St Martin (Vic)
St-Martin de Vic is a small parish church in the French commune of Nohant-Vic , in the district of Vic , in the Indre department and in the Center-Val de Loire region and about six kilometers north of the city of La Châtre . It is famous for its particularly well-preserved frescoes from the 12th century, which were discovered in the mid-19th century.
history
The village Vic derives its name from the Latin Vicus (= village) and is of Gallo-Roman origin. The settlement was probably Christianized at an early stage and since the Gregorian reforms around 1100 it belonged to the powerful Benedictine Abbey of Notre-Dame von Déols .
At that time, St-Martin consisted of a simple nave and a rectangular choir . In the early 12th century, the south side chapel was added (without the semicircular apse ).
In this epoch the outstanding frescoes were created by a brilliant artist in an extraordinary unit, namely on both sides of the wall between nave and choir, on all walls of the choir, on the walls and the vault of the choir apse and on some soffits of the windows and Wall outlets. The frescoes in the middle of the south wall of the nave are probably by another artist. It is not clear from the known sources whether there were originally more frescoes on other plastered surfaces, for example on the longitudinal walls of the ship or on its former west wall, which could no longer be preserved.
Later, the wall paintings disappeared under several layers of whitewash and have therefore been preserved up to our time.
In 1485 the wood paneling of the roof trusses was renewed, based on the example of a sketch on a beam.
In 1787 a roof turret for a bell was erected on the roof of the ship.
During the revolution (1789 and a few years after) the church was used as a barn.
At the end of 1849 the new pastor, Father JB Perigaud, came into possession of the old church. While widening the window of the choir apse, he discovered traces of fresco paint under five later coatings. After removing them within a few months, the most important groups of the frescoes emerged. Now the problem arose of saving the Romanesque frescoes, which were in poor condition, mainly due to a lack of financial resources. Fortunately, the then mayor of Vic was a lover of antiques. With the participation of the family of George Sand and Prosper Mérimée , it was achieved that in February 1850 the Commission for the Preservation of Monuments gave a favorable opinion and promised financial aid of 6,000 francs. Shortly afterwards, Mérimée commissioned the architect Geginald-Brion with the work. In the course of the restoration, the roof turret was replaced by a western porch with a bell tower and an apse was added to the south chapel. Services could again be celebrated in the church on September 4, 1853, the day before the visit of the Archbishop of Bourges, Cardinal Smith.
In 1926, at the beginning of the choir apse, frescos were transferred to canvas and then stuck back onto the wall. A study by Mr. John Henderson on the occasion has shown that the rear semicircular choir apse was built before the frescoes were completed and the southern chapel was only built after the frescoes were completed. The choir, the oldest construction phase, was built before the transfer of the church to the Abbey of Déols. The apse and its frescoes were only made in the 12th century after the church joined this abbey. The south chapel was probably built shortly afterwards.
It was carefully restored between 1987 and 1991 and is now largely in excellent condition.
Building
The present floor plan is based on a representation that is shown on an information board in front of the church. However, it only contains the original building and the first extensions to the choir yoke and the south chapel. Its apse is only shown as a hatched area.
Unfortunately, this representation lacks a scale, so that the dimensions of the structure cannot be determined.
Outer shape
The original structure consists of a simple nave on a rectangular floor plan to which a choir on an almost square floor plan adjoins in the east. Both structures are covered by a gable roof , which is inclined at around 45 degrees and whose roofs run in an east-west direction. The elevation of the choir is less than a meter in width and height on all sides compared to that of the ship. The gable roofs are covered with red shingles made of baked clay . Their eaves protrude slightly from the walls and are supported by short rafter heads of the wooden roof trusses . The rainwater drips freely from the edges of the lower rows of shingles. A 30 centimeter high strip of masonry protrudes slightly from under the eaves on the north sides. In each of the longitudinal walls of the ship, three small, arched windows are cut out, the apex of which is just under a meter below the eaves and on the north side below the cantilevered masonry. On the south wall of the ship, east of the middle of the wall, you can see the contour of a former round arched side portal, which has been walled up. In the eastern gable wall of the chancel, two small round-arched windows are cut out, a good meter away from the component edges. In the north wall of the choir there are contours of two small windows high up under the masonry offset , but these were later walled up.
