Medieval Quercy

Cahors, 14^th century

Carved sandstone

26.5 x 23 x 40 cm

A modillion is a sculpted stone architectural element. It is used to support a cornice, eaves or balcony. Modillions are very common on Romanesque churches.

The harder the stone of the modillions, the more difficult it was to finely carve them, resulting in a more austere and severe architecture. Here, the sandstone is soft enough to allow a face with grimacing features to be depicted.

How and when it was acquired is not known.

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Cahors, 14^th century

Carved sandstone

26.5 x 23 x 48 cm

The method and date of acquisition are unknown.

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Cahors, 14^th century

Carved sandstone

54 x 27 x 32 cm

Modillions, when placed outside of the sacred space of churches, present a quite wide freedom of representation with figures performing acrobatics or playing musical instruments. Sometimes, sculptors imagined monsters or demons. They can be adorned with grotesque or grimacing figures, or These representations, even profane ones, could have a moral teaching role: all humans are sinners and evil is everywhere!

How and when it was acquired is not known.

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Saint-Etienne Cathedral (?), Cahors, 15^th century

Carved limestone

57 x 40 x 31 cm

According to the Old Testament, Adam was the first man created by God on the 6^th day of the Creation of the World. Not wanting to leave him alone, God then created Eve from one of Adam’s sides or ribs, depending on the translation. He then placed the couple in the Garden of Eden, telling them that they could eat from every tree but one.

Tempted by the Devil, Adam and Eve did not respect this command. As punishment, God drove them from the Garden of Eden and made them mortal.

Acquired before 1883

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Saint Etienne-Cathedral (?), Cahors, 15^th century

Carved limestone

77 x 41 x 33 cm

Acquired before 1883

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Saint Etienne Cathedral, Cahors, 7^th century

Carved marble

38 x 115 x 16.5 cm

Saint Didier was bishop of Cahors from 630 to 655. He frequented the kings Clotaire II and Dagobert, as well as the future Saint Eloi and Saint Arnoul.

The bas-relief carved on this sarcophagus fragment depicts the arrest of Christ on the Mount of Olives. Jesus had withdrawn from Jerusalem to pray with his disciples on the Mount of Olives, opposite the town walls. When he was alone, his companions having fallen asleep, he was approached by soldiers led by Judas. Judas had previously agreed that he would kiss Jesus so that the soldiers could easily identify him and arrest him.

This event marks the beginning of what is commonly known as the Passion of Christ. Because of its importance in the New Testament, it is a scene that has, over the centuries, been frequently depicted in Christian art.

Donation: Calès, 1892

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Saint-Etienne Cathedral, Cahors, 7^th century

Carved marble

29 x 33 x 12 cm

The bas-relief may depict the appearance of Jesus before Pilate.

Donation: by Calès, 1892

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Saint-Etienne Cathedral, Cahors, 7^th century

Carved marble

36 x 31 x 18 cm

The bas-relief may represent Jesus’ appearance before Pilate, another event in the Passion of Christ. After being arrested on the Mount of Olives, Jesus was brought before the Sanhedrin, Jerusalem’s traditional legislative assembly, to stand trial. However, since the beginning of the Roman occupation, the Sanhedrin no longer had the authority to sentence people to death; Jesus was taken to the Roman governor Pontius Pilate on Passover day. Pilate was the only person with the ‘right of the sword’, i.e., the power to sentence Jesus to death. He questioned Jesus to determine his guilt, but found no grounds for it in their exchanges. As it was Jewish custom to release a prisoner on this feast day, he suggested to the crowd that they release Jesus or another prisoner, Barabbas. Contrary to what he had imagined, the crowd demanded Barabbas, effectively condemning Jesus.

Donation: Calès, 1892

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Saint-Etienne Cathedral, Cahors, 5^th century

Carved marble

36 x 32 x 10 cm

The sarcophagus known as the ‘grape harvest sarcophagus’ has been known since the Middle Ages. Reused in a pillar in the cathedral, it was damaged several times during the 16^th century and again during the French Revolution. The Henri-Martin Museum possesses only one of the surviving fragments. Others have been reused in a house near to the cathedral.

