Introduction
The Basilica of Saint-Andoche de Saulieu is a Romanesque church located in Saulieu , in the department of Côte-d’Or ( Bourgogne-Franche-Comté ). It was built from the end of the 11th century ON a Cluniac plan .The Basilica of Saint Andoche, noted for its west portal and carved capitals depicting biblical stories and religious teachings, was founded as an abbey church in the 6th century. Rebuilt as a collegiate church in the 12th century, it became a Minor Basilica in 1919.
The beginnings of the current basilica
The current basilica was built on the ruins of other earlier religious buildings located on the probable site of conservation of the relics of three Christian martyrs of the 2ND century , Andoche of Saulieu , Thyrsus of Autun and Felix of Saulieu . Companion of Saint Benignus of Dijon and disciple of Saint Polycarp of Smyrna , Andoche is said to have been killed with his companions in 177 by the Romans, on the road to Saulieu ( Sedelocus ), at which time the Roman emperor Marcus Aurelius stopped over in the city. Faustus accompanied by his son Symphorian is said to have then put their bodies in a sarcophagus made of Carrara marble , then clandestinely buried them in the crypt of Saint Andoche. Very quickly a cult was given to the remains of the martyrs, attracting many pilgrims and faithful who came to venerate the relics.
In a small underground hollow near the place of their martyrdom, their relics are said to have been preserved and to have become a place of pilgrimage from their martyrdom. In 306, a first church was built, which already bears the title of basilica if we are to believe the will of an abbot of Flavigny and Saulieu , Vandérade, who in 706 bequeathed his property to the “basilica” of Saint-Andoche de Saulieu [ref. necessary] ( do ad basilicam sancti Andochii ).
The first basilica was a place of pilgrimage frequented, including by Clovis , Columban , the king of Burgundy Gontran and Brunehaut . In 447, the Bishop of Auxerre , Saint Germain , came to venerate the relics of the basilica while he was traveling to Ravenna in Italy . At the beginning of the 8TH century, the Frankish abbot Guiré, also called Widrad de Flavigny , founder of the abbey of Flavigny , donated a large part of his property to the latter. In his will dated 722 and written in Semur-en-Auxois , we find mention of a basilica located in Saulieu, housing the bodies of the three martyrs. He will bequeath to the basilica some of his lands in Auxois , Avallonnais and Nivernais , as well as material goods.
In gratitude, the Benedictine monks of the abbey , whose presence within it is attested by Guiré’s will, granted him the title of founder of the abbey, and he thus became the abbot of Saulieu 4 , 5 . In 747, an attack by the Saracens caused the first ruin of the church, as well as a large part of the city. Charlemagne financed the reconstruction of the church, which lost its title of basilica to take that of “royal church” of Charlemagne.
The Carolingian church was ruined by the wars and pillaging of the 9TH and 10TH centuries . During the first part of the 11th century , it was in ruins. However , the 11TH and 12TH centuries were periods of consecration for the basilica. It was Bishop STEPHEN I OF Baugé who was truly in charge of the basilica. He was appointed Abbot of Saulieu in 1112, and undertook major reconstructions: it was he who had the church of Saint Andoche built, a reduction of the Cluniac model, with a simplified and sober plan. In 1119, it was Gui de Bourgogne , Archbishop of Vienne , elected Pope under the name of Calixte II , who turned his attention to the church of Saint-Andoche: he proceeded to translate the relics of the three holy martyrs from the sarcophagus present in the crypt, to the high altar of the church. Around 1139, the Bishop of Autun established a chapter in the town of Saulieu, thus taking the title of Abbot and Count of Saulieu. He then made the abbey church a collegiate church.
The basilica was built very quickly and continuously. On December 21, 1119, it was consecrated by Pope Calixtus II, himself of Burgundian origin. The basilica was then a large building, 65 to 70 m long and 25 m wide. It was built on a classic Latin cross plan with three naves , a transept , a vast sanctuary surrounded by an ambulatory decorated with an apse and radiating chapels . In the narthex rise two high square towers.
