Église Saint-Pierre Saint-Julien de Lavenay

English translation

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History

The 16th-century decorations, works of a confirmed artist, are remarkable, whether in terms of their aesthetic quality or the interest they present for the history of techniques in the form of preparatory drawings. This level of mastery of drawing and modelling, as well as the refinement of hairstyles and clothing is rarely observed on wall paintings from the same period in the region. The preservation of lead pencil drawings is also extremely rare. The socio-cultural context in which Lavenay is placed between the end of the 15th and the 16th century is particularly interesting for interpreting these decorations. The du Bellay family was indeed close to the most powerful aristocratic circles and the priest of Lavenay, Jean du Saulay, moved in Paris among the greatest humanists of his time. The quality of the painted decorations of the early 16th century (Saint James and Saint Mamnès, drawing of Saint John) could be linked to this patron, who had the culture, means and position necessary to recruit a talented artist for the church of his parish.

Description

The architecture of the church of Lavenay is distinguished by the preservation of elaborate wall decorations executed between the end of the 15th century and the middle of the 16th century. On the eastern part of the north wall, a first campaign of wall paintings is datable to the last quarter of the 15th century. The scene depicts two bishop saints facing one another, their heads turned towards each other and standing on a small mound. These are most likely Saint Julian, patron of the church, and Saint Martin. In a second red frame, located at the east end of the north wall, two other figures shown three-quarter view, turned towards each other, have been depicted (Saint Cosmas and Saint Damian). Two large figures, measuring almost twice the height of medieval figures, have been represented. They are dressed in Renaissance style, more particularly in Louis XII style. One can still make out his yellow hat with turned-up brim, his long hair and his cloak fastened in the middle of his chest. He holds a pilgrim's staff painted yellow and wears a bag across his body, which might allow him to be identified as Saint James. The features of his face have almost entirely disappeared. The figure facing him is represented full-length. The features of his face are still clearly visible. He wears a black hat, a yellow tunic, grey-blue hose and black shoes as well as a long open cloak whose folds fall around his feet. The figure holds his entrails in his hands, which allows him to be recognized as the martyr saint Mamnès. The drawings present on the north wall are probably the oldest. They are also the best executed, doubtless constituting preparatory drawings rather than sketches. They are executed stratigraphically on the same plaster as the saints James and Mamnès and would therefore date to the first quarter of the 16th century. As with the finished paintings, the lines are in black and the areas to be shaded indicated by fine hatching. Of great artistic quality they are doubtless from the same hand as that responsible for the representations of Saint James and Saint Mamnès. They are the work of a confirmed painter, imbued with the culture of the Renaissance.