization of the provinces, he turned Trier into the capital of Belgica. Claudius later gave
the settlement the status of colonia. This is the highest status a settlement could get and it
provided Trier with market rights and full citizenship, though it is highly debated whether in
Trier’s case it was not simply an honorary title.
Trier played a key role in multiple revolts such as that of Julius Florus and Julius Sacrovir,
Treveran and Aeduan, in 21 CE, but also in the Batavian Revolt (69/70 CE). After the Batavian
1
and Belgian tribes were defeated a long period of peace followed, accompanied by an
economic upswing.
The city was built according to the Hippodamian grid.

Buildings were based on insulae, with some buildings
as big as multiple insulae, such as the circus,
amphitheatre and forum.
The forum was simple during the Augustan period,

with wooden buildings, albeit richly decorated in the
same style as stone Roman buildings. Around the
mid-first century, the wooden structures were
replaced with stone buildings. The forum was again
reconstructed in the Flavian period.
The amphitheatre was built during the reign of

Hadrian or Trajan (2nd ct. CE) and could seat around
8000 people. The circus most likely dates back to the
second century, too. The amphitheatre and the circus
were renovated when Constantinus I Chlorus moved to Trier (around 293).
3. Trier during the 3rd and 4th century
At the end of the third century the emperor Diocletian officially declared the city Augusta
Treveris to be imperial residence of the Western part of the Roman Empire; it kept this status
from 293 to 392. This brought an end to a turbulent time, during which Trier had been the
residence of the 'counter-emperors' Tetricus I and II (271-274) and had then been destroyed
by an invasion of the Alemanni, a Germanic tribe (275).
The imperial status of the city led to a new building program for which several insulae within
the city’s ground plan where emptied, the most important of which were set up under the
reign of Constantine the Great (306-337): the Imperial Reception Hall (aula palatina), later
called Constantine’s Basilica, and the Imperial Baths (Kaiserthermen). With this, Trier grew
into an influential administrative and economic center, both in the Western part of the Roman
Empire and in the empire as a whole. Trier was accordingly called Roma Secunda, ‘the second
Rome’. At its peak, Trier had around 80,000 to 100,000 inhabitants.
As Christianity began to gain influence in the Roman Empire, Trier also played an increasingly
important role within the organization of the Roman Catholic Church. By the end of the third
century, a bishop’s seat was established in Trier. The four basilica-like buildings – the
predecessors of the Cathedral of St. Peter and the Church of Our Lady (Liebfrauenkirche) – are
dated to and became a legacy of.
2
4. Trier beyond antiquity
Trier lost its function as a Roman imperial residence, but due to its size, religious importance,
location and economic power, different contenders fought over the claim of the city. it was
seized by Frankish troops four times and retaken by the Romans each time until it was finally
incorporated into the domain of the Ripuarian (or Rhineland) Franks in 485/86.
During the later Middle Ages, the city became the capital of the Electorate of Trier, which was
one of the most influential electorates of the Holy Roman Empire, both ecclesiastically and
politically. The basilica’s built by emperor Constantine were turned into the city’s cathedral of
St. Peter. After being destroyed and rebuilt twice it reached its current form in the 11th
century. Over the following centuries expansions were made and embellishments added, but
the core Romanesque style remains unchanged.
The early modern era was marked by various political changes and conflicts, including the
Thirty-year War, the Nine-year War, the War of the Spanish Succession, and the War of the
Polish succession. In the late 18th century, French forces occupied Trier and it became a part
of the French Empire. Many of its historical buildings were repurposed, for example the
Electoral Palace, or destroyed, for example the St. Paulin Church. Trier remained a part of
France until the Congress of Vienna in 1815. Later in the 19th century, Trier became a part of
the Prussian Empire and was subsequently incorporated into the newly formed German
Empire in 1871.
5. Trier in the 20th century
Of the First World War and the Second World War, the latter was definitely the most
destructive: on the 14th of August of 1944, over 11.000 bombs were dropped onto the oldest
part of the city, where most of the historical monuments stood. A lot of them were destroyed,
and also the Rheinisches Landesmuseum was heavily damaged, including many artifacts, even
though one tried to protect them. For example, the Rennfahrer-Mosaik was surrounded with
sand bags, but still got blown into innumerable pieces.
But WWII had a positive effect on excavations: much ancient material came to light, due to
the building of bombing shelters and trenches. And after the war many remains were found
during the reconstruction of the destroyed parts of the city. The Constantinian paintings
nowadays in Museum am Tor belonged to them.
Today, Trier is a flourishing city with over 100.000 inhabitants, known for its UNESCO World
Heritage Site and its wine. The city is also home to numerous museums, art galleries and
cultural institutions.
3
Literature:
Binsfeld, A. (2012). ‘Augusta Treverorum (Trier)’. In: The Encyclopedia of Ancient History.
https://doi.org/10.1002/9781444338386.wbeah16019
Gwatkin, W. E. (1963). ‘Roman Trier’. The Classical Journal 29(1), 3–12.
Johnson, S. (2012). The Oxford Handbook of Late Antiquity. Oxford.
Kuhnen, H.P. (2011). ‘Roma Secunda: Trier in Late Antiquity’. Groniek 191, 59-71.
Morscheiser-Niebergall, J. (2015). ‘Trèves/Augusta Treverorum, cité des Trévires: les premiers
temps de la ville’. Gallia 72(1), 261–268. https://doi.org/10.4000/gallia.1562
Petzold, H. (ed.) (1984). Trier - 2000 Jahre Stadtentwicklung. Katalog zur Ausstellung
Tuchfabrik Weberbach 6.5. - 10.11.1984. Trier.
Pingel, V. (2006). ‘Hunsrück-Eifel culture’. In: Brill’s New Pauly.
Schön, F. (2006). ‘Treveri’. In: Brill’s New Pauly.
Wagner, P. (1888). ‘Philipp Christoph v. Sötern’. In: Allgemeine Deutsche Biographie (ADB),
vol. 26, Leipzig, 50–69.
Welter, A. (1998). Trier 1939-1945. Neue Forschungsergebnisse zur Stadtgeschichte. Trier.
4
Subject: Basilica of Constantine
Authors: Bárbara Paiva & Jaap-Bram Hannessen
1. Relevant historical periods, data and/or persons:
The Basilica of Constantine, built in the fourth century CE (ca. 305-379), originally served as a reception hall (aula) of
the imperial palace, that was set up by Constantius Chlorus and Constantine the Great. Since then, the building has
had many different functions: see point 2 below. In each period, the building has undergone thorough renovations.
After the building was severely damaged by bombardment in World War II, it has been rebuilt in its present form.
2. Cultural and historical context:
Following Trier’s new status as imperial residence in 293, an imperial palace with a reception hall (aula palatina) was
built. In this hall, the emperor held audiences and justice was administered. Construction work on this aula took
place mainly during the reign of Constantine and was probably completed under the Valentinian emperors (second
half of the fourth century). When Trier was invaded by several tribes in the fifth century, the aula palatina was also
damaged and only parts of its outer walls remained standing. In the Middle Ages, the building functioned as a
defensive structure (wherefore its windows were closed, built over with bricks), as a residence for the bishop and as
a basilica - a public, economic meeting place. All this time, the hall was not covered by a roof, but there were
separate rooms in the building itself. In the 17th and 18th centuries, the building was part of the Electoral Palace (in
German: Kurfürstliches Palais). Due to renovations during this period only one wall was left standing. At the end of
the 18th century, in 1794, the French annexed Trier and the building temporarily served as a military barrack. In
1844, king Friedrich Wilhelm IV decided to reconstruct the building into a Lutheran church based on the early
Christian model. Thereby ideological and political interests were involved: Friedrich saw himself as the German
Constantine, who converted a pagan basilica into a Christian church. After the building was heavily bombed in World
War II, in 1953 it was decided to rebuild it into a church again, but this time according to the structure of the original
Roman aula palatina.
3. Brief description of the monument:
The Basilica of Constantine has a rectangular floor plan and can be roughly divided into two parts: the hall and the
apsis (the tower). The building's most notable feature is its impressive height of 33 meters, achieved using stepped
vaults. Originally, the walls were decorated with intricate plasterwork and reliefs, adding to its grandeur and beauty.
The interior was decorated with marble slabs, mosaics, and niches, reflecting the building's original purpose as a
throne room. However, almost all the decoration has gone through nowadays, leaving the building relatively empty.
Nonetheless, the basilica's loftiness and the light that falls through its windows remain impressive, making a
connection with Constantine's worship of the Sun. Constantine was conceptualized as a solar god on earth, and this
was dramatically reflected when he was basking in light when seated in the basilica. The building's construction was
a remarkable feat of engineering, using massive stone walls to create a grand and sturdy structure. The open interior
space, unobstructed by columns or other supports, is a testament to Roman architectural ingenuity. In addition, the
building has an impressive underground heating system. There is no consensus among scholars about the original
Roman roof of the Basilica of Constantine, as there is no surviving evidence of what the roof looked like. However,
some historians speculate that the roof was covered with lead or bronze tiles, which added to the grandeur and
durability of the building. Other experts suggest that the roof may have been made of timber and covered with
terracotta tiles, a common roofing material in ancient Rome. While we have yet to have definitive evidence of what
the original roof looked like, we do know that the current roof is a modern reconstruction that dates from the 1950s.
Today, the basilica is a Lutheran church and a popular tourist attraction. It is considered one of the most important
examples of Roman architecture in Germany and has been recognized by UNESCO as a World Heritage Site.
Constantine's Basilica remains a remarkable testament to the grandeur and sophistication of Roman engineering and
design despite centuries of wear and tear.
Map of the location:
Trier in Late Antiquity Environment of Constantine’s Basilica today
Groundplan:
sources of the images and illustrations:

