Originally Lodève Cathedral was dedicated to Saint Genesius of Arles, who was a martyr of the Diocletian persecution, and was beheaded in 303 (his martyrdom is represented on the keystone of the vault of the apse). Since 1410 the cathedral has been dedicated to Saint Fulcran, who as bishop of Lodève restored the cathedral in the 10th century.
Some traces of previous buildings are preserved in the crypt. The first cathedral from the time of the foundation of the diocese towards the end of the 4th century remains unknown. Some capitals of the 6th to the 8th centuries, now in the Musée Fleury, imply building from the time of the rule of the Visigoths. The exterior walls of the crypt also seem to date from that period. In the 10th century Saint Fulcran had the cathedral either rebuilt or extended, and reconsecrated it in 975. The doubling of the crypt walls towards the exterior and its vault were part of this structure.
The cathedral is a typical Gothic building of the south of France, majestic and austere, reflecting the stylistic influence of the Mendicant orders. A choir consisting of a single, extremely broad, nave, and a polygonal apse of nine bays lit by nine Gothic windows 12 metres high, is extended to the west by a nave of three aisles. The main portal, richly ornamented, is located in the middle of the north side, under a porch.
The Gothic structure was begun with the apse in about 1265/1270. During the later 1270s and the early 1280s, the two eastern bays of the northern side of the nave were built, as well as the adjacent chapel of Saint Fulcran, the portal and its porch. The choir was vaulted, and temporarily closed off so that it could be used for services.
In a next phase of about 1295/1300 the north side was completed, with the chapel of Saint Martin (now the chapel of Saint Roch), and work on the south side was begun with the Lady Chapel and the chapel of Saint Michael, above which was built a belltower over 57 metres high, which also served as a watch-tower. This was finished in about 1320.
During the rule of bishop Bernard Gui (1324-1331), formerly Grand Inquisitor, construction halted because of financial difficulties. The north and south sides were not completed and vaulted until about 1345, when the lower half of the western front was also erected. Several epidemics of the Black Death followed by the Hundred Years' War interrupted further work, and the façade was not finished until sometime between 1413 and 1430, and fortified with a chemin de ronde and bartizans. The principal nave was vaulted at the same time. Towards the end of the 15th century the chapel of Saint Fulcran was enlarged and a baptistry added to the south-west.
During the French Wars of Religion the cathedral was looted and severely damaged. Protestant troops blew up the four great pillars of the nave, causing the collapse of the arcades, the clerestory and the vaulting of the nave roof. The only parts that remained intact were the choir, the outside walls of the nave and the side-chapels. It was Bishop Jean VI de Plantavit de la Pause (1625-1648) who had the destroyed parts of the building restored as they had been.
In the French Revolution the cathedral was desecrated and used as a storage depot. In the 19th and 20th centuries a number of restorations were carried out, including the reinforcement of the buttresses, the replacement of the original plaster and the reopening of blocked windows. Finally a stone roof was added to the belltower.
The belltower is decorated with four large statues in high relief, representing the saints venerated in the diocese: Saint Michael the Archangel; Saint Genesius of Arles, the first patron of the cathedral; either Saint Florus, the legendary first bishop of Lodève and the apostle of the Auvergne, or Saint Amand, bishop of Rodez; and Saint Fulcran, bishop of Lodève in the 10th century and the present patron of the cathedral. The cathedral building is also ornamented with quantities of sculpted brackets, capitals and gargoyles. The tympanum over the portal is Gothic revival.
Because of the devastations of war, none of the original fittings and furnishings have survived. In the chapel of Saint Michael is the monument of Bishop Plantavit de la Pause (about 1650). The walls of the choir are decorated by eight enormous wall-hangings of the 17th and 18th centuries, by Sébastien Bourdon, J. Coustou and Étienne Loys. The stained glass windows of the apse date from 1854 and are by the artist Mauvernay. The wooden pulpit supported by four atlantes (Cain, Holophernes, Herod and Judas) dates from 1867, when it was displayed at the Exposition Universelle in Paris. The polychrome organ loft is a masterpiece of Rococo work, one of the most impressive in the south of France. It stands on a vast platform of stone with a beautiful balustrade of wrought iron, and was built in 1754 by Jean-François L'Epine. The original instrument was rebuilt in 1882 by Théodore Puget of Toulouse.References:
Glimmingehus is the best preserved medieval stronghold in Scandinavia. It was built 1499-1506, during an era when Scania formed a vital part of Denmark, and contains many defensive arrangements of the era, such as parapets, false doors and dead-end corridors, 'murder-holes' for pouring boiling pitch over the attackers, moats, drawbridges and various other forms of death traps to surprise trespassers and protect the nobles against peasant uprisings. The lower part of the castle's stone walls are 2.4 meters (94 inches) thick and the upper part 1.8 meters (71 inches).
Construction was started in 1499 by the Danish knight Jens Holgersen Ulfstand and stone-cutter-mason and architect Adam van Düren, a North German master who also worked on Lund Cathedral. Construction was completed in 1506.
Ulfstand was a councillor, nobleman and admiral serving under John I of Denmark and many objects have been uncovered during archeological excavations that demonstrate the extravagant lifestyle of the knight's family at Glimmingehus up until Ulfstand's death in 1523. Some of the most expensive objects for sale in Europe during this period, such as Venetian glass, painted glass from the Rhine district and Spanish ceramics have been found here. Evidence of the family's wealth can also be seen inside the stone fortress, where everyday comforts for the knight's family included hot air channels in the walls and bench seats in the window recesses. Although considered comfortable for its period, it has also been argued that Glimmingehus was an expression of "Knighthood nostalgia" and not considered opulent or progressive enough even to the knight's contemporaries and especially not to later generations of the Scanian nobility. Glimmingehus is thought to have served as a residential castle for only a few generations before being transformed into a storage facility for grain.
An order from Charles XI to the administrators of the Swedish dominion of Scania in 1676 to demolish the castle, in order to ensure that it would not fall into the hands of the Danish king during the Scanian War, could not be executed. A first attempt, in which 20 Scanian farmers were ordered to assist, proved unsuccessful. An additional force of 130 men were sent to Glimmingehus to execute the order in a second attempt. However, before they could carry out the order, a Danish-Dutch naval division arrived in Ystad, and the Swedes had to abandon the demolition attempts. Throughout the 18th century the castle was used as deposit for agricultural produce and in 1924 it was donated to the Swedish state. Today it is administered by the Swedish National Heritage Board.
On site there is a museum, medieval kitchen, shop and restaurant and coffee house. During summer time there are several guided tours daily. In local folklore, the castle is described as haunted by multiple ghosts and the tradition of storytelling inspired by the castle is continued in the summer events at the castle called "Strange stories and terrifying tales".