|
Commune
|
Château l'Hermitage
Le Mans
Malicorne-sur-Sarthe Yvré-l'Évéque: l'Epau Abbey |
|
|
Marie de Bueil
(15th century) Wife of Baudin de Crémon and sister of
Jean de Bueil, Admiral of France under Louis XI. Inscription on
slab. Below the effigy two angels carry a shield with the arms
of Crémon marshalling Bueil; the polychrome here is original. |
|
LE MANS |
Take The Tram
You can park in one of the many open or underground car parks in the city centre or,
better still, take the tram from the park and ride
facility at the University to the centre. This is a excellent, frequent and
inexpensive service. At the time of writing it was
€1.50 (2018) 'per person, per ride', that is for as near or as far as
you wish to go in one journey. You buy your ticket at a machine at the tram
stop and then 'validate' it at another machine inside the
tram; this is, presumably, to prevent you cheating by using
the ticket for several journeys as there are no 'conductors'
on the tram but presumably 'inspectors' get on at intervals
to check the tickets and fine you.
Tram Stop - Éperon (Line T1)
- or - Jacobins
Quinconces (Line T2)
For the Cité Plantagenet and the monuments
listed below
Quirky Tickets
The tram tickets have a plain side and a coloured patterned side
with a large arrow to show you which edge to insert into the
machine. This sounds easy enough but it does not work: you
need to insert the ticket upside down so that the plain side
is uppermost and the arrow below where you can't see it. Got
it?
The car park presents another computer game. To go into the
car park you have to press one of two buttons, one for the
supermarket and one for the park and ride; you then take a
ticket and the barrier opens. Keep it safely! When you
return you feed your ticket into a machine in the car park
before collecting your car; very sensible is this with no
queuing, not enough change problems etc. Feed it in, of
course, the way the arrow on the ticket shows you. If it
won't go in then turn the ticket over where you'll find
another arrow (!) and try again. Pay the modest fee (cash or
card) and retain your ticket but remember which arrow was
uppermost because when you drive to the barrier on departure you will
have to inset the ticket with the other arrow at
the top to open the barrier. Don't worry if you've forgotten
which way: just turn it over and try again.
A Local Knowledge is a Wonderful Thing!
|
|
Cathédral
St Julien |
Free entry. No restrictions for
photography. Cathedral is quite dark inside.
As often the case with French cathedral there is no refectory,
bookshop etc |
|
|
|
|
Above
Left: Bishop Jean-Baptiste Bouvier (1854)
Above Centre: Jean de Beaumant
Above Right: Theobald of Luxemburg
Lower: Wall mounted incised slab of a table tomb with
effigy; the inscription to the left is impossible to read. |
|
Église de la Coutre |
|
Above: The supposed burial place of
St Bertrand (550-616), Bishop of Le Mans is marked
by this plaster effigy. He founded the former monastery of
which this was the abbey church.
Right: Incised slab to a lady.
Now against wall
|
|
|
|
Le Carré
Plantagenêt |
2, rue Claude-Blondeau. Open: Tuesday to
Sunday, 10 am to 6 pm but check website
musees@ville-lemans.fr.
Admission: €5.00 - or buy a pass for the four museums for
€10.00. Very friendly and helpful staff and excellent displays.
Photography is permitted at no extra charge but flash not
allowed.
Four of these monuments were originally in the
Musée de Tessé but
have now been moved to this new site which opened in 2019: the
remaining have a different origin which is described with the
individual effigy. They
are housed in Level 2. Lifts. English leaflets available.
Bookshop and toilets. Café just outside in the courtyard. |
|
|
Geoffrey Plantagnet, Count of Anjou & Maine (1113 -1151) |
Above is the enamel plaque from the tomb of Count Geoffrey: on
the left my photograph (taken at an angle because of
reflections) and on the left Charles Stothard's coloured etching.
It is of
Limoges Enamel, which originated near the city
of its name around 1100. It was manufactured from a copper plate
in which compartments have been cut out and filled with ground
glass of various colours. This is then baked to fuse the glass
into enamel and finally polished.
The inscription, in Latin, when translated, curiously reads:
'By your sword, prince, the crowd of pillagers is put to flight,
'And through your vigilant peace, tranquility is given to our
churches.'
He is shown wearing ceremonial clothing while at the same time
carries a shield and brandishes a drawn sword. Although his head
gear is sometimes called a Phrygian cap, it is more likely a
helmet
The plaque was almost certainly part of Count Geoffrey's
monument in Le Mans cathedral, probably wall mounted about his
grave, which no longer exists.
