Cathedral Saint-Pierre Saint-Paul to Nantes
the Cathedral of St. Peter and Paul, the most remarkable religious monument in Nantes, was never finished. Our fathers we it were delivered as seen from the oratory, with a Bell Tower from the 12th century, a tip of the 15th, a choir and a transverse demi-nef, built or repaired in much more remote periods. It is built on the site of the ancient Church, which the former choir and the former Bell Tower finished its nave; We have long sought to find out what architect Duke Jean V and the Bishop of Nantes had entrusted the construction of a monument which was clear in the most beautiful splendor cathedrals of Britain; but we couldn't find anything that could clarify this important issue: we know only that a Mason named Mani headed the work to 1442; Therefore, in the part that exists and a very old map on parchment, which is undoubtedly a copy of an older yet, that we need to explore the mind of the artist.
In the 15th century, as in the previous ones, a cathedral, was to be the physical representation of the Catholic beliefs. The physical sign of the religion of Christ should therefore be traced to its base and rise into the air with its walls; While the whole story of the Christian world since the inception of Moses until the last judgment, was to take place along its pilasters, to re-entrants of warheads of its porticoes and into its coloured glass, so as to provide the people a catechism in images that he could consult has any time of the day. To populate this data, the architect of Saint-Pierre in Nantes had planned a building rectangular, rounded at one end, which length would have been 338 feet on wide 136. The nave of the Church, Today backed the old Bell Tower, was to form the cross on the centre of the choir. but this cross, visible inside, was designed by far on the outside, the low coast should not have a roof. Twenty-eight massive exterior masonry and twenty-six massive Interior should support this Cathedral, to draw the cross, provide the foothills, form the portico, support the galleries, divide the aisles in twenty-one chapels, excluding the arms of the cross, and let seven openings: three for the portico of the West, which forms the façade; two for the North and South porticoes and two others for the doors of the arms of the cross. A gallery, which exists in part, should prevail all around the Church at high angles, pulling back to the arms of the cross along its walls, to return then bypass the chorus. Hand, this gallery was on the Church, which it allowed to admire all the inner beauties. On the other, she received light through windows seen more outdoors; but delete for a moment, by the thought, the slate roof that protects the beautiful flat arch granite of the low sides of the Cathedral, and you will then see the more slender nave, as she had to exist once. The foothills and the flying buttresses will also emerge to look more elegant and lighter. Now turn the glazing coloured exterior windows of the Gallery, the chapels twenty-and-one windows, from the windows of the cross, with twenty-nine large windows of the nave, to the large window of the portal, and you will begin to understand the overall effect of this imposing edifice, whose life, in all its phases, is so closely linked to the various phases of bouheur and misery of our city.
If gallery we descend into the Church, we can only admire the grandiose and rich simplicity of its architecture: it is true that each of its windows of the nave, the English call clerestory, is of a different design, that all sculptures are conscientious, the ornaments are excavated below, which gives them any air which our bourgeois greed lightness has lost the secret. However nowhere art does is felt, and in this infinite variety of details, the unit hits you first; It was only after some time that you can study and understand this prodigious multiplicity, which would much more amazing still, stained glass and paintings exist in their entirety. However, above all, the nave dominates you: never vault in our city is was high so high. The pilasters which support it are no longer, as in the past, of simple symbolic capitals columns, or an assemblage of balusters, but a mass wrinkled top down through numerous rectangular bands who multiply surfaces, light and shadows, and contribute significantly to disguise eyes volume and even the form of the Octagon in which the architect has carved ridges and dents prismatic to form the pillars of its spans.
Between two pilasters, you can see beyond the aisle, a chapel illuminated by a side window, and then above a gallery divided into three, and then above still one large window of a remarkable design.
