PRESS PACK 2019 / Nîmes museedelaromanite.fr CONTENTS

02 THE Musée DE LA ROMANITÉ

05 THE DESIGN OF THE MUSEUM

10 MUSEOGRAPHIC ROUTE

26 TEMPORARY EXHIBITION : ‘PompeII, A FORGOTTEN STORY’

28 A FEW FIGURES

29 PRACTICAL INFORMATION

30 press CONTACTS

THE musée de la romanité

Facing the 2000-year-old Arena archaeological museum that in the heart of Nîmes, the Musée had become too small. de la Romanité opened on 2 The city of Nîmes wished June 2018. to display and pass on this A contemporary building magnificent heritage in a building designed by Elizabeth de that matched present-day Portzamparc, this new museum museographical requirements with an international reputation and the expectations of the forms a fine setting for the public. Continuing the process some 5000 heritage works of that has been used for centuries— exceptional value in terms of drawing inspiration from an archaeology and art. It also ancient building while remaining features temporary exhibitions anchored in modernity—Nîmes such as 'Gladiators: Heroes of the has constructed a resolutely Coliseum' in summer 2018 that contemporary 9,200 square was focused on this fascinating metre building displaying about period of history with which the 5,000 of the some 25,000 items town is strongly linked. held in the collection of the museum. Why a Musée de la Romanité ? Other complementary archaeological focuses exist. Rescue archaeology performed They reveal the rich vestiges in in 2006-2007 before works to be the region, which was a leading carried out in Allées Jean-Jaurès place in Roman antiquity. revealed a domus (a Roman house) and two mosaics— With this new museum, Nîmes referred to as the Achilles mosaic has set up a dialogue between and the Pentheus mosaic. They the monuments, between were in an excellent state of the ancient town and today's conservation and described by architecture. specialists as being 'the finest The Musée de la Romanité is examples after those of Pompeii'. indeed a building open to the city, This discovery strengthened right in the centre opposite the determination to schedule a Arena, that gives visitors unique contemporary museum project immersion in Roman civilisation to show these extremely rare in the Mediterranean area. works, together with those housed in the 19th century

4 Revealing the roots of Nîmes in In the heart of the city of Nîmes, its Roman past, the Musée de facing the famous and admirably la Romanité is one of the most conserved Roman Arena, the striking architectural and cultural Musée de la Romanité designed projects of the beginning of this by Elizabeth de Portzamparc is an century for both Nîmes and, more architectural statement that makes broadly, for the region as a whole. it one of the greatest contemporary Guided by the strong requirement projects in France. of highlighting our magnificent With its undulating translucent heritage and passing it on to façade, its aim is to cleverly future generations, we have combine heritage, culture and done everything to make the tourism. This is an ambition carried museum an exceptional display out and succeeded by the team of our impressive archaeological at SPL Culture et Patrimoine since collections that have been the opening of the museum as restored on this occasion. only seven months after it opened there have already been nearly 170,000 visitors. The future is promising for 2019 …

Jean-Paul Fournier, Franck Proust, Mayor of Nîmes Chairman of SPL Culture and Patrimoine

5 The heartbeat of Nîmes has the rhythm of 2500 years of history

The people of Nîmes and visitors through the development of the its past—with the building of alike are accompanied at all town have given it an exceptional Carré d'Art designed by the times by a Roman identity and appearance. Indeed, Nîmes has British architect Norman Foster its major monuments: the Arena, grown by forging close links in 1993, and today with that of the the Maison Carrée, the Tour between history and modernity. Musée de la Romanité opposite Magne, the Temple de Diane, etc. It continued to make its mark in the Arena. Archaeological discoveries, their time at the end of its second conservation and their re-use millennium—while respecting

the first months of the museum

The inauguration of the Musée museum displaying the Roman and talks organised from autumn de la Romanité on 2 June 2018 archaeological collection 2018 onwards. was an exceptional attraction for of Nîmes, the attraction of 2019 promises to be just as rich, both the people of Nîmes and contemporary architecture and in particular with the temporary tourists who were in the region. In also the quality of the programme exhibition 'Pompeii, a Forgotten just the first seven months (June- since it was opened: the Story' (6 April – 6 October 2019), December 2018), the Musée de la temporary exhibition 'Gladiators: the availability of a visioguide Romanité totalled 170,000 visitors. Heroes of the Coliseum', activities for children, the creation of new This incredible success— for a young public during the educational facilities, etc. exceeding forecasts—is autumn and Christmas holidays explained by a true wish for a and also the series of theme visits

6 the design of the museum

An important assembly of Roman items, of which 5,000 are collections merits. The building culture, an archaeological displayed in 3,500 square metres has three aims: conserving this museum and a place to be in, of exhibition areas. They give a heritage, sharing it with the the Musée de la Romanité is one unique historical experience people of Nîmes and visitors from of today's major contemporary spanning 25 centuries of all over the world and passing architectural and contemporary history thanks to immersive it on to future generations. projects in France. museography. Its superb central position generates a unique dialogue Its exceptional archaeological Nîmes now has a centre that with the history of the city. collections total some 25,000 the quality of its archaeological

AN EXCEPTIONAL SITE AN ARCHITECTURAL DESIGN COMPETITION

Opposite the Arena of Nîmes, the museum is at the edge of the The architectural competition historic city centre. Crossed by the remains of the Roman walls, was launched in June 2011 and its position is on the line that used to run between the medieval the jury selected three designs town and the modern town. These vestiges are overlaid by among the 103 received. twenty centuries of urban strata and just as many fragments A year later, the project by of architecture. Elizabeth de Portzamparc submitted by the architects As if it had risen among the witnesses of the past, the museum 2Portzamparc was declared is designed as the gateway to an urban layout. Urban views and to be the winner. emphasis on perspectives show off both the treasures of the Roman heritage and that of the more modern architecture In addition to the urban built around it. The lines and links created between the and architectural design of streets and the squares adjoining the site give great urban the museum, Elizabeth de permeability and new pathways through the town. Portzamparc also designed the museography, internal architecture and furniture items. This has resulted in a very coherent project.