The heraldry on his shield is the only example of his arms: his
only existing seal does not show them although other
contemporary seals do. This is not the first
representation of arms but it is the first coloured example;
later they appeared in stained glass and
illuminated manuscripts. The lions were brown edged with gold and
the field blue. How many lions are displayed?
There have been several guesses from the eminent art historians
but I think I am entitled to guess as well as they! It looks
like half of the shield is hidden from our view which
would make four on the top row; the visible second row lion stands
between the upper pair so if we continue this pattern there will
be three on the second row and then two on the bottom row, making
nine. Of course
the real answer should be five: four of the shield and one on
his hat!
The plaque has had a somewhat uncertain career as it disappeared
several times and reappeared again. It finally settles in the
Musée de Tessé and this is where Charles Stothard executed his
preliminary drawing. It was transferred to the present site when
the new museum open.
An article discussing this monument may be found
here.
|
Something about Count Geoffrey
or
A Surfeit of Matildas |
Geoffrey the Fair was born in 1113 the son
of Fulk V, Count of Anjou (called Fulk the Younger) and
Ermengarde, Countess of Maine. He was to inherited both counties
from his parents but this was only the start of the rise of the
dynasty which was to rule land from the Scottish borders to the
Pyrenees. He was the first of his family to be known by the
surname Plantagenet, it is said because of his habit,
for no good reason that I can ascertain, of wearing a spring of
yellow genêt
(Plana genista or broom) in
his cap.
Fulk finally achieved his ambition to form a political alliance
with Normandy by marrying Geoffrey to Matilda daughter of King
Henry I of England and his wife Matilda; Henry was also now Duke
of Normandy. Matilda was eleven years older the Geoffrey and was
the widow of the German Emperor Henry V. She was said to have
been a proud and haughty women who felt it something of a
comedown marrying the son of a count having once been an
Empress.
Fulk left Europe to marry, as his second wife, Melisende,
daughter of King Baldwin II of Jerusalem and following Baldwin's
death he became King of Jerusalem by right of his wife.
Stephen of Blois, who was married to Matilda of Boulogne and who
was to help him in the struggle to come, was like Henry's
daughter Matilda a grandchild of William the Conqueror and his
wife Matilda of Flanders. King Henry's only legitimate son had
died in a ship wreck and he had named Matilda his heir and
required the barons to swear fealty to her. When Henry died,
Stephen saw his chance and seized both England and Normandy.
Perhaps the barons despite their oath were not so keen as having
a woman as their overlord especially one with Matilda's
reputation. Anyway Stephen was a nice guy and probably a
flexible one: far better to break their oaths than have a female
version of old King Henry rule over them. Stephen's reign began
well but soon deteriorated.
Matilda was incensed at this betrayal and she and Geoffrey
attacked and took Normandy as Stephen began to loose his grip on
the situation. The attempt on England was not so successful,
even though she was aided by her loyal half brother Robert of
Gloucester, and led to a stalemate situation and ten years of
bitter civil war.
Geoffrey died suddenly in 1151 at the early age of 38 but
Matilda continued her attempt to take England, eventually joined
by her teenage son Henry. In due course the parties were weary
of a war which no side could win and Stephen and Henry began to
negotiate a settlement. Stephen's son and heir Eustace suddenly
died and an arrangement was eventually reached in 1153 that
Stephen was to keep the throne until he died but Henry was then
to succeed him. This was soon as Stephen died the following year
and Henry became king as Henry II.
Henry had married Eleanor of Aquitaine, curiously like his
father marrying an older woman, so acquiring the County of
Poitou and the Duchy of Aquitaine. He now ruled a large area of
Western Europe as has been referred to in the first paragraph.
|
|
|
|
|
The first four of the effigies represent
members of the Beaumont
family from Maine. They
were discovered at the site of the
Abbey of Étival-en-Charnie, Chemiré-en-Charnie, Sarthe, in
1846.
The first (above
and left) is said on the
museum notice to be Raoul
V, Vicomte de Beaumont (1093-1133)
founder of the Abbey
in 1109, where his sister Godechilde became the first abbess.
In the Wiki entry it states that the Abbey was founded by
Raoul VII; however this is the same person owing to confusing
variation in
the numbering.
The first of the Gaignieres drawings below states that it is of Raoul
the founder but without a number. This is clearly a drawing of the
effigy shown here and which also shows the arms on the shield,
presumably painted: or, three chevronels gules.
Limestone. First half of XIIIth century. |
|
The second effigy represents Raoul VI, Vicomte de
Beaumont (1093-1133). This Raoul, who was the grandson
of the above, accompanied the Dauphin (son of Philip
Augustus and later King Louis the Lion) to England to join the
rebel English barons in their struggle against King John. He
later to take part in the Fifth Crusade where he was captured. He
founded the Charterhouse of Parc at Saint-Denis d'Orgnes.