wikimedia commons & google maps
Main literature:
Barnes, T. D. (2013) Constantine: dynasty, religion and power in the later Roman Empire. John Wiley & Sons.
Elsner, J. (2018) The Art of the Roman Empire, AD 100-450. Oxford.
Hepke, G. (red.) (2013) Auf Ewige Zeiten: Die Geschichte der Konstantin-Basilika. Trier.
Johnson, S. (2012) The Oxford Handbook of Late Antiquity. Oxford.
Kuhnen, H.P., ‘Roma Secunda: Trier in Late Antiquity’, Groniek 191 (2011) 59-71.
Reusch, W., ‘Die Aula Palatina in Trier: (die sogenannte Basilika)’, Bd. 33.3 (1955) 180-199.
Websites:
German Wikipedia-webpage about Konstantinbasilika: https://de.wikipedia.org/wiki/Konstantinbasilika, consulted
on 08-05-2023.
https://web.archive.org/web/20140319113510/http://www.treveris.com/konstantinbasilika.htm, consulted on
08-05-2023.
Subject: The Imperial Baths in Trier
Author(s): Eline Jordens, Ellen Mooij, Joël Jurg

Late antiquity.
The first construction, commissioned by emperor Constantius I Chlorus, began in the 3rd century and
was discontinued in 316. The second construction phase started in the 4th century under emperors
Gratian and Valentinian II.

The construction of the baths was ordered during the reign of Emperor Constantius I Chlorus when he
moved his residence to Trier. The bathhouse was to be modelled after the North African architectural
style. Due to political changes, the building of the baths came to a rest in 316.
In 353, Magnentius, who elevated himself to the position of Caesar of the western Roman Empire
besieged Trier. This attack did not end in victory. Then, in 360, the city was sacked by Germanic tribes,
after which the half-completed baths fell into disuse. Under the Emperors Gratian (367-383) and
Valentinian II (375-392), the construction of the baths was continued but the original plans were
changed: the baths were to function as barracks for the Imperial guard.
When Trier lost its status as a city of residence of the emperor, the barracks were no longer necessary
and the complex fell out of use in the late 4th and early 5th century when the imperial residence moved
back to Italy as a result to the continuous Germanic raids. In response to the raids and construction to
the city the residents of Trier sought protection within the solid Roman walls and a small settlement
appeared around the baths. In this period, a significant family who lived in Trier converted the remains
of the former bathhouse into a castle, after which they christened themselves ‘De Castello’. The
former baths were also used as monastery in the Middle Ages. The conversion of the Baths into a fort
and later repurpose as a monastery explains why the complex is still standing today.
Excavation started in the 19th century and resumed in the 20th century after a lecture in 1908 in Berlin
with the goal of reconstruction. There were restorations in the 20th century on windows in the apse
and the walls surrounding the palaestra, and in 2005 an entry building for the museum was erected.
Brief description of monument/site / etc.

