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LIGIER RICHIERLIGIER RICHIERLigier Richier, le plus grandartiste lorrain de la Renais-

sance, est né vers 1500 à Saint-Mihiel,dans le milieu actif et ouvert de l’éliteartisanale. L’on ne sait rien des années deformation du jeune sculpteur, maiscomment n’aurait-il pas bénéficié de lariche tradition des “imagiers” de larégion, des courants d’influences cham-penoises, bourguignonnes, flamandes,rhénanes qui se croisaient au bord de laMeuse, du climat de renouveau huma-niste qui animait la capitale du Barrois“non mouvant” ? Dès 1530, protégé parle duc Antoine de Lorraine, il est présent

sur d’importants chantiers princiers.Ligier Richier travaille le bois, maissurtout la pierre calcaire tendre au grainfin, clair, aux veines rares, exploitée àSaint-Mihiel et à Sorcy. Il expérimentedes techniques raffinées de polissage, parlesquelles il parvient à donner à la pierrel’apparence du marbre. Son génie nova-teur ne manque pas non plus de senourrir du style et de l’iconographiepropagés par les gravures de Düreret de Mantegna, peut-être aussi par lapeinture et le vitrail.Converti à la Réforme, Ligier Richierfinit ses jours à Genève, la cité de Calvin,

en 1566 ou 1567. Après lui, ses fils etneveux maintinrent la réputation de sonatelier. Les œuvres de Ligier Richier quinous sont parvenues sont toutes d’inspi-ration religieuse ou funéraire. Le caractè-re traditionnel des sujets - la Passion duChrist y occupe une place prédominante- ne doit pas faire oublier l’originalitédes grandes dramaturgies du maîtrelorrain, la hauteur de sa méditation. Ellesle rendirent fameux de son vivant déjà, etjusqu’à nos jours frappèrent poètes etvoyageurs.

Description des œuvres pages 1-6

Ligier Richier, the greatestRenaissance artist from Lor-

raine, was born around 1500 at Saint-Mihiel, into the dynamic, accessible milieuof elite craftsmen. Nothing is known aboutthis young sculptor during the years whilehe was training, but he must have benefi-ted from the rich tradition of the popularpainters, printmakers and sculptors in thearea. Other influences undoubtedly inclu-ded those from the regions of Champagne,Burgundy, Flanders, and the Rhine, all ofwhich combined in the Meuse area, and thehumanist climate of renewal which anima-ted the “stagnant” capital of Barrois. From

1530, under the protection of DukeAntoine of Lorraine, he worked on impor-tant princely sites. Ligier Richier worked inwood, but more especially in pale, softlimestone, with its fine grain and rare vei-ning, exploited at Saint-Mihiel and Sorcy.He experimented with refined techniques ofpolishing, through which he gave the stonethe appearance of marble. His innovativegenius also took inspiration from the styleand iconography popularised by Dürer’sand Mantegna’s engravings, and perhapsalso by painting and stained glass windows.Converted at the Reformation, LigierRichier ended his days in Geneva, the city

of Calvin, in 1566 or 1567. After him, hisson and nephews maintained the reputa-tion of his workshop. Those of LigierRichier’s works which have come down tous all have a religious or funeral inspira-tion. The traditional character of his works– the Passion of Christ predominates –should not make us forget the originality ofthe great dramatic art of the master fromLorraine, nor the heights of his thinking.They already made him famous during hislifetime, and have influenced poets andtravellers up to the present day.

Description of the works Pages 7-12

Ligier Richier, der größteR e n a i s s a n c e - K ü n s t l e r

Lothringens, wurde um 1500 in Saint-Mihiel in eine aktive und weltoffeneKünstlerelite hineingeboren. Man weißnichts über die Lehrjahre des jungenBildhauers, aber wie sollte er nicht profi-tieren von der reichen Tradition derMaler und Bildhauer in der Region, vonden Einflüssen aus der Champagne, ausBurgund, Flandern und dem Rheinland,die am Ufer der Meuse zusammen-treffen, vom Klima der humanistischenErneuerung, das die „freie“ Bar-Hauptstadt erfüllte? Schon 1530 nimmter dank der Protektion von Herzog

