by Juliana Ferrie
Perched high above Lyon, France, the Basilica of Notre-Dame de Fourviere is hard to miss, guarding the city from its location in the sky.
At the end of an uphill, twisting path surrounded by bright green trees, visitors eventually arrive at the massive basilica. The white marble facade greets visitors with biblical stories and an entrance beneath three dramatic arches. The exterior alone makes the trek to the basilica worth it.
Attracting more than 2 million visitors each year, it was designed by Lyonnais architect Pierre Bossan and is a mixture of Byzantine and Romanesque architecture. The combination of these styles can be seen in different parts of the basilica, creating a breathtaking scene.
The basilica was built between 1872 and 1884 and is dedicated to the Virgin Mary. Around 1870, the Franco-Prussian War threatened Lyon. The local bishop prayed to Mary to spare the city and promised a tribute to her if Lyon was saved.
Lyon was not harmed, and thus, the basilica’s construction began.
Being saved from the Prussians is not the only thing Lyon has Mary to thank for. In 1643, while the Black Death devastated the rest of Europe, Lyon was saved from the disease. It is also said Mary protected Lyon from the 1832 Cholera epidemic.
The Festival of Lights occurs annually on Dec. 8 to thank Jesus’ mother for these miracles.
Examining the Basilica’s Intricate Exterior
The incredible size of the Basilica of Notre-Dame de Fourviere is typical of Romanesque architecture. This style was meant to intimidate but also to inspire.
Immortalized on the facade of the basilica, graceful figures watch visitors as they come and go. The majority of the entrance is a portico — a detailed, covered porch above the entrance meant to protect individuals from the weather.
In particular, the portico of the Basilica of Notre-Dame de Fourviere has three large, dramatic arches. Adorned with floral ornamentation, the arches frame the entrance of the basilica, as well as three sculpted angels holding banners in Latin.
Together, the three speech scrolls read, “In the name of the Father, and of the Son and of the Holy Spirit.”
Below the angels, a carved scene with Mary at the center is also framed by the columns.
Katherine Fernandez, a 21-year-old University of San Diego student studying abroad in Rome, said she chose to visit the basilica during her trip to France because of how beautiful it looked.
Walking up to the building was overwhelming because of its size, she said.
“The basilica looked big while I was walking around the city, but I didn’t realize just how big it was until we got there,” she said.
Fernandez grew up Catholic, which made her appreciate visiting the basilica even more.
"The architecture here is so much more dramatic than back home," she said.
Above the portico, eight angels grasp swords. Their carved stoic facial expressions seem to convey the seriousness with which they take guarding the basilica’s entrance.
The top of the entrance comes to a point at the triangular pediment, an ornament that is usually placed above a building’s entrance. At its center sits the Virgin Mary and baby Jesus, whose arms reach outward as if beckoning believers into the basilica.
To the left of Mary, the alderman of Lyon can be seen begging her to save their beloved city from the plague. The people used to depict the alderman, however, are the presidents of the Fourviere commission.
On the right side, the cardinals are depicted, as well as the basilica’s architect Bossan.
The basilica’s four towers reach toward the heavens. Representing the four cardinal values of justice, prudence, fortitude and temperance, the towers have an octagonal design, which are also common in Romanesque architecture. On the sides of each tower, floral engravings decorate the structures.
These four values are the principal moral virtues, meaning all others rest on them. These virtues can be enacted by anyone, according to Learn Religions, and therefore, are “the foundation of natural morality.”
Entering the Basilica’s Central Nave
Walking into the basilica takes your breath away. The ornate ceiling and complicated mosaics are striking; there’s so much detail it would take hours to examine it all.
The glittering gold decorating practically every part of the basilica flashes in the natural light, emphasizing the holiness of the space.
“It’s one of the most beautiful things I’ve seen,” Fernandez said. “The gold makes everything stand out.”
Keeping with the qualities of Byzantine architecture, the basilica is covered in mosaics. Located on the sides of the holy space, the mosaics are narratives, telling stories of the Virgin Mary. In total, there are six.
One side depicts “Mary and the Church” while the other set is “Mary in the history of France.”
Three of the mosaics within the Basilica of Notre-Dame de Fourviere. The pieces of art were created by Charles Lameire et Georges Décote. Photos by Juliana Ferrie
Another component of Byzantine architecture in the basilica is the use of impost blocks. These decorative pieces of stone are used as the transition between the columns and arches.
On the impost blocks, carved floral arrangements and birds in the stone serve as the shift into the golden statues and arches. Marble angels with gold halos and turquoise signs stand on top of the blocks above each column of the basilica.
Different impost blocks within the basilica and the crypt adorned with carved floral patterns. Impost blocks are a characteristic associated with Byzantine architecture. Photos by Juliana Ferrie
While also a Byzantine architectural quality, the round arches within the naves of the basilica are characteristic of Romanesque architecture. Everywhere you look, there seem to be arches: sets of them on the ceiling, between the aisles of the naves and making up the stained glass windows.
Byzantine and Romanesque rounded arches are different from the pointed ones typically associated with Gothic architecture. The stained glass found within the Basilica of Notre-Dame de Fourviere is a characteristic of Romanesque architecture.
However, the size of the stained glass is smaller than in other architectural styles. The purpose of the windows is to illustrate biblical scenes.
Architecture of the Crypt
Below the main part of the basilica, a whole other church sits waiting. Unlike the basilica, the Crypt of St. Joseph is cloaked in darkness. In the mind of architect Bossan, visitors had to “go to Mary through Joseph,” which explains the difference in light in the two spaces.
Byzantine and Romanesque architecture carries over into the crypt as well. Arches surround a statue of St. Joseph. In between them, tiny stained glass windows shed a small amount of light on the altar’s center.
Turning away from the altar, the rounded arches provide an overhead pathway through the three aisles of the crypt — with the center one being the largest and leading to the altar.
The impost blocks transition between the columns and the arches — adorned with stars in their centers and surrounded by floral carvings.
This crypt is a place of universal devotion to the Virgin Mary. Throughout the crypt, paintings and statues of Mary from different countries can be visited. Our Lady of Lebanon, Our Lady of Guadalupe and Our Lady of China are among them.
Mckenzie Diaz, a study abroad student based in Florence but visiting Lyon, said she liked the contrast between the two churches of the basilica. The crypt was a lot less crowded, she said, which made it feel more holy and like a place for reflection.
“My favorite part of the architecture is all of the arches,” Diaz said. “I just feel like they’re so graceful and elegant.”
Images from the inside the Crypt of St. Joseph. The darkness of the lower church contrasts greatly with the light of the upper level. The crypt is a place for universal devotion to the Virgin Mary and is frequently visited by pilgrims. Photos by Juliana Ferrie
This beautiful tribute to the Virgin Mary is a wonder to visit. Although entrance to the basilica is free, the memories, sensations and emotions felt within the holy space are priceless.
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