This is probably a pagan sarcophagus from the 2^nd or 3^rd century, Christianised a few centuries later. The container featured scenes of the grape harvests, notably Lovers picking and carrying grapes. Bacchus, the god of wine, was very popular in antiquity. Showing the triumph of Bacchus and his companion Ariadne could be a way of reducing anxiety about the journey to the afterlife to focus on earthly pleasures and joy. In the Christian religion, the vine is also a very common motif: it symbolises the Kingdom of God and eternal life. This sarcophagus was also Christianised a few centuries following its first use.

The carving was completed by two scenes on the sides. On the left, Adam and Eve, are on either side of the tree of knowledge. On the right, a shepherd and his sheep, the figure of the Good Shepherd.

Donation: Calès, 1892

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Coat of Arms of the City of Cahors

1685

Limestone

67 x 66 cm

Acquired before 1883

Coat of Arms of the Cahors Cathedral Chapter

1626

Limestone

60 x 38 x 20.5 cm

From the Middle Ages onwards, groups of priests, known as canons, were attached to certain churches, particularly to cathedrals. The cathedral chapter was responsible not only for singing during Mass but also for carrying out numerous other duties. The canons, therefore, looked after the schools, the construction or the maintenance of buildings, aid to the poor and the administration of the parish’s assets. They, therefore, played an important role in the cities, serving the local population.

The bridge depicted here is modelled on the architecture of the ‘Pont Vieux’ (Old Bridge).

The date and method of acquisition are unknown.

Saint-Géry Church, Cahors, 12^th century

Carved pink sandstone

52 x 57 x 42 cm

Although the palmette, the human figure or the animal nose are characteristic motifs of the Romanesque style, all these capitals feature original sculptures with no direct references to other creations of the same period.

Donation: Manufacture des Tabacs, 1904

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Saint-Géry Church, Cahors, 12^th century

Carved sandstone

51 x 58 x 50 cm

This capital belongs to a larger group of capitals recovered just before the demolition of the Saint-Géry Church. They are typical of Romanesque buildings from the 11^th and 12^th centuries, which suggests that they predate the changes made to the church by the Dominicans from 1226 onwards.

Donation: Manufacture des Tabacs, 1904

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Saint-Géry Church, Cahors, 12^th century

Carved sandstone

63 x 53 x 38 cm

In most cases, the human figure occupies a central position on these capitals, showing its importance in the composition. The visitor’s eye is immediately drawn to the male face with its long moustache and full beard. On the sides of the capital are two naked figures. Finally, the palmettes at the corners reveal themselves to be hybrid beings whose bodies are plant elements.

Donation: Manufacture des Tabacs, 1904

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Cloister of the Saint-Jean Priory, Catus, between 1120 and 1140

Carved cold limestone

12.5 x 24 x 30 cm

The tailloir, also known as the ‘abacus’ in ancient architecture, is the upper part of the capital. It is used to reinforce the capital and support the arch.

The limestone from which this fragment is cut is known as ‘cold’ because it is very hard. This makes it a difficult stone to work, but above all it is resistant to pressure and load.

This object could be part of the Calès donation, 1892.

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Cloister of the Saint-Jean Priory, Catus, between 1120 and 1140

Carved fine limestone

19 x 18.4 x 15 cm

Donation: C. A. Calmon, 1894

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Cloister of the Saint-Jean Priory, Catus, between 1120 and 1140

Carved fine limestone

19.2 x 19.8 x 20 cm

Donation: C. A. Calmon, 1894

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Cloister of the Saint-Jean Priory, Catus, between 1120 and 1140

Carved limestone

19 x 23 x 22 cm

This capital was found broken. Three sides were carved, but only one is now legible.

The scene represents the resurrection of Lazarus, his miraculous return to life four days after his burial.

On the left, the two figures are probably Christ and an apostle, one of his companions. Mary, Lazarus’ sister, is kneeling at Jesus’ feet. Behind her, Lazarus, wrapped in strips of cloth, rises from his sarcophagus. An apostle has opened the lid of the sarcophagus, which he is still holding in his hands. A final figure is holding Lazarus by the shoulder. This may be Martha, Lazarus’ second sister. At the top right, a group of heads evokes the crowd gathered to witness the miracle.

