Cathedral de la Nativité-de-Marie of Vence
The Cathedral de la Nativité-de-Marie is located in the middle of the formerly fortified old town of Vence , in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur region and in the Grasse arrondissement , about ten kilometers north of the Mediterranean coast.
Vence was the ancient Vintium, the capital of the Nerusi, a people of Ligurian Celts, and was founded in the middle of the second century BC. Conquered by the Romans. According to tradition, the cathedral was built on the foundations of a Roman temple to Mars .
history
With the spread of Christianity , Vence became a diocese . In the Roman Civitas Vintium there was a first bishop Andinus from around 363. This smallest diocese in France existed until the French Revolution (see also: List of the Bishops of Vence ). Holy Verant (451–492) was the first great figure on the bishopric and patron saint of the Diocese of Vence. He was the son of St. Eucherius and retired to the Île Saint-Honorat , one of the ( Îles de Lérins ) with his wife Galla , before becoming Bishop of Lyon. The famous Salvian of Marseille also trained him at Saint-Honorat. As Bishop of Vence, he was considered a bitter opponent of the heretical teachings of Arianism and Monophysitism . He is said to have succeeded in keeping the Goths away from his episcopal city.
From the time of the Merovingian cathedral we only know that the Lombards probably devastated it in the 6th century. The row of bishops shows between 650 and 868 and between 878 and about 1040 gaps. The only remnants from the High Middle Ages are some panels from the Carolingian pulpit from the 11th century, which were walled into the present building in the Romanesque period. They wear Merovingian braided patterns. Accordingly, the current building can stand on the site of the pre-Romanesque cathedral. It appears that these panels were completed at the beginning of the Romanesque era. This could prove that the original decoration of the chancel was damaged during the Saracen raids and then restored and reused in the early Romanesque period.
The construction of the Romanesque cathedral is dated to the last third of the 11th century.
Another magnificent bishop was St. Lambert (1114-1154), who was known for his charities and miracles. Alessandro Farnese (1508–1511) counts among other titleholders : as Pope Paul II in 1534 he sent some relics to the small diocese, to which he never returned. Also the scholars Guillaume Le Blanc, Pierre du Vair, Antoine Godeau - one of the first members of the Académie Française , who became an exemplary shepherd after the beautiful days at the Hotel Rambouillet . In 1644 he united the dioceses of Grasse and Vence and decided in 1653 for Vence. The oratorian Jean-Baptiste Surian (1728–1754) "the second Massillon of Provence" (Jean-Baptist Massillon, oratorian 1663–1742, was one of the greatest pulpit speakers of his time and became Bishop of Clermont-Ferrand in 1717 ), also an academician and zealous Prince of the church. His intervening saved the city from the rioting of the imperial troops in 1746.
From 1724 Monsignor du Vair complained about the poor condition of the building. These complaints were repeated on the occasion of the visitations of the 17th and 18th centuries. These visitation reports do not say a word about the expansions during this period. There are two additional aisles that have been added to the outer walls of the original aisles, two in the north and three in the south. That probably happened in the 16th century or early 17th century. In the 18th century, the vestibule was added as the main entrance to the cathedral at the level of the first two bays of the south aisle.
Since the 11th century, the bishop has shared rulership rights over the city with the secular ruling families of Nice and Marseille. They had to give way to the Count of Provence, Raimund Berengar V , who took the city as a fief in 1231 for his advisor Romée de Villeneuve . The von Villeneuve family shared the rulership of Vence with the bishop until the Revolution . At the beginning of the 14th century a municipal council with active consuls was formed. From that time on, disputes between the bishop, the city and the Villeneuves shaped the history of Vence.
These tensions may explain why the church has never been rebuilt and larger since the beginning of the Romanesque era and why Vence did not have a spacious cathedral, such as Grasse, Fréjus or Senez. In the year of its abolition in 1789, the diocese still had 21 parishes, which only meant that the bishop only had lower income.