In the initial construction phase, the bathhouse’s caldarium (hot room), hypocaust and tepidarium
(medium warm room) had all been constructed according to the original plans of the bathhouse, as
well as a large gate and the courtyard, or palaestra. In the palaestra, the Romans would have played
sports before entering the baths and moving from the caldarium, to the tepidarium and end their
bathing routine with a dip in the unheated baths of the frigidarium. Most bathhouses would be built
in such a way that the hot water from the hot hypocaust, which was heated by the furnace, could flow
into the hypocaust of the tepidarium and then into the one of the frigidarium, which determined the
flow of the building and how most people took their bath. The bathhouse would have been the
backdrop of an afternoon of relaxation and mainly socialisation as the baths were the designated place
to meet people.
In the 4th century, the bathhouse was converted into barracks for the imperial guard. The palaestra
was enlarged by removing adjacent rooms and discontinuing the frigidarium, the cold baths. Two extra
entrances on the north and south side were added, and a small bathing facility was constructed
comparable to bathing facilities often found in other military camps. The former tepidarium
functioned as the entrance, and the caldarium as a parade hall and sanctuary. The long corridors,
which connected the furnaces of the thermal system, were turned into chambers to house the troops.
The complex could accommodate around 800 to 1000 men and their horses.
Pictures
Ground plan
https://visitworldheritage.com/en/eu/kaiserthermen-imperial-baths/29437763-b132-4281-880b-7ef088b9157d
Plan of the Imperial Baths, Trier, Germany. After an illustration by Edgar Holloway Stock Photo - Alamy
Bansal, N. (1998). Characteristic parameters of a hypocaust construction. Building and Environment, 34(3), 305–318.
https://doi.org/10.1016/s0360-1323(98)00018-3
Blyth, H. (1999). “The consumption and cost of fuel in hypocaust baths”. In Roman baths and bathing : proceedings of the first International
conference on Roman baths, held at Bath, England, 30 March-4 April 1992. DeLaine, J. & Johnston, D. E. (eds). Journal of Roman Archaeology,
37, 87-98.
Goethert, K.-P., Weber, W. (2010). Römerbauten in Trier. Porta Nigra. Amphitheater. Barbarathermen. Thermen am Viehmarkt.
Kaiserthermen. Basilika. Dom und Liebfrauenkirche. Römerbrücke. Koblenz.
Krencker, D., Krüger E., Lehmann, H. & Wachtler, H. (1929). “Die Trierer Kaiserthermen – Abteilung I Ausgrabungsbericht und Grundsätzliche
Untersuchungen Römischer Thermen”. In Trierer Grabungen und Forschungen Band I, 1, xxvii & 32-46. Via Die Trierer Kaiserthermen : Free
Download, Borrow, and Streaming : Internet Archive
Pickett, J. (2021). A Social Explanation for the Disappearance of Roman Thermae. Journal of Late Antiquity 14(2), 375-414.
doi:10.1353/jla.2021.0026. Project MUSE - A Social Explanation for the Disappearance of Roman Thermae (uva.nl)
Yegül, Fikret K. Bathing in the Roman World. New York: Cambridge University Press, 2010. Print. p. 11-21
https://depts.washington.edu/hrome/Authors/kjw2/BathsBathinginAncientRome/pub_zbarticle_view_printable.html
Classical authors
Vitr. 5.10.1, transl. Thayer, W.P. (2013) via https://penelope.uchicago.edu/Thayer/E/Roman/Texts/Vitruvius/5*.html . Retrieved May 11,
2023
Subject: The Barbara Baths in Trier
Author(s): Eline Jordens, Ellen Mooij, Joël Jurg

High empire - late antiquity. The bath complex was in use from its completion in the middle of the
second century CE until the first half of the fifth century CE. It was the first large bathing complex in
Trier and was part of an extensive building program in the second half of the 2nd century. These baths
are so huge that they are considered a state funded project.

The Barbara baths were constructed in the second century CE, when the earlier forum baths were
getting too small for the rapidly increasing population of the city. The 42,500 m² bathing complex was
the second largest of its kind. Only the baths of Trajan in Rome exceeded it in its size, this shows the
regional importance of Trier.
The baths were in operation from the middle of the 2nd century CE until the first half of the 5th century
when they were destroyed during Germanic invasions. In the early Middle Ages, a church and
residential area were constructed and later the site was used as a quarry. The building materials were
used in the St. Barbara district, which gave the complex its name. Several towers were built in the 11th
century by the 'de Ponte’ family on the location of the former baths. The colonnaded façade of the
baths stood until 1611. A castle was built on top of the ruins. This castle along with the remaining
surface level ruins were destroyed by French troops in the 17th century. This meant that when
excavation began in 1877-1885 only the subterranean structure remained.
Brief description of monument/site / etc.

The bath complex measured 172 by 240 metres and was planned along an axis that was running from
north to south. Both sides of the axes were largely identical. The entrance façade on the north side
was preceded by a large courtyard with a palaestra, a courtyard, that was most likely surrounded by
a portico. While they were not excavated, it can be assumed they were present as it was the norm for
a bathhouse this large to have a courtyard.
On the northern side of the building's exterior, there are several smaller niches and apses that
correspond to cold water basins located inside. Adjacent to these is a larger room with a groin vault.
This room is connected to the tepidarium, a medium heated room, which in this case is shaped like a
cross.
The southern part of the building features two large tubs) each measuring 13 by 23 metres, these
baths are only found in the Barbara baths and make the complex quite unique. Additionally, there was
a hot bath (caldarium) measuring 20 by 30 metres, both of which extend outward from the main
structure. Along the walls of the caldarium there are niches with decorative columns. These niches
house the furnaces for the hypocausts. A hypocaust is a heating system consisting of a furnace
(praefumium), channel and heating chambers. In the heating chambers there were cavities and pillars
(pillae) of stacked tiles or bricks. The pillars were then covered with layers of cement and clay and
finally a layer of mosaic or marble.
The caldarium especially was elaborately decorated with marble. Both the walls and floors housed
huge slabs of polished stone, but well-preserved mosaics have also been found. All the floors and walls
were covered in marble, but not entirely: upon greater heights the walls were painted. The Barbara
baths were based on the North-African model, in particular with its orientation of the swimming pools
and bathing halls.
https://openmonarch.org/referenzen/kaiserthermen-trier-entwurf/
The Barbaratherme - Trier Original (trierer-original.de)
Barbarathermen | Zentrum der Antike | Willkommen in Rheinland-Pfalz (zentrum-der-antike.de)

Bansal, N. (1998). Characteristic parameters of a hypocaust construction. In: Building and
Environment, 34(3), 305–318. https://doi.org/10.1016/s0360-1323(98)00018-3
Cüppers, H. (2002). Die Barbarathermen. In: H. Cüppers (ed.): Die Römer in Rheinland-Pfalz. 616–
620.
Dodt, M. (2014). Marmorluxus in den großen römischen Thermen der Stadt Trier. In: Funde und
Ausgrabungen im Bezirk Trier, 46, 52-67.
Goethert, K.P. & Weber, W. (2010). Römerbauten in Trier. Porta Nigra. Amphitheater.
Barbarathermen. Thermen am Viehmarkt. Kaiserthermen. Basilika. Dom und
Liebfrauenkirche. Römerbrücke. Koblenz.
Subject: Funerary Monuments in Trier’s Landesmuseum
Authors: Jip Coone and Daniek Korthals Altes

