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Heritage classified

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Origin and history

The church of Notre-Dame de la Dalbade, located on rue de la Dalbade in Toulouse, derives its name from the ancient church of Santa Maria dealbata ("Saint Mary the White"), thus called because of its lime coating. The present building, rebuilt from 1480 after a devastating fire in 1442, illustrates southern Gothic architecture, sober in exterior but rich in interior details. Its bell tower, signed by Nicolas Bachelier in 1551, peaked at 87 meters before being dismantled in 1795, then rebuilt in 1881 at 81 meters. It collapsed tragically in 1926, causing major casualties and damage.

The facade, decorated with a ceramic tympanum (1874) reproducing the Coronation of the Virgin of Fra Angelico, combines Italian Renaissance and Gothic influences. Inside, the church houses remarkable works: medieval statues (such as the 16th century Homo Ecce), 18th and 19th century paintings, and a historic organ restored in 2009. The stained glass of the choir narrate Marian scenes, while the side chapels celebrate local saints and Carmelite figures.

The Dalbad history reflects the religious and political upheavals of Toulouse. First place of major worship, it was damaged during the Revolution, then restored after the collapse of its bell tower. Today, it preserves relics such as the miraculous Christ of Salin (15th century) and busts of Nicolas Bachelier exposed to the museum of Augustins. Its organ, classified as a Historical Monument, and its decorations make it a unique testimony to the Toulouse heritage.

The Carmes district, where it stands, was historically an artisanal and religious centre. The Dalbada, with its vaulted nave of bricks and its lateral chapels, also served as a gathering place for the brotherhoods, such as that of the fishermen venerating Saint Peter walking on the waters. Its architecture, combining external austerity and inner wealth, symbolizes the duality between ecclesiastical power and popular devotion in Occitanie.

Partially classified in 1886 (façade) and registered in 1925, the church remains a living place, marked by successive restorations. Its protected elements — facade, organ, statues — and its role in urban history make it a must-see monument. Archaeological references (Congress of 1929, studies by Bruno Tollon) underline its importance in understanding the evolution of Gothic brick buildings in the Midi.

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