The façade of the basilica includes the gable wall of the nave, surmounted by a small triangular pediment pierced by three semicircular bays, framed by the two towers, as well as a portal with a decorated sculpted tympanum . The towers of the basilica are of unequal heights and bear witness to different designs: the south tower has two levels, topped with a quadrangular roof with flat tiles, while the north tower contains three floors and is surmounted by a lead dome with a lantern . The façade is very sober, even austere, since it does not have any embellishing sculptural ornamentation, but simply light discreet decorations such as modillions , also called Burgundian corbels . The stone used for the making of Saint-Andoche is typical of the region: Hettangian limestone (or lumachelle), which over time took on the gray tint responsible for the severe appearance of the basilica.
Its nave is one of the few surviving examples of the Romanesque period, although it was sometimes modified over the centuries, mainly during restorations carried out in the 19TH century . This nave, designed on the Cluny model , is typical of the so-called Burgundian Romanesque style 9 . It has six bays , established on three different levels: large pointed arcades with double rollers; a blind triforium , with semicircular arcades , framed by pilasters with molded capitals; and at the very top, a semicircular bay . The vaults that punctuate this nave are typical of the style of the period in the region: they are in a pointed barrel vault, such as we can also observe in the church of the Abbey of Fontenay .
These vaults are somewhat reminiscent of oriental inspirations, while announcing the arrival of Gothic . The groin vaults present in the nave, for their part, are formed by pointed barrel vaults which fall on pillars. Opening onto the side aisles , the important pillars of the nave which make up the bays, support the large arcades and are composed of a cruciform core flanked by engaged half columns . The side aisles themselves are groin vaulted and rest on pillars which support transverse double arches . To the north, small semicircular bays punctuate the bays, of which only two remain. On each side, the side aisles end with a small oriented chapel : to the north that of the Virgin Mary and to the south that of Saint Joseph .
Times of Unrest
During the Hundred Years’ War , Saulieu was located in areas of battles and fighting between the English , the Burgundians and the French . Saulieu was besieged by the English in 1359 and when they entered the city, they set fire to the basilica. The roofs burned, the bells melted and the bell towers collapsed during the fire. From the crossing of the transept to the sanctuary , the entire eastern part of the basilica was destroyed. Only the three naves remained standing.
During the following centuries, the basilica was never really rebuilt. Between the 15th and 17th centuries , Augustinian canons who occupied the basilica as a collegiate church closed the naves with walls, at the level of the beginning of the old choir. At the beginning of the 18th century they had a small apse rebuilt at the end of the transept. In 1793, the National Convention requisitioned a bell from the basilica dating from 1621 as national property. It was sold and has since been used in the temple of La Chaux.
After the French Revolution , further work was undertaken in the basilica. The floor was raised by about a metre to bring the floor of the church into line with the square onto which it opened. The roof of the side aisles was also raised, in order to support the weight of a new framework and tiles, but in doing so about ten high bays were blocked.
Christian Architectural Components
The capitals of the Basilica of Saint-Andoche de Saulieu, created in the 12TH century and restored in the 19TH century , nevertheless reveal the high quality of execution of the sculptors and image-makers of the 12TH century . Between earth and sky, these capitals were the material manifestation of the quest for spirituality of the faithful of the time; they truly brought together the celestial world and the terrestrial world. While testifying to medieval, feudal and Roman thought, they are emblematic of the enhancement of cultural heritage classified as Historic Monuments of France and maintain links between them in the internal space of the basilica.
The Historical Capitals
The historiated capitals of the basilica can be divided into two categories: those of the Old Testament and those of the New Testament . Among the historiated capitals of the Old Testament, we find, in the northern part of the building, the episode of Balaam on his donkey.
Among the historical capitals taken from the New Testament, we find, in the northern part of the basilica, the Temptation of Christ (in reference to the Gospels of Mk 1:12-13 and Lk 4:1-13) and, in the southern part, the Flight into Egypt (Matt. 2:13-15). Also in the southern part is The Hanging of Judas (in reference to Matt. 27:3-6): Judas is hanged by the demon Lucifer who pulls the rope of his hanging, but he does not seem dead, since his eyes and mouth are open, as if he were screaming.
The last historical representation is the Resurrection of Christ (in reference to Matt. 28, 1-14; Mk 16, 1-8; Lk 24, 1-11; Jn 20, 1-11 and 18). Once the body of Christ is dead, he is spiritually resurrected and comes out of his tomb. With his arms raised, looking at the women spread around him, the palms of his hands turned, Christ announces “Noli me tangere” (“Do not touch me”). Three women are represented: Mary Magdalene , Mary , and another, but in two successive phases. They go, first to the tomb, noting that it is empty, because of the resurrection of Christ, and then go to announce the good news, as the angel above them asks them to.