16 BCE Founding of Augusta Treverorum (Trier)
140-150 CE Grave of C. Albinius Asper
200-250 CE Elternpaarpfeiler
3rd century Weinschiffe/Moselschiffe
early 4th c. Reuse of the funerary monuments in Neumagen’s fortifications
1877-1885 Excavations of Neumagen’s fortifications

The Romans founded the city of Augusta Treverorum after the Gallic wars and it became the capital
of the province Belgica Prima. There was not a lot of change for the local tribes after the Roman
conquest and their burial rites stayed the same. It was not customary for the tribes to
commemorate the dead with monuments bearing their names and personal details. It took several
generations for burial rituals to romanise. The change is first seen only with the wealthy, but later
also with the common people. Other aspects of romanisation are also visible in funerary
monuments. Whether or not people adopted a Roman name is visible in funerary inscriptions. This
along with the choice to use a Roman form of funerary commemoration with a Latin inscription
shows a change in social identity.
The survival of the memory of the dead was an important concern, which was soothed by erecting
a lasting memorial. These monuments were meant to be engaged with, both by friends and
relatives, and by strangers passing by the memorials. Keeping these memorials in their original
condition was thus of great importance. In contrast, the reuse and recycling of tombstones was
common in the Roman Empire. The funerary monuments in Trier’s museum were reused in the
building of the fortifications of a nearby city. Noviomagus Treverorum (Neumagen) lies along the
Moselle and thus saw a lot of trade. It lies +/- 20 km from Trier.
Object 1: Albinius Asper

This grave of Albinius Asper is in the same style of earlier gravestones, but is larger in size. The
owners are depicted on the front of the monument. On either side, maenad dancers are depicted,
followers of the wine god Dionysus. The monument was made while the owners were still alive. The
inscription reads: “Gaius Albinius Asper [has made this] for Secunda Restituta, his wife, and for
himself in life. The monument dates back to 140 CE. It is made from limestone and is 2,78 meters in
height.
Object 2: Neumagener Weinschiff

Stone ships such as the Neumagener Weinschiff were used in pairs to crown gravestones. The ships
are laden with wooden barrels, presumed to contain wine. On either side of the ship there are 22
oars with six rowers. Waves of water are also depicted. There are two helmsmen on the stern. In
the forecastle, two more men are steadying the barrels. The dead person likely gained wealth from
wine production and export. The ship dates to the 3rd century and is made from sandstone. It is
2,81 meters long and 1,11 meters high.
Object 3: Elternpaarpfeiler
The front of this grave column depicts two parents with a child between them. The man and
woman are shown shaking hands, which is a sign of marriage. Their clothing identifies them as
Roman citizens. In his left hand, he holds a scroll. Next to the parents’ heads, the letters D and M
are visible. These stand for “Dis Manibus”, which is a dedication to the shades of the dead. The
reliefs on the side show scenes from daily life, leisure, and occupations. On the right side, the man
is depicted returning from a hare hunt on horseback. He is accompanied by a servant and a hunting
dog. Underneath this scene is an office setting. The man sits on the right with a wax tablet. Behind
him are two administrators and on the left, two men approach him. The scene on the left side
depicts the woman. She sits in a wicker chair and looks in a mirror, while servants do her hair.
The monument dates to the early third century and is made from sandstone. Its measurements are
1,87x1,41m.

Carroll, M. (2006). Spirits of the Dead: Roman funerary
commemoration in Western Europe
Derks, T. & Roymans, N. (2011). Villa Landscapes in
the Roman North: economy, culture and lifestyle.
Henrich, P. (2016). “Überlegungen zum ursprünglichen
Standort der ‘Neumagener Grabdenkmäler” in
Archäologisches Korrespondenzblatt 46: 3
Rheinisches Landesmuseum. Burgenlandschaft Pfalz.
https://www.zentrum-der-antike.de/de/rheinisches-
landesmuseum/
Neumagener Weinschiff : Rheinisches Landesmuseum Trier : museum-digital:rheinland-pfalz. (2021, November
26). https://rlp.museum-digital.de/object/3638
Grabmal : Rheinisches Landesmuseum Trier : museum-digital:rheinland-pfalz. (2021, November 26).
https://rlp.museum-digital.de/object/5757
Henrich (2016)
de Bakker, M. (2023)
By: Eveline Miedema and Julia Derkx
Rheinisches Landesmuseum Trier: Inscriptions

Important historical periods and dates:
• Roman period in Trier: ca. 17 BCE - the 4th century
o Augustus
• Late Antiquity and Early Christian Period in Trier: ca. 4th century - 5th century
• Middle Ages in Trier: ca. 500-1500

Between the reign of Constantine and the Carolingian Renaissance, two capitals flourished consecutively: Trier
in the 1st century and Metz in the Merovingian time. Almost all inscriptions of the province originate from
these cities, this also applies to the inscriptions in the Rheinisches Landesmuseum. Like all Roman cities, Trier
buried its deceased outside the city walls along the main roads. Two big necropoleis developed northwards and
southwards of the city, parallel to the Moselle: St. Matthias and St. Paulin-St. Maximin (see figure 6). They are
named after the churches that later got built there. There have been many excavations at these sites, but not
all of them have been performed properly. Since the 18th century, scholars and collectors have been
excavating the site and in the 19th century unemployed people and seasonal workers were digging at the site
to sell the findings. Because of these practices some inscriptions went missing, luckily there are still copies in
catalogues. It even got worse in the Second World War, when the Rheinisches Landesmuseum got bombed,
which resulted in some inscriptions being broken and some even destroyed.
The inscriptions in the museum can roughly be divided into three categories: funerary, votive and
miscellaneous inscriptions. Funerary inscriptions are inscriptions that have been found on a tombstone or on a
grave and state the death of a person (further information can be found in the next chapter). Votive
inscriptions are inscriptions dedicated to a god which have been erected to make a vow to a god or thank
them. Due to the multicultural society in Trier, people started adopting gods from other cultures. The Gauls got
introduced to the Roman (and Greek) gods by the Romans and they introduced the Romans to their Gallic gods.
This has ensured that there are votive inscriptions for gods of different religions or all of them on the same
inscription. There is, for example, a votive stone in the museum dedicated to the Roman god Mercury, in all
probability the Gallic mother goddess Rosmerta and the Gallic god Esus (CIL XIII 3656).
Brief description of chosen inscriptions:

1. Monumental inscription (CIL XIII 3671): Latin monumental inscription by Augustus honouring his
grandsons Lucius and Gaius Caesar. He adopted them as his sons to secure the dynastic succession is his
family, just as Julius Caesar adopted him in 44 BCE. He already appointed them as his successors as
children to prevend attacks on himself. It was probably made a couple of years before their deaths in 2
CE and 4 CE, unfortunately before the death of Augustus himself. There are only 3 stone blocks left of
the inscription, which had an original width of 7 metres. It’s made of limestone and the fragment with a
part of the inscription on it is 50x93x84,5 cm. The original location of the inscription is unknown. It could
have been on a gate, forum or bridge, but that remains uncertain. There are comparable inscriptions in
Rheims and Sens.
2. Votive inscription for Asclepius (CIL XIII 3636): this inscription for the Roman god Asclepius is dated in the
year 166 CE. It was likely made because of the Antonine plague. It is made of limestone and is 170x58 cm.
The founder of this inscription can be traced back to other inscriptions on the Danube.
3. Bilingual inscription for an Anatolian (IG XIV, 2561): funerary inscription for an Anatolian man in both
Greek and Latin. It is dated at the end of the 4th century CE and was found in the St. Maximin
cemetery in Trier. It is made of marble and approximately 36x22x1,5 cm.
4. Latin funerary inscription for a German prince called Hariulfus (CIL XIII 3682): he was a member of the
imperial bodyguards (as stated in figure 4). It is dated at the end of the 4th century CE and was found in
the St. Matthias cemetery in Trier. It is made of sandstone and 110x59x21 cm.
5. Tombstone fragment for female martyr: fragment of a Hebrew funerary inscription for a female Jew
martyr. It was made between the 6th of September 1347 and the 24th of August 1348 and found in
Trier. It is made of sandstone and is 95x33x11 cm.
Figure 1: Monumental inscription and Figure 2: Votive inscription for Asclepius and
translation translation
[Memoriae C(ai) Caesaris Aug(usti) f(ili) pontificis] Deo Asclepio

co(n)s(ulis) im[p(eratoris) / principis iuventutis] T(itus) Iul(ius) Titi Filius Fabia
[Memoriae] L(uci) Caesaris Au[g(usti) f(ili) auguris Saturninus procurator
co(n)s(ulis) design(ati)] / principis [iuventutis] augustorum dono dedit.
In memory of Gaius Caesar, son of Augustus, To the god Asclepius

member of the highest college of priests, consul, donates Titus Iulius Saterninus, son of Titus,
emperor, leader of the youth. from the civil district of Fabia,1
In memory of Lucius Caesar, son of Augustus, financial administrator of the emperors,
member of the college of omens, destined for the a votive gift.
consulate, leader of the youth.
Figure 3: Bilingual inscription for an Anatolian Figure 4: Inscription for a German prince and
and translation translation
Ὧδε κῖται ἐν α (Christogram) ω Hariulfus, protector

Οὐρσικῖνος Ἀνατο- domesitigus, filius Han-
λικός ἒζησεν δὲ havaldi, regalis genti-
μικρῷ πλίω ἔτη s Burgundionum, qui
κθ’. qui vixit an(nos) XVIII vicxit annos XX et men-
sis nove(m) et dies nove(m).
Here lies in Christ Reutilo avunculu-
Oursikinos, the s ipsius fecit.
Anatolian. He has
lived approximately Hariulf, imperial
29 years - who has lived 19(!) years. bodyguard, Son of
Hanhavaldus, from the royal family
of Burgundy, who
has lived 20 years,
9 months and 9 days.
Reutilo, his uncle,
has erected (the gravestone).
Figure 5: Tombstone fragment for a female Figure 6: Map showing the locations of the churches
martyr and translation and cemetries of St. Matthias and St. Paulin-St.
Maximin
“Because of the
sanctification of God’s
name”
1
Other inscriptions indicated that Fabia refers to the civil district he’s from and that it’s not a part of his name.
Latin Funerary Epigraphy in Trier – Where to start?

The Rheinisches Landesmuseum in Trier is home to a fair amount of Latin funerary inscriptions. In this guide
you will find a short introduction to Latin funerary epigraphy in Trier, so you can get started with deciphering
inscriptions in the museum yourself.
General
Latin funerary inscriptions variate in the amount of information about the deceased they provide us with.
Usually, it contains at least an identification (name or indication of family, see below) and this can be expanded
with their age, date of death, residence, titles, occupation, cause of death, who has erected the gravestone,
etc. As for their name, Romans used to have three (different) names: the praenomen, nomen gentile and
cognomen. The praenomen was their first name, which usually was a very common name. Their second name
was the nomen gentile, their family name, which indicates from which gens they descend. The third name was
their cognomen, their nickname, which referred to a character trait or their appearance, for example: Gaius
(praenomen) Iulius (nomen gentile) Caesar (cognomen, = curly head). Below, you will find a list of some
praenomina and nomina gentilia and their abbreviations.
C. = Gaius CN. = Gnaeus or Gnaius Fl. = Flavius

L. = Lucius M. = Marcus OCT. = Octavius
P. = Publius Q. = Quintus SER. = Servius
SEX. = Sextus T. = Titus TI(B). = Tiberius
ANT. = Antonius AUR. = Aurelius CL. = Claudius

FL. = Flavius IUL. = Iulius POMP. = Pompeius
To indicate the age or date of death, they logically used Roman numbers. Following are the symbols and their
worths: I = 1, V = 5, X = 10 and L = 50. The Roman number system is an additive system (so XXII = 22), but if the I
appears before the V or X (or an X before L), it’s a substraction. So IV = 4, IX = 9 and XL = 40.
What you also may find on a Christian funerary inscription is a christogram (see picture). It is a
monogram of the Greek letters χ (chi) and ρ (rho), which is an abbreviation of Χριστός and a
reference to Jesus. The additional α and ω symbolize God’s omnipotence, because the α and
the ω are the first and the last letter of the Greek alphabet.
Formulas for funerary inscriptions

On the funerary inscriptions, we can distinguish several formulas that are used for funerary inscriptions. It
often contains, for example, ‘hic iacet [name] in pace …. Qui vixit … annos’ which means ‘here lies [name] in
peace … who has lived … years’. Below, you will find a list of common words in funerary inscriptions.
Hic = here Bene = good Sepulcrum = grave

