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The Basilica of Saint-Sernin in Toulouse is a historic church located on the site of a previous basilica of the 4th century which contained the body of Saint Sernin, the first bishop of Toulouse around the year 250. Noted for its exceptional Romanesque sculpture, the church was designated a UNESCO World Heritage Site in 1998 as part of the Routes of Saint James in France.

The original basilica, initiated by Saint Sylvius in the 4th century, was part of the Abbey of Saint Sernin and gained prominence after King Charlemagne's donation of relics, making it a key pilgrimage site.

The current basilica 鈥� featuring Romanesque style 鈥� was built in the early 12th century. Its construction continued over the centuries with many fits and starts and is estimated to have comprised at least four major building undertakings. Curiously enough, 19th-century restorations are now being reversed to preserve the church's original design.

Although called 鈥渂asilica鈥�, Saint-Sernin diverges from traditional early Christian basilica plans, incorporating features of the so-called "pilgrimage plan." Notably larger than its predecessors, at 104 meters long, and predominantly built of brick, its design includes a cruciform shape and vaulted ceilings. Unlike earlier churches, Saint-Sernin features an ambulatory and radiating chapels that house important relics, allowing visitors to view them without disrupting ongoing masses.

The basilica's exterior is marked by a bell tower with Romanesque arches from the 12th century and a 15th-century spire. Key external features include the Comtes Gate and the elaborately sculpted Miegeville Gate. Internally, the vast space is structured with a barrel-vaulted nave and rib-vaulted aisles. The basilica also houses a significant Cavaill茅-Coll organ, among France's most important.

Tips:
While there is no admission charge, donations are welcome.

The Toulouse City Hall, commonly known simply as the Capitol, is the heart of the city鈥檚 administration.

While the site itself dates back to Roman times, the current building began construction in the 12th century. In 1096, Raymond IV, Count of Toulouse, urged by the Pope, joined the Crusades. A few wars later, the count's power was diminished. The result of that was local "notables" forming a group of consuls 鈥� also known as 鈥渃apitouls鈥� 鈥� to govern the city. The city hall was initially built to house this chapter of governing magistrates.

Throughout history, the building underwent various transformations, notably in the 19th century when its surroundings and fa莽ade were redesigned. The latter, originally completed in 1750 in a Neoclassical style using pink brick, spans 135 meters and features eight columns representing the original eight capitouls. A significant addition 鈥� the bell tower atop the donjon 鈥� was made in 1873.

A donjon is not a dungeon, but a keep 鈥� the strongest part of a castle. The Toulouse Capitol's donjon has a dark past. In 1761, it played a part in the historic case of Jean Calas, an unlucky Protestant, who was interrogated there in connection with the false accusation of murder of his Catholic son. Later, the place housed the city archives, it today serves as the tourist office.

Despite numerous renovations, some parts of the building retain their medieval ambiance. One such is the Henri IV courtyard 鈥� the site of the execution of the Duke de Montmorency, the enemy of Cardinal Richelieu. He was beheaded in 1632.

Once inside, the Hall of Illustrious must not be missed. It showcases 19th-century art, notably the paintings of Paul Gervais and Henri Martin, among others. The room is over 60 meters long and, apart from paintings, is filled with sculptures and stunning murals dedicated to the famous historical people and events of Toulouse. These include the Cathar period, the early Counts, and the sieges of Toulouse, as well as the Floral Games which were poetry competitions held in May since 1324.

Today, apart from accommodating the City Hall, the Capitol also houses the Capitol Theater Opera Company and Orchestra. The adjacent Capitol Square was redesigned in 1995 to prioritize pedestrian use.

The Bernuy Hotel (H么tel de Bernuy), located on L茅on Gambetta Street in Toulouse, stands as a prominent example of Renaissance architecture and the affluence of the city during the 16th century. Constructed for Jean de Bernuy, a prosperous woad merchant and a Spanish Jew who escaped the Inquisition, this hotel highlights the cultural and architectural transitions of the period.

The construction of the Bernuy Hotel began with its facade and Gothic brick courtyard, both completed between 1503 and 1504 by Louis Privat. Notably, the building features a remarkable Gothic brick courtyard and a towering staircase, built in the same period. These elements reflect the traditional Toulousain style, characterized by the extensive use of brick.

From 1530 to 1536, a new phase of construction added the Renaissance stone courtyard, a notable departure from the prevalent brick constructions in Toulouse. This courtyard, influenced by the Spanish Plateresque style, exemplifies the wealth and elevated social status of its owner, Jean de Bernuy. The use of stone in the courtyard and the elaborate decoration signify a shift towards more opulent, Renaissance-inspired aesthetics.

One of the architectural highlights of the Bernuy Hotel is its tower, which was deliberately built to match the height of the tower owned by Bernuy's father-in-law, Arnaud du Faur. This tower not only served as a symbol of prestige but also showcased the skills of the stonemason Merigo Cayla, particularly evident in the 'bent' windows鈥攁 unique architectural feature that adds to the distinctiveness of the building.

