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Origin and history

The church of Saint-Pierre d'Orthez, located in the Pyrénées-Atlantiques, was initiated in the 13th century under the impetus of the Viscount of Béarn, Gaston VII, reflecting the political power of Orthez, then capital of the Béarn. The choir, of modest dimensions, was probably completed in the early 14th century, as evidenced by the columns with ground baskets, comparable to those of Bayonne (1320) or the cathedral of Bordeaux. The work seems to have stopped after 1290, only taking over after 1391, thanks to funding from the Moncade Tower treasury.

The nave, built between the 14th and 15th centuries, has a complex architecture: its north and south walls reveal traces of modifications, with blind openings and earlier masonries reused. The arch of quadripartite warheads, decorated with carved keys evoking the old bridge of Orthez (before the 16th century), culminates at 18 meters, a record for the Béarn. The absence of collaterals and the "linguedocian" style of the nave contrast with the choir inspired by northern architecture.

In 1569, Montgomery Protestant troops looted the church during the capture of Orthez, marking a violent episode of its history. In the 19th century, a major restoration was carried out by architect Henri d'Arnaudat (1865–180): the addition of a western span, the construction of a bell tower, and the installation of glass windows by Gustave-Pierre Dagrant (1909–1912). In 1976, the 19th century decoration was removed to reveal the original stones.

The church houses notable works, such as a sketch by Léon Bonnat for Le Martyre de Saint Denis (1924) and an organ by Aristide Cavaillé-Coll (1870), restored in 1982. Ranked a historical monument in 2012 (after an inscription in 1939), it illustrates the architectural and political evolution of Béarn, from medieval vicomtes to modern restorations.

Its semi-hexagonal bedside, side chapels (former transept arms?) and limestone foothills mixed with ferrous sandstone highlight its medieval heritage. The northern facade, with its narrow skylights and traces of old doors, evokes missing buildings, while the southern porch retains a Gothic door with broken arches. The great painting of the tympanum (Bonnet and Vettiner, 1912) and the stained glass windows of Dagrant complete this rich and contrasting heritage.

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