The amphitheatre is said to have been restored by Charles Martel after his victories over the Saracens; and some ancient stones have certainly been used to repair the podium or barrier between the arena and the auditorium (as may still be seen). Mérimée discusses the question, how were the spectators in this and similar buildings protected from the wild beasts which fought with one another or with gladiators by a podium such as this, not exceeding 8 or 10 feet in height? Had the podium been high enough to afford safety, it would have prevented a large part of the audience, especially in the back rows, from seeing what passed on their side of the arena; an inconvenience which would certainly never have been endured; and his idea is, that lions or similar animals which could spring must have been confined with chains or in cages, and that only animals which do not leap, such as wild boars, might be freely baited in the open arena. The “Château des Arenes,” as the amphitheatre was called, was almost entirely invaded and choked up with the houses of the poorer inhabitants till 1825, when it was resolved to clear out the building,--a work which required six years for its accomplishment. The structure is now in course of “Restoration.” Besides the amphitheatre Arles also possesses some remains of its Roman Theatre. These are, however, extremely scanty, consisting chiefly of the north and south entrance doorways, and two lofty marble pillars with Corinthian caps (Fig. 11). The latter formed part of the ornamentation of the scena, and, when considered along with the great wall of the scena at Orange, may help to give some idea of the generally gorgeous aspect of that feature of the Roman Theatre when perfect. The plan of the orchestra, and a few rows of ruined seats, can still be discerned. [Illustration: FIG. 11. ROMAN THEATRE, ARLES.] A large number of marble fragments, composed of portions of columns, capitals, entablatures, &c., have been collected in the precincts of the theatre, and impress the spectator with a sense both of the great magnificence of the building when complete, and of the terrible and long continued series of disasters to which it has owed a demolition so complete. It should, however, not be omitted to mention that it was first dismantled by the Bishops, who carried off its marbles to decorate their churches. The remains of three parallel walls, with a space between them, under the level of the proscenium, have given rise to various theories as to their use. The most likely view seems to be that the apertures were used for lowering the curtain into before the performances began, as was then the custom, instead of raising it, as is done in modern times. The theatre is supposed to have been seated for 16,000 spectators. Several fine sculptures, now in the museum of Arles or the Louvre, have been dug out of the ruins of this structure.