Antoine von Lothringen an bedeutendenfürstlichen Bauvorhaben teil. LigierRichier bearbeitet Holz und hauptsächli-ch weichen, feinkörnigen Kalkstein vonheller Farbe mit wenig Äderung, wieer in Saint-Mihiel und Sorcy abgebautwird. Er experimentiert mit raffiniertenPoliertechniken, die den Stein wieMarmor aussehen lassen. Sein innova-tives Genie nährt sich außerdem am Stilund der Ikonographie der Stiche vonDürer und Mantegna, möglicherweiseauch an Malerei und Glaskunst.Ligier Richier konvertiert zumProtestantismus, und sein Leben findet1566 oder 1567 in Genf, der Stadt

Calvins, sein Ende. Nach ihm erhaltenseine Söhne und Neffen den Ruf seinerWerkstatt aufrecht. Die Werke von LigierRichier, die uns erhalten sind, haben alleReligion oder Tod zum Thema. Über demtraditionellen Charakter der Themen– die Passion Christi nimmt einen wesent-lichen Platz ein – darf man allerdingsnicht die inszenatorische Originalitätdieses Lothringer Meisters und seine hochentwickelte Spiritualität übersehen. Siemachten ihn bereits zu Lebzeiten berühmtund erstaunen Dichter und Besucher bisin die heutige Zeit.

Beschreibung der Werke Seiten 13-18

Ligier Richier, de grootsteRenaissance-kunstenaar van de

Lorraine, wordt rond 1500 geboren inSaint-Mihiel in het actieve en open milieuvan de artisanale elite. Er is niets bekendover de opleidingsjaren van de jonge beeld-houwer, maar het kan niet anders dandat hij veel heeft geleerd van de rijketraditie van de “imagiers” van de streek,van de stromingen met invloeden uit deChampagne, Bourguignon, Vlaanderen enhet Rijngebied die mekaar kruisten aan deoevers van de Maas, en ook van het klimaatvan humanisische vernieuwing dat dehoofdstad van de “onbeweeglijke” Barroisanimeerde. Vanaf 1530, onder bescher-

ming van hertog Antoine de Lorraine, is hijaanwezig op belangrijke prinselijke werk-plaatsen. Ligier Richier bewerkt hout,maar voornamelijk zachte kalksteen meteen fijne korrel, een heldere en bijzondergeaderde steen die wordt gewonnen inSaint-Mihiel en Sorcy. Hij experimenteertmet verfijnde polijsttechnieken waardoorhij erin slaagt de steen er te laten uitzien alsmarmer. Zijn vernieuwende genie voedtzich ook met de stijl en de iconografie dieworden uitgedragen door de gravures vanDürer en Mantegna, en misschien ook welmet de schilderkunst en de glasraamkunst.Ligier Richier bekeert zich tot hetReformisme en sterft in 1566 of 1567 in

Genève, de stad van Calvijn. Na hemhouden zijn zonen en neven de reputatievan zijn atelier hoog. Alle kunstwerken vanLigier Richier die we kennen zijn geïnspi-reerd op godsdienst of begrafenissen. Hettraditionele karakter van de onderwerpen –de Passie van Christus speelt een ove-rheersnde rol – mag de originaliteit nietdoen vergeten van de grote dramaturgieënvan deze meester uit de Lorraine, noch deomvang van zijn meditatie. Al tijdenszijn leven leveren zijn kunstwerkenhem bekendheid op en ook vandaag nogberoeren ze dichters en reizigers.

Beschrijving van de werken op pagina 19-24

LIGIERRICHIERLIGIER

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SCULPTEUR DE LA RENAISSANCE“Quand on lui donne la formed’un corps, la pierre paraîtchanger de nature. Ce n’est passeulement parce que la voilàfaite membres et visage : onoublie cette métamorphosepour s’abandonner devant elle àune présence dont le saisisse-ment excède le pouvoir dereprésentation. Il y a, qui nousarrêtent soudain, un mystère etune rencontre, celle-ci indisso-ciable de celui-là pour la raisonqu’elle en projette l’obscure fas-cination en même temps qu’elley puise une part de son attrait.Bien sûr, on pourrait s’en tenir àla reconnaissance des figures - etsans doute le fa i t -on dansun premier regard - tant qu’onobserve leur ensemble, mais ilen va des statues comme deshumains : tout change dès quel’on passe de l’attitude à l’ex-pression et de la fonction à larelation.”