The peculiar flat barrel vault of the central nave without belt arches and cornices is made of stucco and dates from 1824 or later. Originally the ship was probably not framed. The great thickness of the walls suggests more of a stone vault. The deviations of the north wall also prove that such a vault covered the ship. The masonry pillars of the partition walls, mostly smooth towards the central nave, appear strange. On the other hand, the pillars in the side aisles are facing quite wide semicircular services. It is very likely that these services existed on both sides of the ships. The found texts provide evidence of this.
Msgr. Du Var noted on May 26, 1624: “The vaults, those of the large as well as the small ships, are cracked and show cracks along their entire length from one end to the other, so much that they give rise to the fear of the ruin collapsing. since the bases (= services) of the arcades, which support the vaults mentioned, are almost completely cut off. ”In the 17th century there were still belt arches - while R. Doré believed that they had already been removed at this time - but the Services had undoubtedly been removed since the galleries were built in order to make room in the ship. In fact, the upper parts of these adjacent half-columns and the belt arches were compared much later: it is the work of Quine, the urban architect of Grasse, who in 1824 carried out the “complete” restoration of the building. Since the 22nd Nivôse (= 4th month of the republican calendar) of the 2nd year (January 11th, 1795) the clergy warned the city council that the condition of the vaults made them fearful of collapse. On May 10, 1809, the mayor alarmed with new defects: the cemented vault showed new cracks along its entire length. Quine's cost estimate of November 30, 1822 describes this in more detail. "The vaults ... are cracked, sunk along their entire length, as well as the six belt arches: especially pressed towards the middle in such a way that they no longer show any arch shape." You have to break them off: "The half-column pilasters that support the arches (! ), have long been interrupted to below the protruding galleries. But since the arches are no longer there, the rest of the services mentioned up to the top will also be removed. This means that the two doors of the choir, which are located under the pilasters, can be preserved. ”Quinte opted for an entablature. “A semi-oval vault or a basket-handle vault will be built over the entire length of the church. The two pilasters that support the arch above the chancel are not in such bad shape, they are freshly paved down to the floor of the church, as is the pilaster to the right of the altar. ”The total cost of the work was 5184 francs and 55 centimes. The repair work listed in the cost estimate was carried out from June to December 1824. So the current vault dates from 1824, not 1812, as Blanc believed based on the monies that the old chapter received from the lottery box on royal orders from 1783 to 1787. Quine probably rebuilt the vault at the same height as the original one.
To get an idea of the original arrangement of the three naves of the nave, the galleries in the aisles have to be imagined away. They should increase the capacity of the cathedral, which was no longer sufficient for the population. Msgr. Du Vair criticized the poor condition of the gallery floors of the "small ships", which he had already partially renewed at his own expense. The galleries may have been built in a first section of the 16th century extensions, before the two additional aisles were added. The new aisles cut through a wall at the level of the galleries, and Msgr. Du Vair stated in 1624 that they had already cut off all services. In any case, the galleries reduced the visible part of the pillars on the ground floor to a repaired rectangular massif. The large arcades stand on a hollow that replaces the old archers. The old pillar structures can be seen above the galleries, which give the former appearance of the main nave walls.
Building
Approximate dimensions , taken from the floor plan and extrapolated:
- Length over everything, including the sacristy (outside): 43.65 m
- Length of nave with choir head (outside): 37.65 m
- Length of central nave (inside); 27.50 m
- Width including all side aisles (outside): 24.90 m
- Width of nave (outside): 15.50 m
- Central nave width (inside): 5.50 m
- Aisle width (inside): 3.00 m
- Choir width (inside): 7.50 m
- Choir depth (inside): 7.00 m
- Height of the central nave: 13.70 m
- Height of the apex of the aisle: 9.40 m
Interior
Longhouse
The originally three-aisled Romanesque nave is divided into five bays, with a sixth bay in the south aisle in the east. The first yoke in the west is a little narrower than the others, similar to the sixth yoke of the south aisle.
