Built between the 11th and 16th centuries, it is known for its mixture of Romanesque and Gothic architecture, its ornate Baroque altar and sculpture.

He had acquired a relic of some of the blood of the members of the Theban Legion, who were martyred with Saint Maurice in the 3rd century for converting to Christianity.

[2] At the beginning of the 11th century, Hubert de Vendôme, the Bishop of Angers from 1010 to 1047, decided to build a new cathedral in the Romanesque style to replace the existing church.

The vaults were composed of high crossing ribs, supported by rows of clustered columns and pillars in the nave below.

The majestic new baldaquin over the altar, with columns of red marble supporting a great crown of filled with sculpture, was installed in 1757.

The lower portio, in the new Renaissance style, was covered with sculpture depicting Saint Maurice and his seven knight-companions and their martyrdom.

In the mid-19th century, the Neo-Gothic pulpit was created by the Bishop Choyer, with the support of Eugène Viollet-le-Duc, who was overseeing multiple Gothic restoration projects in France.

Above the portal is a later gallery of sculptures depicting eight knights, who represent the companions of Saint Maurice, who joined him in his martyrdom.

The current chapel on the south lower nave was originally a separate church for the parish, which was later attached to the cathedral.

Then massive pillars of clustered columns were put in place supporting the arches of three large vaults.

In 1757, the enormous Baroque ciborium or altar canopy, supported by columns of red marble and crowned with a pyramid of sculpture by Gervais was put into place.

[7] A number of windows from the 13th century are found in the choir, including the life of Saint Jean the Baptist.

Following a fire in 1451, new windows were commissioned from André Robin representing large figures of the saints standing before architectural settings.

It was created in the 19th century by the Abbot and sculptor Choyer in the Neo-Gothic style, at the suggestion of Eugène Viollet-le-Duc, who was involved in the major restoration of the cathedral.

Its carved sculpture features images of the patron of the cathedral, Saint Maurice, as well a figure of Adam supporting the pulpit from below.

The oldest group, which depicts the Apocalypse and Acts of Revelation, was donated to the cathedral by René of Anjou in 1480.

[11] In about 1980 several remarkable mural paintings dating from 1240 to 1260 were discovered hidden behind the elaborate 18th century woodwork in the back of the apse, which had been created by Sébastien Leyssner.

A replacement was built in 1507 on the initiative of Anne of Brittany on the original spot, the organ loft in the choir.

(expressif / enclosed) Montre 8' Bourdon 8' Unda Maris 8' Prestant 4' Flûte douce 4' Quinte 2 2/3' Doublette 2' Cornet 8' V Fourniture III Cymbale III Trompette 8' Cromorne 8' Clairon 4' Bourdon 16' Montre 8' Bourdon 8' Flûte harmonique 8' Salicional 8' Grosse Quinte 5 1/3' Prestant 4' Flûte 4' Quinte 2 2/3' Doublette 2' Tierce i 3/5' Grand Cornet 16' V Plein-jeu I Cymbale III Bombarde 16' Trompette 8' Clairon 4' Trompette en chamade 8' Clairon en chamade 4' Principal 8' Quintaton 8' Viole de gambe 8' Voix céleste 8' Flûte harmonique 8' Prestant 4' Flûte octaviante 4' Nazard 2 2/3' Octavin 2' Tierce 1 3/5' Fourniture IV Cymbale IV Bombarde acoustique 16 Trompette 8' Basson-Hautbois 8' Voix humaine 8' Clairon 4' Contrebasse 16' Bourdon 16' Violoncelle 8' Bourdon 8' Flûte 8' Octave 4' Doublette 2' Plein-jeu IV Bombarde acoustique 32' Bombarde 16' Trompette 8' Clairon 4' The cathedral has nine bells, housed in central tower.

The Bourdon, the largest and oldest bell, with the deepest notes, is named Maurice; It was Founded by the firm of Besson, and weighs 6700 kilograms.