7 Elizabeth de Portzamparc, Urban Architect

' I analysed the Arena for a long time and asked myself about the very notion of a contemporary building and how to exalt the 21 centuries of history separating the two structures. Designing light architecture— made possible by present technology—seemed obvious to me, as did expressing the differences between the two architectures through dialogue based on their complementarity. On one side a round volume enclosed by the verticals of the Roman stone arches and firmly anchored in the ground and on the other a large square volume, set in levitation and draped entirely in a folded glass toga.'

8 A BUILDING DESIGNED A MUSEUM BY ELIZABETH OPEN TO DE PORTZAMPARC THE CITY

As an architect and town planner, The building is set around an It is also possible to use the Elizabeth de Portzamparc inside street that follows the passage to go to the bookshop/ designs buildings as architectural traces of the former Augustan boutique, the café or the symbols that bear values—strong ramparts. Accessible to all, this restaurant with an unobstructed urban landmarks that give public passage creates a visual view of the arena: La Table du 2, structure and fit in accurately opening and links the apron run by the chef Franck Putelat, with the places that they are built in front of the Arena to the with 2 Michelin stars for Le Parc in. She reflects on the identity of archaeological garden. Visitors in Carcassonne. towns and metropolises and her and walkers feel the invitation The openings in the façade give facilities strengthen the qualities when they cross the entirely many views of the Arena and the of the context in which they are transparent ground floor of the archaeological garden. A constant inserted. Their architecture museum. In the centre, an atrium dialogue is maintained between is light, clean and sober, with 17 metres high reveals a fragment museography and the areas emphasis on transversal spaces of the propylon of the Sanctuary outside throughout the exhibition and a strong relation with nature, of the Fountain in a spectacular spaces. The town thus enters the showing easily identifiable reconstitution of the sacred museum. collective values and setting up place that dates back to the exchange with the surrounding founding of the pre-Roman town. urban landscape. Using a twin This original public portray is sociological and architectural an invitation to seeing all the approach, she combines the collections and contents of the requirements of social, urban museum. and ecological approaches with optimum expression of form. CREATING AN ARCHITECTURAL Open to the town and the people DIALOGUE who live there, her projects are designed as places 'for living' The Musée de la Romanité goes a monument—such as Carré that are easily appropriated. beyond a simple exhibition d’Art a few years ago, sets the This is architecture that function. It is designed to be a museum in the Nîmes tradition. enhances spatial and human gateway to understanding Nîmes Today, the museum gives a interconnections and is a and its history. More broadly, fresh vision of the position of framework for local activities it provides an exceptional the site and curve of the Arena and quality of life for users. reading of the imprint of Roman with lightness opposite classic civilisation in the Mediterranean. massiveness creating a strong archaeological dialogue between The choice of a contemporary two buildings separated by two architectural gesture opposite thousand years of history.

9 THE FAÇADES: BOTH A SETTING AND A FULLY-FLEDGED WORK

Façades form the final and the glass squares that it the day. A work within a work, it punctuation of a building, is made of combine modern creates kinetic reflections, subtle serving a twin function: identity transparency and mosaic, variations of reflection according and practicality. They are a major Roman art. to the angle, inclinations, hollows the visiting cards and thus put and bulges that accentuate its It thus refers subtly to a key forward their values. Sited at movement, resulting in ceaseless feature of the museum's the entry to the ancient town, metamorphosis according to collections. This translucent the museum allows the Arena the time of day and the season, glass 'skin' consists of nearly to be seen from Rue de la setting up a dialogue with 7,000 sheets of screen-printed République across its transparent the town by reflecting colours, glass covering 2,500 square ground floor: it announces its light and the life around it. metres. The reflection and grandeur, attracts and surprises. undulations of this glass mosaic The supple 'drapery' of the change with the different times of façade refers to a Roman toga

THE ROOF TERRACE: THE ARCHAEOLOGICAL A PANORAMIC GARDEN: A PLANT MUSEUM VIEW OF NÎMES AND A PLACE TO BE

The planted roof terrace was Laid out around the Roman In addition to its scientific merits, designed as a fifth façade open ramparts and other remains the archaeological garden forms to the sky. The highest point discovered during excavation for a new natural area in the city for of the building, it punctuates the building, the archaeological visitors and passers-by. visits by providing a prodigious garden is designed as a The garden is entirely open and 360° view encompassing 'plant museum'. All the traces linked directly to the surrounding of Nîmes and its 25 centuries of history have been conserved urban structure. Access points of history. The Arena is in the and restored and are now visible linking Rue Ducros and Rue de la foreground and the Tour Magne, free of charge to all visitors and République mean that it can be built on a tower that formed walkers. crossed like a public space. It is part of the Gallic ramparts, is in The public garden covers 3,500 thus used by walkers and as an the distance. A public space square metres and is laid out occasion for meetings, creating a open to everyone, a meeting in three strata corresponding new venue for urban conviviality. place, this high point brings the to the major periods—Gallic, It can also be used as a point urban area into the museum. Roman and medieval—of the of departure for exploring the museographic route, thus museum and its collections. enriching the scientific aspect. In each level, trees, shrubs and perennial plants have been chosen according when they were introduced as a result of, trade, influences or occupations.