Bernard Noël

LIGIERRICHIERLIGIER

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Le promeneur de la Route Ligier Richier urra prolonger son itinéraire vers Briey (Meurthe-et-Moselle) pour voir le Calvaire à six personnages, dans l’église paroissiale Saint-Gengoult. A Nancy

(Meurthe-et-Moselle), il ne manquera pas d’admirer, dans la chapelle des Cordeliers (Musée historiquelorrain), l’extraordinaire Gisant de Philippe de Gueldre.Le Musée du Louvre à Paris conserve des fragments du décor de la chapelle des Princes.

When following the Ligier Richier Route, you can continue the journey to Briey (in the Meurthe-et-Moselle département), to see the calvary at the Saint-Gengoult parish church, with its six figures.

At Nancy (Meurthe-et-Moselle), you cannot fail to admire the extraordinary Gisant de Philippe de Gueldre (recumbent statue of Philippe de Gueldre), in the Chapelle des Cordeliers(the Lorraine Historical Museum).The Louvre Museum in Paris preserves some fragments of the decor of the Chapelle des Princes(Princes’ chapel).

Der Wanderer auf der Route Ligier Richier kann seinen Weg bis Briey (Meurthe-et-Moselle)fortsetzen und dort in der Pfarrkirche Saint-Gengoult die sechs Personen umfassende

Kreuzigungsgruppe besichtigen.In Nancy (Meurthe-et-Moselle) wird er sicherlich in der Franziskaner-Kapelle (Lothringer historischesMuseum) die außergewöhnliche Darstellung von Philippa von Geldern im Totenbett bewundern.Im Louvre in Paris befinden sich Dekorfragmente aus der Prinzenkapelle.

Wie langs de Route Ligier Richier wandelt, kan zijn reisroute nog verlengen richting Briey(Meurthe-et-Moselle) om daar de Calvarie met zes personages te gaan bekijken

in de parochiekerk Saint-Gengoult. In Nancy (Meurthe-et-Moselle) is in de ‘chapelle des Cordeliers’ (historisch museumvan Lorraine) de bijzondere Gisant van Philippe de Gueldre te bewonderen.Het Louvre in Parijs bewaart fragmenten van het decor van de Prinselijke kapel.

Route Ligier Richier

BAR-LE-DUC

ST-MIHIEL

GÉNICOURT-SUR-MEUSE

ÉTAIN

Les villes-étapes de laRoute “Ligier Richier”

ont signé une charte de qualitégarantissant le meilleur accueilaux visiteurs. L’ouverture dessites est assurée au minimumles week-ends et jours fériésdu 1er mai au 30 septembre.

HATTONCHÂTEL

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Cartographie réalisée par ACTUAL – Tél. : 03 25 71 20 20 – www.actual.tm.fr – Reproduction interdite – no d’autorisation 2-55/JMP/12-08

The towns along theLigier-Richier Route

have signed a quality charterguaranteeing the best possiblewelcome to visitors. The sites willbe open at least at weekends andbank holidays from 1st Mayto 30th September.

Die Städte an der RouteLigier Richier haben eine

Qualitätscharta unterzeichnet,die dem Besucher bestmöglicheAufnahme garantiert.Alle Sehenswürdigkeiten sindmindestens am Wochenende undan Feiertagen vom 1. Mai bis 30.September geöffnet.

De steden waar de Route LigierRichier halt houdt hebben een

kwaliteitshandvest ondertekend waarinze garanderen de bezoekers zo goedmogelijk te onthalen. De opening vande sites wordt minstens verzekerd tijdensde weekends en op feestdagen van 1 meitot 30 september.