This partial view is an excellent effect; and if painted glazing existed, perhaps would on windows from the 15th century than all the others. The drawing of a portion of Gallery between two pilasters that we give, will suffice to show what he is was gracious in the kind of ornamentation assigned to the Cathedral. The drawing of the small right door that will see then, shows us with what art re-entrants of warheads have been devoted to the sculpture, and what excellent taste presided throughout the decoration of each party; but will that imagination come help, because the statues that were not related to Freemasonry, no longer exist.
We have nothing to say now, the foothills or across the nave, if that brings together our cathedral, built in an era that has left us few monuments of the same kind, in its generality Greek simplicity and its severe order to the grandiose of Christian art.
Decorations in sculpture devoted to trace the immense Catholic epic from creation to the judgment of the dead, and remembrance of the princes of the country were, as we have said, an essential part of the cathedrals. In the 16th century, paintings of stained glass came to be associated with; ensure that the main church of the diocese should contain and the General history of the men and the special history of the region. Nantes, where it was suggested this double purpose, architect arranged to sculptors, both on the facade inside, and against the last two massifs which contribute today to support organs, more than one hundred fifty bas-reliefs. Almost all had been respected in 93. Since then, a clumsy regrattage has destroyed or mutilated what remained. Re-entrants of warheads, we find room for 154 tables. The top of door provide five slots for all subjects, much more developed than those of re-entrants of warheads; nearly fifty statues inside, not including those which should adorn the various chapels, and more than sixty outdoors, not including a considerable number of statuettes; These were other sculptures projected during the reign of Jean V. so that there is room in the Cathedral, both on the façade to the Interior, for over five hundred subjects historical or religious, not including large numbers of pedestals, frames and ornaments of all kinds.
We will return to the section of sculpture, the performance of these five to six hundred paintings or statues which the architect of St. Peter wanted to adorn his Church; We won't say nothing rather than the whole of the facade, the design that we give up supplement with benefit to all descriptions; but we'll point out to our readers that a religious monument as the Church of Nantes varies at each time of the day in the expression of his countenance, so as to vibrate successively, under various aspects, all the strings of the soul, which is especially the merit of the kind to which it belongs.
The study of the details of the Cathedral is of great interest: at each step are new wealth, which each deserve a hand engraving. It also somewhat mingles with pride in this review that proves an obvious manner that the Church of Saint-Pierre de Nantes is a wholly original, earliest work maybe Spanish Gothic and especially English Gothic as all others; However, however, clearly separated from the most beautiful cathedrals in England by a make and ornamentation of a new kind.
At the South Gate, found a pinnacle which we give the drawing; We regret not being able to join the sculpture that he overcame once; but this ornament is the more important part of the small ensemble he helped form, since it occurs almost nowhere else, if in some Spanish monuments. On the four massifs that divide the facade of the Cathedral, you notice, forward, niches destroyed to hammer in 1819. Their top today has a pyramidal shape. The top of these niches, for each massif, consists of two canopy that overcome with end cones and square brackets, and that separate small very elegant niches, of a rare drawing in other cathedrals of Christianity. These canopy recall, it is true, the canopies of York and Oxford, but in the same way that a monument of Tuscan style or Corinthian reminds another of similar architecture. As niches and ornaments placed on the dais, it would be easier to find analogues both in France than in Britain.
The pedestals of the Cathedral of Saint-Pierre are all elegant; many are square; others consist of a simple knotty stick that flourishes at the top to form a bouquet of vine leaves and bunches of grapes. other times a bunch of leaves of chicory, sometimes a big tuft of leaves of oak with acorns: those we give in this book were copied at the South Gate, and we seem to be characteristic.
Below each of the statues which divided into two doors of the cathedral were interesting sculptures. Most have disappeared; However it still sees under Peter the great portal, which replaces the Virgin 93A destroyed, the four fathers of the East, sitting in an armchair and occupied their writings, which take place according to the use of the time and leaves see a few lines of Gothic writing. Thus, Saint-Jérôme, Saint-Gregory Nazianzen, Saint-Augustin and Saint-Athanase, were, seen, part of this catechism in sculpture, adorning the façade of our Church. We know too what that our drawing represents; but it is rather odd to see by this engraving, that in the 15th century, the relief was not understood as today, and that the chairs of the time contained sometimes libraries. Other fathers of the Church still adorned the pedestal of the Virgin and the other large pedestals of the other four doors; but our efforts to look for the debris that restoration was not mutilated the four doctors with the West glories, have had no success.
