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Discover the monumental reliquary used to house the body of Saint Lazarus.
The Cathedral of Saint Lazarus
Designed as a monumental reliquary to house the body of Saint Lazarus, today's Autun cathedral bears witness to medieval fervour for the cult of the saint. It was built in the first half of the 12th century according to a design borrowed from the great Cluniac model of the "maior ecclesia" of Saint Hugues.
Its sculpted work culminates in the north portal with the tympanum of the Last Judgement, where the master builder, Gislebert, left his signature.
For the past 30 years, the cathedral has received the attentive care of the State, its owner. The entire building was restored between 1991 and 2020, not forgetting the collections, which are being showcased, including the recently refurbished treasury!
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The origins of the construction
Archaeological digs in 1985 showed that in 313, Autun had a "cathedral" church and an episcopal residence (or "house of the Church") under the reign of Bishop Rhetice on the remains of a vast ancient monument.
From the5th to the 8th century, as the role of the bishop evolved and his temporal power increased, these buildings were enlarged and completed, particularly under the episcopates of Saint Syagre (560-600) and Saint Léger (663-678). At the end of the 6thcentury , the cathedral was decorated with a mosaic with a gold background and, in the 7th century, was preceded by an atrium on the west side.
Under the episcopal see of Etienne de Bâgé, work began on a monumental church, based on the great Cluniac Romanesque model of the "maior ecclesia", in order to develop the cult of Saint Lazarus. The prestigious craftsmen from the Cluny site were sent to Autun to build this new sanctuary.
This bishop, who had close ties with the abbey of Cluny, retired there in 1139 and was even buried in the choir of the abbey church. Although it did not inaugurate the work, the presence of Pope Calixtus II in Autun in 1119 enabled the Duke of Burgundy, Hugues II, the Pope's nephew, to donate the land needed to build the cathedral.
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The cult of Saint Lazarus
Devotion to Saint Lazarus, bishop of Aix-en-Provence in the early5th century, spread from Germany and Alsace to Burgundy from the first half of the 9th century. At Autun, this spiritual heritage is brought to life through an exceptional sculptural programme.
Under the direction of the bishop and the clerics, all the sculptures in the basilica - the two monumental tympana and the 70 historiated capitals - unfold a veritable biblical narrative. On either side of the nave, scenes from the Old and New Testaments respond to each other, illustrating the victory of Good over Evil. This masterpiece is said to be the work of the master builder Gislebert, whose name appears in a famous inscription.
Shortly after the church was completed, a mausoleum dedicated to Saint Lazarus was added. A veritable "church in miniature" standing 6 metres high, it was sculpted by the monk Martin, an artist from Vienne (Isère) who was active in the 12th century. This monument offers pilgrims an interior journey evoking a major episode: the resurrection of Lazarus.
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The patronage of Cardinal Jean Rolin
Over the centuries, the development of the cult of Saint Lazarus transformed the church in Autun. From the 15th century onwards, the influx of pilgrims - particularly the wealthiest members of the clergy and notables - led to the construction of additional chapels. Between 1400 and 1515, these additions adorned the Romanesque church in a flamboyant Gothic setting.
Cardinal Jean Rolin, Bishop of Autun from 1436 to 1483, played a major role in this period. A great patron of the arts, he was responsible for the construction of two chapels dedicated to Saint Vincent and Sainte Geneviève. He also commissioned many prestigious works of architecture, sculpture and painting. Nothing was left to chance.
Thanks to him, the cathedral was enriched with exceptional treasures. Its spire, a masterpiece of Gothic ingenuity, and the organ loft are among the most emblematic achievements of this period, despite the losses suffered in the 18th century.
In 1480, the cardinal also commissioned a remarkable reliquary made of Tonnerre stone, probably by the sculptor Antoine Le Moiturier. This reliquary was intended to house the skull of Saint Lazarus - parts of it are now preserved and on display in the cathedral treasury.
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The great portal
In 1178, the chapter of Autun cathedral obtained permission from the Duke of Burgundy, Hugues III, to build a vast porch in front of the church. The purpose of this sheltered area was to welcome pilgrims, offering them a place to gather and pray without having to enter the building directly.
In the 17th century, a monumental staircase was built under the porch. It was enlarged again in the 19th century to fit the width of the nave and side aisles, giving the entrance to the cathedral its current majestic yet welcoming appearance.