Animal or Bestiary Capitals
The capitals, animal or bestiary, are interspersed between the historical scenes with which they function. In the basilica we find owls accompanied by plant decorations. There are three of them: one, on the side, closes its eyes, another, in the center, keeps its eyes open, and the next one does the same as the first. We also find a pastoral scene, also called secular music , with a bear’s head at the top of the composition, a lion’s head at the bottom of it, with foliage scrolls coming out of its mouth, and forming the frame of the scene. In the composition a shepherd plays a kind of horn, and three small animals dance. The following capitals present an animal duality, like the cockfight where the composition can be divided into two parts with, on one side, good and, on the other, evil.
As for the corner figures, owners of the roosters, one wins and the other is defeated. Two lions are also present and seem to spring from a bouquet of acanthus; eagles stand, clinging to the astragalus by their claws, wings spread, leaning as if to look at the spectator who is below, on the ground; bears, or wild boars, fighting in the center of the composition with open mouths, accompanied by their trainers. Imaginary animals are also present such as wyverns or dragons which refer to local mythology, to the image that men of the underworld and the underworld could give themselves. Face to face, they exchange a kiss, an act of their reproduction, after which the female devoured the male 19 , 20 . And finally, we are in the presence of a Sagittarius, or centaur , who is in the process of drawing his bow and arrow.
Floral Capitals
The capitals of the basilica also bear witness to the local floral ornamentation of the Morvan , or more of the Orient, with fern crosiers, thistles, lotus flowers , alder, arum , or acanthus . These capitals are not devoid of meaning, and punctuate the architectural ensemble with images.
The Portal
The portal was completely destroyed during the French Revolution in 1789, as Viollet -le-Duc testifies in his report on the church in 1845. Carried out by the sculptor Creusot, its restoration dates from the 19TH century. It consisted of reconstituting the six columns as well as the statues also present at the entrance to the basilica. The tympanum of the portal reveals Christian iconography: a Christ in majesty , inscribed in a mandorla , here carried by four angels, is seated on his throne, performing the gesture of blessing with his right hand and holding an open book on his left, resting on his knee. Alongside the angels supporting the mandorla, are depicted the emblematic animals of the four evangelists : to the left of Christ, the eagle of Saint John and the bull of Saint Luke, then, to the right of Christ, the lion of Saint Mark and the winged angel of Saint Matthew. All these figures are framed by a kneeling angel carrying a candlestick at both ends of the tympanum.
The Choir
The first purely Romanesque choir of the basilica was completely destroyed during the Hundred Years’ War . A second choir, this time Gothic , was then rebuilt, but a fire at the beginning of the 18TH century destroyed it entirely. The current choir dates from 1704. Architecturally, it has two straight bays, a three-sided chevet , a semi-circular barrel vault, engaged half-columns with molded rings at the level of the triforium of the nave, as well as large bays .
This choir is decorated with 29 carved oak stalls spread over two floors. Dating from the end of the 14TH century , there are 56 of them, and they were produced after the first destruction of the Romanesque choir of the basilica. Financed by the chapter , they were completed around 1388. During the second fire, and for the reconstruction of the choir in 1704, the canons wanted all the stalls to be replaced in their original context. When they were reinstalled that same year, they were somewhat damaged, and in 1789, during the French Revolution, all the fleurs-de-lis that were depicted on them were scraped off. Restorations were undertaken in 1964 and changed their initial appearance. Today, 24 stalls installed in the lowest part, and 32 stalls in the upper part of the choir can be counted. In the background, alongside the relic cabinet, two sculpted stalls are located, one depicting the Annunciation to the south, the other the Flight into Egypt to the north.
The Chapels
In the continuity of the north and south aisles of the Saint-Andoche basilica, two chapels are built. The chapel of the Virgin, restored in the 19th century , is entirely polychrome. A semicircular bay located to the north is decorated with a stained glass window representing an Annunciation , dated to the 19th century , as is the one located to the east and depicting a Virgin and Child . The second chapel is that of Saint-Joseph, to the south. Very simple, it is decorated with a bay to the east which contains a stained glass window representing the Holy Family .
