Construction of the door limite XIe-XIIe siècle (≈ 1250)
Period of realization of the Romanesque tympanum.
1810
Moving the door
Moving the door 1810 (≈ 1810)
Upstairs on 95th Street.
1840
Historical monument classification
Historical monument classification 1840 (≈ 1840)
First list of protected monuments.
XVIIIe siècle
Destruction of the college
Destruction of the college XVIIIe siècle (≈ 1850)
Departure from original building.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Porte Saint-Ours, à la Préfecture (Box IO 334) : classification by list of 1840
Key figures
Girauldus (Girault) - Sculptor
Author of the tympanum ("Girauldus fecit istas portas").
Horace de Barral - Prefect of the Cher
Initiator of the move in 1810.
Saint Ursin - Patron of the College
Inspiration of motifs (bears, vines).
Origin and history
The Porte Saint-Ours is an ancient Romanesque door, the only vestige of the collegiate Saint-Ursin de Bourges, destroyed in the 18th century. It is distinguished by its carved tympanum, decorated with motifs of bears and vines in reference to Saint Ursin, as well as friezes illustrating peasant scenes, hunting and fables. A Latin inscription at the bottom of the tympanum, "Girauldus fecit istas portas", attests to the name of the sculptor, Girault, author of this work.
Originally integrated with the collegiate place Saint-Ursin (present-day Michelet Square), the door was moved in 1810 on the initiative of the Prefect du Cher, Horace de Barral. It was raised on Rue du 95e-de-Ligne, where it now gives access to the gardens of the prefecture. This move is part of a desire to preserve, the gate appearing as early as 1840 among the first monuments classified as historical monuments in France.
The sculptures of the door offer a rare testimony of Berruyer Romanesque art. The three relief friezes, combining realism and symbolism, reflect medieval life: agricultural works, cynegetic scenes and moralizing animal representations. The bear, an attribute of Saint Ursin, occupies a central place, highlighting the link between the monument and its patron saint. The signature of the sculptor, exceptional for the time, confirms the importance of this achievement in the local religious heritage.
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