The basilica elevation of the nave shows the relatively small differences in height between the naves, which do not allow for clerical windows . The original, slightly higher stone barrel vault of the central nave had a semicircular cross-section and was replaced by the barrel vault that is visible today, which has the cross-section of a flat basket-handle arch, which merges from the smooth partition wall surfaces without the caesura of a cornice. It is made of stucco and is suspended from the beams of the roof truss.
The slender arcades, which opened up to the partition walls of yokes 2 to 5 to the side aisles, were covered by semicircular angular arches and their apex was only slightly below the apex of the belt arches of the groin vaults of the side aisles. These arcades have lost their ambitious elegance, as galleries on groined vaults have been created in the side aisles. Significantly lower and somewhat narrower arched arcades were placed in the large arcades. The wall sections surrounding these arcades recede somewhat from the surfaces of the partition walls, their arch approaches are marked by profiled fighters . The wall sections above the lower arcades close horizontally at the level of the arches of the large arcades.
The original services that were hidden in front of the pillars have almost completely disappeared in the main nave. They have lost their original task of carrying belt arches and pillar templates under the stone vaults in the central nave. In the side aisles and above the galleries there are still these belt arches and therefore the services that support them, with the capitals crowning them, which take over the transition from the semicircular to the rectangular cross-section.
In the former outer walls of the aisles, traces of former side windows can be seen at the level of the galleries. They provided indirect light into the central nave. As usual here in the south, they were missing on the north side. The side aisles of the same height, which were added later, have groin vaults on sharp-edged belt arches that stand on the walls on profiled corbels. The light penetrating through the side windows reaches the central nave via the arcades in the old side aisles. The latter is illuminated directly from a round arched window in its gable walls not far below the crown of the vault. The squat, modern window cut out above the triumphal arch of the choir in the east wall of the nave is quite large and its walls are greatly expanded. The older window in the west wall, on the other hand, is slim. In the old north aisle, a circular ocular, also known as an ox's eye , is cut out in the western head wall below the gallery . In the gallery area above there is a twin window, made up of two slender, pointed openings.
The arched arcade in the high east wall of the ship, the triumphal arch, has the same width as the central nave and its apex remains well below that of the ship.
In this facade wall there was probably originally a main entrance portal in the middle of the main nave, which was later bricked up without a trace. A new main entrance was built in 1897 on the south side in the second yoke, together with a rococo facade and a vestibule in the first and second yoke. An almost square tower rises above the first yoke next to the main entrance, the Lambert Tower. There is a second entrance, a side entrance, in the eastern head wall of the north aisle, between the choir and the bell tower. The fifth yoke of the north aisle leads to the base of the bell tower from the 13th century, which serves as a side chapel.
North aisle
South aisle
Outer south aisle, to the rear
Southern partition arcade
North aisle to the rear
Eastern building parts of the cathedral
The eastern section of the church poses a number of partly unsolved problems. Doré already suspected that the three Romanesque naves were closed, as was customary at the time, with a choir apse in the middle and two apsidioles flanking it . At the level of the gallery at the east end of the south aisle one can still see the beginning of the former semicircular apsidiole. The same can be seen in the north, where the vaults under the gallery and parts of the walls were destroyed for the installation of the organ, and these were then restored. In any case, both aisles were closed with an apsidiole each.