Many of the capitals in the porch are of antique inspiration. The tympanum of the main portal was miraculously saved from destruction during the French Revolution, as it was not visible at the time. During the reconstruction work, in order to preserve the Romanesque appearance of the building, plasterwork, walls and tower storeys were removed.
The richness of the site lies in the varied decoration (pine cones, interlacing designs, foliage scrolls, signs of the zodiac, etc.) of the main portal and its capitals(Conversion of Saint Eustace, Hagar and Ishmael driven out by Abraham, Presentation of Jesus Christ in Time, Old Men of the Apocalypse praising the Lord, etc.).
In the centre, the tympanum of the Last Judgement, one of the masterpieces of Romanesque sculpture, features Christ in his glory. He is surrounded by the Virgin Mary, her hands raised in adoration, and the saints and prophets. Saint Peter carrying the keys to paradise and Saint John the Evangelist holding a book can also be seen. At the lintel, beneath Christ's feet, are bodies emerging from the tombs, separated by angels.
The weighing of the souls is depicted at the bottom left of Christ, where Saint Michael helps to lift the souls that have been judged into the heavenly Jerusalem represented by a window. In counterpoint, in the western area is Hell, where the damned are cast down. Below, Saint Lazarus is depicted as a bishop, accompanied by his two sisters, Martha and Mary Magdalene.
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The nave leading to the choir
The cathedral has a Latin cross floor plan. The main nave and the two side aisles end in three semicircular apses . From the main portal to the transept, , there are seven bays, then two between the transept and the apses.
The nave of Autun cathedral is impressive for its architecture inspired by Antiquity. It is cross-vaulted, reinforced by powerful double arches, while the aisles are covered by lighter cross-vaults.
Above all, the nave houses one of the most remarkable collections of sculpted capitals from the Romanesque period. Biblical scenes, symbolic figures and marvellous episodes provide a wealth of sculpted decoration comparable to that in the famous basilica at Vézelay. They were carved between 1130 and 1145, and it was in 1146 that the relics of Saint-Lazare were transferred from the former cathedral of Saint-Nazaire. They retain their own characteristics, such as the elongation of the bodies and the treatment of the draperies.
The choir of Autun cathedral bears witness to several major stages of transformation. Originally, the Romanesque choir housed the tomb of Saint Lazarus in the centre, a major figure in the sanctuary.
In the 15th century, under the impetus of Cardinal Jean Rolin, the choir was radically altered in the Gothic style. Large mullioned windows were added to let in light and enhance this sacred space.
In 1766, the lower windows were walled up and the tomb of Saint Lazarus destroyed, to make way for a monumental decoration of marble and carved and gilded wood.
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The treasure room
A veritable safe, this building, built by Bishop Jacques Hurault in 1520, houses the cathedral's treasury. It is accessed through a remarkable flamboyant door in the western arm of the transept. It comprises the main sacristy, , the archive room and the treasure room. A staircase leads to the chapter library on the first floor.
The main sacristy was restored by Lucien Magne between 1877 and 1879. It features stained glass windows decorated with foliage and flowers from the Eugène Oudinot workshops in Paris. The panelling covering the walls of the room is complemented by a monumental chapier-chasublier housing the cathedral's 700 or so liturgical textile ornaments, displayed in rotation in the treasure trove showcases.
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The cathedral treasury
Originally, the treasury of Autun cathedral was closely linked to the cult of relics, particularly those of Saint Lazarus. Over the centuries, it was enriched by precious objects: reliquaries, silver statues, rock crystal vases, crosses adorned with precious stones, etc.
But the fate of these treasures was a turbulent one. Melted down in the 18th century to finance new silver creations, themselves destroyed during the Revolution, the objects preserved today date mainly from the 19th century.
After the cathedral was reopened following the Concordat of 1801, numerous pieces were commissioned or donated to meet the needs of religious ceremonies.
- Among the most remarkable sets: the liturgical service commissioned by Mgr d'Héricourt (bishop from 1829 to 1851), made by the Parisian silversmith François-Joseph Bertrand-Paraud.
- The prestigious pieces acquired under Mgr de Marguerye (1851-1872) include a monumental reliquary shrine, a monstrance probably donated by the Empress Eugénie, and a reliquary of the True Cross inspired by the work of Viollet-le-Duc.
These masterpieces are complemented by a host of liturgical objects, including chalices, cruets and a cantor's staff for leading the singing, all of which bear witness to the richness and refinement of the sacred arts at the service of the cathedral.
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