Saint-Pierre railings are nothing that occurs elsewhere, and our drawing of the galleries will be enough to judge that was most remarkable. The foothills and their flying buttresses have no ornaments; their only lightness made their merit. The gargoyles have nothing curious: they are, in general, monsters of invention that resemble each other, and none appeared we deserve to be drawn separately.
The niches are stylish; There is some very graceful form, you notice behind Calvary located outside.
We had wanted to give other details of Saint-Pierre engravings; but this study would lead us too far, and we merely to reproduce a small window located on the left of the organ, which is nearby. It shows how much the architecture from the 15th century, so often called barbaric, lends itself wonderfully a all combinations. It has said and repeated to satiety, that this architecture had no unit: this assertion disappears before serious consideration, and it found instead that the old unit the middle ages has known join a prodigious variety in the details; about the profession, for which we believe if senior, our fathers saw fit almost as well as we. Their faith, more lively and more ardent, allowed from simple workers to devote their lives to make the foliage excavated from underneath, the dais in lace of stone, branches of vine, the grapes in white stone, granite, while their intelligence practice and their concern for their works, they were inventing a host of these means that we call strings. To keep the iron, they shrouded it Tin; to facilitate the work of the most capable, the other Masons were the office of our practitioners; to give relief to the lace of white stone, is passed by back of slates which formed a black background, and were used in order to draw the contours.
There has been much discussed in recent times to find out who belongs the Gothic architecture; each did arise on our soil, others will have seen what a copy of Moorish architecture. However it is quite natural to believe, if considering all the transformations of art since the 6th century, that the Christian architects were inventors or copyists. Stricken with awe at the sight of Arab and Moorish, so light and so living monuments to their, Jerusalem pilgrims and Crusaders last necessarily report in their homeland of the memories that each nation féconda following his particular genius. There the Gothic Spanish, German, french, English. there of our cathedral Gothic.
The large door of the facade of the Cathedral was on the pedestal that the divides a statue of the Virgin on his arm the child Jesus; This statue was destroyed and replaced by a Saint-Pierre, since. Above, in the timpan of the door, in place of the rose window that is seen today, was a table in relief representing the last judgement. The eternal father was sitting, with the cross of her son between the legs; Christ was his right, Mary was to the left; above the cross, the Holy Spirit, in the form of a dove, hovered outstretched wings. Both sides, in a half circle, stood various groups: it was the angels back: then, on the front of the table, the Patriarchs, martyrs, saints and fathers of the Church; but there was point of saintes, and Mary was only sex, following the use of time, which gave men a huge superiority over women, and that was always his dualisms, spirit and flesh, man and woman, synthesis and analysis, science and industry, and in subalternisant one of the terms. Below was a painting of hell as the 15th century conceived: a huge boiler placed on a very ardent fire received the Forsaken, that the Devils are cast from all sides; some with the hands, others with pitchforks.
The statues of the Apostles which there remains no vestige, also adorned the door; their pedestals were each four tables in relief: on the right is seen still on those who remain, despite the mutilations they suffered, the construction of the Ark, the entry into the Ark, the flood, Noah planting the vine, his sons testing it during his sleep, and a few other subjects of the story of Noah; on the left we find the story of Abraham. The entrants of the warhead are occupied by forty-eight tables placed in three rows. The right, in the lower six tables, represents the Resurrection: above is a suite of allegories each consisting of four characters are two of the angels; looks, seeing them, lu conduct and pilgrimage on Earth of ladies Anne and Isabeau of Britain under the safeguard of the villain the angels blessed guardians; on the other side, towards the tables devoted to the resurrection, we see the torments of the damned, who occupy the last three rows: and then, at the top, allegorical paintings by four identical characters, for thought, to those who are right.