In pace = in peace (Re)quiescit = he/she rests Deus = god
Titulus = inscription Iacet = he/she lies Civis = citizen
Qui = he, who Pausat = he/she rests Parentes = parents
Quae = she, who Vixit = he/she has lived Pater = father
Annus = year Posuit = he/she has erected Mater = mother
Mensis = month Posuerunt = they have erected Filius = son
Dies = day(s) Fecit = he/she has made Filia = daughter
Due to linguistic influences and changes, some spelling variations have occurred in the inscriptions. A few
examples are: parentis instead of parentes, pusuerunt instead of posuerunt, que instead of quae and annus as
accusative plural instead of annos. At last, some common words also got abbreviated on funerary inscription. A
few examples are: AN = annos, ME = mensem / menses and PLM(IN) = plus minus.
Main literature:
Binsfeld, W. 1988. Katalog der römischen Steindenkmäler des Rheinischen Landesmuseums Trier. Trier.
Bischoff, B. 1986². Paläographie des romischen Altertums und des abendländischen Mittelalter s. Berlin.
Cary, E. & H.B. Foster. 1917. Cassius Dio. Roman History, Volume VI: Book 55: 9-12. Cambridge, MA: Harvard University
Press.
Gose, E. 1958. Katalog der frühchristlichen Inschriften in Trier. Trier.
Littman, R. J., & Littman, M. L. 1973. Galen and the Antonine Plague. The American Journal of Philology, 94(3), 243–255.
https://doi.org/10.2307/293979
Marrou, H. & N. Gauthier & N. (Nancy) Gauthier. 1975. Recueil des inscriptions chrétiennes de la Gaule antérieures à la
Renaissance carolingienne / I, Première Belgique / par Nancy Gauthier. Paris.
Nesselhauf, H. & Lieb, H. 1959. Dritter Nachtrag zu CIL. XIII. Inschriften aus den germanischen Provinzen und dem
Treverergebiet. BRGK, 40, 120-229.
Schwinden, L. 1994. “Die Weihinschrift für Asclepius CIL XIII 3636 aus Trier”, in: Trierer Zeitschrift, Vol. 57. p. 133-145. Trier.
Schwinden, L. 2009. Inschrift [inv 16906] Trier, in: S. Faust et al. (2009). Fundstücke; Von der Urgeschichte bis zur Neuzeit.
Theiss, Stuttgart. 52.
Schwinden, L. 2019. 2000 Jahre alt - das Trevererdenkmal für die Söhne des Augustus (4 n. Chr.).
Willms, L. 2020. "Augusta Treverorum Vulgaris: Linguistic Change and Cultural Integration in the Vulgar Latin Inscriptions of
Trier (Germany)." Acta Antiqua Academiae Scientiarum Hungaricae 59.1-4: 651-661.
Websites consulted:
https://www.chest.uni-trier.de/projekte/digitaler-grabungsplan-st-maximin/
https://www.livius.org/articles/place/augusta-treverorum-trier/trier-photos/trier-hariulf-inscription/
https://rlp.museum-digital.de/institution/32
https://www.theoi.com/Ouranios/Asklepios.html
https://www.google.com/maps/@49.7544303,6.6395852,12.93z?hl=nl
Abbreviations
CIL = Corpus Inscriptionum Latinorum

IG = Inscriptiones Graecae
Subject: Roman amphitheatre, Trier
Author(s): Teodora Scortan, Luco van Bergen

Built between 160 and 200 AD
Under the reign of Marcus Aurelius, but influence of Antonius Pius
Discovered in 1816 by Carl Quednow
First ‘extensive’ excavations were in 1877 by Felix Hettner
1935: Excavations by the Nazis

• The Amphitheatre at its core function served as a local gathering place to host public
spectacles, such as gladiator games, but also public executions or declarations regarding the
city. Owing to its sheer size and located in Trier, a city that thanks to its location was a city of
cultural and political importance, the structure stood as a symbol of Roman power and
influences. It attracted not only inhabitants, but also people from all over the region. After the
fall of the Roman Empire, the amphitheatre fell into disuse and was eventually abandoned.
• It was rediscovered in the 19th century by Quednow and underwent extensive restoration and
preservation work in the 20th century. These excavations brought interesting features and
stories in and around the amphitheatre to light. Quite unique is that the amphitheatre was
part of the city wall, creating food for thought for many scholars. Most logically, incorporating
the theatre in the wall had to deliver prestige to the building and was aligned with the idea of a
total concept city. Interesting enough, this amphitheatre has been built against the slopes of
the Petrisberg.
• Under the structure, a cellar was found, which included a system for sewage, but also included
hoists to carry people and materials into the arena. We can on this conclude that the site was
indeed used for public events hereabove mentioned.

The Amphitheatre in Trier is one of the largest Roman amphitheatres to have been built, and it has
an elliptical shape. It measures approximately 140 meters long and 120 meters wide, with an arena
floor of approximately 67 meters long and 41 meters wide. The amphitheatre was capable of
seating around 20,000 spectators at its peak time, and it was used for gladiatorial games, animal
hunts, and other public spectacles. Today, the amphitheatre is a popular tourist attraction and a
testament to the legacy of Roman architecture and engineering. In its days of use, additionally, the
cavea would have been noticeable, namely the seating rows assigned to certain class divisions, as
well as the velarium, a removable roof structure meant to protect the spectators from the sun. A
similar structure existed within the Colosseum as well, which also created an air draft and
subsequently a cool breeze. Similarities between the two extend underground as well, the
Colosseum also having subterranean structures. However similar in these respects, the placement
of the Trier amphitheatre sets it apart, however unclear the reason for such planning.
Map of location
Ground plan
Source illustrations: Westermann, Rheinischen Landesmuseum Trier

• “The Trier Amphitheater, an ancient monument in the light of new research” Hans-
Peter Kuhnen 2007- timeline of archaeological excavations
• Futrell, A. (1997). Blood in the arena : the spectacle of Roman power (1st ed.).
Austin: University of Texas Press.
• Goethert, K. P. (2014). Der Südeingang des Trierer Amphitheaters. Funde und Ausgrabungen
im Bezirk Trier, 46, 68-80.
• Goethert, K.-P. (2003). Römerbauten in Trier : Porta Nigra, Amphitheater, Barbarathermen,
Thermen am Viehmarkt, Kaiserthermen. Regensburg: Schnell und Steiner.
• Gwatkin, W. E. (1933). Roman Trier. The Classical Journal, 29(1), 3-12.
• Hupe, J. (2016). Die römische Stadtmauer im Trierer Amphitheater: Ein Forschungsproblem
im Licht alter und neuer Untersuchungen. Trierer Zeitschrift-Archäologie und Kunst des
Trierer Landes und seiner Nachbargebiete, 61-84.
• Klar, Laura S. “Theater and Amphitheater in the Roman World.” In Heilbrunn
Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.
http://www.metmuseum.org/toah/hd/tham/hd_tham.htm (October 2006)
• Sear, Frank. Roman Architecture. Batsford, 1982.-wider information in the context of roman
power structures
Subject: Vix Burial at Mont Lassois, Bourgogne, France
Author(s): Jeanine Abels, Leoni Michel