Today's choir is eight meters higher and two meters wider than the central nave and consists of a rectangular choir bay, which is closed by a semicircular apse of the same width, and is covered by a semicircular barrel vault to which a half spherical cap is attached. Its connection to the ship is viewed by architectural historians as "awkward" and the proportions of its internal volume as "unfavorable". These evaluations, together with the "mediocrity" of the masonry with filler stones, suggest that the choir was more likely to have originated in the 15th / 16th centuries. Century as the "classical" epoch proposed by Doré (between around 1770 and 1840). An unpublished letter from the canons of Vence to the canons of Nice - dated to the 15th century based on manuscript research - announced that the "choir" and the cathedral were to be rebuilt. Could this little telling text refer to a wooden construction, similar to today's western gallery? The choir stalls, which were built between 1455 and 1459, were intended for the choir, which was probably created in the middle of the 15th century. On the other hand, it is known that the doctor Philippe Broca mentioned in this letter was sent to the councilors of Nice in 1459 with a clearly defined task. So this text came from the time the choir stalls were made. The chancel was redesigned in the 18th century.
In the axis of the choir apse behind today's altar is a rectangular niche, which probably used to accommodate the altar or perhaps also served as a safe for the storage of the relics . On the walls of the choir a four-meter-high “pillared hall” spreads out, which mainly consists of lightly applied stucco ornaments on the smooth wall plaster. A total of seven fluted pilasters with capitals decorated with plants support an architrave a good half a meter wide , which is closed off by a cantilevered cornice at about the height of the vaults . The architrave and cornice are elaborately decorated. The only window is left open in the north wall of the choir. It is arched and has flared walls all around.
On the south side of the choir, a passage leads to the sacristy , which forms a wide protrusion. The slightly rectangular room is covered by a ribbed vault. In the floor plan it is dated to the 14th century and is therefore older than today's choir.
From this passage, a five-step staircase leads down to an extraordinary rectangular hall, which is intimately connected to the southeast corner of the south aisle. It is covered by a groin vault, similar to that of the south aisle. On the walls, sharp-edged belt arches lead from the rectangular room floor plan to the almost square outline of the vault. The considerable room height under the keystone of at least nine meters corresponds to that of the aisles, to within a few tens of centimeters. Arched arcades are embedded in the walls, 1.10 meters in the west wall, 1.06 meters in the south wall, and 0.94 meters in the east wall. The west and east arcades are higher than the others. The masonry of the southern niche, which was completely plastered with the exception of the foundation wall, was rebuilt in 1950. Before that, a private person had closed the open arcade as an entrance to the hall with a portal. A modern window in the west wall illuminates the hall. In the floor plan, the time when the hall was built is described as indefinite.
What was this hall originally used for in the overall plan? There is a rather unlikely hypothesis that recognizes it as the base of a tower, since the known towers in this area look completely different. Another thinks of a baptistery . Only archaeological digs could help here. A Johanneskapelle at this point is also unlikely. The location of this component close to the choir head and the cross-shaped interior floor plan could suggest a burial chapel for the bishops. Some Italian examples and Saint-Pierre in Vienne from the Carolingian era suggest this.
From the life of St. Lambert (Bishop in Vence 1114–1154) it is reported that the already paralyzed and bedridden bishop heard from his bed how the masons were preparing his grave. He let himself be carried there to bless it. Then he returned to his house to die. The burial of the bishops therefore took place near the episcopal palace, which is adjacent to the cathedral. In any case, this building should have been built around the same time as the main body of the cathedral, that is, in the 11th century.
Outward appearance
Everything that changed the outside of the building over the years diminished the formerly attractive appearance of the Romanesque cathedral. Large sections of the outside can no longer be seen due to attached external structures. The entire facade is visible in the west and the first two bays of the outer south aisle with the Lambert Tower. In the east you can see the area from the bell tower to the sacristy .