à lire :• Abbé Charles Souhaut, Les Richier et leurs œuvres, Bar-le-Duc, 1883.• Paul Denis, Ligier Richier. L’artiste et son œuvre, Paris-Nancy, 1911.• Marcel Aubert et Michèle Beaulieu, Musée national du Louvre. Description raisonnée des sculptures du Moyen

Age, de la Renaissance et des temps modernes, I, Paris, 1950.• Helga D. Hofmann, Die lothringische Skulptur der Spätgothik. Hauptströmungen und Werke (1390-1520),

Sarrebruck, 1962.• William H. Forsyth, The Entombment of Christ : French Sculptures of the Fifteenth and Sixteenth Centuries,

Cambridge, Massachusetts, 1970.• Horst Van Hees, Die lothringische Skulptur des 16. Jahrhundert, Sarrebruck, 1973.• Ligier Richier et la sculpture en Lorraine au XVIe siècle, catalogue d’exposition, Musée de Bar-le-Duc,

octobre-décembre 1985, Bar-le-Duc, 1985.• Encyclopédie illustrée de la Lorraine. La vie artistique, sous la direction de René Taveneaux, Nancy, 1987.• Henri Zerner, L’art de la Renaissance en France.

L’invention du classicisme, Paris, 1996.• Michel Martin, La Statuaire de la Mise au tombeau du Christ des XVe et XVIe siècles en Europe occidentale,

Paris, 1997.• Catherine Bourdieu, Ligier Richier, Paris, 1998.

et en dernier lieu :Paulette CHONÉ, Bernard NOËL, Jean-Luc TARTARIN,“Ligier Richier” Conseil général de la Meuse/ ÉditionsMeuse/ Serge DOMINI 2000.

Paulette CHONÉ, Bernard NOËL, Jean-Luc TARTARIN,“Ligier Richier”,La Mise au tombeau de Saint Mihiel, Conseil général de la Meuse/ Éditions Meuse/ Serge DOMINI 1999.

Textes de M. Bernard Noël tirés de l’ouvrage “Ligier Richier” de Paulette CHONÉ, Bernard NOËL etJean-Luc TARTARIN.Conseil général de la Meuse/ Éditions Meuse/ISBN 2-912645-20-4Serge DOMINI éditeur

Remerciements à ceux qui ont participé à la réalisation du document et particulièrement à Mme Paulette CHONE,Docteur en Histoire de l’Art, auteur des textes.

Thanks to those who have helped in producing this document, especially Mme Paulette CHONE, Doctor of Historyof Art, the author of the text.

Unser Dank gilt allen Mitwirkenden an diesem Dokument, vor allem Frau Paulette CHONE, Doktor der Kunstgeschichteals Verfasserin der Texte.

Onze dank gaat uit naar al wie heeft meegewerkt aan de verwezenlijking van dit document en in het bijzondernaar mevrouw Paulette CHONE, doctor in de Kunstgeschiedenis en auteur van de teksten.

CLERMONT-EN-ARGONNE

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Gilles de Trèves, the Dean of Saint-Maxe’s Collegiate Church,invited Ligier Richier to Bar around 1540-1549 to undertakeextensive decorative work in the Chapel of the Princes. Thework was completed in 1554. Montaigne, who stayed in Bar in1580, much admired the magnificent architecture and sculp-ture in polished stone and terra cotta which must have beenexquisite at the time, but of which only a few fragmentsremain. Saint-Maxe’s Collegiate Church was demolishedduring the French Revolution and what is left of MasterLigier’s work is now in Saint Etienne’s Church.

Around 1550, Richiersculpted one of the most

famous funerary monumentsof the French Renaissance,Death as a Skeleton, whose fas-cinating power one can stillsense today. The Skeleton is aMemorial to the heart of Renéde Chalon, Duke Antoine ofLorraine’s brother-in-law. Itwas sculpted in a deeplymoving, radically new way.The symbols he used breakwith all the earlier horrifyingand obscene medieval imagesof

Death. This figure is resoluteand heroic, its right arm holdinga shield and the other hand res-ting on the heart of the decayinghuman carcass which standsproudly, its hope clearly comingfrom Heaven.Prior to Ligier Richier, many ofLorraine sculptors’ workshopshad already produced versions ofthe bloodier aspects of Christ’sPassion, a popular religioustheme in Lorraine at the time. Inmost parish churches, a Christon the Cross was mounted on ahorizontal transom, called thepoutre de gloire (glorious beam),running from springer to sprin-ger across the main arch in thechoir. The group comprising thisCalvary, dominated by theCross, consists of several figures,the two thieves on their gallows,Saint John and the Virgin, MaryMagdalene in tears. The originalsite of this Christ crucified bet-ween two thieves, now in SaintEtienne’s Church in Bar, is notknown. It is a work from Ligier’smature years judging by the skillhe shows and the very accurateanatomical details.

