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476:"Then Pilate therefore took Jesus, and scourged him and the soldiers platted a crown of thorns, and put it on his head, and they put on him a purple robe, and said, Hail, King of the Jews! and they smote him with their hands. Pilate therefore went forth again, and saith unto them, Behold, I bring him forth to you, that ye may know that I find no fault in him. Then came Jesus forth, wearing the crown of thorns, and the purple robe. And Pilate saith unto them, Behold the man! (Ecce Homo)"
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598:"Le Christ de pitié. Cette célèbre sculpture de l'église Saint-Nizier est un chef d'œuvre de l'école troyenne de la première moitié du XVIe siècle. L'air pathétique du condamné (qui regarde peut-être les préparatifs autour de la croix où il va être cloué) est encore accentué par une couronne d'épines qui ressemble à un turban ou à un bonnet. Les mèches de cheveux qui tombent rappellent les papillotes que portaient les juifs pratiquants."
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the 1900s. In Neuvy-Sautour the cross stands before the altar and there is a sculpture of Saint Claude on one side ad Saint Anne on the other, both on pillars. The cross includes depictions of the Virgin Mary and Saint John plus Mary
Magdalene as well as various symbols including a pelican and a "dance macabre which includes the Pope and various dignitaries. The cross was given to the church by the Abbot of Chauvigny in 1514.
1300:
276:
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pitié" and "Christ de Pitié". The sculptures of 'Ecce Homo', the
Entombment of Christ, the Descent from the Cross, but also the Virgin and Child, the Education of Mary as well as different Saints which were venerated in Champagne, are the most important and numerously represented subjects. The mood of the Passion is expressed in studies of suffering and sorrow all portrayed with an inordinate feeling of resignation.
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161:
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Northern France and the
Netherlands and Southern France and Italy and also on the making and selling of fine cloth throughout Europe. It was the church and the monasteries, the nobility, corporations and rich merchant families who undertook most of the commissions, competing by their orders for the religious and artistic improvement of the churches and noble town-palaces, mostly situated in and near Troyes.
62:
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1040:"2.4.1. Die Grabtragung in Villeneuve-l'Archevêque (1528) In den späten zwanziger Jahren des 16. Jahrhunderts, 13 Jahre nach der Grablegung in Chaource (Kat. 48) entstanden, ist die Figurengruppe in Villeneuve-l'Archevêque (Kat. 314) ein weiteres datiertes Hauptwerk des Meisters von Chaource und bildet daher einen wichtigen Bezugspunkt für die stilistische Chronologie seiner Skulpturen dieser Zeitspanne.
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these studies Christ is in all probability sitting at
Golgotha awaiting his crucifixion and watching the executioners prepare the cross. All these works exude pathos and an overwhelming feeling of despair and hopelessness. The flagellation and the effort of carrying the Cross to Golgatha is over and the agony of the crucifixion itself is to come.
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the hand of
Jacques Bachot in the work and to perhaps further muddy the waters we are reminded that one of the guards carries an inscription reading "Mathieu de Tronchoy". The brochure attributes the work to the Maître de Chaource's atelier believing that the various carvings which make up the group showed the involvement of different carvers.
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sculpture flamboyante, Champagne
Lorraine"-see page 137, dates the work as being from 1505 and puts forward the view that the two statues came from the Abbey at Montier-la-Celle where they had been part of a crucifixion group. In Saint André's the two figures are placed on either side of a depiction of Christ on the Cross.
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invaluable resource for those studying the region's 16th century sculpture and he not only makes attributions where possible to the Maître de
Chaource but also explores the extent to which the Maître's style influenced other workshops in the region, such the workshop of Saint-Léger, that of the Master of
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In his thesis
Arnhold addresses the possibility of these two life-size statues being by the Maître de Chaource, dates them between 1518 and 1520 and states that there is archival evidence that they were brought to Saint Pouange in 1861, and had previously stood on the west facade of Troyes Cathedral.