The facade of the nave reveals the basilica structure in the protruding central nave and the aisles flanking it only in the upper wall area. The naves are covered with flat sloping roofs, which are covered with red hollow tiles in Roman format. From the gable roof of the central nave you can see the verges that protrude slightly over the gable wall , the eaves of which rest on the double cantilever cornices. The pent roofs of the side aisles end over the head walls of the side aisles with half hipped roof surfaces which here end with horizontal eaves, which are similar to those of the central nave. The rainwater is collected in hanging gutters and drained off in a controlled manner with downpipes. The surfaces of the ship's head walls merge without a break. In the middle of the upper third of the nave wall, a large, slender, arched window is cut out, allowing the rays of the low sun to penetrate deep into the nave in the late afternoon. Shortly above, a small ox-eye is left open, which here, as in the east gable opposite, opens into the attic space above the vault. In the area of the north aisle, a circular, medium-sized ox-eye is cut out on the ground floor. Further up, within the gallery, there is a small twin window with two slender and pointed openings and sharp-edged reveals.
The main portal will probably have been in the middle of the facade. The very chaotic-looking masonry association of various quarry and stone blocks does not reveal any traces of such a portal. You can only see halfway up under the window parapet, but offset from the center, a window edge with an arch. In any case, the possible door opening would have to be sought in the middle of the wall within the chaotic masonry association.
As an extension of the facade wall, the west wall of the Lambert Tower is flush with the surface on an almost square floor plan. Like the new entrance hall in the second bay, it is one of the youngest parts of the building. It towers well above the ridge of the central nave. Its southwest edge is rounded all the way up. Its protruding eaves with cornices resemble those of the ships. The flat inclined pyramid roof is covered with hollow tiles in Roman format and the rainwater is drained off via hanging gutters and downpipes. The west side has remained without window openings except for a round arched doorway. On the south side, the basement also has no windows. A small, slender arched window is left open on the first floor, a significantly larger arched window on the next and a medium-sized rectangular window on the last floor.
Between the completely plastered tower and the neighboring building adjoining the outer aisle there is a slim rococo facade that is about as high as the aisle. It covers an entrance hall of the same height. The portal into the vestibule reaches about half the height of the facade and is covered by a slightly pointed arch. The façade is flanked almost its entire height by two wide pilasters that stand on a two-meter high base and are closed at the top by a kind of “capitals”. They carry a sweeping semicircular “canopy” that swings out horizontally at the arches to cover the pilasters. There is a base with a stone “cup” on top. On the semicircular canopy rises a higher base, which is crowned by a Latin cross and is flanked on both sides by semicircular covered templates. In the upper section of the facade, in a semicircular niche on a huge cantilever console, there is a gold-framed Mother of God.
The head of the choir on the Godeau square is particularly emphasized by the neighboring bell tower at the east end of the first north aisle. Originally placed next to it with three free sides, it now fits into the corner of the two aisles. Of the high, almost square tower of the type common in the area, only its core is Romanesque. It should have been built in the first third of the 12th century. It is almost twice as high as the central nave. Its walls consist of a fairly coarse ashlar structure that remains the same over the entire height. You have lost the original floor plan. Slit-like loopholes are embedded at different heights . The tops of the walls are crowned on all sides by three angular battlements. The roof is accessible and is drained via two gargoyles on the east side. The upper area with a round arched sound arcade on each side, in which the bell is suspended swinging freely, dates from the 17th century. Before the city was besieged by Lesdiguières, Duke and Marshal of Henry IV and Louis XIII. (1543–1626) and severely damaged in May and June 1592.
The eastern gable wall of the nave, which is the eastern end of the nave, is an extension of the eastern tower wall. It shows similar gradations as at the opposite end of the nave. At the ends of the aisles, for example, there are horizontal eaves of the hipped pent roof, but without rain gutters. Immediately next to the northern tower wall there is a side entrance, which is covered with a pointed arch and a lintel beam. The ends of the partition walls of the nave can be seen above the eaves. About halfway up between the nave and aisle eaves, the original eaves of the former roof on the stone barrel vault is still preserved, from a cantilevered cornice on a row of rounded corbels, on which the bottom row of the hollow brick roofing still rests and protrudes slightly. Above that, the outer wall was built up further to accommodate the higher-lying stucco vault. The new eaves tiles of the central nave rest on a double cornice . The roofing protrudes slightly over the verges of the gable roof. In the middle of the eastern gable wall, a large, squat, arched window is cut out between the gable ridge of the nave and the ridge of the choir.
