Tours – Musée des Beaux-Arts

 

 

 

The Musée des beaux-arts de Tours is located in the bishop’s former palace near the Cathedral St. Gatien, where it has been since 1910.It displays rich and varied collections, including that of painting which is one of the first in France both in quality and the diversity of the works presented.

The Museum of Fine Arts Tours is housed in a historic building of exceptional quality. The site is of paramount importance for the history of ancient Caesarodunum; the museum houses in its underground the most beautiful lapidary inscription to the glory of the Turons. The first bishops had chosen to settle near the cathedral, in a palace along the wall of the fourth century.

Another vestige of this period, a chapel leaning against the archbishops palace dating from the fourth century. and rebuilt in 591 by order of Gregory of Tours. This building was transformed in the twelfth century and partly destroyed in the seventeenth century during the development of the new Archbishop’s palace of Bishop Bertrand d’Eschaux .. In the twelfth century was built the so-called wing of the Synod. Constantly transformed over the centuries, this huge hall where gathered twice (1468 and 1484) the States General of the Kingdom of France is one of the most evocative historical sites in the history of Touraine.

Monsignor Rosset de Fleury completed the project thanks to the construction of the pediment and attic palace and the layout of the terraces whose curve follows the layout of the Roman amphitheater. Finally, Monsignor de Conzié had the imposing portal and the semicircle of the main courtyard erected in 1775, instead of the old stables. He transformed the old synod hall into an archiepiscopal chapel and commissioned an antique colonnade for this purpose.

After 1789, the Palace of the Archbishops became a theater, Central School, library then by departmental order of October 6, 1792 and the passionate energy of the founder of the school of drawing of the City, Charles-Antoine Rougeot and his son-in-law, Jean -Jacques Raverot, a deposit of works seized at the Revolution.

The museum was officially created in 1801, in 1802 and throughout the nineteenth century, buildings were again assigned to the archbishop. It was not until 1910 that the collections returned to the former archiepiscopal palace.

 

 

 

Panoramic view of Tours by Demachy

 

Collections (Wikipedia)

The museum has a large and fairly homogeneous collection of paintings, which includes several masterpieces such as two paintings by Andrea Mantegna, from the predella of the San Zeno Altarpiece:

 

 

 

 

 

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Musée des Beaux-Arts official website

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Nantes – Château – Château de Bretagne

 

From the official website of Château de Bretagne

The monument

Set in the historic heart of Nantes, the Château des ducs de Bretagne is the city’s most important historic building, along with the Cathedral St. Pierre. When looking at it from the city, it is a fortress with 500 metres of curtain walls punctuated by seven towers, all linked by a sentry walkway. The inner courtyard reveals an elegant 15th century ducal residence made of tufa stone, in flamboyant gothic style and bearing the first traces of Renaissance inspiration, as well as other buildings dating back from the 16th and the 18th centuries. With their elegant white stone walls and sophisticated sculpted façades, they contrast strikingly with the rough textures of the exterior fortifications, made of granite blocks and separated by layers of schist.

History

The first ducal castle was built in the 13th century on top of the (still visible) Gallo-Roman wall of the town, where the Namnetes settled. It was demolished in the 15th century to make way for the present building. The current castle was the work of Francis II, the last Duke of an independent Brittany, who wanted to make the Château des ducs de Bretagne both a military fortress, which could act as a defence against the King, and the principal residence of the ducal court. Work was continued by Duchess Anne of Brittany, twice Queen of France through her marriages to Charles VIII and Louis XII. Her influence can be seen in the sculptural décor (dormer windows overlooking the main residence, as well as the coat of arms and loggias on the “Golden Crown” tower), marked by the first signs of the Italian Renaissance.

Following the integration of Brittany into France in 1532, during the 16th and 17th centuries, the Château des ducs de Bretagne became the residence of the kings of France when they visited Brittany, and later a military barracks, an arsenal, and a prison. For three centuries, it endured countless transformations and considerable damage: fortifications, a fire in 1670, construction of the Military Saddlery (Bâtiment du Harnachement) for storing artillery equipment, an explosion in 1800, and so on.

