Entrance Place de la Concorde
This church is partly Romanesque (12th century) and
partly Gothic (14th century). The church front is
considered to be one of the most striking in the South.
The church became one of the most famous sanctuaries
of Provence after the discovery in 1187 of the relics
of Saint Martha, already venerated by the people of
Tarascon.
The church has been greatly modified, it now
has a composite silhouette. Starting from the first
Christian oratory, larger sanctuaries were successively
built. The crypt contains the ancient sarcophagus
(third / fourth century) of the Saint.
Of the Romanesque church, consecrated in 1197, only
remains today a magnificent entrance unfortunately
damaged at the Revolution and a small bell tower above
the lantern tower of a Renaissance chapel.
The Gothic church, rebuilt on the Romanesque walls,
dates from 1330. The 15th century added the bell tower,
the buttresses and the sacristy. Chapels were dug
out in the walls of the side aisles of the 15th to
18th centuries, inside, there is a fine collection
of 16th, 17th and 18th century religious paintings
and an organ, the instrumental part dating from 1484,
listed as a historic monument, backs onto the wall
which separates the narthex from the main nave.
Open
every day from 8 a.m. to 6 p.m. - Free entrance
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The Church
(Listed building)
During the Saracen invasions(8th century), the tomb
of Saint Martha was buried to avoid destruction. This
tomb was rediscovered in unknown circumstances in
1178, and identified thanks to a marble plaque, which
disppeared at the French Revolution, bearing the inscription
:”Beata Martha jacet hic” : “Here
Rests the Blessed Martha”. The discovery of
the relics encouraged the population to build a new
church. It is situated above the old church, which
is today the crypt or underground church, originally
access was through a small porch on the West wall
at the base of the tower. The new building was consecrated
in 1197 by the Archbishop of Arles, assisted by the
Bishop of Avignon. An inscription on a low relief
to the right of the South doorway (main entrance),
recalls the discovery of the relics and the dedication
of the church on June 1st. The translation is : “Towards
the end of 1187, the body of Saint Martha was shown
to us, hostess of Jesus Christ. On June 1st 1197,
Bishop Imbert, accompanied by Bishop Rostang, consecrated
the church”. The text bears a frieze representing
:
- On the left : Three priests around
the intact body of the Saint, lying on a table.
- In the centre : Two angels elevating
the Virgin Mary.
- On the right : The two consecrating
Bishops on one side, and an altar table carried on
four small columns on the other.
The church we see today is an amalgame
of several centuries. Each period has left its mark.
There are two parts to be seen :
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The Crypte :
Considered
to be one of the oldest sanctuaries in Provence. Beneath
it are traces of a pre-roman habitat dating from the 3rd
or 4th century BC.
The Upper Church : Built at different
periods, includes the remains of the old Romanesque church
(12th century), a Gothic part and a Renaissance part ( 14th
and 17th centuries).
Of
the Romanesque church, only the entrance, the Southern wall
up to the vaulting and the North Western section incorporating
the base of the bell tower, remain.
Completing the Romanesque section, the building of the Gothic
church was finished in 1660. A particularity in Tarascon
: no windows on the North wall because of the violence of
the Mistral wind. |
The
Church Front
EMain
entrance, South wall.
One of the noblest and most important parts of the monument.
Had it not been mutilated during the French Revolution,
it would be one of the finest of Provençal Romanesque
art (after Saint Gilles and Saint Trophime in Arles). Unfortunately,
the low reliefs and the statues decorating it were destroyed
in June 1793, and completely razed. The subjects were Biblical
scenes mixed with episodes from local traditions. The lintel
bore Christ’s triumphal entry into Jerusalem. The
tympaneum, now empty, showed Christ in Majesty, surrounded
by the symbols of the Four Evangelists. In the right hand
corner, above the capitals, you can make out the silhouette
of Saint Martha, mastering the Tarasque. In the opposite
corner, was the resurrection of Lazarus (you can still make
out the tomb at the base). |
The
Bell Tower
The
bell tower is Romanesque and was not originally this high.