10 11 MUSEOGRAPHIC ROUTE

Knowing and understanding The Musée de la Romanité is a The scientific requirements Roman civilisation better is the voyage from the 7th century BC of a museum are combined with major focus of the Musée de (the Iron Age, the Gallic period) to an educational approach aimed la Romanité in Nîmes. History the Middle Ages and completed at interesting a large public. is recounted there by both by several 18th and 19th century This is achieved by the use material objects – vestiges collections assembled by of multimedia programmes, from archaeological digs scholars. Open to the town with, audio-visual documentaries, carried out over the centuries— in particular, the nearby Arena immersion projection, enhanced and immaterial aspects— and the roof that gives a view reality, virtual visits and reconstitutions and multimedia of the major monuments, it is interactive cartography. presentations. Works illustrate exemplary of the link between the exceptional past of the town, the Roman imprint seen in the a place of reference for Roman collections and that visible in antiquity, and are displayed using Nîmes today with the strong innovative museography. Visitors in situ presence of numerous are offered a unique experience vestiges of one of the greatest spanning 25 centuries of history. civilisations of Antiquity.

12 The museographic approach

The museographic principle A TOPOGRAPHICAL APPROACH A COMPARATIVE APPROACH used here consists of 'making objects speak', that is to say A topographical approach This involves a comparison repositioning them in the centred on the Nîmes spring. with the Roman monuments context of their creation and This is where veneration of the or structures that define the use. This principle is the guiding divinity of the spring, Nemausus, markers of the Romans from the line in three interpretation gave Nîmes its name. Next to nearby region of Narbonne to the approaches. the spring, the Romans built Romanized Mediterranean basin the 'Sanctuaire de la Fontaine', (Italy, Spain, Turkey, Tunisia, etc.). a complex for the imperial cult. After it was destroyed it became The interaction between the Abbey of Saint-Sauveur de objects and their history is la Font in the 10th century and therefore fundamental. It leads 'The museum has been designed was subsequently remodelled to understanding the setting as a gateway to understanding as the Jardins de la Fontaine in up and spreading of Roman the city of Nîmes. It shows the the 18th century, the occasion of models, their permanence and riches of the architectural heritage the archaeological rediscovery the interest that they still arouse. of Nîmes to a very broad public. of the ancient site. For what purpose? To make approaching the Roman world It is also an essential place for lively, not only by describing following and understanding A CIVILISATION APPROACH the objects concerned but all the latest in archaeological by interpreting them to show This consists of showing the research.' human and social issues, ways meetings between peoples of life, technical prowess, artistic and their possible exchanges. talent, etc. The aim is to understand the 'how' and 'why' of the establishment, union and/or disappearance Dominique Darde, Head of cultures or phenomena Heritage Curator through examination of the relation between an object and a tool for interpretation: currency for trade, epigraphy (the scientific study of engraved inscriptions) for writing, stopping points, trading posts

13 The Musée de la Romanité is indissociable from its urban and rural area

The origins of the items in the the public. The museum wishes on the town. It acts as a door to collections at the museum are to show the polyvalent role understanding the Roman places generally local (the Nîmes area) or played by the Nemausus colony in the region. regional (Gard department). When and the links that it had forged the context of the discovery is with secondary settlements. known this is shown as much as Visiting the museum thus shows possible in the presentation to the imprint of Roman civilisation

The main entry

An example of the passage from museum here—and also to Antiquity to modern times, the the atrium and remains visible main entry to the museum is throughout almost all the in the alignment of the ancient museographic exhibition. This Augustan ramparts. It makes a restitution understood by all direct reference to the founding is a strong feature that marks of Nîmes as an imposing vestige the determination to share of the Sanctuary of the Spring knowledge with a specialised greets visitors. It is part of the public as well as amateurs and pediment that nearly 2,000 years the curious. It symbolises the ago formed the monumental link that we have—whatever entry to the Sanctuary of the our geographical area—with Spring (now the Jardins de la the people of antiquity as the Fontaine). Set 15 metres above museum in Nîmes welcomes the floor level, it has recovered visitors from all over the world. its function as gateway—to the

14 Rich and varied collections The permanent collections 1 thousand 800 Latin glass inscriptions objects

The permanent collections are 200 389 from sometimes spectacular architectonic bone and recent archaeological discoveries fragments ivory objects and from the Nîmes Archaeologi- cal Museum founded in the 19th century. Some 5,000 items (of the 25,000 that are held) are set out 65 450 along a chronological and the- mosaics oil lamps matic route from the 7th century BC to the Middle Ages, without 300 12 500 forgetting the Roman legacy in the carved items ancient and 19th century. Visitors see mosaics, (bas-reliefs medieval coins statues in bronze, in marble, etc. in and sculpture an exceptional condition that were in the round) collected over the centuries and restored. Some have never been shown before. Everyday objects in BUt also... glass, ceramic and metal together with coins and inscriptions com- plete this vast panorama that Several hundred ceramic pieces (sigillate, common, etc.) illustrates the gifts and skills of one of the greatest civilisations of Antiquity. Bronze objects This is not just an archaeological museum, an art museum or an Other categories of objects ethnology museum. It is a place in smaller quantities are all the more that recounts Roman history precious as they are more rare in the Nîmes heritage: using material traces at the scale 15 restored Roman wall panels of a town. The spaces forming including a complete Third Pompeian the permanent exhibition total Style set (3.50m x 2.30m) 3,500 square metres (including the reconstitution of the pedi- ment from the Sanctuary of the Objects that are generally Fontaine) laid out on four levels: perishable but that were preserved ground floor, entresol, first floor as a result of exceptional conditions (basketwork items, a set of small items and mezzanine. in wood and a small ivory sculpture of a hippopotamus found in ancient wells that had been refilled)