Today, the Bernuy Hotel is admired as a magnificent example of the introduction of the Renaissance in Toulouse, representing both the city's historical significance and its architectural evolution during a period of considerable wealth and cultural exchange.

The Assezat Mansion in Toulouse is a 16th-century French Renaissance mansion originally built for merchant Pierre Ass茅zat. It now houses the Bemberg Foundation's art gallery. Noted for its pristine condition, the property is a jewel of Renaissance architecture in southern France, showcasing early French classicism with Italian Mannerist influences.

Pierre Ass茅zat, a prosperous founder of the local Merchant Exchange, initiated the construction of this mansion around 1562. As a Calvinist, he faced religious persecution and was temporarily exiled. He returned and recanted ten years later, dying in Toulouse in 1581. Since then the mansion had changed hands several times before in 1894 the last owner bequeathed it to the city for use by learned societies.

The building showcases a blend of classical and mannerist architecture, with its facade inspired by classical models like the Coliseum, featuring twin columns across three floors (Doric, Ionic, Corinthian). Unique to this structure are the various mannerist ornaments such as cabochons and masks, illustrating themes of luxury and abundance. The main gate marries strength with intricate detailing, highlighted by Doric pilasters and a mullioned window framed by Ionic pilasters, adding a refined elegance to the overall composition.

Inside the courtyard, the loggia and the passageway decorated with arches and grotesque masks on scrolled consoles illustrate the manneristic aesthetic, merging the mineral, vegetable, and animal kingdoms. The staircase pavilion features a large staircase adorned with architectural orders and a male term (which is half man and half pilaster), symbolizing both knowledge and humor through its design.

Since 1994, the building has been home to the Bemberg Foundation, showcasing the extensive private art collection of Argentine Georges Bemberg. This collection features a wide array of European artworks, including paintings, sculptures, and ancient books. In particular, it encompasses significant pieces from the Flemish, Dutch, and Italian Renaissance, with notable works by Titian and Tintoretto. Highlights also include 19th- and early 20th-century paintings, showcasing styles like impressionism and fauvism, featuring Henri de Toulouse-Lautrec, Claude Monet, Edgar Degas, Paul Gauguin, and Paul C茅zanne, as well as Henri Matisse, Pablo Picasso, Amedeo Modigliani and others.

The Cathedral of Saint Stephen, commonly known as the Toulouse Cathedral, is a prominent Roman Catholic church and a national monument, tracing its origins back to the 3rd century. Established by Saint Saturnin, it was later rebuilt by Bishop Saint Exuperius into a Romanesque structure in 1078.

During the early 13th century, the cathedral underwent substantial modifications in the Raymondine Gothic style.

The building suffered a significant fire in 1609, leading to a fundraising effort for its restoration. The French Revolution brought further destruction when the site was sacked and transformed into a "Temple of Reason." Inside, the cathedral was severely destroyed and used as a warehouse for scrap iron. By 1802, Napoleon had made up with the Pope, and the cathedral was returned to the Catholic Church, upon which the City of Toulouse made repairs.

A major restoration in 1911 harmonized the old and new parts of the cathedral, further beautified by a surrounding public garden.

The structure is notable for its irregular facade, resulting from the merger of two incomplete churches from different periods, and its use of brick due to regional stone shortages. The oversized buttresses were formed for a choir much higher than the one that was eventually built. There is also a 16th-century bell tower joined with a donjon of fortress-like proportions. Post-Revolution, all religious bells were melted down. A new set 鈥� of 13 bells 鈥� was made later on. The largest of them, Etienne-Florian, was cast in 1876 and weighs 3.9 tons.

The cathedral's interior is a source of confusion, featuring contrasting Gothic styles: a large nave originally built in 1078, and a choir from 1272, which are architecturally misaligned. A massive pillar stands between the two sections.

Despite the chaos of its history, however, the cathedral is an island of peace with richly decorated chapels, significant stained glass, and finely carved choir stalls.

Also, the cathedral boasts two organs: the main tribune organ built in 1612, and a smaller choir one from 1868.

Here is another Italian Renaissance palace. The Hotel du Vieux-Raisin is a product of the 16th century. One of the most attractive private mansions in town, it was built for Beringuier Maynier. Beringuier was a law professor, a lord and a capitol of the City. The hotel was erected on the plot of a building demolished for the occasion.

The demolished building had been a part of the Hotel Dahus next door. In 1515 M. Maynier took over. He added a new structure to that portion of the old house still standing. The courtyard was separated from the garden, a staircase tower erected on each side. The house was extended, with two wings. There was a great tower in the courtyard.

Between 1547 and 1591 the house was owned by Jean Burnet and Bishop Pierre de Lancrau, respectively. The entrance was given a portico featuring Doric columns. Pierre, who owned the property from 1580 to 1591, added windows in the courtyard and made the tower even higher. Sculpted motifs are all over the frames with references to Royal buildings.