The right of the Cathedral door was dedicated to St. Peter. Above this door was a window partly masked a small Cathedral and two tables in sculpture; the Cathedral recalled these words: you are Peter, and upon this rock I will build my church? Some memories of a confused tradition would suggest that the statue of Saint Peter was below, on the pedestal which divides in two, door and saints overcame the other. The bas-reliefs of this door relate a history of Jacob and Joseph. The two paintings in sculpture located on the tympanum of the door on both sides of the Church, are too mutilated so we can give the explanation; but no doubt they were related to the life of St. Peter. The 22 tables of the warhead appeared we represent scenes from the lives of the Apostles, and specially of the life of St. Peter. As sculpture, they can be criticized in the report of the execution; However one must do justice to the remarkable talent with which the characters are grouped.
Nantes Cathedral ornamentation.
The small left door was dedicated to St. Paul; No memory and no tradition say what statues decorated. Above the door was a picture of a sculpture very neat, which still exists, and which appeared to us representing Jesus in the Tomb.
On the reliefs of this door, seen right the episode of Hagar in the desert, and left the rest of the story of Abraham. The entrants of the warhead are decorated with two rows of sculptures forming 22 paintings, among which there are the conversion of St. Paul, his journey on sea, her sinking. We thought seeing the martyrdom of Stephen and a few subjects borrowed from the acts of the Apostles; but it would take longer studies, made using a scaffold, to clarify the meaning of each of them. Among all these sculptures, the tables of the embayment of the warhead of the gate of St. Paul and the table which overcomes the, we appear to occupy the first rank. The big picture of the sermon on the mount, which is located at the North Gate, is very remarkable as composition, but much less in terms of execution. In the tables devoted to the resurrection, delicious and that all details our 19th century artists applaud to have carved; can be said of the four symbolic characters that occupy the rest of the entrants of the warhead, and devilry that are left. They were designed to show the defect in all her nakedness. By a singular whim of the artist, almost all his demons are female; may also need to assign this fact has the same religious thought which had placed that men around the eternal father, in the table of the last judgement; i.e. to the dualism of the spirit and the flesh, which the man and the woman may be considered the personification.
Details sculptures portal of the Cathedral of Nantes.
The figures of the demons are the most interesting part of the devilry; they prove an indisputable manner that workers and coloured-print workshops of the middle ages (because then the language did not invent special name for artists) had made deep studies on the physiology of the head and the relationship between the various inclinations and the general shape of the skull and figure. Moreover, phrenology found nothing to say when leaving the art aside, she captured these devilry to submit a review of a science major observers of all ages seem to have approached.
We cannot judge the sculpture of the Interior of the Cathedral by the frames of the reliefs that were there. The care with which they are worked announces that the reliefs on the Interior of the Church were probably higher than those outside. However these had merit as composition: it was expressive and bold, sketches in which the characters were happily willing.
Among the other sculptures from the 15th century as Nantes had, we must mention the images of gold and money given to the Carmelites by Jean V, the tombs of Pierre-de-Bretagne and of a Bishop, the tomb of Jean IV, the Holy Sepulchre of the Jacobins, the many woodcarvings of homes, and Saint-Saturnin wooden doors.
The drawing that we here from the tomb of Jean V, is copied to one that dom Lobineau left us: we see Duke lying on a square marble table length, the head is covered by a helmet-shaped pointed hat, which begins a mesh garment that protects the figure, the neck and shoulders; his iron armour is complete, and covers fully the rest of the body, with the exception of the ends. His hands were tight at the wrist by bracelets gauntlets, and her feet, wrapped by a mobile armor, rely on a lion. The length of the tomb is divided into five niches, by small Gothic pilasters, which ends formed below the rangetop lace marble or Alabaster of a very good taste.
Details sculptures portal of the Cathedral of Nantes.