15 Innovative technology

Varied reconstitution facilities Maps show the positions of Whether by augmented reality chosen from the most settlements, battlefields or the facilities, 180° interactive recent technology supports zones under Roman influence. panorama or the interactive accompany visitors throughout Audio-visual documentaries, wall of images (a unique and the exhibition space. They help 3D reconstitutions, computer innovative scene facility), them to imagine the original graphics and animated everything is done to send appearance of the ancient sequences address a broad visitors into the past so that they buildings and the everyday life variety of subjects such as oppida, see how people lived in Antiquity, of the population. A visioguide is Celtic arms and archaeological the development of their know- available in several languages. digs in Nîmes. Audio pieces with how and the masterpieces that one or several voices—some of they made. Multimedia devices are scattered which are synchronised with all along the visitors' route and plays of light—bring historical virtual visits make it possible to persons and legends to life. In enter a Gallic house dating back addition to the pieces displayed, to about 400 BC and a rich Roman visitors also learn about the residence. Graphic animation Roman buildings of Nîmes, the (cartoon films and motion medieval period, numismatics design) is used for example and food thanks to multimedia to observe the gestures and applications for touch terminals, technique of Roman craftsmen interactive programs and in fields such as mosaic, fresco, educational mini-games on ceramics and work in bronze. touch tables.

Reconstitutions using projected or interactive dynamic cartography—often monumental, Knowledge immersive or synchronised boxes with light play—address varied subjects such as the original Illuminated white boxes called 'knowledge boxes' are available spring of Nîmes, epigraphy or for visitors and open the three Roman quarries. Another feature chronological sections of the is the video capture of the visitor route of the visit. The proce- dure was created by Elizabeth shown on a large screen—the de Portzamparc to act as an occasion to admire oneself introduction to the various se- quences: maps, chronological wearing a toga or other Roman friezes and screens present the clothes! period in question and put it into its context.

16 A chronological and thematic route

The route is presented in the the Gallic period before the shown over the centuries form of major periods—pre- conquest, the Romanisation in Roman civilisation. Roman, Roman and post- process, the middle ages Roman. It invites visitors to learn and finally the Roman legacy, about society in four phases: that is to say the interest

The pre-Roman period

Nîmes grew at a very early A LITTLE HISTORY date, well before the Roman period. Indeed, it was the main The first village sited on the tracks serving a network of settlement in the east of the southern slopes of Mount farms and burial enclosures and Languedoc in the middle of Cavalier in Nîmes was founded leading to other oppida and trade the Iron Age. The existence of at the end of the 6th century BC. centres in the region. Such places an urban settlement where Attracted by the La Fontaine enabled peoples to meet, as is the city of Nîmes stands today, spring, the peoples concerned shown for example by the Gallo- and where a singular culture became sedentary and founded Greek writing that is very well took form, is an original feature a 30-hectare oppidum bounded represented in the museum's highlighted in the visit. by ramparts dominated by a epigraphic collections. substantial watchtower later used as the base for the Tour Magne. The village doubtless played an important economic role at the time. The plain was scattered with many roads and

17 IN THE MUSEUM

Visitors are invited to an immersion in the Nîmes area by addressing the features that enabled the first settlement that formed around La Fontaine and resulted in the founding of the town of Nîmes.

To show how the Romanisation process operated during the pre-Roman period, the museum has collections that cover both the degree of development RECONSTITUTION of the native populations OF THE GALLIC HOUSE (statuary, Gallo-Greek inscriptions, AT GAILHAN archaeological furniture from the Gallic house at Gailhan, The pre-Roman sequence is that were probably covered everyday objects from the two punctuated by the reconstitution with furs or straw mattresses), iron ages) and the first records of the Gallic house at Gailhan, food (meat, grain, legumes, etc.) of the penetration of Italic culture showing a house in eastern and their farming method (the (tomb furniture from the 1st Languedoc in the Middle Iron share of hunting and gathering and 2nd centuries BC). Age. It dates back to the 5th in comparison with livestock century BC and was excavated by and crop farming), domestic Bernard Dedet from 1978 to 1981 activities including the cooking in the Plan de la Tour oppidum at hearth, objects such as pots for Gailhan (Gard). storing, preparing, cooking and serving food (jars, bowls, etc.). There is much data of exceptional A suggested reality process is a quality as a result of the fine example of the contribution circumstances of the destruction of the new technologies to the of the house: it collapsed perception and understanding suddenly, causing the fossilisation of ancient vestiges while a of its contents. Numerous reality process suggested and ceramic pieces smashed on the interactive multimedia facilities floor of the house have been give visitors the feeling of reconstituted. These factors immersion if the everyday life of allow an ethno-archaeological the Gauls. interpretation of the site.