Other side chapels were added within the basilica, to the north and south of its side aisles, from the 15TH century to the 16TH century . To the north, at the level of the fourth bay of the side aisle, is the chapel of the baptismal fonts . Built in the 16TH century , it is covered with a barrel vault. In its center, there is a baptismal font. In its right wall, a niche dug in the stone houses a faithful reproduction of the Gospel of Charlemagne . The second chapel of this side aisle is the one dedicated to Saint George. Founded in 1427 by the Bishop of Autun Frédéric de Grancey , it is designated as a prayer chapel housing the Blessed Sacrament . It is richly decorated with polychrome wooden statues, as well as a painted wooden tabernacle . This chapel, with its ribbed vaults , bears witness to the arrival of the architectural revival and the taste for Gothic. It is lit to the north by a bay decorated with a stained glass window representing the myth of Saint George slaying the dragon .
In the south aisle, the first chapel at the level of the fourth bay is that of Saint- Crépin , now called the Sainte- Anne chapel . Dating from the 16TH century , it attests to the arrival of the Gothic style with the presence of a flamboyant vault , characterized by its liernes and tiercerons . On its south wall, there is a bay depicting a 19TH century stained glass window illustrating the Presentation of Mary in the Temple . The next chapel in this aisle was founded by Cardinal Rolin at the end of the 15TH century . Its walls are decorated with 18TH century woodwork , and it is lit to the south by a window with two mullioned windows, the glass of which is colored. The last chapel is that of Notre-Dame-de-la-Pitié, founded in 1482 by Lord Hugues Clugny de Conforgien 30 . His coat of arms at the corners of the chapel attest to his power. It is built with ribbed groin vaults, and a large pointed arch window occupies one of its walls.
The Chapel of the Virgin
It was completely restored during the 19TH century . Its polychromy attests to the desire of the time to restore the heritage and its restoration was made possible by remains of colors found on its walls and on its capitals.
The Organ
Placed on the gallery of the building, just above the entrance, the oak organ is not original. In 1668, the priest of Thorey sous Charny received a mandate to purchase a small organ that would be placed in the rood screen of the basilica. Then, in 1674, the canons of the church, wanting a much larger organ, commissioned a new one from the organist Claude Fauvernier, which would be completed in 1676, as shown by plans by Auguste Caristie . Following its disappearance during the Revolution, it was not until 1860 that another organ was ordered. In 1980, a major project was completed and marked the apogee of the instrument. The general council of Côte-d’Or , as well as the regional council of Burgundy , have decided to lead a campaign to restore and enhance the region’s organs, and therefore to revalue the heritage of the churches present in Burgundy .
It was decided to produce a purely contemporary creation, which would restore or replace the existing organ. The same year, the visual artist Pierre Sibieude won the competition launched by the Monuments Historiques de France concerning the execution of the organ case . Very rich in polychromy, this case is densely decorated, and demonstrates a modernism that does not however shock the eye within a building with origins from the 12TH century. Completed in 2003, it is one of the most innovative musical instruments in Burgundy, both visually and sonically. This organ has three keyboards , as well as a pedal board that allow it to vibrate more than two thousand pipes spread over three floors. The organ pipes are made of various materials: tin-lead alloy, wood. The organ is colored blue, gold and red, and elements embellish the external structure such as a sphere, a book and a score of Gregorian chants.
The Sarcophagus of Saint Andoche
The Merovingian sarcophagus of Saint Andoche 34 is placed under a marble altar , sculpted in 1950 by a Burgundian artist, Albert David . This altar recalls the importance of the tomb located just below, since its two front pillars present Saint Thyrsus on one side and Saint Felix on the other. In 1958, it was consecrated by Canon Félix Kir . The tomb was found destroyed, cut in two, and dismantled. A reconstruction was then carried out in 1848, with the few remains of fragments of the authentic tomb that were able to reach the marble worker Marion de Saulieu. This very massive monument is rounded in half circles at its upper ends, and we notice that the original fragments are of a much darker color than the recent marble of the sarcophagus, remade in the 19TH century . This tomb was only 1.70 m long, 0.45 m wide, and its basin was 0.51 m high.
Inside, according to the hypotheses formulated, were the bodies of the three martyrs of the city, Saint Andoche, Saint Felix and Saint Thyrsus who were buried there, which seems rather unlikely due to the small size of the monument. It would seem that some of the fragments found date from the Merovingian period . The frieze of vine branches and grapes surmounting the vat were frequent motifs during the Merovingian period: a Latinized chrism , a Christian symbol formed by two Greek letters (X and P); a dove heading towards a cross anchored on the left end of the front wall; intersecting circles 35.