Listed as a historical monument in 1862, it was sold by the government to the City of Nantes in 1915 before also becoming, in 1924, a municipal museum. During World War II, the occupying German forces built a bunker there.

The renovation

The 1990s focussed on restoring the Jacobins’ Tower (Tour des Jacobins), the façades of the Principal Governor’s Palace (Grand Gouvernement – 15c/17c) and the 15th century Golden Crown Tower (Tour de la Couronne d’Or). The Military Saddlery (Harnachement – 18c) refurbished in 1997, was used for temporary exhibitions.

In 2000 work began on restoring the white tufa façades of the main ducal residence (Grand Logis – 15c) to their full glory. These are the oldest and most impressive sections of the building, providing a link between the Castle of the Dukes of Brittany and the Loire Châteaux. The bell tower has been rebuilt and the spires have been replaced on the Golden Crown Tower (Tour de la Couronne d’Or). The interior of the ducal residence has also been completely restored and redeveloped to house the museum.

The restoration has brought out the full power of the Breton feudal fortress and the elegance of the Renaissance ducal palace.

The castle reopened in 2007.

 

 

 

 

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Nantes – Museum – Musée d’Arts de Nantes

The Museum of Fine Arts of Nantes (Musée des Beaux-Arts de Nantes) is an art museum in Nantes, France. The museum was created in 1801 with the purchase of the Cacault collection and was located in the Palais des Beaux-Arts in 1900. Its collection comprises over 10,000 works dating from the 13th to the 21st century: a panorama of European art and contemporary world art. The museum now renamed the Musée d’Arts de Nantes has reopened after closure for a number of years for expansion.

Musée d’Arts de Nantes reopens after €48.8m expansion

 

 

 

 

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Nantes – Museum – Nantes Muséum d’Histoire Naturelle

 

 

 

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Nantes – Museum – Musée Dobrée

The Musée Dobrée is a museum in Nantes, in the quartier Graslin in the immediate outskirts of the city centre and very close to the city’s Natural History Museum.

 

 

 

 

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Collections

 

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Fontevraud-l’Abbaye – History

HISTORY

 

 

 

The following is from Wikipedia

Founder

 

Robert of Arbrissel had served as the Archpriest of the Diocese of Rennes, carrying out the reformist agenda of its bishop. When the bishop died in 1095, Robert was driven out of the diocese due to the hostility of the local clergy. He then became a hermit in the forest of Craon, where he practiced a life of severe penance, together with a number of other men who went on to found major monastic institutions. His eloquence and asceticism attracted many followers, for whom in 1096 he founded a monastery of canons regular at La Roë, of which he was the first abbot. In that same year Pope Urban II summoned him to Angers and appointed him an apostolic missionary, authorizing him to preach anywhere. His preaching drew large crowds of devoted followers, both men and women, even lepers. As a result, many men wished to embrace the religious life, whom he sent to his abbey. When the canons of that house objected to the influx of candidates of lower social states, he resigned his office and left the community.

 

Fontevraud

 

Around 1100 Robert and his followers settled in a valley called Fons Ebraldi where he established a monastic community. Initially the men and women lived together in the same house, in an ancient ascetic practice called Syneisaktism. This practice had been widely condemned by Church authorities, however, and under pressure the community soon segregated according to gender, with the monks living in small priories where they lived in community in service to the nuns and under their rule. They were recognized as a religious community in 1106, both by the Bishop of Angers and by Pope Paschal II. Robert, who soon resumed his life of itinerant preaching, appointed Hersende of Champagné to lead the community. Later her assistant, Petronilla of Chemillé, was elected as the first abbess in 1115.

 

Robert wrote a brief Rule of Life for the community, based upon the Rule of St. Benedict. Unlike the other monastic orders characterized by double monasteries, the monks and nuns of the Order of Fontevrault followed the same Rule. In his Rule, Robert dealt with four principal points: silence, good works, food and clothing, encouraging the utmost in simplicity of life and dress. He directed that the abbess should never be chosen from among those who had been brought up at Fontevrault, but that she should be someone who had had experience of the world (de conversis sororibus). This latter injunction was observed only in the case of the first two abbesses and was canceled by Pope Innocent III in 1201. At the time of Robert’s death in 1117, there were about 3,000 nuns in the community.

