Victor Hugo described the cathedral as “a giant and delicate marvel”, with its 142-metre spire and its appearance of lace-like stone. The cathedral was undertaken at the end of the XII century , but it was not completed until 1439. During these centuries changes of plans followed one another. Many artists too worked on the cathedral, each giving their own contribution.

A short story of the cathedral.

Seven great periods can be roughly distinguished:
1. The cathedral was not historically mentioned before the VIIIth century After the great fire which burnt down this Carolingian edifice, Bishop Wernher undertook in 1015 the construction of a new cathedral which , at the very first, reached the dimensions of the present Gothic church.
2. Around 1190, the eastern structures, the choir and the transept, started to be reconstructed in the late Romanesque style. The southern arm was completed between 1225 and 1235, in the Gothic style, inspired by Chartres Cathedral.
3. The construction of the nave was undertaken around 1245; it ended in 1275.
4. The facade was still to be erected; its construction required more than a century and a half. The course of the construction saw many changes of master builders, influences and plans, until it was eventually carried out in 1439.
5. Afterwards, only a few Gothic buildings were added to the monuments. Among these is St. Catherine’s chapel, the construction of which was undertaken as far back as 1340. St. Lawrence’s sacresty and chapel were built about 1500.
6. In 1521, year of the completion of St Lawrence’s Chapel, the Reform spread through Strasbourg and eventually the Cathedral was deprived of its rich furniture and then adapted to the new religion. In 1681 King Louis XIV gave it back to the Catholics. The XVIIIth century has left two constructions, i.e. the sacristy of the Chapter (1744 –1748), very plain, and the Neo-Gothic arcades. The end of the century was dramatic for this pile: revolutionary fanatism destroyed more than 200 sculptures.
7. The XIX th century started restorations which are still going on to-day. ( The 19th century especially aimed at restoring the medieval state. It suppressed the Baroque furnishings of the choir, completed the stainedglass work and replaced the sculptures which had disappeared during the French Revolution.)

The exterior.

The southern face.

This side shows a good general view of the different parts of the cathedral which were erected from the east to the west. The front of the transept is a fine example of what happened when Gothic suddenly replaced Romanesque. In 1220 the lower structure was still built in the Romanesque style. From 1225 the upper parts were raised as in Chartres Cathedral. The nave was undertaken about 1245 by a new French master. It is supported by a single row of flying buttresses, after Notre Dame in Paris.. After 1277, the western building was erected. In the corner, St. Catherine’s chapel was built about 1340. A series of stalls surrounding the base of the cathedral were demolished in 1772 and replaced by shops, in front of which Neo-Gothic arcades were raised. The shops were eventually removed so that to-day only the arcades are still to be seen. The southern portal of the transept whose structure is still romanesque, was enriched with sculptures by the first Gothic master. In the tympanums and against the piers are two marial scenes: the Death of the Virgin, on the left, and her crowning on the right. Only the tympanums are old. The portals are flanked, on the left, by the statue of the Church. On the right, the Synagogue, King Salomon sits entroned against the central pillar. Both statues are copies. Salomon and the lintels were reconstructed at the beginning of the XIXth century.

THE WESTERN BUILDING

It was designed on the model of French cathedrals with twin towers, but it looks rather like a sort of mural screen than a replica of the nave structure. In the initial scheme the horizontal lines were to be sacrificed for vertical ones. It was the triumph of Gothic graceful lines and perpendicular architecture. This project was only put into effect up to the level of the portals which were begun in 1277. Completed in 1439, this monument soaring up to the height of 142 m, remained one of the highest piles in Christendom until the XIXth century. The sculpture of the upper parts of the facade was remade in the XIXth century. It holds twelve equestrian statues of kings and emperors in the buttress recesses, the apostles watching Christ’s Ascension above the Rose and the Last Judgement on the belfry. As for the portals, although badly damaged by vandalism, they have kept their statues. Some of them have been replaced by copies. The southern portal depicts the parable of the Wise and Foolish Virgins. The first welcome Christ on the right splay, whereas on the left, the last have been seduced by the temptor, an amiable smiling young prince. The tympanum of the central portal shows scenes from the Passion, starting at the bottom and from left to right. In the northern portal, the figures of the Virtues, armed with lances, have overpowered the Vices and trample them underfoot.

THE NORTHERN SIDE

Its structure differs from the southern face for two points: although St. Lawrence’s Chapel makes a pair with that of St. Catherine, it differs from it with its regular elevation of successive curved gables. The same for the front of the transept, built in 1210 and a fine example of the late Romanesque architeture of the Rhine. In 1495 – 1505 Jacques de Landshut built the present St. Lawrence sacristy between the two buttresses of the facade. This richly decorated construction is regarded as the masterpiece of Flamboyant style at Strasbourg. Under the baldaquin surmounting St. Lawrence’s portal is depicted the Saint’s martyrdom, a reconstruction of the 19th century. On either side of the door stand copies of the original statues made in 1502-1503. They are on the left the adoration of the three wise men, on the right Saint Lawrence and four other saints. These figures are typical examples of “Gothic Baroque”.