An Analysis of the Basilica of Saint Sernin

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Saint Saturnius, later francized to sernin, was martyred on November in the year 50 for failing to sacrifice to the pagan gods that the Romans forced upon his people. After being dragged to death by a bull he was buried, and at the end of the 4th century a basilica was constructed above his tomb. This building was replaced in the late 11th century by the Saint Sernin basilica (see appendix, 1ab) that is currently in Toulouse, France, a town positioned on the Garronne River a short distance from its union with the Ariege River. Measuring in at 115 m long and 1.1 m high this new structure is the largest of the churches along the principle routes to Santiago de Compostela in France and upper Spain known as the pilgrimage churches (see appendix, ).

The building of this basilica is credited to Bishop Petrus Rogerius. However, canon Raymond Gairard is also recognized as the constructor of the body of the church before he died in 1118. Even though additions continued through the 16th century, the building was consecrated in 111. These additions were the result of the need for expansion due to the increasing number of pilgrims who passed through the church. Viollet-le-Duc completed the final major restoration of Saint Sernin in 1860. This building has survived intact since then, and is considered an extremely important Christian landmark.

Saint Sernin is a cruciform basilica with quite a large square based, proportional structure. Twin portals open to a five-aisled barrel vault nave with eleven bays. The nave is intersected at the transept with a square crossing and an octagonal tower. Two other western towers were also to be added, but were never completed. The ambulatory encircling the crypt includes five projecting chapels. The aisle continues along the perimeter of the church with tribunes along the way as far as the west facade. Stone and brick comprise the piers and wall spans that lead up to large tribune windows. These windows that replace a clerestory are supported by quadrant and barrel vaulting and let in massive amounts of light creating a very open, airy interior. The reliquary is elevated to allow viewing from the main ambulatory, and it includes Gothic details such as rib vaulting.

Decoration is very important in Saint Sernin. Relief, carved capitols, plates, and portals all add to the incredible beauty of the building. Two sculpture programmes were planned in the 11th century for this church. The first of these programmes focused on the image of Saint Sernin encompassed with lions, and included themes of punishment and deliverance. There was definite consistency in the carving of the limestone used, especially in humans. For example, oval heads, double incision eyes, single incision mouths, and vertically folded drapery in arched patterns were constantly used.

In the second programme, marble reliefs and ivory carvings were produced. A major work to come from this programme was the Porte Miegeville (see appendix, ). The Porte Miegeville is a recessed portal, depicting the following sculptures the ascension of Christ on the tympanum, two Old Testament prophets with the twelve apostles on the lintel, and Saints Peter and James in the spandrels all in the plastic style developed along the pilgrimage routes (Zarnecki, 57). Other important works to come from the second programme are the Marble altar table and Maiestas Domini (see appendix, 4ab), a marble relief, both produced by the famous pilgrimage church sculptor Bernardus Gelduinus. Gelduinus, a sculptor from the Romanesque period is known for his great pieces, and simply because he's the only one to sign his works.

Relics are a very important part of the sacred value of Saint Sernin. Pilgrams came in droves to view the many relics housed inside the chapels of the church on their way to Santiago de Compostela. The most important of the relics held by Saint Sernin are obviously those of Saint Saturnin himself. These relics are stored in the reliquary of Saint Saturnin and the golden mounting of Saint Saturnin in the crypt of the basilica (see appendix, 5ab). Another important relic to the basilica is the reliquary of the True Cross. This reliquary is covered in the noteworthy enameled copper work that tells the story of the true cross (see appendix, 6).

Externally, the Saint Sernin basilica conveys power and magnificence in the intricate eastern façade and tower, while displaying grace and relation to average people in the western façade. Internally, the structure seems overpowering in height and spaciousness, while remaining subtle in much of its dcor. Saint Sernin exemplifies one of the greatest achievements of the medieval period in the history of art. This Christian stronghold houses many relics, sculptures, and a history that has become very important to the religious world.

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