“The spectator today, who so

frequently hears of people being

tortured to death and of death

without salvation, can see this

Death as a Skeleton as a ghost

that may well come back to

haunt us, but what symbolism

should be attributed to the

heart?” Bernard Noël

Death as a Skeleton or The fleshless figure

Christ crucified between twothievesBAR-LE-DUC

The contrasting figures of the two

thieves symbolise peaceful and

tormented souls.

BAR-LE-DUC• Open :- from 01/04 to 15/05 and from15/09 to 31/10, Friday to Sundayfrom 2.00pm to 6.00pm- from 15/05 to 15/09, every day10.30am to 6.30pm.• Out of season : groups only byappointment

• Information, guided visits :Office de Tourisme7, Rue Jeanne d’Arc55000 BAR-LE-DUCTel. : +33 (0)329 791 113Fax : +33 (0)329 792 195E-mail : barleduc.tourisme@wanadoo.fr

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Coming perhaps from a convent in Verdun, this stone statuehas been placed in a mixed group of six statues in a more recentpolychromy of varying quality and dating from different per-iods. This Holy Sepulchre was for many years in Saint Anne’sChapel in Clermont Castle until it was moved to Saint Didier’sParish Church where it has since been restored. The outstan-ding recumbent figure of Christ is pre-16th century and thetwo kneeling angels in wood are 17th century. The HolyWoman in a Peasant’s Bonnet is clearly superior to the otherfigures in the quality of its execution and in its significantlymore expressive plasticity.

fall of her coat and dress, follo-wing the movement of her body.In spite of the unusual treatmentof her cheeks and eye sockets,the expression on her face is fullof subtle emotion hovering bet-ween sadness and fear. Oneshould remember that Richiernever work alone but ran aworkshop where he allocated thework and which doubtlessemployed a number of talentedartists strongly influenced by themaster sculptor’s personality.

“In front of her,

standing on her own,

one is in an

imaginary world.”

Bernard Noël

The Holy Womanin a Peasant’s BonnetCLERMONT-EN-ARGONNE

It is doubtless the remainingstatue from an Entombment.

At first glance she is remarkablefor her naive and popular lookand her dumpy humble appea-rance, the somewhat rigid wayshe holds her hands.... At firstglance these characteristics sug-gest the work is not by Richier.But one should look more close-ly at the sophisticated details ofher dress and the natural easewith which the artist has sculp-ted her tucker and bonnet, the

CLERMONT-EN-ARGONNE• Open 1 May to 30 Septemberweek-ends and public holidays onlyfrom 2 pm to 7 pmand on request on weekdays• Information, guided visits :Office de Tourisme6, Place de la République55120 CLERMONT-EN-ARGONNETel. : +33 (0)329 884 222Fax : +33 (0)329 884 243E-mail : tourisme.argonne@wanadoo.fr

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While there is no disagreement over the attribution of the Pietàin the Etain Parish Church to Ligier Richier, the date it wassculpted raises a problem. The base of the sculpture, with theyear 1528, is modern, and the work was previously in a chapelin the cemetery above the tomb of Gilberte Marque, her epita-ph stating that she died on 6 March 1525 and that her hus-band, Jacquemin Quiolt had the monument, “this image”, “thisdevotion”, raised in 1528.