He is also called Raoul VII or VIII
Note that the carving is more in the round and the armour of a
slightly later period.
The second of the Gaignieres drawings clearly is of this badly damaged
effigy. Again we see the shield with the same arms as above.
Limestone. Later XIIIth century. |
|
|
|
This is third effigy and the first and
only lady in the series. It represents
Agnès,
Viscomptess de Beaumont (c 1250-1360)
She was the daughter of Raoul VII and
Agnès de la Flèche. In 1253 she married Louis de Brienne, son of
Jean de Brienne, King of Jerusalem.
Also featured in the Gaignieres series.
Limestone. Early XIV Century
|
|
The fourth effigy and third knight is
Jean I de Brienne, son of Agnès,
above. This is the best preserved of the four.
His shield has arrns carved in good relief; Gaignieres drawing shows the
tinctures:
Azure fleur semé de lys or, a lion rempant or
Limestone. Early XIV Century
|
|
|
|
Jean de Maule (1323)
Originally sited in a chapel of the Church of Doucelles (Sarthe,)
the effigy was brought in 1854 to the First Archaeological
Museum in Le Mans by its then curator and master glass maker, Eugène
Hucher.
The shield displays his arms
Limestone Second half of XIV Century |
|
Unknown: called The Knight of the Horn.
Brought from the Abbey of Perray-Neuf at Prégigué in 1894 to the
First Archaeological Museum of Le Mans.
There is no shield to display arms or any other method of
identification. A hunting horn hangs from his belt on the right
hand side, hence his name.
Limestone. First half of XIV Century |
|
|
|
|
|
|
Raoul V |
Raoul VI |
Richard
(son of Raoul VI)
not shown |
Agnes |
Louis de Brienne
not shown |
Jean de Brienne |
|
|
|
|
Tombstones from Collegiate Church of
Saint-Pierre-le-Cour, Le Mans
Left: Jeham
Martel (early 16th C). Above: 1. Huet
le Bœuf (early
16th C) 2. Étienne Dreux (c.
1447), 3. Jehan Goyet (C. 1467) |
|
|
Merovingian Sarcophagus (Late XI the Century - A
Curiosity
There are several sarcophagi in the museum but this
shows carving on the inside
of the lid. It reads (in
Latin): 'Here lieth Ermech Recluse (feminine form) and on the
other side Ma(thieu) Leperier and a masons' hammer. |
Why two names and why inside the lid? The
museum states that the sarcophagus had been reused
on two occasions: at the end of the 11th century for
Ermech and then in the 15th century for Mathieu Leperier, a
stone cutter indicated by the carved masons' hammer. I suppose it is
possible that the sarcopagus was made for Ermech by the stone
mason Mathieu, and it his his signature we see here. |
|
|
Malicorne-sur-Sarthe
Église Saint-Sylvestre |
|
Large village, centre of a local porcelain
industry. Park free by the river: the church is a short walk
away. Church is open but the door inside the porch is locked;
however a small door to the right is open and this leads via a
short corridor to the nave. An excellent booklet about the
restoration of this tomb may be obtained free at the tourist
office at the opposite end of the village. Ref: 47°
49.0' N/0° 05.2' W |
A Tale of Discovery and
Restoration
(based on Tombeau du sire de Chaources) |
The monument dates from the second half of
the XV century and represents a member of the Chaource family,
lords of Malicorne, although it is not known precisely who this
might be, there being no inscription extant or recorded. It is
now situated in the centre of the 'de Chaource' chapel,
dedicated to St Anne; the name change dates
from 1843 when the monument was first sited there, although not
in the present position, after being moved around the church
as well as being damaged and repaired on several occasions . The tomb chest has a series of arches
containing weepers on three sides, although on one side these
arches are empty. The effigy is of a figure wearing armour of
the period, wearing a sword, and with a gablet above his head.
This history of its movements can be traced, at least in
outline, from the archives but the state of the monument at
different periods is more uncertain. A drawing in the collection
of Gaignières of 1690 shows it was first
located on the left of the choir. Half a century later, owing to
its poor condition, it was removed to the vault of the lords of
Malicorne, located in the chapel of Beaumanor which adjoins the
south flank of the choir.
Rediscovered in 1828, it was brought back into the church and
placed in the nave in front of the altar of St James. Fifteen years
later, following complaints from the parishioners that it took up
too much space, it was decided to embed it under an arch in the
west wall of St Anne's Chapel. A later photographs shows that only one
face of the tomb chest remains visible - the left long side.
