Eglise St. Trophime & its cloisters

davidx
davidx
First Reviewer
4 out of 5
Avg. Member Rating
4
Reviews
12
Photos
Editor Pick

More 12th-Century Carvings

More 12th-Century Carvings

If you enjoyed the luscious carvings surounding the Cathédrale porch, head next door for more. An entrance off Place de la République just to the south of St Trophime. There may be queue heading off to the right here; bypass it - this is the Festival box office. Instead continue into the sundrenched courtyard. This was the private courtyard of the Arles bishopric. Indeed, the bishop's palace surrounds you now. Head diagonally across the cout to a short flight of steps. This leads up to the entrance to the cloisters. It costs €3.50, and is open from 9am to 6pm over summer.

The cloisters circumnavigate a square of parched grass, set with pink blossomed trees. At first glance the grey stonework is disappointing. This is because the west gallery (where you enter) was built in the 14th century. Persevere and continue anti-clockwise to the 12th-century galleries. Here you find more superb carved columns, lintels and window frames dating from the same era as the Cathédrale porch. There are contemplative holy men, wise kings, and muscled heroes clutching pillars. Off the cloisters to the western side was the former refectory of the canons of the diocese; to the north was the chapter house; upstairs on the eastern side their dormitory. You can still go up and walk around on the balconied cloister roof.

At the time of my visit these rooms were taken over as part of a photography festival sponsored by local-boy-made-good Christian Lacroix, the fashion designer beloved of Edie and Patsy in 'Absolutely Fabulous' ("Lacroix, sweetie!"). The first room was a scrapbook collage of fashion photos with the odd sudden recognisable image - David Bowie, Kirk Douglas, Zandra Rhodes, and what I at first glance took to be the cover of Captain Beefheart's 'Trout Mask Replica'. In another room, Lacroix's director of communications has a vast ego wall - countless polaroid snaps of him with models - Jodie Kidd, Erin O'Connor, Lily Cole ("Close your eyes and think of Erin O'Connor / Or pretend I'm Lily Cole / And I'll imagine that you're / Someone else as well" to quote the Long Blondes).

One final room had an intriguing set of fashion plates by Richard Avery, taken from his 1995 New Yorker portfolio "In Memory of the Late Mr & Mrs Comfort: a Fable". This is a disturbing set of 26 photographs of a designer-clad couple in a decaying background. 'Mrs Comfort' is model Nadja Auerman. 'Mr Comfort' is a rather spiffily-dressed skeleton. You could call it a postmodern deconstruction of the high fashion business. If you wanted to. And I think Avery does. Still, it's interesting.

These glossy images sit rather strangely amid all the Romanesque saints and faded tapestries, but they do provide something to do it the otherwise bare rooms off the cloister. however, I think the cloister carvings should really be your main focus. While they are not as plentiful or joyous as those of the Cathédrale porch, they are still lovely.

From journal Antique Arles

Editor Pick

Not Roman, but Romanesque

Not Roman, but Romanesque

If the Roman monuments in Arles have left you feeling a little disappointed, I can guarantee that the Romanesque monuments will not. Indeed, when Arles was listed as a World Heritage Site by UNESCO, it was for its Romanesque heritage as well as its Roman. The Cathédrale St Trophime is in my opinion the jewel in Arles' crown.

Emerging on to the obelisk-anchored Place de la République, it is the jazzy frontage of the Cathédrale that immediately grabs the attention. And holds it. The front jutting portal is a maelstrom of exquisite 12th-century carving, making the porch look like some sort of delicate meringue. Outwardly, it is simple. A succession of 'false' columns, half-projecting from the pale stone, with a saintly figure enthroned in the space between. These saints are pretty much life size. Above is a narrow frieze of the blessed and damned - the holy process in robes, trooping off to Heaven; the unholy are chained together, licked by the flames of Hell itself. In the centre of semicircular space above the narrow twin door sits Christ in an almond-shaped mandorla, dispensing his Last Judgement. Look up - on the underneath of the curved lintel is the angelic chorus, singing and playing instruments.