These features make it possible to understand both the skills used by the Gauls and their way of life: the design and building of the house, the internal layout and fittings (a decorated cooking hearth, stone benches

18 Transition: the conquest period

A LITTLE HISTORY IN THE MUSEUM

The Second Iron Age (425- Languedoc by its vast inhabited The Roman policy of domination 125 BC) was marked by the area inherited from the pattern is shown from its beginnings Punic Wars that affected at the beginning of the 4th by a kind of temporal corridor southern Gaul and resulted in century. The town had an area with traces of a Roman its incorporation in the Roman of 30 to 35 hectares at the road marked on the ground. world in the 120s BC end of the 2nd century BC. Visitors—in a specific sound There were hardly any similar atmosphere—can see Gallo- In the 2nd and 1st centuries places in southern Gaul, Greek inscriptions (dedications BC, the town became except for Arles and Béziers. or epitaphs), 2nd and 1st century part of Gallia Transalpina Its monumental tower and its BC tombs, the first coins and ('Transalpine Gaul'), the first coinage were very special, with a 'geographic' post listing Gallic province controlled Nîmes being the first town in the towns under the authority by Rome. It subsequently eastern Languedoc to mint of Nîmes at the time. became Gallia Narbonensis coins—in the first quarter of the ('Gaul of Narbonne') during 2nd century BC. the reign of Augustus.

Growth of the economy and the population resulted in spread towards the South and East, going somewhat beyond its original framework. The urban network became markedly denser during the 1st century BC. Penetration by Latin culture took place fairly slowly with, for example, the gradual introduction of architectural novelties. Small groups of tombs bordered the roads at the edge of the town. Large enclosed farms with several hectares of fields and crops— including vineyards—were laid out in the plain.

Nîmes differs from the other settlements in the eastern

19 PRE-ROMAN SCULPTURE

Original statuary was made in southern Gaul during the Iron Age. It forms part of the pre- Roman sculptures that used to be called 'Gallo-Greek', with particularly productive workshops in the lower Rhône valley. Discoveries during FUNERARY excavations at various sites PRACTICES brought to light the 'Grézan' and 'Sainte Anastasie' male busts, Very little is currently known dating back to the transition the Marbacum and Tour Magne about necropolises and the period between the Iron Age statues, seated figures (Villa funerary world in general during and the Roman imperial period Roma), a statue of an animal (a the First Iron Age and the older (2nd and 1st centuries BC) has bovid or an imaginary animal) part of the Second Iron Age. been enriched considerably in and lintels from Nages (severed In contrast, many sepulchres the last fifteen years thanks to heads and horses) and Nîmes dating back to the 2nd and 1st rescue archaeology operations (severed heads). centuries BC have been found performed because of the in Nîmes and the surrounding growth of Nîmes. area. The 'corpus' of sepulchres

GALLO-GREEK INSCRIPTIONS

The local populations in the region of Nîmes during the Second Iron Age were Celtic and spoke Gaulish, characterised by oral expression. However, contact with Greek culture that spread along the coast of the Gulf of Lion via Marseille led the locals to use the Greek alphabet to transcribe their language when this was essential for them. They thus engraved Gallo-Greek inscriptions on stones (dedications and epitaphs).

Gaulish is still not well known and the inscriptions are difficult to decipher when they are somewhat complex. Six of the 15 Gallo- Greek inscriptions in the museum's collection are exhibited. The texts were copied by scholars such as Guiran and Séguier from the 17th and 18th centuries onwards. Then, in the 19th century they were read again by epigraphists who studied very methodically the numerous inscriptions found in the region. They are often dedications to gods engraved on stelae or capitals. Visitors are provided with keys for deciphering them—so they can become archaeologists and try to translate the inscriptions!

20 The Roman period

A LITTLE HISTORY

At the end of the Caesarian he Via Domitia entered the town. period (44 BC), Nîmes became Under Augustus, a mint set up a colony heading 24 subsidiary in the town of Nemausus made settlements. It took the name the famous 'as with a crocodile' Colonia Augusta Nemausus. bearing the abbreviation 'Col Nem' for Colonia Augusta The urban landscape Nemausus. Two places devoted changed radically during the to the imperial cult were Augustan-Tiberian period (27 founded in the Augustan period: BC to 37 AD) in Nîmes and a dynastic sanctuary (called also in many other towns in the Augusteum) at the site Gallia Narbonensis. Vast new of the Fountain and the Maison ramparts 6 kilometres long and Carrée, a temple built south enclosing nearly 220 hectares of the forum. were built and punctuated by monumental gates such as the Porte d’Auguste by which

IN THE MUSEUM

Opening on to Place des Arènes, Models of the monuments that the museum makes it possible have gone, of those conserved to compare the town today with and of the Roman town are the historical representations associated with interactive that have come down over multimedia facilities that show the centuries. their original form and context and, in some cases, compare This back and forth movement is them with other known Roman also illustrated by an augmented buildings. The showing of reality facility underlining the public buildings and private closeness of the Augustan architecture takes visitors into ramparts and the Arena during the Roman world. the Roman period.

21 MONUMENTAL ARCHITECTURE

Like epigraphy (the scientific Nîmes in the Empire and the study of engraved inscriptions), excavation of Villa Roma and monumental architecture is Avenue Jean-Jaurès. Models one of the common threads of the main public monuments at the museum. It is present are exhibited together with throughout the visit and the a set of friezes, cornices and various periods, but a more capitals in limestone or marble. specific section is devoted The quarryman's trade is shown to it at this stage in order to through the tools used and understand its importance in the leads to understanding the town, in public facilities and in building methods used. homes. It forms a link between

RECONSTITUTION OF THE DOMUS VILLA ROMA

A living room is reconstituted with respect of the volume of the time—narrow with a high ceiling. One of the walls is decorated with a significant wall painting whose missing parts are replaced by projected images.

THE PENTHEUS MOSAIC

The statue of Neptune, with its admirable restoration work, is followed by the magnificent 35-square-metre Pentheus mosaic. It is from the beginning of the 3rd century AD and was discovered in 2006 during excavation work for an underground car park in Avenue Jean-Jaurès.