There were six arcades on this face containing weepers. A large
arch at this time was also cut to join the chapel with the nave.
A restoration project was launched in 1989 by the Historic
Monuments Service. In 1992 several stone fragments were
discovered built into two altars and indentified as having
belong to the tomb. The head and foot faces of the tomb
chest were discovered
containing very mutilated weepers, one face being broken in two
pieces. Half of the original slab which originally supported the
effigy was also discoed although this had been sawn in two at some
point.
In spite of the lack of the right hand longitudinal face of the
tomb chest these discoveries confirm what the survey prepared
for Gaignières suggests: that the monument was meant to be free
standing and not against a wall. It was decided to site the tomb
in the centre of the chapel with the head facing the east.
If we compare the effigy before its restoration with the drawing
of 1690, we see that he has lost his dagger from his right hand
side, the lion below the feet and the shield which was carried
on the left shoulder; this latter held an heraldic device. Also
lost are the mouldings on either side of the effigy and the
tassels on the cushions. Several elements, such as the nose and
sword blade, were found to have
been rebuilt with plaster and whitewashed.
The restorers did not recreate the missing parts, such as the
dagger and shield, being anxious to preserve the authenticity.
The effigy was just cleaned and the XIX century plaster
restorations cleaned and coloured to match the white
limestone of the effigy. The slab had been reconstructed in the
XIX of reinforced concrete; this was now replaced by tuffeau and
the fragment which had been discovered, as mentioned above, was
incorporated into it.
The side panels of the tomb chest were set into position; the
one in two pieces at the foot and the other at the head of the
monuments. The weepers, which were in poor condition, were
sympathetically restored in this instance. The right hand
longitudinal panel had never been
discovered nor is there any representation of it. However its
existence was certain. The chief architect of this project
decided to take a silicone rubber impression of the extant panel
so that an exact copy could be made. However no weepers were
added to this side - the least visible - so the niches remained
empty. |
|
The List states there is a gisant in
Château de Lute in the commune of Le Lude,
although there is no information of its type..
However, I have contacted the owners who tell me there is only an
angel sculpture in the château and that this a copy of a
medieval sculpture by the French artist Jean Barbet; and that
the original has been in the Frick collection in New York since
the beginning of the 20th century. Until further information is
received we must assume that the List is incorrect in this
instance. |
|
The church from the former cloister |
Yvré-l'Évéque:
L'Epau Abbey |
The chapter house. The effigy of Berengaria may
just be made out: right of the doorway, first window opening, the tiny
gray structure. |
East of Le Mans, this was the
foundation and burial place of Berengaria, Queen of
Richard the Lionheart. Her effigy has now been returned
to the chapter house and is placed over the vault where her body had
remained since its burial. Please note that the effigy
is not, as still given in some guide books, in Le Mans
Cathedral where it was situated for safe keeping for
many years. .
The Abbey has now been restored
and acts as a cultural centre - rather like Fontevraud
but much smaller. There is a modest entry fee and car
parking at the Abbey is free. NB: The Abbey closes for lunch. |
How To Find It from the Channel
Ports |
You'll see a large sign with a
photograph of Berengaria's effigy well before Le Mans but it's a
way to go yet! Do not enter Le Mans but by pass the city north
on the A11-E50; leave this road east of Le Mans on the
A28, travelling south.. Leave the A28 on the N23 - the
first (and only?) exit and pass through the toll gate.
Ahead is a roundabout but L'Epau is not marked on the
entry sign post. Take the last exit - N23R - to Changé
(L'Epau is now marked telling you to "follow Le Mans");
leave Changé on the D152 to Le Mans; L'Epau is the on
the right. Good luck! Do not put Changé into SatNav as
there are more than one! |
|
|
Charles Stothard's etching of the effigy and
details (left) and drawing of the effigy and tomb chest
(above)
Note: this tomb chest is not the original but a
later replacement and the bones found inside by Stothard are
not those of Berengaria, whose skeleton remained in the vault
where she was originally buried and over which the effigy, on a
modern base, has now been replaced.
The full story may be found here. |
Berengaria of Navarre ( 1165
- 1230)
Her effigy now on a modern plinth with the plate from Le Mans
Cathedral attached. |
|
|
|
|
|
|
|
Far Left: Detail
of the book Berengaria is holding; Above Left: jewelled
clasp of the Queen's gown; Above Centre: Her purse - note
the coins carved at its bottom; Above right: Animals at
her feet
Far Right: Fragments of the original tomb chest. |
|
|
|
|
|
<Pays de la
Loire Introduction Page> <Home
- Index Page> <Top of
Page> |
|
|