The first extensions to the original building were the choir apse , on a semicircular floor plan and the southern chapel on a rectangular floor plan. The latter is covered by a towing roof, which was created as an extension of the southern saddle roof surface of the choir without any noticeable break. Its eaves correspond to that of the ship. In the south wall of the chapel there is a round arched opening of a side portal. The choir apse is covered by half a conical roof, which is again covered with red tile shingles. The eaves overhang is formed from a stone cantilever profile. In the center of the apse rounding a sleek round-arched windows recessed whose jambs of stone fillet shape is rounded. The great height of the window and its drapery indicate that an originally smaller window was later replaced with the current one. The chapel apse could also have been added later. This is indicated by the other version of the eaves, in which the stone cantilever profile is missing. (See also note under “Building”) In the apse's apse a small round-arched window is cut out, the cladding of which resembles that of the choir apse. The roof in the shape of a half cone is covered like the choir apse.
The older components described so far are from breakage and field stone masonry in small- to medium-sized formats and at irregular Association brick. The colors range from light beige to white to strong red. Only the component and opening edges are made of light-colored stone .
The youngest component in the west is the tower porch on a rectangular floor plan. He stands in the extension of the ship whose breadth he takes over. Its monopitch roofs, arranged on both sides of the tower, remain slightly below that of the ship's gable roof with their contour. The roof surfaces are covered with stone slabs. Their eaves and verges are marked by stepped cantilever profiles. The verge profiles are each supported by four flat, diamond-shaped corbels. As an extension of the two transverse walls of the porch, there are strong buttresses with a rectangular floor plan , which, with their steeply sloping upper sides, reach up to around two thirds of the wall height. Their cover plates end in stepped cantilever profiles. In the north and south walls there is a small, arched window in the middle, the same size and height as that of the ship. The base of the tower porch is formed from a slightly protruding base a good meter high, which also encloses the buttresses. The facade of the tower front is dominated by the main portal and its front building, which is rectangular in view.
This is covered on the top by a short monopitch roof made of two rows of flat stone slabs. The simple eaves profile is supported by a row of flat corbels. The two lateral outer edges of the portal porch are not resolved into a wide hollow over the entire height. The rectangular portal opening is covered by a semicircular smooth tympanum , which is supported at the corners by rounded corbels. The portal opening with tympanum is enclosed by an archivolt , made of a strong, curved round bar, which stands in both wall recesses on conical columns that are equipped with carved capitals , profiled fighters and bases . In addition to the arched rod and the pillars, there are two smaller stepped profiles, which are closed in the arched area by a semicircular angular profile with a smooth front. The ends of the profile stand on capitals in the form of heads. A little and centered over the porch is recessed a window opening whose tracery a quatrefoil forms, which is enclosed by a circular round profile. Further up, at the height of the two monopitch roof ridges, begins the two-storey tower, which is square in plan and whose west side emerges flush with the facade wall. The lower storey is closed smoothly on all sides and is surrounded by an angular cantilever profile. There is a twin arcade opening on each side of the tower, recognizable by their lamellas as sound arcades of the bell chamber. The two arches of the slender openings stand on three pillars, which are equipped with capitals, fighters and bases. The outer pillars are accompanied by very slim pillars with the same equipment. The common smooth semicircular arc field is enclosed by several stepped profiles. The upper storey is closed off by a broad, multi-stepped cantilever profile that is supported by a series of profiled corbels. The sides of the wooden spire , in the form of a steeply inclined pyramid, are widened outwards over the eaves. They are covered with gray, small-format slates. The top of the spire ends in a funnel-shaped metal tip with a spherical knob . A graceful metal cross with a weathercock rises above it .
In contrast to the other components, the tower porch was built entirely from carefully cut ashlar blocks made of gray to whitish material in small to medium formats and in even layers.
environment
On the south side of the ship, an approximately 2.50 meter high stele was erected from the same stone material as the original building. The lower plinth-like section has a square plan and ends with a slightly cantilevered stone slab. Above it rises a brick column, which is closed on the top with a helmet-like structure, made of a lower flat truncated cone that merges into a half sphere. A slender wrought-iron cross protrudes from it, the arms of which are split into three leaves, reminiscent of the fleur-de-lys ( heraldic lily).
In front of the north wall of the ship are some sarcophagi , some with lids. They remind us that the church originally stood in the middle of a burial ground or cemetery.