It is impressive because of its size, composition and colours and the astonishing vivacity of the composition showing the mythological story of Pentheus. Son of the maenad Agave, he was put to death by his own mother for having defied Dionysus.

22 PAINTING AND MOSAIC

The route of the visit continues The superb mosaic with the Roman emperors and the on a mezzanine 2.70 metres Bellerophon as the theme is coins associated with them; as above the general level of the displayed in a special manner. they were depicted on the coins exhibition. An area is devoted Placed on the ceiling of it is easy to follow the series in to the interior layout and the tunnel of a subsequent time. Two hanging showcases decoration of homes. Visible sequence covering the cult of contain a very dense sample only from the threshold to the gods, this mosaic was found of the museum's collection. space in order to clearly separate in 1950 during works carried Magnifying glasses are provided existing elements from created out in Boulevard Gambetta. for close examination of certain remarkable coins. The central panel in small cubes of marble shows a famous The well-known Nîmes as has mythological scene: the fight a cabinet of its own. A circular between Bellerophon and the screen opposite explains its Chimaera. Its large size (nearly history and anecdotes about it— 14 square metres), decorative as was to become the emblem design, the technique used and of the town. its state of conservation make it an exceptional item. This space is good for a contemplative pause before coming down from the mezzanine and continuing the visit.

DAILY LIFE scenography, a remarkable This section is explored cubiculum (bedroom) with by themes: education, leisure, so-called 'Brignon' decoration body care, use of the area, etc. has been reconstituted. Interactive facilities linked to specific display cases show THE CULT OF GODS AND The smaller mosaics with THE WORLD OF THE DEAD clothes, games, food, etc. frequently delicate motifs in a playful manner. ornamented with details The space devoted to the end of (often the central panels of the Roman period is punctuated large mosaics), are displayed by scenes centred on religion and on the floor of the mezzanine the world of the dead. Visitors are while several large mosaics are COINS invited to follow a kind of initiation shown on the double height route through a tunnel before We are now beneath the surface of the façade on the coming out and finding tombs mezzanine. Coins are displayed garden side. As they are set set in the floor of the museum. in several ways. A series of back from the mezzanine They then reach the monumental large sheets of glass makes they can be seen as a whole. staircase of the museum. a chronological frieze of

23 Transition from the Early Christian period to the High Middle Ages

At the level of the entresol, this with mixed decoration, an a man who tried to evangelise transition forms the link between example of the mixture of Nîmes but was beheaded the Roman period and the styles resulting from a variety by the Romans. His head is Middle Ages. Visitors first seen of influences, and texts and said to have bounced three the Valbonne sarcophagus, engravings illustrating the times, and a spring emerged installed majestically, a capital legend of Saint Baudile, at each impact!

Post- The Romanesque period roman A LITTLE HISTORY period: The Tour Magne and the Maison that have come down to us are Carrée are still standing among stone sarcophagus lids attributed the Middle the ruins of Roman buildings. to the Visigothic period. Abandoned outside the town, At the end of the 11th century Ages the monumental vestiges of the and during the 12th century, ancient Sanctuary of the Spring, The period is divided into the there was a renewal in Nîmes—as where pagan gods and even the Romanesque period and the elsewhere—resulting from the emperor had been venerated, Gothic period. consolidation of feudal power, the were Christianised by the development of crop production, founding in 994 of Saint-Sauveur's livestock farming and trade. convent. The nuns made the Nîmes experienced a period of Temple of Diana their church. prosperity and many buildings The surfaces of the sarcophagi in were completed—most of the necropolises established east which were partially destroyed of the town under the protection during the Wars of Religion. The of the martyrs Saint Baudile and demolition of the buildings inside Saint Perpetua were often made the Arena from 1786 to 1809 of re-used ancient material. resulted in the disappearance These were troubled times that of the medieval towers of the were not propitious for creative art fort and the two churches and the most elaborate vestiges

24 Saint-Pierre and Saint-Martin. masonry of the fort in the Arena ornaments in the museum's Stones were recovered from in the walls; they were inspired collections. They are placed these and used during the Gothic by certain parts of the ancient on columns of different period to carve religious scenes building and doubtless built with sizes. The decoration on the that has escaped mutilation. material taken from it. double-height wall in the The remaining parts of the original background shows graphic Romanesque Notre-Dame-et- reconstitutions of façades Saint-Castor's Cathedral are IN THE MUSEUM of a Romanesque house and the first floors of the bell tower a 15th century house. (the upper floor is a Gothic The Roman period is highlighted addition) and the left-hand part by sculptures in the round of the western façade. Above the (a fragment of a masculine well-conserved friezes, a gutter statue, possibly Herod, human decorated with lions' muzzles and and animal heads), in relief acanthus leaves is an imitation (a combat between two of that of the Maison Carrée. monsters, two old men of the Other noteworthy vestiges Apocalypse, etc.) and also by are formed by small stone the collection of capitals and

the gothic period

A LITTLE HISTORY IN THE MUSEUM

The period of prosperity its 'Lombards'—bankers from The pieces illustrating this that started in the 12th various towns in Italy. period are mainly sculptures century continued in the 13th and inscriptions. The high A measure of decline started and was linked to the point of this section is a set at the end of the 13th and position of the town—close to of 14th century reliefs from beginning of the 14th century the Mediterranean—that was Saint-Martin-des-Arènes church. with the departure of the Italians supplied by the kingdom They are bas-reliefs recovered and the departure of the papacy of Saint-Gilles and then by by a private individual in 1809 from Avignon in 1377. After a long Aigues-Mortes. The interest in at the end of the destruction of period of troubles, the town did the area shown by the kings of the buildings that had been in not begin its economic recovery France was marked in particular the Roman amphitheatre since until the mid-15th century. As for by Louis IX's visits to Nîmes the Middle Ages. They became those of the Roman period, the in 1248, 1254 and 1270 when part of the collection of the stone vestiges that have come he stayed for two months Archaeological Museum in 1875. down to us are often damaged while waiting to board for but are essential witnesses A display of frescoes, busts, his crusade. The town had of the existence of monumental fragments of architectural a population of about 20,000 decoration in Nîmes. decoration, capitals, etc., can towards 1320 (half of those also be seen. of Toulouse and Montpellier) and was a flourishing financial centre in the 13th century with