The superimposition of the different planes of the scene gives it perspective.

On loan from the ‘Service Régional de l’Archéologie’ (Regional Service of Archaeology), ‘Drac Occitanie’ (Regional Directorate of Cultural Affairs, Occitania) and the Commune of Catus, 2011

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Cloister of the Saint-Jean Priory, Catus, between 1120 and 1140

Carved limestone

19 x 23 x 23 cm

This capital is ‘historiated’ (storied): its sculptures represent a scene, a story.

In this case, the scene is the washing of the apostles’ feet by Christ, taken from the Gospel of Saint John.

The sculpture, placed on one side of the capital, extends over the other sides.

On the left is Christ, recognisable by his halo adorned with a cross. He is kneeling and holding the foot of Peter, one of his companions, to plunge it into a basin that is placed on the ground. His other arm has disappeared, but we can surmise that it was outstretched, in a gesture of invitation or word. Peter is standing with his chest leaning back, in a position of retreat. His arms are raised, palms open in front of his chest in a gesture of protest.

Christ’s face is gentle and lengthened. Peter’s, on the other hand, is square, his hair and beard short and straight.

The other apostles are visible on another side. They seem to be in conversation and their faces express surprise. By their gestures, they point to the main actors in this story, Christ and Peter. The viewer’s attention is focused on the symbolic value of the act. The washing of feet was normally done by servants or slaves. By doing it himself, Christ assumes this position. He sets an example of the humility that he had previously taught his disciples. It is also an act of love, because in doing so, he encourages his disciples to do the same amongst themselves, as a sign of mutual affection. In monasteries, this gesture has long been preserved and reproduced as an act of brotherly love and mutual charity.

The composition is original and dynamic, based on a show of intersecting diagonals. The movements and expressions are strong. This makes it a sculpture of quality and of great finesse.

On loan from the ‘Service Régional de l’Archéologie’ (Regional Service of Archaeology), ‘Drac Occitanie’ (Regional Directorate of Cultural Affairs, Occitania) and the Commune of Catus, 2011

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Cloister of Saint Jean-Priory, Catus, 13^th century

Carved limestone

24.5 x 30 x 24 cm

The method and date of acquisition are not yet known.

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).

Jacques Edmond LEMAN (Laigle, 1829 – Paris, 1889)

‘Jehan’ (Jean) Chandos in Cahors

2^nd half of the 19^th century

Oil on canvas

223 x 400 cm

The scene takes place on the 8^th of January 1362, during the Hundred Years’ War.

Two years earlier, on the 24^th of October 1360, representatives of King Edward III of England, and the Dauphin of France, the future Charles V, signed the Treaty of Brétigny. The King of France, Jean II, was then a captive of the English. The treaty provided for his release in return for the cession of a large number of provinces in Rouergue. Jean Chandos, Viscount of Saint-Sauveur and the King of England’s Lieutenant General in France, was charged with taking possession of the lands and towns to be passed under English control.

Therefore, on the orders of the King of France and despite their protests, the consuls of Cahors surrendered the town to ‘Jehan’ (Jean) Chandos, representative of the King of England.

The latter swore to respect the town’s privileges, freedoms and franchises. He also guaranteed a peace more conducive to business. For his part, the King of France, represented by Marshal de Boucicaut, released, in writing, the people of Cadurcia from their obedience to him and his successors.

Taking advantage of the situation, the consuls asked for, and obtained, the upholding of their rights as well as new security, monetary, judicial, fiscal and commercial advantages.

The painting does not show the negotiations. Here, the painter depicts the moment where the consuls and inhabitants of Cahors learn that the passage to England is effective.

Jehan Chandos, on his white horse, seems to physically dominate the scene. His calm contrasts with the sadness or the anger animating the people of Cahors, who have come to meet the English soldiers.

In the background is an imaginary view of the ramparts and the medieval town.

Transfer of ownership by the State in 2006

Restored in 2020 with the help of the ‘Fonds Régional d’Aide à la Restauration’ (Regional Restoration Aid Fund).