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Construction
Construction of Bourges Cathedral
cathedral in Bourges, Cher, France
- 1195
- Europe
Construction
cathedral in Bourges, Cher, France
Fetching the article from Wikipedia…
Bourges Cathedral or the Cathedral of Saint Stephen of Bourges (French: Cathédrale Saint-Étienne de Bourges) is a Roman Catholic church located in Bourges, France. The cathedral is dedicated to Saint Stephen and is the seat of the Archbishop of Bourges. Built atop an earlier Romanesque church from 1195 until 1230, it is largely in the High Gothic or Classic Gothic architectural style and was constructed at about the same time as Chartres Cathedral. The cathedral is particularly known for the great size and unity of its interior, the sculptural decoration of its portals, and the large collection of 13th century stained glass windows. Owing to its quintessential Gothic architecture, the cathedral was declared a UNESCO World Heritage Site in 1992.
The walled city of Avaricum, the capital of the Gallic tribe of the Bituriges, was conquered by Julius Caesar in 54 B.C. and became the capital of the Gallo-Roman province of Aquitaine. Christianity was brought by Saint Ursinus of Bourges in about 300 A.D.; He is considered the first Bishop. A "magnificent" church building is mentioned by Gregory of Tours in the 6th century. In the 9th century, Raoul de Turenne reconstructed the older building. Between 1013 and 1030 a new and larger cathedral was constructed by the Bishop Gauzelin. Like the earlier churches, it was built against the city wall, and vestiges of it can be found under the present cathedral.
In about 1100, King Philip I of France added Bourges and its province to his growing kingdom. In 1145 his son Louis VII of France presented his new wife Eleanor of Aquitaine, and she was formally crowned Queen of France in the old Gothic cathedral in Bourges. Beginning in about 1150 the Archbishop Pierre de La Châtre enlarged the old cathedral by adding two new collateral aisles, one on either side, each with two Romanesque portals, and also planned the reconstruction of the west front.
Under a new archbishop, Henri de Sully, a more ambitious building program began. In 1181–82 King Philip Augustus II authorised construction over parts of old ramparts overlooking the city. A document from the Bishop, Henry de Sully, indicated the total reconstruction of the cathedral in 1195. The first work involved building a lower church in a space six metres deep where the old ramparts had been. This structure, with a double disambulatory, was finished in about 1200. It served as the base for the next portion, the chevet or east end, which was finished in about 1206. The work then preceded toward the west, from the apse to the choir.
The cathedral was begun at about the same time as Chartres Cathedral, but the basic plan was very different. Whereas at Chartres and other High Gothic cathedrals the two collateral aisles were the same height as the nave, at Bourges the collateral aisles were of different heights, rising in steps from the outside aisle to the centre. The old nave was preserved for a time to allow worship until the new choir was finished in about 1214. Then work began on the five vessels, or aisles of the new nave. The cathedral was complete enough by 1225 to be able to host a large council condemning the heresy of Catharism. Major work on the nave was finished by 1235, with the installation of the rood screen, which separated the choir from the nave.
The next step was the building of the wooden framework for the roof, over the vaulted ceiling. This lasted from 1240 to 1255, and required the wood from nine hundred oak trees. The roofing continued until 1259, when a fire caused serious damage. Construction of the south tower was halted, probably out of caution, and work also stopped on the north tower.
Work on the facade continued in 1314 with the construction of a large bay, the Grand Housteau. A tall wooden spire was added to the cathedral, and the walls were strengthened with additional arched buttresses. Between 1406 and 1491, eleven new chapels were built along the flanks of the cathedral between the buttresses. These were lavishly decorated in the more ornate late Gothic style, somewhat out of harmony with the classical High Gothic of the earlier structure.
In 1424 the cathedral was furnished with a technological novelty, the Bourges astronomical clock, still functional after many repairs. The long-troubled north tower was finally finished, but its foundations were still faulty. It collapsed on December 31, 1506. To raise funds for its reconstruction, Archbishop Guillaume de Cambrai offered dispensations to eat butter during Lent in exchange for contributions to the tower fund. The tower was repaired between 1508 and 1524, and thereafter was nicknamed the Butter Tower.
After the 1506 tower collapse, the upper central portion of the west front, above the central portals, known as the Grand Housteau, was reconstructed in the Flamboyant Gothic style. The rebuilt front featured a group of six large lancet windows and two oculi beneath an immense rose window, surmounted by a pointed gable with a small rose blind rose window. Because of the stability problems, the new front and the towers were reinforced by massive buttresses.