25 The Roman legacy

Pieces from the collections, Auguste Pelet in the 19th century. a scale that highlights the iconographical elements and They represent various ancient details, the set of models gives multimedia facilities illustrate monuments in Nîmes such as the information to historians about the Roman legacy—that is to Temple of Diana and the Maison the state of conservation of these say the interest shown over the Carrée and also the Coliseum in buildings in the 19th century. centuries in Roman civilisation— Rome, the Parthenon in Athens, Other scholars and collectors are with the major role going to etc. In addition to the pleasure mentioned and their collections large cork models made by of seeing these buildings at are in display cases.

The museographic approach

LOOK, UNDERSTAND AND APPRECIATE

The route of the visit is designed to alternate knowledge, the observation of works and objects and pauses. Seating and rest areas are provided at strategic points of true interest for learning and looking.

26 A FLEXIBLE PERSONS WITH MUSEOGRAPHIC REDUCED MOBILITY ROUTE

The dense collection and The overall ergonomics by favouring ramps and the richness of the scientific of the route of the visit— escalators. The showcases approach can make the visit from museographic display have been designed for the long (about 2 hours) and structures to signposting— best possible view and the use so breaks in the circuit are has been designed to meet of multimedia facilities by those provided. These mean that the requirements of people with with a physical disability. visitors can divide their visit into reduced mobility, especially parts or focus on the periods and themes that they wish to examine in greater depth.

end of the visit

The visit can end in the archaeological garden or on the planted roof terrace with its exceptionally rich view of one of the greatest civilisations of Antiquity. The café and the restaurant are also ideal setting for discussions or for chatting with family or friends while savouring the dishes prepared by the Michelin- starred chef Franck Putelat. Visitors can remain in the Roman setting before strolling around Nîmes to see the vestiges and monuments in situ.

27 temporary Exhibition

Exposition Pompeii, 6 avril au 6 octobre 2019 Nîmes a forgotten story

FROM 6 APRIL TO 6 OCTOBER 2019

It is 79 AD. Mount Vesuvius erupted and buried the towns of Pompeii and Herculaneum. Pliny the Elder, man of letters and admiral of the Roman fleet, observed the event from the naval base at Misenum and decided to take twelve ships to allow the people of Pompeii to escape by way of the sea.

The exhibition 'Pompeii, a forgotten story' covers this little-known event, now considered to be the first documented case of the rescuing of civilians by a military force. The use of the naval fleet on this dramatic occasion shows the absolute mastery of the seas that had been gained by Rome. This enabled it little by little to impose its military, commercial and cultural supremacy throughout the Mediterranean.

The visit is organised around a set of more than 250 archaeological objects from Pompeii, Herculaneum and other important sites in Campania and loaned especially by great Italian museums. The display is rich in reconstitutions, décors and interactive multimedia facilities (animated maps, videos and games) making it a true immersion experience.

Although this sadly famous piece of history has been mentioned in several recent exhibitions, the account here is completely innovative as it is seen through the eyes of Pliny the Elder, a direct witness of the drama. An exhibition designed by the Contemporanea Progetti in Florence This exhibition is an event and the new Musée de la Romanité in partnership with the Australian in Nîmes invites visitors to experience the last days of Pompeii, National Maritime Museum of Sydney. a flamboyant town with a tragic destiny, an immortal symbol Shown previously at the Australian of the power of Rome. National Maritime Museum of Sydney (30 March – 2 September 2017) and at the Western Australian Maritime Museum of Fremantle-Perth (21 September 2017 – 18 February 2018).

28 THE EXHIBITION

The exhibition opens with for luxury and art of living in the presentation of Pliny Roman style, attracting Roman the Elder, the emblematic emperors and the aristocracy figure who accompanies who built magnificent palaces visitors throughout the route. and villas. Preserved thanks An author and admiral of the to the eruption of Vesuvius, feet at Misenum, he was in the the town has become a first line when Vesuvius erupted. unique witness to the past, a In the dead of night he decided mirror of the Roman world. to take twelve ships to help A precious selection of objects Pompeii. His nephew Pliny the found during archaeological Younger, who was 17 at the time, excavation tells the story of this CURATORS OF was an eyewitness and wrote luxurious life in Pompeii until the THE EXHIBITION down what he had seen in two fateful day of its ruin. letters to the historian Tacitus Pierfrancesco Talamo, The last section of the that are thus now the most Pareo Archeologico dei Campi exhibition is entirely devoted important source of knowledge Flegrei - Museo Archeologico to the narration of the days of of the event. dei Campi Flegrei nel Castello the eruption. di Baia There is then more detailed The visitors see the precise information about the naval Sebastiano Tusa, sequence of events in this base at Misenum and the Soprintendenza del Mare final part: from the first signs, growth of the Roman naval fleet, di Palermo falls of ash and stones until the showing the many technological last, mortal pyroclastic flow that Roberto Meneghini, innovations made during the killed all the people still present Soprintendenza Capitolina long years of the Punic Wars in Pompeii. The exhibition ai Beni culturali di Roma until the victory of the naval finishes with the display of Battle of Actium. This marks Renato Sebastiani, what are probably the most the definitive domination of Parco Archeologico di Ostia moving remains of the event: Rome in the Mediterranean mouldings of human bodies Michael Harvey, (Mare Nostrum). The story in their last attempt to survive. Australian National Maritime continues with a reflection on Nearly two thousand years later, Museum of Sydney the economic profits generated the exhibition makes it possible by this naval supremacy, with to understand the process that *Museums that have the growth of an increasingly led to the existence of such loaned items rich trade network that irrigated features and provides visitors Musee Archeologico Nazionale, Naples peripheral Roman centres like with an original experience that / Pareo Archeologico dei Campi Flegrei Pompeii. - Museo Archeologico dei Campi Flegrei is rich in emotions. nel Castello di Baia, Naples / Pareo The visit continues with Archeologico, Pompéi / Soprintendenza Archeologia, Belle Arti e Paesaggio per information about everyday il comune di Napoli / Soprintendenza life in Pompeii. Thanks to its del Mare di Palermo natural beauty, the fertile land of Pompeii and the Bay of Naples became a centre