Yet there is a lot of incidental imagery which attracts the eye. On the exterior left of the porch carvings of Adam & Eve (Christian) share space with those of Hercules (pagan). Just to the right of the door slumps a depressed-seeming king, molested by a pair of lions. He appears to be having a moan about his predicament on his mobile phone! You can easily lose a good twenty minutes here ogling the amazing stonework. I'm amazed that it has survived in such good condition for over eight centuries.

Entrance to the Cathédrale is free. From the outide you can just see a mass of blackness, pierced by the vivid costume-jewellery hues of the stained glass at the far end over the altar. Yet once in, the vaulted space is lighter than you would think. The stone is ash-grey, except where beams of daylight hit it. Then the masonry turns a warm sandy colour. There are some Roman sarcophagi, reused as altars and fonts, the aforementioned stained glass, and in a side chapel to the right some very very faint traces of murals. This chapel also contains a modern rose-pink marble font, a gift from the British government. For it was on this site in 597AD that St Augustine was consecrated as the first bishop of the English, and sent on his way to convert those peoples to Christianity. The ties between Canterbury, site of his diocese, and Arles remain strong to this day.

Further stonecarving is located in the cloisters behind the Cathédrale, accessible through an arch to the right of the church on Place de la République. You have to pay to enter these, so I shall review them elsewhere.

The artistry and flair of the 12th-century Provencal masons is, for me, one of the chief attractions of this town. And it is free for everyone to enjoy. Do not miss out.

From journal Antique Arles

Editor Pick

Eglise St.-Trophime and its cloisters

  • April 12, 2004
  • Rated 4 of 5 by artsnletters from Berkeley, California
Eglise St.-Trophime and its cloisters

Eglise St.-Trophime, named after the first bishop of Arles, is sited on Place de la République, a lively square featuring a fountain, centered on a porphyry obelisk, whose water burbles through the mouth of Hercules, identifiable from his lion-skin hood. St.-Trophime was built in the 12th century on the site of an 8th century church, another instance of the Catholic Church’s economy with hallowed ground. The Romanesque church, otherwise gracefully simple in feature, boasts a portal echoing the shape of a triumphal arch with extraordinarily detailed sculpture. The arc above the doors shows Christ accompanied by symbols of the four Gospel authors: Matthew (winged man), Mark (winged lion), Luke (ox), and John (eagle). The twelve figures below represent the apostles.

The interior of the church is relatively simple. Although the church is not enormous, it may seem deceptively small due to the height of the vaulting. The most interesting feature is a 4th century early Christian sarcophagus (stone coffin), currently used as an altar.

To see the cloisters, exit the church, turn left, and walk about 20 meters. Go through the large gates and head back and to the right. Despite the feeling that you are trespassing, you will eventually find a sign pointing you to the cloisters. The four passages of the cloister open onto a square of sunny grass, ornamented with a few pink-flowering shrubs and a tree. It’s easy to imagine clerics strolling these corridors deep in contemplation. The cloisters are built partly in Romanesque style and partly in Gothic style, distinguishable by the more pronounced point at the top of the Gothic arches. If you wish you can take the stairs up to the second floor, but there’s nothing more to see up there but the cloisters from above and a better view of the church’s bell tower. The church can be visited for free, but a visit to the cloisters will set you back €3.

From journal The Beating Heart of Historic Arles

St. Trophime and its cloisters

  • June 15, 2002
  • Rated 4 of 5 by davidx from Todmorden, United Kingdom
A church has to be outstanding to be counted as a major sight in Arles with the Amphitheatre and van Gogh in competition with it but St. Trophine would be well worth seeing anywhere. The interior is almost gloomy but there are three areas in which the building excels: the tower, the Western doorway and the cloisters. The tower is built in three levels of gold coloured stone and is high enough to act as a directional sign in most of the town. The doorway is Romanesque and contains a mass of carved figures. These include the Last Judgement, the twelve apostles, the damned on their way to Hell and the birth of Christ. It is the cloisters which attracted me most, though. Two galleries are Romanesque and two Gothic and some of them are adorned with the most impresive medieval carving, mostly of Old Testament scenes, foliage and local legends.

From journal About in Arles

Compare Arles Rates

1. Enter travel information

City

2. Select websites to compare rates

Each selected website will open a new window.

Arles Travel Deals