Another drawing represents Pierre-de-Bretagne, Lord of Guingamp, Châteaubriant, count of Benon, son of Jean V and brother of François Ier. This prince, who succeeded to the Duchy of Brittany in 1450 and died in 1457, was buried in the middle of the choir of the Church of Notre-Dame; his statue was adorned with a Crown, and covered with a coat to chaperone; It portal to belt a moneybag.
The Bretons of the 15th century sculptors gave admirable proof of their talent. The Finistere and Morbihan still have many memories of these modest workers who came out, under the reigns of Jean V and his successors, of speaking Brittany, for wear in France, some even until Spain, the reputation of the country that had seen them rise. Also, by a natural national sentiment, we believe having to describe here the tomb of Olivier de Clisson, Constable of France, died in 1407, at his castle of Josselin, in order to put next to the tomb of Jean V, carved in England, a Breton work, in which are, at once, something the decoration of the Cathedral of Nantes, and the first thought of the tomb of the Carmelites, which will be discussed more later.
The tomb of Clisson was formed following the use then a solid masonry about 5feet high, long of 9 and wide 4 to 5, marble-coated on all surfaces. The rangetop consisted of a single piece of marble, on which the Constable and his wife were lying in their length; their feet were a lion and Greyhound, as in the tomb of François II, Duke, which we further drawings. Above their heads, supported by pillows embroidered, one noticed two canopy carved by day, work elegant and fragile, remarkable by its ornaments delicate, excavated with particular care, as the difficulties that had to be overcome to get it; two columns carved in the same sense, descended on the entablature, to below the feet, where they were met by a cross adorned with crosses. The rangetop was supported by nine Gothic columns forming eight niches, intended to receive eight statues which did not exist in the 17th century and may never be made. Each of these Gothic columns consisted of two pilasters, each containing two long and narrow niches, one superior, the one below; each pilaster gave birth to one of the branches of the warhead that was sharp, lowbed and completed by a large bunch of leaves, from which came a second bunch thinner and higher. Simple niches, decorated with bouquets and leaves, served a assemble the warheads to each other and formed a lace less broad than that of the tomb of Jean V, but richer and better taste: a real marble drapery, suspended, and the columns to the entablature, had said that all our ornaments support so painfully in the modern monuments. The Constable had the bareheaded, his gauntlets were not divided on every finger, and formed on the top of the hand an envelope with the shape of an egg cut at the Middle; the rest of his armor had nothing in particular; his wife wore a headdress, a dress and a bodice that we meet further glass of les Cordeliers, close to this that the dress was not armoriée.
Details of the portal of the Cathedral of Nantes.
We have none of the painted sculptures from the 15th century; but the tradition retained us the memory of the most remarkable: aux Jacobins you saw right, next to the pulpit to preach, a saint in monk dress; his head was split by a cutlass that ran through fully, and blood trickled from the wound on his face and his clothing; the injury had removed nothing calm of his face; This statue, which was carved with art and painted with care, was producing a great effect. A Holy Sepulchre was left upon entering a special Chapel of the same Church; It was fairly soft white stone and was a very remarkable sculpture work: it consisted of a stone chest, in which eight characters laid the body of Jesus. These eight characters formed a semicircle behind the Tomb, to see Christ and to present to the viewer eight facial expressions varied; each of these characters had a particular suit, which a very-fine painting was still merit. Next use frequently followed in the 15th century, the artist had engraved on all inscriptions in Gothic, that many visitors in the last century took for foreign characters.
The Cordeliers also had a fairly large number of sculptures. one noticed, in the cloister, a tomb which was already degraded to 89; the children's choir of the Church, which only retained in remembrance, remember with pleasure they were hiding behind, when asked to study; but much more concerned of their games than fine arts, they forgot the order and the sculptures of this monument. In the Interior of the Church was a magnificent statue of equestrian and colossal, black marble, Guillaume de Rieux, whose wife was buried in the choir. Other monuments still adorned the Cordeliers; but nothing points out, and the tradition completely forgotten them, as to give to ponder the vanity of worldly things.