● Burial dates to 500-480 BC (La Tene A period).
● The period when the power center shifted from the Mediterranean to the northwest,
including France.
● The burial is located at the foot of Mont Lassois, where a hillfort was located,
southwest of the river Seine.
● The hillfort was in use during the Hallstatt period into the mid La Tene period. It is
thought that the hillfort was an important place of trade in the 6th and 5th centuries
BC, with the Seine being an important route of transport.
● The Vix grave mound (mound I) is one of six princely burials or ‘Fürstensitze’, of
varying time periods as early as the Late Bronze Age.
● In the area of the burial, remains of a structure have been found. This is thought to
be a sanctuary, which existed from 500 BC until 450 BC when it was destroyed.
In Hallstatt D, the 6th c. BC, external trade relations with the Mediterranean peaked. The
power center shifted from the Mediterranean to the northwest during the La Tene A period.
The process of hierarchisation of the elite can be seen through the rich burials in this period.
Whether this process was triggered by the great import of Mediterranean goods, or that the
Mediterranean goods were imported because of this process, remains unclear.
The Vix burial was first systematically excavated in 1953 by archaeologist René Joffroy. The
way this excavation was carried out lived up to archaeological standards in its respective
period but is seen as a low-quality excavation present-day. The finds, such as the Vix Krater
and other imports in the grave are commonly discussed, but the sex of the individual in the
burial remains greatly debated. The individual is mainly interpreted as a female in recent
studies, but interpretations also include a male and transvestite. The sex of the individual
can tell us more about the roles that different sexes could have assumed in this space and
time, as well as inform us about how personal interpretation and expectancies can affect
research and conclusions.
The grave chamber beneath the tumuli mound is approximately 3x3, so 9m². The tumulus
itself spanned approximately 42m in diameter. The assembly of tumuli lay east of the hillfort
on Mont Lassois, roughly 1km apart.
The contents of the grave chamber include a wagon on which the body of the deceased was
laid to rest, with its wheels placed against the eastern wall. Personal adornments were found
both in association with the wagon, and sometimes also with the skeletal remains
themselves. These include a gold torc, amber beads which are interpreted to belong to a
necklace, as well as anklets and rings. The Vix Krater was found along the western wall,
along with more imported objects associated with feasting and dining (kylix, phiale,
oinochoe). Due to the collapse of the grave chamber, some skeletal elements were
displaced. A drawing of the Vix grave chamber can be found below.
Present-day, traces of the tumuli are almost non-existent. The deposits from the grave
chamber can be observed in the Musée du Pays Châtillonnais in Châtillon-sur-Seine, France.
Main literature and websites

Arnold, B. (1991). The Deposed Princess of Vix: the Need for An Engendered European
Prehistory. The Archaeology of Gender: Proceedings of the Twenty-Second Annual
Conference of the Archaeological Association of the University of Calgary, 19, 366-374.
Arnold, B. (2012). The Vix Princess Redux: a retrospective on European Iron Age gender and
mortuary studies. 10.15366/ar.funeraria2012.010
Knüsel, C. (2002). More Circe than Cassandra: The Princess of Vix in ritualized social
context. European Journal of Archaeology, 5(3), 275-308. doi:10.1179/eja.2002.5.3.275
Pope, R. (2022). Re-approaching Celts: Origins, Society, and Social Change. Journal of
Archaeological Research, 30(1), 1–67. https://doi.org/10.1007/s10814-021-09157-1
Sources illustrations, respectively:

Arnold, B. (1991)
Knüsel, C. (2002)
Google Maps 2023
.
Vix grave chamber plan The Tumuli and Mont Lassois
The area of Mont Lassois, Vix, and the Vix burial present-day.
Subject: Vix Krater
Author(s): Lenna Bartens & Christiaan Melis
Late Hallstatt (period D, 620-450 BCE.) – early la Tène period (period A, 480-380 BCE)
Found in the Vix grave, which dates to ca. 480 BCE. The excavation of the tomb of the lady of Vix was
led by Joffroy in 1953. It was the first systematic excavation of a fürstengrab but is in our modern eyes
unprofessionally executed (Arnold, 1991). The krater dates to ca. 530-520 BCE. It is suggested that the
Vix people were aware that the krater was already old for them.
Objects such as this Greek krater are a sign of the connections and relations (based on trade) with the
greater part of the eastern Mediterranean. Wine (and perhaps therefore this Krater) and raw material
was traded between Greece and Northern Europe and the Etruscans and Northern Europe. It is hard
to establish whether this krater came directly from Greece (Sparta?) or maybe indirectly via Italy and
the Po valley. Over time the trade routes established between Massalia (Marseille, France) on the
coast and the Western-Hallstatt zone were disrupted and the focus was shifted towards the Po plain
and the port of Spina (Italy). These new interactions with Etruscans meant also new customs and
material culture. The Celts formed small warrior-bands and raided the Mediterranean coastal regions,
later they became migrants and settled in the valley. Drinking and the consumption of Alcoholic
beverages like wine and beer are common in Iron Age Europe. Feasting played a major role in keeping
social relations between individuals and tribes. The vessels used for preparation and consumption of
these beverages were also prestige objects. There was competition between the elite, status was
among other things displayed in material culture such as these vessels. This meant that the vessels
changed from being locally produced pottery to more detailed (often) imported drinking ware made
from materials such as bronze or gold. The krater found in de ‘Vix-burial’ is interpreted as such an
example of a vessel “ to show off” as an object of prestige for a powerful personage. Greeks such as
Plato were not that complementary about the drinking practices of these Celtic peoples. (Arnold, B. 1999. P.
71) There was no such thing as a Greek ‘Symposium’ practiced by the Celts, however they had feasts as
well. They are described by Athenaeus (Athenaeus, Deipnosophistae IV 36, p. 151E -152D) as large groups of people
seated in circles with a key-figure in a central position. A “common cup” was passed around. Worth
to mention is that the elite was drinking wine (not mixed with water) from Massalia, and the common
people were drinking mead, a mix of honey and water which is low in alcohol content. The changing
material of which drinking vessels were made of (from pottery to metal) and the shift in origin (locally
produced to imported) shows a shift in the role of alcoholic beverages and trade with the
Mediterranean. It is also a clear sign of change in the social structure of the Late Hallstatt period and
the Early La Tène culture in Iron Age Europe.
Brief description of monument / site
The Vix krater is the biggest krater that is found to date. It is 1.64m high and 1.27m at its broadest
point. The lid is 1.02m in diameter. The krater can contain up to 1.150 liters. It is the only krater found
in a burial context without weaponry. It could have been associated with drinking feasts, but the walls
might have been too thin to carry a full krater of wine or mead. The krater contained bones of small
mammals. The krater is made by at least two bronzeworkers, one from Laconia and the other from
Corinth. The Gorgons are most likely after a Corinthian example. The female figurine on the lid is most
likely a Laconian design. The krater is probably assembled by three people because three different
alphabets are found on the inside of the krater, for assemblage purposes. The krater is most likely
being transported making use of the established sea route to Massalia (Greek colony). From Massalia
the krater was transported further inland by making use of smaller boats that could travel up the
rivers: Rhône, Saône and Tille until nowadays Til-Châtel. This route was normally used for transporting
Tin. The Greeks used native boatsmen to transport their goods inland. The last stretch of about 60
kilometers - through the mountain range of Côte-d'Or – to the oppidum of Mont Lassois could not be
made with either boats or wagons, most likely this last stage was completed with the help of mules.
This could explain why the krater was transported in parts and put back together by Greek (or Greek
reading) craftsmen. The krater is probably made in Poseidonia, Campania (Verger, 2020). Another
theory is that it is made in Sparta (Stippe, 2000). The details/figures on the vase are created by using the
so called ‘lost wax method’. The rest of the body is made by hammering sheet bronze. The iconography
of the krater is interesting. On the middle of the lid stands a women figurine, like a Greek or Etruscan
kore, 19cm high. Greek warriors with chariots decorate the handle zone (upper rim) of the krater. On
the two handles are snakes and gorgon heads. Were the Celts aware of the meaning of this Greek
iconography? Probably on some level, because the Celtic torc also found in the grave has two
depictions of a tiny Pegasus, that connects to Medusa who was one of the Gorgons depicted on the
krater.
Map of location
photo
Ground plan
Map: Joffroy 1979, 17 fig. 2
http://www2.iath.virginia.edu/Barbarians/Sites/Vix/Vix_site.html
Photo: Le cratère de Vix - Trésor de vix
http://www.musee-vix.fr/fr/collection-tresor-de-vix-ecran-2#sthash.dB1BNcxa.dpbs
Ground plan:  Egg and France-Lanord 1987: Fig. 2B, 3 https://www.researchgate.net/figure/Plan-of-the-Vix-burial-Source-Egg-and-France-Lanord-1987-Fig-2B-3-Vix-1958-
plan_fig3_37794838