While some specialists seethis as one of the sculp-

tor’s first known works, othersplace it much later, from thesame period as the Entombmentin Saint-Mihiel, sculpted bet-ween 1550 and 1560. Christ’ssagging body, his arm hangingfree and the Virgin Mary’s bent,compressed pose is reminiscentof that in the third panel of theHattonchâtel Retable. The sensethat all is lost, the absence ofgrandiloquence, the Virgin’soppressed look, suggesting sub-mission, she has been likened toa “Lorraine peasant woman”,suggests that this Pietà dates

rather from Richier’s popularphase best illustrated by TheCalvary in Briey (circa 1530),even though the plasticity of TheEntombment is relatively advan-ced. These characteristics suggestthat the work is early rather thanlate. However, this does not stopus from admiring the degree ofclassicism in the gentle contrastbetween the profiles and the ele-gant softness of the folds in thedrapery for example. This is adifferent composition from thatusually used showing Christ inhis Mother’s lap. Here Christ issupported on Mary’s legs. Thisrare though not exceptional poseno longer uses the earlier icono-graphy so beautifully illustratedby the work in Notre-Dame-de-Pitié in Lorraine, but has alreadyincorporated other more sophis-ticated approaches to the Depo-sition from the Cross and theLamentation.

“The way in which

Christ’s head nestles

against Mary’s

shoulder suggests He

is incredible tired,

resting after some

immense effort,

rather than a

corpse.”

Bernard Noël

Pietà (The Virgin Mary

mourning the body of Christ)ÉTAIN

ETAIN• Open :- from 01/04 to 30/09, Monday toSaturday from 9.00am to 12 noonand from 1.30pm to 5.30pm- from 01/10 to 30/03, Monday toFriday from 1.30pm to 5.30pm.• Information, guided visits :Office de Tourisme31, Rue Raymond Poincaré55400 ETAINTel./Fax : +33 (0)329 872 080E-mail : otsi.etain@gmail.comhttp://www.tourisme-etain.fr

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Everything in the beautiful church in Génicourt-sur-Meuse,the architecture, the furnishings, the stained glass, and thepainted decor... give a very accurate idea of a rich parish chuch

at the time of Ligier Richier. For many years consi-dered to be a work by the young Richier, theGénicourt Calvary is now attributed to a“Master of Génicourt”, probably close toRichier, a sculptor of his generation and possi-bly familiar with the work of his workshop, butwith lesser skills and aesthetic mastery.

On the other hand it mayhave been produced by a

workshop frequented by theyoung Richier during his trai-ning in the early 1520s. Thechurch, built and richly decora-ted on the initiative of the Lordsof Génicourt, was an impressivebuilding at the time. Oneadmires in particular the retablebehind the main altar and theSaint Nicolas retable, the stainedglass work and murals. TheGénicourt Calvary is in poly-chrome wood like those in Barand Briey, interesting in spite ofits awkwardness, the rigidity ofthe shapes, the dull almost flatte-ned look on the faces... But it isperhaps more significant to notethe sense of tension and pathos,the way in which the Virgin’stapering fingers are intertwinedmaking them as expressive asHer face ; this is no longer popu-lar art. Her mouth suggests agentle movement similar to thatto be seen in the Holy Womanin Clermont-en-Argonne andMary Magdalene in Briey. TheVirgin’s robe hangs with a delica-te fluidity. Nevertheless thesculptor has not yet attained thehighpoints that Ligier Richierwould achieve in his maturity.

The Virgin, or The Lady of GénicourtGÉNICOURT-SUR-MEUSE

“The Lady of

Génicourt does not

play a role defined

by convention. She is

just an ordinary

woman who is dee-

ply distressed.”

Bernard Noël

GENICOURT-SUR-MEUSE • Open 1 May to 30 Septemberon requestOut of season : open on request• Information, guided visits :MairieTel. : +33 (0)329 877 501E-mail :genicourt.mairie@wanadoo.fr

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There has been considerable discussion as to whether LigierRichier himself produced the Hattonchâtel Retable, one of themost refined Renaissance works in Lorraine, but his influenceis beyond doubt. The date, LAN 1000 500 23, and a verse fromthe First Epistle to Saint Peter, are carved in fine Roman capi-tals on the base of the pilasters framing and separating thethree panels forming the Retable. A shield bears the donor’scoat of arms and his initials, G.R. for Gaucher Richeret, Deanof the Chapter of Hattonchâtel. Richeret is shown in the thirdpanel, kneeling at the feet of Saint Maur, Bishop of Verdun.

