The Basilica of the Rosary is part and parcel of the vast architectural composition of the Sanctuaries of Lourdes. It itself assures the essential overall character of the ensemble, with, in particular, two large elliptical ramps directly in line with the esplanade.
The composition echoes the biblical gesture of open arms and, as such, the site, one of the most visited in Lourdes, is a world symbol of fraternity between men.
Of Byzantine-influenced Romanesque style, the Basilica of the Rosary represents a vast Greek cross measuring some 2,000m2 in surface area. It was designed as the pedestal of the Upper Basilica, situated above the Cave. At the front, arcades in Lourdes stone complement the façade and support the stairways, the ramps which go up to the terraces, and the Upper Basilica, arcades and enormous terraces embracing a vast square where almost 80,000 people can gather.
The monument combines three orders of architecture: the dominant lines are Romanesque, the stones being cut in Roman bossage style, but it is above all a monument of the highest interest for its ornamental Venetian mosaics, its domes and chapels, reflecting the grand tradition of Byzantine architecture.
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Like some prodigious mantle spread over a total area of some 2,000m2, these mosaics were completed over the short period of 12 years by the undisputed master mosaicist of the 19th century, G.D. Facchina, an artist who, amongst other things, was responsible in Paris for the frescoes of the Opéra Garnier, those of the Kyoto Impérial Palace and the Basilica of Our Lady of Sion in Jérusalem.
The 15 chapels radiate out by groups of five around the apse and the transept. The mosaics were applied on the paintings of eminent european artists at the end of the 19th century, such as Melchior Doze of the Nimes school, the aragonese Felipe Maso, disciple of Goya or the italian Eugenio Cisterna working in the oriental tradition of icons.
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Each chapel with a surface area of 104m2 represents a scene of the mysteries of the Rosary. Although the paintings are the work of several artists, the 15 chapels form a harmonious whole which have withstood the onslaughts of the toughest critics, their classical purity defying both time and fashion.
The first five chapels represent the joyous mysteries. Their paintings were by two Parisian artists, L.E. Fournier and M. Grellet, and the Nîmes artist Melchior Doze. The whole work is impregnated with truth, sweetness and suavity, bonded together by a single thread which inspired the artists and directed their creation.
In the five chapels of sorrowful mysteries, the fresco of the Bearing of the Cross sets itself clearly apart from the others. Work of the Aragonese artist, Felipe Maso, it is considered as the richest in truth by the contrast in the portrayal of the sweetness of Christ and Virgin with the wild violence of a wailing crowd, the richest in colours, costumes and chiaroscuro contrast and the richest in relief and finesse in the deployment throughout a long and narrow street of countless figures with their expressive gestures.
Chapel 13 of Pentecost is the finest of the 5 frescoes of the glorious mysteries. It is a remarkable work of art, both in the originality of the way in which the mystery is presented and the finish of the drawing (the work of Eugenio CISTERNA), as in the magnificent manner in which materials are worked (gilded and enamelled stones from Venice), and the quality of execution and expressive luminosity.
The chapels are enhanced by superb altars in various marbles enriched by bronze, copper, enamel gemstones and studs.
The altar of Chapel 13 is exclusively in precious italian marbles, red and black marbles from Sienna, Castel Nuovo, ancient marbles from Rome such as cipolin, alabâster, porphyry, jasper, lapis lazzuli, finely inlaid into white Carrara marble and harmoniously combined with gilded bronzes. The other 14 altars use the finest marbles extracted from local quarries: Sarrancolin, Vier-Bordes, Arudy and Campan. Their decorative motifs in gilded and engraved bronze, their enamels and various decorative elements are the work of the LESAGE workshops, a parisian goldsmith of renown.
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