Interior
The two rooms of the original building, the nave and the choir, extend with their inner elevation up to the roof trusses of the gable roofs. At the height of the purlins that rest on the side walls, visible horizontal tension beams are stretched from hanging trusses, four in the nave and one in the choir, which prevent the horizontal thrust forces of the wooden structure acting on the supports from being absorbed and only vertical loads remain that are derived from the longitudinal walls without any buttresses into the foundations. So that the tie beams do not bend, they are suspended in the middle on vertical posts that reach up to the ridge and direct their loads into the construction. The roof structure has a horizontal beam position at about half its height, which is planked on the underside with a wooden facing. This wooden formwork continues on both sides of the sloping downward rafters of the roof structure to end slightly rounded on the wall crowns. The whole thing makes the rooms appear arched.
The nave is illuminated on each long side in the upper third of the wall through three small arched windows with widened walls. The choir has two similar windows, namely in its east wall above the choir apse. But it also receives daylight from a larger window in the choir apse.
The wall between the nave and the choir has a relatively small arched passage, although the height of the choir is only about one meter lower than in the nave. However, this creates plenty of space for the mural.
The design of the west wall of the ship reveals its origin with the creation of the tower porch. It has roughly the same central passage as that of the main portal. Its smooth tympanum and the arched profile surrounding it on two protruding capitals also show similarities with the porch. The middle passage is flanked in front of two higher round-arched passages, which generously connect the narthex on the ground floor of the tower porch with the nave. Shortly above the central arch profile, the height of the ceiling of the narthex is marked by a horizontal semicircular profile . On it stands a parapet that extends over the entire width of the ship , the lower and upper edges of which are marked by stepped profiles. In the middle section of the parapet, it is broken up by three circular openings, each of which forms a four-pass structure, which is enclosed by a circular profile. On the side section of the parapet stands the west wall of the ship, which extends over the wooden ceiling formwork. A large, arched “window” opens into the upper floor of the narthex. An archivolt made of a semicircular curved rod on pillars, which are equipped with carved capitals, profiled fighters and bases, stands in a circumferential setback of the reveal edges. Through this opening, the golden light of the evening sun falls into the nave, especially in the afternoon and evening, which in turn enters the building through the large four-pass window opposite in the facade of the tower porch. The upper floor of the narthex is also lit through a small window in the north and south walls. How to get to the upper floor is not known.
The Vic frescoes
The main theme of the cycle of paintings in St-Martin is “ Fall and redemption of the human race”. The frescoes are mostly done in orange, red and white tones.
The largest coherent plastered area with wall paintings is the east wall of the nave, which separates it from the choir. A round-arched passage is cut out in the middle, which is integrated into the painting by painting the arch with "wedge stones". Just above the arch of the passage, the painting is divided into two sections with a broad line, the lower one slightly higher than the upper one. Altars have probably always stood in front of the two wall surfaces flanking the passage, which did not allow their backgrounds to be painted with narrative frescoes. There are no paintings at all on either side of the passage up to a height of about two meters.
The two long walls of the ship are divided over the entire length by broad lines into three sections of roughly equal height. On the north wall, all sections are painted in a beige solid color. This also applies to the lower and upper sections of the south wall. The middle section shows wall paintings throughout, but they are not as well preserved as most of the others.
The choir is almost entirely painted with frescoes, including the adjoining choir apse and its vault. The arched reveals of the passages to the ship and the south chapel and some window reveals are also painted.
Frescoes of the ship
East wall
High above the arch of the passage to the choir, the enthroned Christ dominates as " Majestas Domini " (ruler of the world) in a mandorla , which is formed by two segmental arches made of white, orange and red stripes. Christ is seated on a broad throne, his feet resting on a small stool pierced by window-like openings. The multi-part, wide flowing garment spreads loosely over the body. His bearded face looks straight at the viewer and is backed by a cross nimbus . He holds up his right hand in a gesture of blessing , his left hand lies on a package-like structure, probably the book of life .
Between the mandorla and the apex of the passage arch, another but circular mandorla encloses the mystical Agnus Dei (Lamb of God), the back of which is facing a nimbus and a large Latin cross decorated with ornaments . The book with seven seals can be recognized between his feet .
The upper wall section is divided into two registers of roughly the same width.
