When I accompany my pilgrims to the Basilica St Mary Magdalene, I like to share “the little big stories” hidden under the stones of this building. Here are some episodes.
The basilica St Mary Magdalene, third tomb of Christianity.
The construction of the basilica followed the discovery of the relics of Mary Magdalene in December 1279 by the Count of Provence, King of Naples and Sicily, Charles II of Anjou.
Work began in 1295 and ended more than two centuries later. However, the basilica remained unfinished. They never built the portal and the large entrance door, due to the epidemics that decimated the construction sites and the lack of money. Initially the money for the construction comes from the products of the salt tax of Nice but when this part of Provence became French in 1481, St Maximin could no longer benefit from this money. Work stopped in 1532 due to lack of funds. However, the basilica remains the most beautiful religious building in the South East of France, a masterpiece of Provençal Gothic.
The Gothic choir
A rood screen closes it. This place was only for the use of the Dominicans. No faithful could enter it.
We can admire 94 carved walnut stalls and the 22 medallions representing scenes from Dominican life. A “Glory” in gilded stucco sculpted by Lieutaud overlooks the high altar in marble from a local quarry.
In 1660, the visit of Louis XIV was the occasion for the translation of the relics of Mary Magdalene into the porphyry urn above the altar. Nicolas Ridolfi, Master General of the Order of Preachers ordered it, and renowned Italian artists executed it in 1634 . Pope Urban VIII, blessed it on July 22, 1634 and shipped it by boat to arrive at the Royal Convent of Saint Maximin at the beginning of 1635.
It was not until February 6, 1660, that the Dominicans officially installed on the Master altar of the basilica in the presence of Louis XIV.
This sculpture was at the origin of a complete transformation of the choir of the basilica to constitute the most dazzling art complex in the South-East of France in the modern era. A redevelopment of the choir, part of which was financed thanks to the generosity of Anne of Austria, mother of the Sun King, was necessary. It only began in 1678, 43 years after the reliquary arrived in Saint Maximin, and it was only in 1682 that the urn took its place in the choir where we see it today.
In 2024, after a year of work, the restoration of the choir gave this space back its original luster.
The 17th century organ
Opposite the choir is the organ.
The Dominican order, which since its foundation had always shown a keen interest in music, wanted an organ in Saint-Maximin that matched the size of the basilica and the soaring songs of the many pilgrims.
Built in 2 years in the 18th century by the Dominican brother Jean-Esprit Isnard, it is impressive with its 2,962 pipes, all original. During the Revolution, the soldiers didn’t destroy it thanks to the intervention of Lucien Bonaparte, Napoleon’s younger brother, who had the Marseillaise played there.
It is one of the last two French organs that allows you to hear the sounds as in the 18th century.
The pulpit, masterpiece of the basilica St Mary Magdalene
The pulpit, wrapped around a pillar, stands above the crypt and attracts the eye.
It is a true work of art. It was carved from a single piece of walnut in the 18th century by Brother Louis Gudet. You can admire seven panels representing scenes from the life of Mary Magdalene in the four gospels. It is topped with a voice-board decorated with a sculpture representing Mary Magdalene in mystical ecstasy carried by the angels as described in the Golden Legend.
The crypt of the basilica
A few steps give access to the crypt. It is an ancient funerary monument that contains four beautiful sarcophagi and the relics of Mary Magdalene. It is interesting to know that until the 16th century, the crypt was not accessible to women.
But on January 20, 1516, the most significant event of Francis I’s pilgrimage to Mary Magdalene occurred: the end of this ancient custom that did not allow women to access the crypt.
We know, from the testimony of Von Waltheim, a German pilgrim in the 15th century, that a sign at the entrance to the crypt prohibited them from accessing it.
As a result, Queen Claude, wife of Francis I, Louise of Savoy, her mother, Marguerite, Duchess of Alençon, and her sister were unable to go down there. So, the relics were transported to the church where the king had them taken.
There followed a scuffle so great that the reliquary was nearly thrown to the ground, and a precious stone of great value was torn off, which was later found. But it was thanks to this incident that the women could enter the crypt.
The “Noli me tangere”
In the niche inside the crypt, one can see the golden reliquary from 1860, which replaced the first one, made of gold. Barras, Commander-in-Chief of the Army, melted down during the revolution to make coins for soldiers.
It contains the skull of the Saint as well as a glass tube with a small piece of skin inside. That was on Mary Magdalene’s forehead when Charles II discovered her relics. This represents the mark of Christ’s fingers when He appeared to her in the Garden of the Resurrection on Easter Day. We call it the “Noli me tangere”.