The Retable consists of threescenes from Christ’s Passion,

Christ bearing the Cross, theCrucifixion, and the Lamentation.The clearly Italianate architectu-ral frame, recalling the DukeRené’s Tomb in Nancy, finishedaround 1510, has pilasters withcandelabra, scrolled capitals,ornamental foliage and bucrania,details that had been becomepart of Lorraine art by that time.To these should be added theindividual techniques used bythe sculptor, the architect and

the stonemasons. The centralpart of the retable, with its tym-panum in the form of a largeshell, houses Christ on the Crossunder a surbased decorated arch.The central shield bears theDuke of Lorraine’s arms; heoften stayed in Hattonchâtel andmay have remarked the sculp-tor’s talent. A number of superbdetails are of particular interest,such as the vertical hang of SaintVeronica’ coat, the look of curiosityand bewilderment on the face ofthe Saint as she leans forward.The central panel presents seve-ral scenes ambitiously organisedin three or four planes: thesculptor deliberately chose acomplex approach with thejuxtaposition of clothed andnaked bodies, of people andanimals, the foreshortening ofthe whinnying horse, preparingto bite.

Surprise mixed with elegant

respect Saint Veronica holds

out the handkerchief in

which she has just seen the

Face of Jesus.

The Retableof our Lord’s Passion

HATTONCHÂTEL

The anguished Face of Christ

framed by long locks of hair

and the diagonal line of the

Cross are a faithful copy of a

print by Dürer (1509).

HATTONCHÂTEL• Open 1 May to 30 Septemberevery day from 10 am to 7 pmOut of season : open week-endsand public holidays from 10 am to 7 pm• Information, guided visits :- July and August : Friday, Saturdayand Sunday 10.00am to noonand 2.00pm to 6.00pm :Musée Louise Cottin55210 HATTONCHÂTEL- From 1 October to 30 March :Town Hall - BP 3655210 VIGNEULLES-LES-HATTONCHÂTEL Tel. : +33 (0)329 893 073Fax : +33 (0)329 900 106E-mail : mairie.vigneulles55@hotmail.com

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Recently restored, The Entombment, also called The HolySepulchre, is justly recognised as the summit of 16th centuryLorraine sculpture, one of the finest works in the magnificentcollection to be found in Saint-Mihiel, and one of Ligier Richier’smajor works. He spent around ten years on this group of thirteen,more than life-size figures in fine-grained Meuse limestone befo-re leaving for Geneva in 1564. It was the sculptor’s last work.

According to long establishedtradition, Ligier left the

work unfinished. His son Ge-rard put the final touches andplaced The Entombment in thechapel built around 1570 in thewall adjacent to the church’ssouth side-aisle where it can stillbe seen today. The Entombmentwas an incredibly popular sub-ject from the 15th centuryonwards. In Lorraine alone there are more than fortyEntombments sculpted in theround. Ligier Richier treated theevent in an elaborate, somewhatlearned style presenting severalscenes : Joseph of Arimatheatransporting the body of Christwith the help of Nicodemus, thepreparation of the Tomb, Mary

Magdalene’s farewell, the VirginMary swooning supported bySaint John, two soldiers thro-wing dice for Jesus’ tunic wat-ched by a centurion, an angel

carrying the Cross while a HolyWoman holds up the Crown ofThorns. We take immense plea-sure in the very fine detailwithout this ever distracting usfrom the sculpture’s overall emo-tional impact.

The Virgin Swooning in Saint-Mihiel’s Abbey Church is incre-dibly realistic in the way it pre-sents Mary’s pain and tension.The group, carved in walnut,has since lost its polychromefinish. It was part of the Calvaryof nine figures that was so muchadmired by a pilgrim fromTroyes in 1532.

Figures of women

from The

Entombment :

ardent love, tender

solicitude and

veneration

“He has a beautiful

face, smooth, deep

in thought, yet

luminous. He looks

down on Mary,

seeing only Her.”

Bernard Noël

The EntombmentThe Virgin Swooning

SAINT-MIHIELSAINT-MIHIEL• Open every day throughout the year from 10 am to 6 pmIn winter, closes at dusk.

• Information, guided visits :Office de TourismeRue du Palais de Justice55300 SAINT-MIHIELTel./Fax : +33 (0)329 890 647E-mail : otsi.saint-mihiel@wanadoo.frhttp://www.otsi-saintmihiel.fr

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