The five seated persons in the upper register are dressed in long-sleeved tunics and pleated togas and are decorated with nimbs . On the left, two people without a beard are listening intently to the words of the middle one, which he emphasizes with the gestures of his left hand. He wears a light nimbus and a beard. A cube-shaped object rests on his thighs. To the right of it, two people are sitting and looking in the same direction. The one on the left has a light nimbus but no beard. She raises a cube-shaped object with her left hand and points at it with her right. The sources are interpreted as five apostles.
The illustration below shows three galloping horses on the left, on which bearded men are riding in a hurry, which is underlined by the waving robe of the one in front. These are obviously the three wise men or kings traveling to Bethlehem, symbolized by a tower-like building. The one in the back points to the star in the sky above the place of birth with one hand . On the right the baby Jesus - dressed like an adult and with a cross nimbus - sits on his mother's lap and greets the newcomers with a gesture of blessing. Two shepherds fall on their knees before him and offer offerings filled in bowls in their hands.
At the top right, the scene is severely damaged. But here again, as on the left, it is about seated people with nimbs, who are listening to the words of another person, with a light nimbus and beard, who underlines his speech with gestures of the right and holds a cube-shaped object in the left. These should also be other apostles.
The images below show two scenes with Mary, the Mother of God. The right is framed by two twisted columns with capitals. It shows the proclamation of the Archangel Gabriel (with nimbus) to Maria (with nimbus) in Nazareth (see building in the background). The angel underlines his words with the gestures of his raised hands and his widely spread legs. Mary in a foot-length robe and with a hood receives the words with an understandingly bowed head and a raised hand. In the scene on the left, Maria (with a halo and hood) is standing in the company of at least six women who are talking to her. The Visitation of Mary could be represented here.
The " Representation of the Lord " is shown at the bottom left . The buildings in the background are supposed to symbolize the Jerusalem temple . The scene consists of a basket arch made of a white, orange and red line that rests on two twisted pillars with capitals. Mary and Joseph present the baby Jesus, here more likely in infancy, when they hold him up above an altar table. On the left is an elderly woman who makes a comment after making a hand gesture. It is about the prophetess Hannah , who recognizes the Messiah in Jesus. See the Gospel of Luke ( Lk 2 : 22–24 EU ). The heads of all persons are deposited with nimbs.
The "Descent from the Cross" is shown at the bottom right. While a helper pulls the nail from the left arm of the cross with huge pliers, the body of the crucified slips over the shoulder of the bearded Joseph of Arimathea , who catches him. Jesus' head leans sideways on his shoulder and is backed with a nimbus. On the right is the Mother of God, Mary, holding her head in mourning on one hand. On both sides of the upper cross stem, a red and an orange circular disc can be seen, which are enclosed by a white, or a white and red circular ring. In the right disk you can see the head of a female person with a nimbus who holds a white cloth in front of her upper body with arms raised to the side. The head of the person on the left is no longer preserved. The two structures are interpreted as the sun and moon.
South wall
The long walls of the ship are divided into three almost equally high registers by wide strips, of which only the middle one on the south wall is frescoed along the entire length of the ship. The register is divided into two sections, about two-thirds to one-third in length. The larger section on the left shows a total of four knights on their horses, three are riding galloping to the right, one has turned to the left, where a person is standing who can be recognized as physically handicapped by his cane. Of this only the head, arms and stick have survived. The knight holds a long sword in his left hand with which he tries to divide the shawl in his right hand, probably his cloak. The other end of the coat is accepted by the standing person. The front knight of the group of three has turned his upper body back and points with his right hand to the scene of the cloak division. Obviously a group of the Roman Imperial cavalry can be seen here, one of which turns away to help the helpless and unclothed person and to clothe him. It is about the legend of St. Martin of Tours , who is also the patron saint of this church.
The second smaller section may depict a scene from the Last Supper . Here Christ (with cross nimbus) and five of his disciples (with nimbus) stand behind a table, the surface of which is decorated with a grid of rhombuses. On the table, only faint, darker contours of the meal items can be made out. Jesus holds a book in his left hand (?) The second disciple from the right holds a knife in his right hand. With his right hand and two outstretched fingers, Jesus points to a small person who is lying or kneeling under the table. The disciples each point with the finger of one hand in the same direction and raise the other, open as if in an oath. Who should be the person under the table who also seems to wash or touch one of Jesus' feet is unclear for the time being.
