![]() ![]() Legends in Limestone, an absorbing study of one of France's most revered medieval monuments, provides fresh insights into modern and medieval interpretive practices. With the aid of evidence drawn from the richly carved decoration of the building, she demonstrates how medieval visitors would have read a different holy narrative in the church fabric, one that constructed before their eyes an account of their patron saint's life. Seidel makes a compelling case for the identification of the name with an ancestor of the local ducal family, invoked for his role in the acquisition of the precious relics. Legends in Limestone reveals how "Gislebertus, sculptor" was discovered and subsequently sanctified over the course of the last century. These two cults, of sculptor and of saint, form points of departure and arrival for Linda Seidel's study. ![]() Look out for the historiated capitals, with their characters and monsters from biblical stories.Whereas twelfth-century pilgrims flocked to the church of St-Lazare in Autun to visit the relics of its patron saint, present-day pilgrims journey there to admire its superb sculpture, said to have been created by the artist Gislebertus whose name is inscribed above one of the church doors. Look up and contemplate the richness of the sculptures in this monument. In the side aisles are the funeral chapels created for the great local families. The first level retains the Romanesque round-headed bays, while the second level is made up of Gothic lancets. In 1469, a fire destroyed the cathedral, which explains the difference in construction from the second level onwards. Admire the beauty of the details and the grandeur of the construction. The original plan consists of a seven-bay nave surrounded by aisles. In the 15th century, the exterior of the cathedral was transformed with the addition of chapels between the buttresses of the building and the creation of a Gothic spire by Jean Rolin, culminating at 80 metres. After a third stop at the Chapel of Saint Martha, they emerged under the tympanum of the Last Judgement. Entering through the side portal, pilgrims made a first stop at the Mary Magdalene Chapel and then a second one at the relics of Saint Lazarus. Indeed, its choir faces south and not east, towards Jerusalem, as most churches in France do. The need to accommodate these pilgrims explains the unusual orientation of the church of Saint-Lazare. The side portal faces the entrance to the nave of Saint-Nazaire, thus creating a real route for pilgrims. The pilgrimage church was built on a plot of land granted by Duke Hugues II, near the cathedral of Saint-Nazaire, in the shape of a Latin cross. The construction of this building was completed in 1147, with one objective: to attract pilgrims from Compostela to the city and thus promote the economic development of the city. Until the 18th century, Autun had a summer cathedral, from Easter to All Saints' Day (Saint-Lazare), and a winter cathedral, from All Saints' Day to Easter (Saint-Nazaire). The Cathédrale St-Lazare (Cathedral of St. In 1195, the building became a co-cathedral. It was linked to the Basilica of Vézelay, which preserves the relics of Mary Magdalene, Lazarus' sister. Two centuries later, the construction of the church of Saint-Lazare made it an effective communication tool. It was the bishop of Autun, Gérard, who brought back the relics of the saint from the abbey of Saint-Victor in Marseille. ![]() Saint Lazarus was the friend of Christ, the risen one. The heart of the city is in front of you, situated on the Compostela route starting in Vézelay, Autun was given a pilgrimage church in 1120 under the name of Saint Lazarus, whose relics it has had since the 10th century.
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