The 15th century choir has a slightly rectangular floor plan on the outside and is covered with a gently sloping hipped roof with a tile roofing like on the ships with a circumferential eaves on a profiled cantilevered cornice. The masonry of the choir consists of medium-sized rubble stones built in an irregular bond. A round-arched, medium-sized window is cut out in the north wall of the choir.
A small gable wall protrudes a good half a meter from the east side of the choir, the roof areas of which are covered with hollow tiles. Your ridge stays under the choir eaves. The masonry consists of neatly cut stone built in regular layers. Only the base is made of old and dark stone masonry. In the axis of the protruding gable wall there is a small, arched window opening, which has been closed on the inside. One can only speculate about the original role of this component. Most plausible is the assumption that it is the remains of a former rectangular extension of the old semicircular choir apse, built together with the Romanesque cathedral and renovated in the 13th century. It is assumed that the small room could have been used for funerals. Unfortunately, many questions have to remain unanswered due to the lack of essential archaeological research. In the passage to the sacristy, next to the door from the choir near the stairs to the south pore, a semicircular column in the choir wall seems very puzzling. The whole eastern part of the cathedral deserves a new investigation by modern means.
Style and dating
Overall, Vence Cathedral remains an important example of the early Romanesque of the South for several typical features, despite the numerous changes and additions it has undergone over the centuries. Marcel Aubert once made some comparisons, both with the floor plan and the elevation of St-Vorles de Châtillon-sur-Seine in Burgundy. The pillars with the adjacent semicircular columns are much less rigid than in Valdeblore . The original vaults of the three naves with their girders also show a more sophisticated conception than in Saint-Dalmas or Levens . On the other hand, in the arrangement of the nave and its high arcades one discovers such ancient forms as on the first yoke in Madone in Saorge . The construction of the Cathedral of Vence must be placed in the last third of the 11th century.
Interior
In the chapel of St. Veran, the last in the south aisle, there is a pagan sarcophagus decorated with wavy lines with the busts of the deceased spouses in a shell from the 4th or 5th century. It was used as an altar table because it was believed to be the saint's grave. To transform it into an altar, two small bas-reliefs with philosophers were cut off and walled in in the adjacent pillar.
Eighteen particularly rare fragments of neatly carved sculptures were inserted as spoilage in the walls of the cathedral and in those of the old bailiwick. They come from slabs, pillars, borders, choir screens and an ambo . Some go back to the Carolingian era and raise the question of the appearance of the high medieval cathedral. They show the usual décor made of three-part woven ribbon, which dissolves in a sloping surface. They are composed of spiral shapes according to a strict pattern that carefully observes different schemes. Their mesh network enlivens eagles and pigeons, as well as grapes, stylized foliage, rosettes or snail shapes. The most beautiful of these fragments is found on the ground floor in the hall of the church tower, northwest of the choir. A large slab of white marble (95 × 155 × 15 cm) asks how these works are made. It was obviously originally wider because it broke off in its entire length on the right. Another plate, 71 × 71 cm, with an eagle or phoenix in a medallion, surrounded by twisted lines, but probably comes from an ambo, as does the small triangular fragment. 30 × 19 cm, which is built into the cathedral on the east side of the first southern pillar. Then a peacock drinks from a two-handled Eucharistic vase on or in which a dove is depicted, while a snake curls around behind the peacock. Other fragments on pillars show a network from which bird or plant motifs emerge.
A third row offers wider-meshed wickerwork, less strictly drawn, which allows more of the base of these reliefs to be seen. It is certainly more recent, at the beginning of the Romanesque epoch. Especially the scheme and motif of one of these plates from the beginning of the 11th century. The limestone fragment is 85 × 36 cm on the second eastern pillar with an imprecise outline and looks rather clumsy.