The frescoes on the south wall of the nave differ significantly from the rest in style and quality. So it can be assumed that another artist was active there, perhaps with a time delay.
Passage to the choir
Two heavily armed guards present themselves at the reveal of the triumphal arch to prevent unauthorized persons from entering the Holy of Holies. They wear full chain armor from head to toe, pointed helmets, an arched shield each and an upright lance on which their rights are held high.
Choir room
The individual scenes are divided and delimited by friezes made of geometric and plant ornaments.
On the west wall of the ship, above the apex of the triumphal arch, we see "The Last Supper " under a basket arch that rests on pillars with capitals. In the background above the scene, the architecture is supposed to represent the walls and towers of the city of Jerusalem. Behind the table set with a white tablecloth, Jesus is sitting in the middle on a somewhat larger scale, his favorite disciple John is resting on his chest, and ten other disciples are eagerly listening to the Lord's words. The flowing robes of the people and their bare feet can be seen under the table. On this side of the table the disciple of Judas pushes himself from the right to the middle and holds a bowl with an outstretched arm. Christ has just dipped a bite into this and, with an arm stuck in the same way, hands it to Judas's mouth. This is the sign that declares him a future traitor. The remains of the Lord's Supper can be found on the board, such as bowls, cups, and knives. All persons except Judas wear nimben.
To the left of the Lord's Supper scene, a short continuation from the depiction of the "Entry into Jerusalem" can be seen on the neighboring south wall. Within the architecture of Jerusalem there are two people who cut off mushroom-like plants with knives. This obviously means palm fronds that the artist did not know. On the far left are two people whose upper bodies have not been preserved. In any case, they are watching the entry of Jesus.
On the same wall further down on both sides of the triumphal arch, a white-haired and a bearded prophet is depicted, decorated with the architecture of the heavenly Jerusalem. Using the tapes in her hands, two Old Testament personalities can be identified, David (left) and Moses (right).
On the east wall between the windows three frontally standing white-haired and bearded prophets are shown: "JEREMIE PROPHETE" (Jeremiah), "PROPHETE DOMINIE" (Isaac), "PROPHETE TENDENT" (Elijah).
West wall gallery
Choir, west wall, top right, Last Supper
Choir, west wall, top left, continued Entry into Jerusalem
Choir, west wall, bottom left, David
Choir, west wall, bottom right, Moses
The north wall presents a register of various scenes, beginning on the left with the washing of the feet of the twelve disciples by Christ before the Lord's Supper. The scene is again spanned with a basket arch on pillars with capitals. The architecture in the background symbolizes the city of Jerusalem. Here it is representative of the white-haired Peter (with nimbus) who sits opposite Jesus (with cross nimbus). The gestures of his hands reveal a lively discussion. Jesus crouches forward slightly, grasps his right lower leg and dips his foot into a large bowl. In his left hand he holds a smaller bowl of water which he pours over his foot.
In the following scene to the right, a man (with a halo) turning sideways with a sword in his upward-pointing right threatens a small man whose head he supports with his left. The scene in which the apostle Peter cuts off Malchus' ear is shown here .
This is followed by a lively scene with the betrayal of Judas Iscariot through a kiss and the ensuing imprisonment of Jesus. Jesus (with cross nimbus) strives forward and turns back. Immediately behind him, Judas follows, grabs him with both hands and kisses him. Both are harassed by a group of six soldiers armed with spears, and through the agreed kiss they recognize that the person they are looking for is in front of them. The two soldiers standing in front of him take his outstretched hands and tie him up.
The last scene on the far right shows the 5th station of the cross: Simon of Cyrene helps Jesus to carry the cross. This was a simple field worker who was on his way home when a troop of Romans forced him to carry the cross of the condemned Messiah Jesus of Nazareth . He is depicted as a young man who alone carries the cross on his shoulders with a sweeping step.
All of these scenes are carried by a frieze of waves in a body of water that are moved as if by a storm. Perhaps this is supposed to symbolize the waves of the Jordan , in the vicinity of which the representations took place.
On the south wall , the entry of Jesus into Jerusalem Mk 11.1–11 EU extends over almost the entire width , Jesus rides a young donkey which the disciples who greet him have covered (with nimbs) with clothing. More people spread clothes on the way in front of him, as was customary with kings. Others cut and break palm fronds from the trees (as one imagined) and wave them at him.
