Saint-Bonaventure Church

Lyon, France

The Saint-Bonaventure church's history is intimately related to the convent of the Cordeliers whose it was a part. It was built originally in the 13th century. The current church was built in just two years between 1325 and 1327. It housed the remains of Jacques de Grolée, died on 4 May 1327, which is under the high altar, before being moved somewhere near the epistle in 1599. The church was consecrated on 18 September 1328 by the archbishop of Lyon, Pierre IV of Savoy, under the name of St. Francis of Assisi. The church was expanded from 1471 to 1484 and was then named Saint-Bonaventure.

The choir was restored in 1607. It served as a granary grain after the French Revolution before being used to worship in 1806 to getting its current facade under the Cardinal Joseph Fesch's leadership.

Around 1890, the church was cleared of the curia and buildings bordering it on its side, which allowed the expansion of the rue Grolée on its western flank.

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Rue Grolée 3304, Lyon, France
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Details

Founded: 1325-1327
Category: Religious sites in France
Historical period: Late Capetians (France)

More Information

en.wikipedia.org

Rating

4.4/5 (based on Google user reviews)

User Reviews

rivard marie (2 years ago)
APPEL AUX CATHOLIQUES DE FRANCE Il n'a pas été abordé le problème du pouvoir d'achat et les mots travail et économies sont des gros mots Synthèse de la réunion qui ne correspondait nullement aux propositions des catholiques présent malhonnêté intellectuelle Petite ou grande trahison ?!!!……. . Choquant pour des éclésiastiques
Arnaud Echavidre (2 years ago)
Was a great concert out there
John Dove (3 years ago)
Nice
David Kenny (3 years ago)
What an amazing interior, the church is lined with majestic stained glass windows. Was fortunate to visit as the Sun shone through with cornucopia of colour.
Carlos Schaap (3 years ago)
2 times this week for a closed door. When the paper on the door said it's open........
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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.