A careful look will show traces of a gargoyle half-way up
the North wall, clearly showing the change of height. Originally,
the top had battlements and a terrace. The campanile and
the spire came later, René of Anjou having authorized
the completion of the bell tower. In 1470, he wrote to his
Senechal, Jean de Cossa, as follows : “We agree it
shall be done but, in a way that it shall not block the
view of the soldiers of the castle in case of an enemy approach. |
The
Interior
The main nave is supported by columns with fan vaulting
: the small carrying the ogival crossings, and the
large ones, the buttresses. The side chapels were
built between the buttresses of the Gothic church.
The oldest are on the North side (14th and 15th centuries).
They belonged to noble families who were buried there,
or to Guilds. We suggest you walk round the church
this way to appreciate its contents, particularly
the rich but little known collection of 17th and 18th
century paintings, by famous painters.
As you go in, walk straight ahead towards the
North wall. High up on your left, you can see : “Saint
Cunegonde and Saint Cecile”, by Charles Parrocel.
Charles Parrocel : Paris 1688 – 1752. The Parrocels
were a family of French painters, mainly known in
the 17th and 18th centuries, for their paintings of
battles and military scenes. |
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 Au-dessus
du tableau, surélevé se trouve l'orgue : la
partie instrumentale originelle de l'instrument existe toujours
et date de 1484. Il a subit plusieurs transformations afin
d'être agrandi et embelli. Le buffet polychrome actuel
date de 1712. Il est entièrement classé monument
historique. |
 North
Wall:
The
Chapel of the Relics -
Contains a gilded copper reproduction of the reliquary bust,
given by King Louis XI in 1478, intended for the head of
the Saint. Considered as the richest of the kingdom at that
time, it was in solid gold and weighed more than 25 kilos!
At the French Revolution, it was sent off for coinage. At
the foot of the reliquary is a reclining figure of Saint
Martha in Italian marble. It was part of the covering for
the ancient tomb, given in 1653 by Monseigneur de Marianis,
Bishop of Avignon. |
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The Chapel of Our Lady of the Rosary :
”Saint Martha triumphing over the Tarasque” :
by Carle Van Loo (1730).
Charles
André Van Loo (known as Carle) : Nice 1705 –
Paris 1765. French painter who studied in Italy, professor
at the Royal Academy of Paris in 1737, First Painter of
King
Louis XV.
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In
1762, he represented the “Grand Style” of rococco
aesthetics (religious or mythological paintings, “Turqueries”,
decorative panels). |
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After this chapel, in the wall, near
the 17th century pulpit, one can admire the iron grille
of the relics cupboard, in 12th century wrought iron.
The Chapel of Saint Mary Magdelene
:
”Saint Dominique” : by Pierre Sauvan, a painter
from Arles.
”Arrival of Our Lord in Bethany” : by Nicolas
Mignard.
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Nicolas
Mignard : Known as Mignard of Avignon, Troyes, 1606 –
Paris 1668. French painter who worked mainly in Avignon,
but was called on, after 1660, to decorate an apartment
for King Louis XIV at the Tuileries. He was the favourite
painter of the Royal family, of Richelieu, then of Mazarin.
The
Chapel of Saint Andrew:
Here one may see the oldest work belonging to the church,
which is a retable in the form of a triptyque dating from
1510, representing Saint John, Saint Roch and Saint Laurent.
Also, two paintings by Charles Parrocel : “Saint Mary
the Egyptian” and “Saint Andrew” and an
anonymous painting of “The Adoration of the Wise Men
and the Shepherds”.
East
wall:
The Chapel of the Sacred Heart :
Above the entrance : “The Resurrection of Lazarus”
(1747), and high up on the left “Saint Martha Dying”,
both by Joseph Marie Vien.
Joseph
Marie Vien : Montpellier 1716 – Paris 1809. French
painter a precursor of neo-classicism. He was Director of
the French Academy in Rome. His major work, which allowed
him to enter the Royal Academy,consisted of the seven paintings
represen,ting the main scenes of the life of Saint Martha,
painted between 1747 and 1751. He was also First Painter
to King Louis XVI. |
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Inside the chapel, “The Assumption
of the Virgin Mary” by Nicolas Mignard".