The H么tel de Bagis is a Renaissance palace which is the former property of Jean de Bagis. In 1533, he bought five buildings 鈥� part of a complex with a Renaissance-style courtyard in the middle 鈥� and had it transformed by 1537 into a beautiful palace with the help of the famous Toulouse architect, Nicolas Bachelier.

The overall construction took place in three stages and was completed only in 1857 by the then owner, Calvet-Besson.

The palace is also known as the H么tel de Clary, after Fran莽ois de Clary who acquired the property in 1608, and at whose request the monumental fa莽ade was erected 鈥� between 1609 and 1616. The locals, in turn, call it the H么tel de Pierre (鈥渟tone palace鈥�) for the same spectacular stone fa莽ade (unique in Toulouse at that time), created by the architect Pierre Souffron (another reason for the nickname).

As for the richly sculptured decoration 鈥� pilasters, trophies of arms, garlands, and fruits, 鈥� it was added only in 1855, after the originals, by Fran莽ois de Clary, were hammered off during the French Revolution.

The door of the Atlanteans, long attributed to Nicolas Bachelier (1538), was recently identified as being from the early 17th century. The interior of the palace has painted ceilings and a monumental fireplace, designed by Nicolas Bachelier also.

The palace has been a listed historical monument since 1889.

In 410 the Emperor Honorius allowed the conversion of pagan temples within the empire. And so the Temple of Apollo in the city of Tolosa was converted to Christianity. The new church was the original Notre-Dame de la Dalbade. It was replaced in 541 by another Notre-Dame, which served faithfully until burning down in 1442.

The present Notre Dame also served faithfully without serious incident until 1926, when its tower collapsed, destroying much of the church and killing two unlucky bakers on their way to work. The interior was restored. And then Toulouse had a 15th century church with a 20th century inside. The tower was never replaced, which may be a good thing.

Over the entrance is a renaissance tympanum with a copy of Fra Angelico's Coronation of the Virgin. The second Notre Dame was covered with lime. This resulted in a vision of pure whiteness. Many felt this effect was a tribute to the Virgin Mother. After the fire of 1442 the outside was rebuilt with the red brick of Toulouse. Now it was red outside.

Inside, outside, 15th century, 20th century, red, white, in spite of all this, the church stands. The colorful Italian-Renaissance entrance welcoming all who enter. Apollo would have been pleased.

The New Bridge in Toulouse, otherwise known as the Big or Stone Bridge, is a historically significant structure dating back over 400 years. Its construction began in 1544 and concluded in 1632, spanning almost a century of work marked by challenges such as the Garonne River's violent floods and unstable subsoil. The project was initiated by King Francis I of France, who recognized the strategic threat from the Spanish King Charles V during that period. He considered it vital to have an overpass for quickly moving defending armies across the Garonne in any weather or season.

The New Bridge replaced the Daurade Bridge which provided a link between the pilgrim hospital of Saint Mary of the Daurade and the Benedictine monastery across the river in the Middle Ages. In 1541, King Francis declared a tax levy to finance the construction, which came to fruition in 1561 as a sturdy, invincible structure.

Renowned for its mix of Renaissance and early 17th-century styles, the bridge was designed to be innovative compared to its predecessors. It was free from the common medieval practice of housing stores on it and thus provided clear passage. The design combined ancient Roman and more modern 鈥� Renaissance 鈥� influences, featuring among other elements the extensive use of the so-called "basket-handle" arches which are wider than height, allowing for fewer piles.

The bridge's durability and quality of construction were proven when it remained standing after the devastating flood of 1875, which destroyed all the other bridges in town and numerous houses. Notably, the bridge is not symmetrical due to the differing elevations of the river banks, which adds a great deal of uniqueness to its design.

The bridge has crests before each pier to part flows, and eye-like round openings to allow water to pass through it when the arches are submerged. Spanning 220 meters with seven arches, the biggest of which measures 56 meters, the New Bridge of Toulouse is a testament to the architectural prowess of its era.

Grave (French greve) refers to the color of the sand along the banks of the Garonne where the hospital was built. There has always been a hospital at this location since 1197. The hospital was first established to treat victims of the plague. There were many plagues to come, including the "Black Death" of 1349. The record of treatment was spotty at best.

In the hopes of success from above the name of the hospital was changed to Saint Sebastien. One of Saint Sebastien's attributes or powers was anti-plague. This didn't work as hoped. In 1628 everybody, including the staff, died. The City took advantage of this to disinfect the hospital. Not only that, the Pope renamed it for Saint Joseph.

To get to the La Grave Hospital, one may cross over the Saint Pierre Bridge to the courtyard and the Chapel Saint Joseph. The Chapel Saint Joseph was built of red brick in the 18th century. Its red walls may be seen from almost any place in the City. Saint Joseph is the patron saint of carpenters. The guilds set up trade schools here.