Under the altar of the Saint Lambert Chapel, the second in the south, there is a sarcophagus, dating from around 1175, with the remains of the bishop who died in 1154. A cartouche contains a Latin inscription in beautiful large capital letters . Here is a translation of the inscription rhymed by the 17th century canon Barcillon: “Everyone who does not know that Bishop Lambert lies in this tomb. Rare goodness characterized the 40 years of his prelature , regardless of whether in happy or unhappy times. May his piety eradicate all his sins and let him find eternal rest in heaven. "
The remains of the two bishops are in the silver busts in the choir.
The gold-plated silver reliquary of St. Blaise is decorated with scenes from the life of the saint. It bears the coats of arms of the houses of Villeneuve and Agoult, since Giraud de Villeneuve, Baron of Vence, married Bourguette d'Agoult in 1360.
The main adornment of the cathedral is its choir stalls, which were made between 1455 and 1459 by Jacotin Bellot, a master carpenter from Grasse . Originally set up in the choir, it was moved to the west gallery in 1499. The same Bellot was given further work in Vence. On this occasion he had to add several choir stalls (from 43 to 51). The sumptuous tops of the backrests of the high chairs, the usual canopy that protects them, the foliage and the grotesque shapes that enliven the armrests and the folding seats , everything is first-rate skilled work. A beautiful flamboyant choir completes the facility.
The remarkable door of the old bailiwick is adorned with fake flamboyant wickerwork from the end of the 15th century and some plaques “Visit of St. Anthony to St. Paul”. Daret created it between 1613 and 1668. They were probably ordered by Godeau. He had his patron's chapel restored. Godeau also donated “St. Lambertus in regalia” around 1666 for his altar. “Saint Veran, blessing the people of Vence”, the altar painting in his chapel, which was wrongly attributed to the Provencal painter Sauval, is signed “Dandre-Bardon” (1700–1778).
In the stairwell, which leads to the upper floor at the main entrance, a statue of the Madonna watches, which was carved from eucalyptus wood by the French artist Jean Vincent de Crozals in 1953 .
In 1767, the canons commissioned the Genoese sculptor Giuseppe Fiaffini with the high altar in the choir apse made of multi-colored marble.
Latin inscription
Relic of a relief
Merovingian wattle
Merovingian eagle or phoenix in medallion
Merovingian relief, bird drinking from bottle
See also
literature
- Jaques Thirion: Romanesque style of the Côte d'Azur and the Maritime Alps . Echter Verlag , Würzburg 1984, ISBN 3-429-00911-1 , pp. 109-120.
Web links
Individual evidence
- ↑ Jaques Thirion: Romanesque of the côte d'azur and the Maritime Alps. 1984, p. 109.
- ↑ Thirion 1984, p. 110.
- ↑ Thirion 1984, p. 111.
- ↑ Thirion 1984, p. 118.
- ↑ Thirion 1984, p. 111.
- ↑ Thirion 1984, p. 112.
- ↑ Thirion 1984, p. 113.
- ↑ Thirion 1984, p. 115.
- ↑ Thirion 1984, p. 115.
- ↑ Thirion 1984, p. 116.
- ↑ Thirion 1984, pp. 116-117.
- ↑ Thirion 1984, pp. 118-119.
- ↑ Thirion 1984, p. 119.
- ↑ Thirion 1984, p. 120.
- ↑ Thirion 1984, p. 120.
- ↑ Thirion 1984, p. 120.
- ↑ Cyrille de Crozals: Jean Vincent de Crozals - sculptures et peintures . 2010, ISBN 978-3-00-032146-7 , p. 119.
- ^ Matisse à Vence - L'olivier du rêve . témoignage d'Annelies Nelck. 1998, ISBN 978-2-9512982-0-0 , p. 144.
Coordinates: 43 ° 43 ′ 22 ″ N , 7 ° 6 ′ 50 ″ E