The Cathedral had also, before the revolution, several painted sculptures which the date is not known. The two most notable were a Virgin and Christ, who were at the entrance of chorus. The one and the other dressed in blue.
The paintings on wood or glass from the 15th century and paintings on parchment, manuscripts, have almost all perished during the revolution. However, we find in the debris escaped from the sinking of the many proofs of the skill of the artists of that time, as cartoonists and colorists?
The most beautiful paintings on glass of Nantes, existed in Saint-Nicolas, at the Cordeliers, a cathedral and the Jacobins. The paintings of the Jacobins are known only by tradition; It is believed that the Duke Jean V, Bishop of the time and the first founder of their church, André de Vitré, were represented. It noted a Saint-Nicolas, Saint-Sébastien, several bishops of Nantes, the major characters of the time. The Abbot through speaks in these terms of the paintings in this church :
"Is the finest glass in the province, and is there perhaps not in the realm that surpasses or that equals it. The main events of the life of N. S. are represented, and his portrait so well shot, as we note point difference in 20 places or more than the glass gives. "In the chapel of Bon Secours, to the left of the choir of the Church of the Cordeliers, it saw François Ier, Duke of Brittany: he wore a suit of cloth of gold, a ducal coat of scarlet red, doubled ermine, and the mantle, the order of the pork-Epic gold which he had founded. Isabelle Stuart, his second wife, was placed in front of him; It was the puisne daughter of James Stuart I, King of Scotland. His coat was red, bordered with gold and precious stones, her blue corset, his doublet of ermine, her skirt was armoriée: on one side the ermine, arms of her husband, the other hers who were Gold Lion mouth locked in a double chorus very fleurdelysé likewise; his Crown was decorated with fleurs de lys. Pierre-de-Bretagne, Lord of Quingamp, Châteaubriant, count of Benon, son of Jean V, successor to François Ier, the Duchy of Brittany, was represented on the windows of Notre-Dame. His chainmail was covered by a tunic shirt-shaped, on which were its weapons; his wife Françoise D'amboise was placed kneeling and opposite in the same posture; This Princess wore a collar, a doublet of ermine, decorated with precious stones, and a skirt to its coat of arms, to the first ermine. to the label of three points azure, each during loaded three fleurs de lys of gold; the second palle gold and gules which is Amboise surmounted by Thouars, who is golden, semé fleurs de lys d'Azur, in the canton of gueulet. We still saw, what it seems, in the window of the Cordeliers, Marguerite de Bourgogne, daughter of Jean without fear, who was married in second marriage to Arthur, count of Richemont. His hairstyle resembled that which is in use among the people in several cantons of Brittany: his doublet was in ermine or fur, but rich stuff time; her skirt was emblazoned Brittany year three point label, loaded each of three Lion Cubs, party quarterly first and fourth in modern Burgundy, the second and the third former Burgundy and on the whole of Flanders. Among the illustrious personages that are noticed in the stained glass windows in the other windows of the Cordeliers, are François II, Marguerite of Brittany, Jean II, Viscount of Rohan, comte de Porhoet and Marie of Brittany; Francis II was represented at knees, the hands, the coat of arms responsible for its coat of arms. Marguerite-de-Bretagne, daughter of François Ier, Duke of Brittany and Isabelle Stuart, was in the same position than her husband; her hair was rolled into a headband, his ducal, vair-lined coat, was point small collar; a broad stripe of cloth of gold, adorned with precious stones, formed the Tower from the top of her dress. her skirt was armoriée, and his covered bodice of a doublet of ermine, shared by a broad band of brilliant.
The Viscount of Rohan was wearing his coat of arms red or gules, charged nine modes of gold, raised three, three and three. Brittany Marie, his wife, had a blue corset, a surrot of ermine, a skirt the coat of arms of Rohan, advantage of Brittany: his head was covered with a hairstyle, adorned with bright, who kept hair and almost formed the helmet.