 

In the early years the Plantagenets were great benefactors of the abbey and while Isabella d’Anjou was the abbess, King Henry II’s widow, Eleanor of Aquitaine, made the abbey her place of residence. Abbess Louise de Bourbon left her crest on many of the alterations to the abbey building which she made during her term of office.

 

Tomb of Richard I of England (front) and Isabella of Angoulême (back)

 

Decline

 

With the passing of the Plantagenet dynasty, however, Fontevrault and her dependencies began to fall upon hard times. At the end of the 12th century, the Abbess of Fontevrault, Matilda of Flanders (1189-1194), complained about the extreme poverty which the abbey was suffering. As a result, in 1247 the nuns were permitted to receive inheritances to provide income for their needs, contrary to monastic custom. The fragile economic basis of the Order was exacerbated by the devastation of the Hundred Years War, which lasted throughout the 14th century. A canonical visitation of fifty of the priories of the Order in 1460 showed most of them to be barely occupied, if not abandoned.

 

Abbess Louise Françoise de Rochechouart (1664-1742)

 

Abbess Gabrielle de Rochechouart (1645-1704)

 

Suppression

 

The Order was dispersed during the French Revolution. In November 1789, all property of the Catholic Church was declared to be the property of the nation. On 17 August 1792, a Revolutionary decree ordered evacuation of all monasteries, to be completed by 1 October 1792. At that time, there were still some 200 nuns and a small community of monks in residence at Fontevraud. The last abbess, Julie Sophie Charlotte de Pardaillan d’Antin, is said to have died in poverty in Paris in 1797. The abbey later became a prison from 1804 to 1963, when it was given to the French Ministry of Culture.

 

The projected prison in the former abbey was planned to hold 1,000 prisoners, and required major changes, including new barracks in addition to the transformation of monastic buildings into dormitories, workshops, and common areas. Prisoners–-men, women and children-–began arriving in 1814. Eventually, it held some 2,000 prisoners, earning the prison the reputation of being the “toughest in France after Clairvaux”. Political prisoners experienced the harshest conditions: some French Resistance prisoners were shot there under the Vichy Government. Following the closing of the prison came a major restoration, and opening to the public in 1985, with completion of the abbey church’s restoration in 2006 under architect Lucien Magne.

 

 

 

 

 

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Fontevraud-l’Abbaye – L’Abbaye Grounds

 

The Royal Abbey of Our Lady of Fontevraud or Fontevrault (in French: abbaye de Fontevraud) was a monastery in the village of Fontevraud-l’Abbaye, near Chinon, in Anjou, France. It was founded in 1101 by the itinerant preacher Robert of Arbrissel. The foundation flourished and became the center of a new monastic Order, the Order of Fontevrault. This order was composed of double monasteries, in which the community consisted of both men and women—in separate quarters of the abbey—all of which were subject to the authority of the Abbess of Fontevraud. The Abbey of Fontevraud itself consisted of four separate communities, all completely managed by the same abbess.

The first permanent structures were built between 1110 and 1119.[1] The area where the Abbey is located was then part of what is sometimes referred to as the Angevin Empire. The King of England, Henry II, his wife, Eleanor of Aquitaine, and son, King Richard the Lionheart were all buried here at the end of the 12th century. It was disestablished as a monastery during the French Revolution.

A UNESCO World Heritage Site, it is situated in the Loire Valley between Chalonnes-sur-Loire and Sully-sur-Loire within the Loire-Anjou-Touraine French regional natural park (Parc naturel régional Loire-Anjou-Touraine).

The complex of monastic buildings served as a prison from 1804 to 1963. Since 1975, it has hosted a cultural centre, the Centre Culturel de l’Ouest.

 

 

 

 

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Fontevraud-l’Abbaye – Village walk

 

 

 

 

 

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Château de Saumur Porcelain Collection

 

 

 

 

 

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Château de Saumur exterior

Exposition de Cheval

Saumur

 

 

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Chateau Exhibition Spaces

 

 

 

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