To the right of this there is a short continuation of the entrance on the west wall. Two tall people are standing there, facing the arriving one. Their upper bodies are no longer preserved. In the background, against the backdrop of Jerusalem, you can see two people using knives to cut off palm fronds that look more like mushrooms. The artist obviously didn't know what these looked like.
At the left end of the entrance, an angel hides behind a large pane of which only a quarter can be seen and hands the woman kneeling in front of him an object, perhaps a piece of bread, a coin or a ring. The woman looks at him in awe and raises her hands. An interpretation of this scene is still pending.
On the right, under the entry into Jerusalem, in the middle is an almost undressed human couple, standing one behind the other and spreading their arms for help. From the right a diabolical figure with a human body and a head with a torn beak and bristling hair approaches. He wears a jagged skirt around his waist. He tries to grab the pair with both hands. Opposite to the left, an angel (with a nimbus) rises, who thrusts a spear into the beast's mouth with his right hand. At the same time, he hits the devil's body violently with his long sword. The scene evidently alludes to the Fall.
The reveals of the small arched windows in the east wall show a female and a male person each holding a hand high above their head. Both have red hair and a halo.
Gallery choir, south wall
Choir, south wall, left, entry into Jerusalem
Choir, south wall, left, entry into Jerusalem
Choir, south wall, right, entry into Jerusalem
South wall, bottom right, allusion to the Fall
The choir apse is completely painted. In the center of the half dome of the apse there is another majestas domini in the mandorla, made up of five strips of different widths, the outer edge of which is lobed in an arc. The front-facing Christ, with a double goatee and a nimbus, opened his mouth to speak. He holds his right hand up in a gesture of blessing. His left hand is holding a cube-shaped object, probably the Book of Life, on his left thigh. The mandorla is held up on both sides by an angel, whose body hugs the curve of the mandorla.
The four evangelist symbols are depicted on both sides of the mandorla and the angels holding it . The most common assignment is: A person symbolizes Matthew (top right), the lion Markus (bottom left), the bull Luke (bottom right) and the eagle Johannes (top left). All symbols are winged and their heads turned to the ruler of the world are backed with nimbs. Matthew holds up an open book in his right hand. The eagle looks more like a goose.
On the left wall next to the apse window, the martyrdom of Simon Peter is depicted, an overhead crucifixion at the martyr's own request. Two men have raised the cross with ropes. On the left edge of the wall a couple stand upright, hugging and kissing. Both heads are backed with nimbs. A holy couple.
On the right wall of the apse you can see the head of Jesus on the left, recognizable as such by the nimbus of the cross. His body was largely destroyed when the window was enlarged. He wears light hair and a full beard. He looks directly at the person opposite and holds his arm slightly angled downwards and an indefinable object in his hand. The man opposite looks at Jesus and appears to be talking to him. He has a triple goatee and a square crown on his head. He points to the person opposite with both hands, with his index finger on his left. He wears a short robe. Behind him stands another man without a beard, who is probably also taking part in the conversation. Here you can probably see: Christ appears before Herod.
Gallery choir apse
Calotte with mandorla
Calotte, evangelist symbols
Calotte, evangelist symbols
left side, crucifixion Simon-Petrus
A seraph with red hair and a nimbus is depicted in the reveal of the arched passage in the wall to the south chapel .
Individual evidence
literature
- Emmanuelle Polack : Les fresques de l'église Saint-Martin de Vic . Lancosme Éditeur, 2012
- Gérard Guillaume: Les Fresques de Vic , brochure from the series “Les églises romanes du Bas-Berry”, 1997. French text and images
- Michelin - The Green Guide. Auvergne, Berry . 1st edition. Michelin, Paris, ISBN 978-3-8342-8982-7 , p. 160.
- Information board, German text hanging in front of the church (see photo in Commons )
- Jean Favière: Berry roman . 1976. ISBN 978-2-7369-0059-5
- Éliane Lustolle: L'art roman en France . Paris 2005. ISBN 2-08-011296-1
- L'eglise Saint Martin de Nohant-Vic French text + photos
Web links
Coordinates: 46 ° 38 ′ 19.2 " N , 1 ° 57 ′ 33.1" E