How France Built Her Cathedrals: A Study in the Twelfth and Thirteenth CenturiesO'Reilly, Elizabeth Boyle
History
How France Built Her Cathedrals: A Study in the Twelfth and Thirteenth Centuries
O'Reilly, Elizabeth Boyle
Architecture, Gothic; Cathedrals -- France
Modern Toulouse is not a handsome city like the Bordeaux of to-day. Its
most imposing church is not its cathedral of St. Étienne, which is as
ungainly outside as it is irregular within. The nave and choir make no
pretense of following the same axis line, since they never were intended
to form one edifice; were the north wall of the nave extended down
through the choir, it would abut on the high altar.
The nave is of enormous span like that of Bordeaux Cathedral. It once
had side aisles, but the entire width of the edifice was thrown into one
hall when the church was remodeled in 1211. Simon de Montfort (whom
Mistral, as a patriotic son of the Midi, refuses even to name in his
verses) was besieging the city while the Angevin vaults of its cathedral
were building, and Count Raymond VI of Toulouse ordered that the works
should continue, war or no war.
The choir of Toulouse Cathedral belongs to the same current of northern
Gothic that produced Clermont, Limoges, and Narbonne. Begun in 1275, it
was inspired directly by Narbonne Cathedral, whose foundation stone was
laid in 1273. The plan is of the north, but the feeling is meridional.
After the death of the wealthy Bishop Bernard de Lille, the founder, the
chapter had not sufficient funds to continue building on the same
ambitious scale. Only in the XV century was the triforium level reached,
and it was not until the XVII century that the masonry roof was added.
Even then it was so skimped that the exterior aspect of the choir is
deplorable. At St. Étienne there seemed to be a fatality against
symmetry. When all hope was given up of replacing the Romanesque nave by
one of the same character as the choir, it was decided to make its
entrance more important; but instead of setting the new Flamboyant
portal in the center of the west façade, it was placed to one side. The
window dedicated to two sons of the Midi, St. Roch and St. Sebastian, is
attributed to Arnaud de Moles who made the celebrated Creation,
prophets, and sibyls of Auch Cathedral. Some of the grisaille in St.
Étienne came from the Jacobins.
Public-domain text, read in full here on John Shaqi.
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