The old spire was removed in 1539 and replaced by a new one in 1543–44. In 1549 a fire in the beams of the roof of the north collateral aisles damaged the windows below, and also destroyed the organ. This time King Henry II of France paid for the repairs. The French Wars of Religion caused more serious damage. A Protestant army led by Gabriel de Lorges, the Count of Montmorency, seized the city by surprise on 27 May 1562. They pillaged the cathedral treasury, overturned statues and smashed some of the bas-relief sculpture. De Lorges was preparing to blow up the cathedral when he was dissuaded by others who wanted to convert it into a Protestant church.
A new organ was installed in the cathedral in 1667, portions of which still are in use. The fleche of the cathedral, rebuilt four times, was finally removed in 1745. In the 18th century, the entire cathedral underwent a more serious transformation, to conform with new doctrines instituted by the Vatican. The Gothic altar from 1526 and the elaborate sculpted stone rood screen of the choir from the 13th century were removed. Portions of the rood screen are displayed today in the crypt. Many of the stained glass windows were replaced with white grisaille glass to provide more light. A new choir screen composed of nine wrought iron grills was put in place in 1760. and a new altar of white marble was installed 1767. The choir also received new carved choir stalls and a new marble floor.
During the French Revolution, the cathedral was transformed for a time into a Temple of Reason. Many of the reliquaries and other precious objects in the treasury were melted down for their gold, while ten of the twelve church bells were melted down to be reforged into cannon.
Following the destruction of much of the Ducal Palace and its chapel during the revolution, the tomb effigy of Duke Jean de Berry was relocated to the cathedral's crypt, along with some stained glass panels showing standing prophets, which were designed for the chapel by André Beauneveu.
In the 19th century, the cathedral was returned to the Catholic Church and underwent a long restoration from 1829 until 1847. The new architects made numerous modifications and additions which sometimes had a questionable historic basis. The buttresses and arches were decorated with pinnacles and new balustrades which may not have previously existed.
In 1862, under Emperor Louis Napoleon, the cathedral was declared an historic monument.
In 1992, the cathedral was added to the list of the World Heritage Sites by UNESCO.
In 1994–95, the rood screen of the lower church was restored, and the astronomical clock was put back into working order. The old stained glass windows were cleaned and protected by additional layers of glass. The murals in the chapel of St. John the Baptist were restored.
The façade or west front, the main entrance to the cathedral, is on a particularly grand scale when compared with other cathedrals of the period; it has five portals accessing the central aisle and four side aisles, more than Notre-Dame de Paris or any other cathedral of the period.
The sculpture on the central portal illustrates scenes from Last Judgement. At the top of the tympanum, Christ divides the damned from the saved. Their respective fates are vividly illustrated below. The original sculptures were badly damaged in the sixteenth century during the Wars of Religion. Parts of the tympanum were restored by Théophile Caudron in the nineteenth century.
The portal to the near right of the center depicts the life of Saint Stephen, the patron saint of the cathedral. The sculptures on the portal above the far-right door depict scenes from the life of St Ursinus, a local saint and the first bishop of the diocese. The scenes are read from bottom to top and from right to left. They include a depiction of Ursinus consecrating the cathedral (center) and the baptism of the Roman senator Leocadus and his son Ludre (top). The trumeau statue depicting St. Ursinus was made by Caudron in 1845 after the original was destroyed.
The original tympana of the north portals were destroyed when the north tower collapsed in 1506 and were redone in the sixteenth century in a somewhat different style. The tympanum to the near-left portal shows scenes from the life of the Virgin Mary. The lower portion of this portal, up to the trumeau date to the sixteenth century. The far left tympanum is dedicated to William of Donjeon, and depicts scenes from his life. The portal is topped with an openwork gable and is divided in the center by a richly ornamented spire. The archivolts above the portal depict angels, many of whom are shown playing musical instruments.
The lower arcade contain a collection of sixty four bas-relief sculptures depicting examples of divine intervention drawn from commentaries on the Bible in the Talmud. They were carved in the thirteenth century and their unique iconography was possibly designed by a member of Bourges's large Jewish community.
The spandrels between these niches feature an extended Genesis cycle which would originally have told the story from the beginning of Creation to God's Covenant with Noah. The spandrels were defaced in 1562.
Romanesque carved portals from about 1160–70, probably intended for the façade of the earlier cathedral, have been reused on the south and north doors (occupying the spaces normally reserved for transept portals). Their profuse ornamentation is reminiscent of Burgundian work.
Text from the Wikipedia article “Bourges Cathedral”, available under CC BY-SA 4.0.