The Relics
We do not know exactly when or how the bodies of Thyrsus, Andoche and Felix arrived in the basilica. It is said that the remains of Saint Andoche were set apart, enclosed in a four-foot-high reliquary in the form of a silver bust decorated with precious stones. All the rest of the relics were apparently placed in an oak chest. In 1675, at the request of Monsignor Gabriel de Roquette , Bishop of Autun , a cedar wood reliquary was made to replace the oak chest in which the relics of Saint Andoche were placed
It is now placed at the back of the choir of the basilica, in a small locked wooden cabinet, between two other more aesthetic reliquaries, in the form of Gothic chapels, commissioned in 1868 by the priest of Saulieu, Monsieur Thibet. The initial reliquary in which all the relics of Saint Andoche were placed was removed from the basilica in 1793. Its contents were then preserved by the priest of the time, Father Garreau, who requested the custody of the relics, kept them at the back of the church, and affixed his seal to the ribbon that wrapped them. Some relics of Saint Andoche are said to be present in the small wooden reliquary, such as two molar teeth from his jaw, as well as three pieces of bone. In the massive architectural copper reliquary are said to be a relic of Saint Symphorien, as well as a vertebra of Saint Andoche. In the other one which is similar, there would be the skull of Saint Andoche, which would be slightly sunken, and of which there would remain, in his upper jaw on the left side, two teeth.
The Gospel of Charlemagne
The original of the Gospel of Charlemagne being exhibited at the François-Pompon Museum in Saulieu, it is a copy made by the workshops of the Louvre Museum which is today exhibited in the basilica, in the chapel of the baptismal fonts. Two other copies are known: one is in Yerevan , Armenia , and the other in Paris , at the National Library (BnF). The two sides of the Gospel are produced in beech wood , inlaid with ivory plaques , carved in bas-reliefs. On the front side, Christ is depicted haloed , seated on a throne, holding the book of the Law in his left hand. Two figures surround him: Saint Paul on his right blessing with his hand, and Saint Peter on his left. On the other side of the manuscript , the Virgin in majesty is represented. She is flanked by the archangels Saint Michael on her right and Saint Gabriel on her left, both raising their hands in adoration.
In his arms, the child Jesus who blesses with his right hand, and holds a scroll of the gospel in his left hand. Inside this Gospel Book, a handwritten text, dated to the 12TH century, which would be later than the artistic envelope that protects and decorates it. The Gospel Book shows great quality of execution, as shown in particular by the framing of the ivory plates on the faces, made of very thin silver sheets reflecting reliefs of garlands of flowers and foliage. This Gospel Book is also listed as a Historic Monument of France, as is the building that houses its copy. It is said that the two ivory plates that constitute it were offered by Charlemagne to the founder of the church. However, these plates would have been made well before Charlemagne donated them: the technique of carving in ivory allows them to be dated to around the end of the 6TH century , beginning of the 7TH century . We do not really know how the Gospel book reached the town of Saulieu, however we do know that, during the revolutionary period, it suffered no damage, and remained preserved in the basilica until 1810.
Events
The Ninth centenary of the Basilica of Saint Andoche was officially celebrated in 2019.
Protection
This basilica is classified as a historic monument by the 1840 list 4.
Feast Day
Feast Day : September 24
Church Mass Timing
Yet to Update
Church Opening Time:
Sunday : Closed
Monday : Closed
Tuesday : 9:30 am–12:30 pm, 2–4:30 pm
Wednesday : 9:30 am–12:30 pm, 2–4:30 pm
Thursday : 9:30 am–12:30 pm, 2–4:30 pm
Friday : 9:30 am–12:30 pm, 2–4:30 pm
Saturday : 9:30 am–12:30 pm, 2–4:30 pm
Contact Info
Address
4 Pl. Dr Roclore, 21210 Saulieu, France
Phone : +33 3 80 64 07 03
Accommodations
Connectivities
Airway
Dijon-Burgundy Airport To Basilica of Saint-Andoche, Saulieu, France Distance 1 hr 9 min (87.7 km) via D977BIS and A38.
Railway
Basilica of Saint-Andoche in Saulieu france to Saulieu station Distance 2 min (800.0 m) via Route Nationale 6/D906.
