Tomb of François II of Brittany

The tomb of François II , Duke of Brittany and his wife Marguerite de Foix is a monument which is with Nantes, in the cathedral Saint-Pierre, and which was made out of Carrara marble at the beginning of the 16th century by Michel Colombe (sculptor) and Jean Perréal (architect).

History of the tomb

The unit, ordered by Anne of Brittany to honor the memory with his/her parents, is regarded as a masterpiece of the French sculpture. Initially known under the name of “tomb of the Carmelite friars”, the monument owed this name with its site, because François II had wished that his body rest in the vault of the Carmelite friars in Nantes, to join there the skin of his first Marguerite wife of Brittany. The tomb thus accepted the bodies of François and his two successive wives, and was initially placed in the vault of the Carmelite friars.

To the Revolution, one manages to withdraw the statues from the hammers of the breakers while dismounting and by burying the tomb, which finds its integrity later, and finally finds place with the Cathedral at the beginning of the 19th century.

Description

The monument consists of a Sarcophage massive, rectangular, on which are lengthened both Gisant S with the hands united in prayer. Their heads rest on thick cushions or “squares” maintained by three angels, and with their feet are held the greyhound, symbol of fidelity, and the lion which represents the force. With the four corners of the tomb draw up four statues in foot, representing each one one of the major Virtues: one recognizes there Justice, the Moral fiber, Temperance and Prudence.

The turn of the tomb presents other delicate sculptures, in small pink marble niches, accounting for in turn the twelve Apôtres, patron saint of the two lying ones (holy François d' Assise and Sainte Marguerite), like Charlemagne and Saint Louis. Under these statues, recroquevillés in small medallions in shell, one sees the penitent ones draped of black.

The lying ones

four cardinal virtues

The four cardinal virtues evoke qualities which must have the Christian prince:

the force is represented in armor, because it is about a virile virtue. In the iconography of this virtue, it is often represented supported against a column or a tower. Here it extirpates the dragon tower (or Donjon) where it cut off and symbolizes thus the moral fiber which triumphs over the Vice and of temptation. She points out the role of the Christian knight in the defense of the Foi.

the temperance is represented with a Horloge, which symbolizes measurement, measures time that one should not waste in vanities, measurement in very to avoid excess. She recalls that the prince must seek the happy medium, balance. Its dress almost monacal expresses the refusal of temptations of the flesh which precisely lead to excess.

the justice carries the sword which punishes and balances it which weighs the gravity of the crime or the weight of the arguments of the two parts. It carries a crown recalling that the prince exerts the role of judge and referee.

the prudence holds a compass. It must act with measurement. Its face is double, on a side that of the old man who knows the past, other that of the young woman. The precaution cannot do without the experiment. The Miroir in its left hand is that of the truth: she sees the image of her weaknesses there and knowing itself, can better correct its control.

Elements symbolic systems

The Lion and the greyhound

Charlemagne, Saint Louis, Apostles

References

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