Above
the entrance: “Saint Martha Preaching” by Joseph
Marie Vien (1747).
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South
wall:
The Chapel of Saint Joan of Arc :
”Saint Thomas Aquinas” and “Saint
Catherine of Sienna” by Charles Parrocel.
”Saint Francis of Assisi” by Carl Van
Loo.
The
Chapel of the Corpus Domini :
”Saint Martha Receiving Jesus Christ at Bethany”
by Joseph Marie Vien (1747).
The Chapel of Saint Claude :
On the left : “Arrival of Saint Martha in
Provence”.
On the right : “The Funeral of Saint Martha”.
Both by Joseph Marie Vien.
The
Chapel of Purgatory :
”Christ on the Cross” by Charles Parrocel.
The
Chapel of Saint Cecile :
”Adoration of the Wise Men”.
”Annunciation”.
”Adoration of the Shepherds”.
All by Charles Parrocel.
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| West
doorway:
Turn your back to this door and raise your eyes to see “Saint
Martha Leaving Palestine by Boat”, by Joseph Marie
Vien.
Carry
on your visit by moving towards the crypt. To the right
of the stairs going down, set into the wall is a funeral
plaque representing a knight in arms. This Guillaume Crespin,
Captain of the Château under Louis III and King René.
In the two top corners, one can see the coat of arms of
the Crespin family. The inscription around is as follows
: “Here lies a noble man, Guillaume Crespin, of the
town of Château Gontier in the diocese of Le Mans,
Captain of the Château of Tarascon, died in the year
1440 on June 25th. May God have his soul” |
 As
you go down the stairs, you come to a landing. Opposite
is a painting by Charles Parrocel :”Our Lady of the
People”.
Beneath the painting is a late 15th century cenotaph, also
known as the Gothic Tomb of Saint Martha. It is by a famous
artist : Francesco Laurana, who worked on the request of
King René. At its base, you can see two openings
through which the relics could be touched;
Shut inside it, cloths belonging to the sick in thanks for
their healing. It bears three low reliefs separated by fluted
pilasters representing : on the left, Saint Martha and the
Tarasque : in the centre Saint Magdalene born aloft by the
angels; on the right, Lazarus with his mitre and staff.
A
personnage on either side : on the left, Saint Front, Bishop
of Perrigueux, present at the funeral of Saint Martha, on
the right : Saint Marcelle, Martha’s servant.
Francesco
Laurana : Zadar about 1420/1430 – Avignon(?) about
1502, Croatian sculptor of the Italian School. Worked in
Naples, in Sicily and in Provence. Famous for feminine busts
with very pure lines.
On
this same landing, you can see three plaques commemorating
the visits of famous people : Beside the picture, Louis
XIV, opposite him, Clovis and François I on either
side of the staircase.
On
the right of the stairs to the crypt proper, is a magnificent
16th century tomb by Francesco Laurana. It is that of Jean
de Cossa, Senechal of Provence, a famous Neapolitan who
sacrificed his property to follow King René and served
him faithfully all his life. His epitaph reads : “Here
lies Jean of the House of Cossa, Count of Troia and citizen
of Naples. He left his fatherland to follow the glory of
King René and was always and everywhere faithful.
Provence, when he was Senechal, felt the sweetness of his
governmnt. And by his valour, he tamed the people of Liguria.
He died in his 76th years, on the 6th day of the 6th month,
in the year of our Lord 1476 on the 6th of the nones of
October. Oh! Worthy evidence of pity”.
Jean de Cossa is shown lying in full armour with a dog,
a symbol of fidelity at his feet. The Senechal is wearing
his coat and halbert of mail.
Beneath his left arm, you can see the decoration of the
Order of the Crescent set up by King René, Jean was
Senator in 1450. You can read the words : “Loz en
croissant”, i.e. That one is worthy of “Loz”
(praise) only if one grows in merit and virtue. On the left
side, you can see a broken lance (a reference to tournaments).
The grille around the tomb bears fleur de lys decorations.
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