29 since it a few opened figures Nearly 170 000 the museum visitors in 2018 (7months of operation)

of which 8 000 came during 25 3 years 9 200 sq. m the European Heritage Days in centuries of History of building work floor area September 2018du patrimoine

A museum with international 5 000 3 500 sq. m 200 sq. m ambition, visited by people of works displayed of exhibitionout reception room (top from a collection of of a total of 4,800 sq. m floor, terrace with 107 nearly 25,000 items of spaces devoted a view of the Arena) different to the publicau public nationalities

700 sq. m 140 sq. m 3 500 sq. m of reserves of bookshop-boutique garden Some 52 companies 180 250 sq. m 400 sq. m chose the museum seats and a foyer at of documentation of educational space for hosting their the auditorium centre in 3 rooms events in 2018

1 restaurant (menu by the chef Franck Putelat, 2 Michelin stars) and 1 café

Cost of the project Subsidies 59,5 € 35 398 321 € 24 151 678 € million (all financed by the City of Nîmes • Occitanie Region : 10 m€ • DRAC : 463 339 € expenditure • Gard departement : 6 m€ for restoration work included) in • Nîmes Metropolis : 5 m€ and the displaying conformity with the • State : 2,5 m € of Roman vestiges budget announced • CCI : 150 000 € • ADEME : 38 339 €

30 PRATICAL INFORMATION

Musée de la Romanité +33 (0)4 48 210 210 16 boulevard des Arènes 30000 Nîmes www.museedelaromanite.fr

TEMPORARY EXHIBITION MUSEUM PASSES FREE ENTRY : 6 April to 6 October 2019 Pass Jupiter : €30 - Children under 7 ‘Pompeii, a forgotten story’ Annual 1-person pass - Disabled person + 1 person Opening times : Pass Vénus : €50 accompanying (+ free audioguide Open every day : Annual duo pass for you and to enhance accessibility) From 1/04 to 4/11 the person of your choice - Persons benefiting from social 10.00 - 19.00 Pass Romanité : 1 entry to the minima Musée de la Romanité/Arena/ - Lecturers and curators Open every day except Tuesday : Maison Carrée/Tour Magne - ICOM, ICOMOS and Ministry From 5/11 to 31/03 Full price : €17 of Culture 10.00 - 18.00 Reduce price : €13 Children 7/17 years old : €11 CHILDREN PRICES Family rate : €54 The museum respects the (Permanent exhibition + (2 adults + 2 children 7/17 ans) Mom’Art charter and so temporary exhibition) (Valid for 3 days from the date undertakes to perform a Full price : €8 of purchase) welcoming and service mission Reduce price : €6 Musées de Nîmes Pass for children and families. An Children 7/17 years old : €3 Sole price : €17 adventure booklet and an Free for children younger than 7 (Valid for 7 days from the date archaeologist’s mission on Family rate : €19 of purchase) visioguide for 7-12-year-olds (2 adults + 2 children) Annual pass : €40 mean that children can discover Visioguide for children : €2 the museum while playing. PRICE CONDITIONS GUIDED Reduce price : Numerous multimedia facilities DISCOVERY VISIT - Students are perfectly suitable for children. - Unemployed Entry included In addition, the museum - Teachers on display of a Full price : €12 has an archaeological and ‘Pass Education’ Reduce price : €9 Mediterranean garden and a - Groups of 20 persons or more Enfants 7/17 ans : €6 roof terrace for a complementary - Jupiter and Vénus passes Price with free entry : €3 visit, with areas for relaxation well (guided visits) guidées) Family rate : €30 suited to families. - Carte Passeport Seniors (2 adults + 2 children) Children 7/17 years old press Contacts

ALAMBRET COMMUNICATION MUSÉE DE LA ROMANITÉ [email protected] Isabelle Lécaux +33 (0)1 48 87 70 77 Head of Communication PR France [email protected] Hélène Jacquemin +33 (0)4 48 210 201 / +33 (0)6 64 93 14 82 Anne-Laure Reynders Charlène Charrol Communication Manager PR International [email protected] Leïla Neirijnck +33 (0)4 48 210 222 / +33 (0)7 60 47 97 93 +33 (0)6 72 76 46 85

www.alambret.com 63 rue Rambuteau 75004 Paris

Photos credits : Olivier Arquès, Julien Lefebvre, Dominique Marck, Steve Murez, Stéphane Ramillon, Serge Urvoy, Musée de la Romanité