1. Arnold, B. (1995). ‘Honorary Males’ or woman of substance? Gender, Status, and Power in Iron-
Age Europe. The Journal of European Archaeology, pp. 153-168.
2. Arnold, B. (1999). 'Drinking the Feast': Alcohol and the Legitimation of Power in Celtic Europe.
Cambridge Archaeological Journal 9:1, pp. 71-93
3. Ellmers, D. (2010). ‘Der Krater van Vix und der Reisebricht de Pytheas van Massalia’.
Archäologisches Korrespondenzblatt, 40, p. 363-381
4. Verger, S. (2020). L’équipe qui fabriqua le cratère de Vix : habitudes scripturales, traditions
stylistiques, organisation et localisation de l’atelier. Revue archéologique, 7 0(2), 263–324.
https://doi.org/10.3917/arch.202.0263
5. Vix Museum site: https://www.musee-vix.fr/fr/visite-collection/7#sthash.mFgSHPtJ.dpbs

ACASA Excursion 2023 PDF

Uploaded by

Copyright:

Available Formats

You might also like

ACASA Excursion 2023 PDF

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

ACASA Excursion 2023 PDF

Uploaded by

Copyright:

Available Formats

Dear students,

1. Contact & Emergency numbers

Mathieu de Bakker +31-6-34878614

Emergency numbers (only in case of life-threatening situations):

France (+33) Germany (+49)

3. What to bring with you:

- Valid Passport/ID Card

4. Our touring car

14-16 May IBIS Budget Langres +33-892-680328

16-17 May IBIS Budget Montceau-les-Mines +33-892-700424

17-19 May IBIS Styles Trier +49-651-994920

19-20 May IBIS Budget City Aachen +49-241-99775220

In all hotels breakfast is included.

- Be always on time, do not miss out on tours, visits, etc.

Included in the excursion are:

Excluded (so on one’s own account) are:

1. Sophia Abdi-Wansbrough UvA, Ancient Studies

Single rooms (in all hotels): Ellen, Eline, Sarah

Langres (14-16 May)

Montceau-les-Mines (16-17 May)

Trier (18-19 May)

13 x 3p. Jaap-Bram, Jan, Lucas M. Sabina, Serina, Lu

Aachen (19-20 May)

Thur May 18 Trier (MdB, SZ) 18.30-20.00h: Walk to

Sat May 20 Aachen (MdB, TvD) 13.30h: Lunchbreak

Relevant historical periods, data and/or persons:

Bust of Charlemagne Arm Reliquary Reliquary of Charlemagne

Ki ng. (1987). Charlemagne : translated sources. La mbri gg: Ki ng.

Relevant historical periods, data and/or persons:

Cultural and historical context:

Brief description of monument / site / etc

Sources illustrations: Wikimedia Commons

Late Roman Republic: First century BCE, Battle of Alesia in 52 BCE

Located in Northeast Celtic Gaul

Armies headed by Julius Caesar on the Roman side and Vercingetorix on

Relevant historical periods, data and/or persons:

Brief description of monument / site / etc

Author(s): Serina Barba, Sabina Falgás, Lu Melotte

Relevant historical periods, data and/or persons:

Cultural and historical context:

Brief description of monument / site / etc:

Sources illustrations: Ground plan illustration by Bernard Tschumi Architects.

Harding, D. W. “The Archaeology of Celtic Art.” Routledge eBooks, 2007,

Reddé, Michel. “Gallia Comata. La Gaule Du Nord. De L’indépendance À L’Empire

Alésia MuséoParc. “Three Sites to Visit - Alésia MuséoParc.” Alésia MuséoParc, 27

Relevant historical periods, data and/or persons:

19th century CE, France

Cultural and historical context:

Brief description of the statue

Sources illustrations: Wikimedia Commons

Main literature and websites:

Relevant historical periods, data and/or persons:

- Antiquity → original construction

Cultural and historical context:

The Porta Nigra in Antiquity:

The Porta Nigra as a residence and grave:

The Porta Nigra as a church:

Ki ng. (1987). Charlemagne : translated sources. La mbri gg: Ki ng.

Autun, Cathédrale Saint-Lazare : La cathédrale.

France.fr : Actualités, destinations et infos du tourisme en France.