At Saint-Saraswat seen yet a christ who has nothing remarkable, Saint-Saraswat in papal robes, a naively drawn Virgin, a Sainte-Geneviève bringing his head between his hands, a small stained glass window, the most curious of all, placed in the bottom window of the Church, which seemed to us to represent Jesus in the middle of doctors; a hare and a few other incomplete topics as a result of mutilation.
Seen also some stained glass by color at the Cathedral, they are part of the large window.
We give, in our drawings, a Bishop whose statue lies still at the Cathedral; We do not believe that either Guillaume Gueguen it represents. Next to it is the sire Duchaffaut, Lord of la Limouzinière, buried at Villeneuve, near Nantes. below François Ier and his wife Isabelle Stuart. Another of our prints still represents Isabelle Stuart, wife of François Ier: François Ier in simple costume, a grand Squire of the Duke of Brittany and Pierre-de-Bretagne, Duke of Brittany, whose statue stood in Nantes in the collegiate church. A third engraving represents François II, Marguerite-de-Bretagne, the Viscount of Rohan and Marie-de-Bretagne, as they were painted in the windows of the Church of the Cordeliers.
Among the paintings on wood or parchment from the 15th century we know, either originals or copies, are the following, which relate to Nantes.
A François II, from the hours of his second wife; It is represented standing, and carries on the Ducal Coronet head; his coat has a small trailing tail, a lining of ermine and a mantle of ermine that goes down it to the middle of the arm; It is sleeveless and cracked on the side, so as to pass the arms, which are covered by a garment to sticky sleeves. A Mr. Gagnières portfolios-derived François Ier represents this prince in costume very simple; there on the head a bonnet folded on itself, similar to our Beanies Wick, if they had the right bottom like a bag. Doublet of light stuff is bulky by behind with sleeves to leg and pleated front, to form a collar around the body below the belt. In addition, he wears pants pantyhose walk, or which the bottom opening does not, and long and pointed black shoes. The grand Écuyer of the Duke of Brittany, also taken by Mr. Gagnières portfolios, has a similar suit has to François Ier, this doublet is not as baggy by behind, his hat is no longer the same, and that he wished a beret by hand. DOM Lobineau held us the drawing of an original table that existed at the convent of the Holy-Claires de Nantes, and representing Pierre II, Duke of Brittany, kneeling. This author has also retained the drawing of another original portrait of the same convent representing Françoise D'amboise, wife of Pierre II. These two tables were exactly similar to two statues that still existed at the Cathedral in 1789, and who had been made, in all likelihood, at the same time. Tradition States that they were painted on wood with a very remarkable talent. Arthur III, Constable of France, and since then, Duke of Brittany, was painted in the Chartreux armed with all parts. The two drawings that remain of this table, one in Montfaucon, the other in Dom Lobineau are consistent with tradition to think that the original painting had merit. This prince was wearing a chaperon, whereas he had fired his helmet to paint.
Source: History of Nantes by Ange Guépin.
(Cathedral Saint-Pierre Saint-Paul, nantes)
Cathedral Saint-Pierre Saint-Paul, The Cathedral of St. Peter and Paul, the most remarkable religious monument in Nantes, was never finished. Our fathers we it were delivered as seen from the oratory, with a Bell Tower from the 12th century, a tip of the 15th, a choir and a transverse demi-nef, built or repaired in much more remote periods. nantes, loire atlantique
Contributions documentaries made by visitors
Cathédrale Saint-Pierre Saint-Paul, nantes
Contact contributor with his mail for more information.
Cathédrale Saint-Pierre Saint-Paul, nantes
Contact contributor with his mail for more information.
Cathédrale Saint-Pierre Saint-Paul, nantes
Contact contributor with his mail for more information.
source of information: database Mérimée and contributions of Internet users.
Images shared by the contributors of the site are provided only that they are the owners of the photo. In case of violation of copyright, thank you for contacting us.
Participate in the increase of the database
The objective of the website is to preserve the collective memory heritage user intervention are offered to the community.