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was constructed in the 16th century and takes its name from the fact that relics of Saint Nizier were deposited in the church in that era. The church was built in the Gothic style and has three 16th century carvings. One is the "Christ de Pitié" and there is also a "mise au tombeau" and a "Vierge de
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can be attributed to the Maître de
Chaource and was one of a series of such depictions of Christ which began with his "Ecce Homo" in Troyes Cathedral, undertaken around 1520. In the Saint-Julien-les-Villas work the Maître de Chaource adds a skull at Christ's feet reminding us of Golgotha. The figure
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In their study of Troyes sculpture entitled "La sculpture à Troyes et dans la
Champagne méridionale au seizième siècle" Raymond Koechlin and Jean-J. Marquet de Vasselot state that this work stood for many years in the abbey church of Vauluisant and was a gift to the church by the parents of the Abbé
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Arnhold writes that the region's sculptors and their workshops, as was the case with painters, created, developed and maintained a regional and iconographical style which persisted until around 1540 and concentrated very much on themes linked to the Passion of Christ such as the "Pietà" or "Vierge de
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In the brochure "Chaource l'église Saint-Jean-Baptiste et son patrimoine", available in the church, with contributions from Roger Barat, Véronique Boucherat, Laurence Hamonière and Jean-Marie-Meignien, and photographs by Dominique Roy. reference is made to Jacques Badouin's belief that he recognizes
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The work known as "La belle Croix" in this church is 9.40 metres high and is thought to date to 1514/15 and shows many of the stylistic attributes of the Maître de Chaource's atelier. The work had originally been located in the "Chapelle de la Belle-Croix" but this was destroyed toward the end of
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Arnhold holds the view that the "Christ de Pitié" in the Église de la Nativité-de-la-Vierge in Villy-le-Maréchal can also be attributed to the Maître de Chaource. His reasons are mostly stylistic and he points out the similarities in Christ's hair and beard between the work at Villy-le-Maréchal and
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region. Some were entitled "Christ aux liens", others " Christ de pitié". These depict Christ sitting on a rock, this rock often covered by his discarded robe. Often, and to underline the association with the sequence of the "Passion", a skull is put at Christ's feet, reminding us of Golgotha. In
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This work, showing the Virgin Mary, Saint John and Mary Magdalene grieving over Jesus' body which had just been taken down from the Cross, is located in the Église Saint-Jean au Marché in Troyes. Artists of the time wanted to capture the essential tragedy of that moment when those who had been so
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The statues of Saint John and the Vièrge de Calvaire in the Saint André church at Saint-André-les-Vergers were carved from wood and then polychromed. Some researchers believe the study of Saint John is by the Chaource "atelier" rather than by the Maître himself and Jacques Baudoin in his work "La
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had already passed their peak and Arnhold concludes that the reasons for this can be found in the economic prosperity of Troyes, the old capital city of the counts of Champagne. This prosperity was based partly on Troyes' geographic position, being a transit point both of the trade routes between
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and southern Champagne created between 1480 and 1540 by regional masters, and he states that no other region in France in the time from the late 15th century to the middle of the 16th century has had a richer production of sculptures. Sculpture in southern Champagne flourished at a time when the
764:
Arnhold attributes this work to the Maître de Chaource for stylistic reasons and sees similarities with the work in Mailly-le-Camp. He dates the work to 1520. He also writes that carvings of Christ on the Cross in the Musée des Beaux Arts in Troyes could be by the Maître de Chaource as well as
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Whilst most scholars attribute the above six works to the Maître de Chaource, there are other works of the 16th century and in the Troyes region that some attribute to the Maître de Chaource and others do not. Of course the anonymity of the title "Maître de Chaource" does not help so it may be
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The Master of Chaource, so named because of his magisterial "Entombment" in Chaource of 1515, is the region's most important sculptor with a characteristic style which Arnhold explores in the first part of this work. He also catalogues 329 works with nearly 400 illustrations thus providing an
1189:"Auf grund der großen stilistischen Nähe im Gesichtstyp und in der Gewandbehandlung, die in den Details eine Weiterentwicklung erkennen lassen, kann angenommen werden, dass die Skulptur der Martha wenige Jahre nach der Grablegung von Chaource, vermutlich zwischen 1515 und 1520, entstanden ist"
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The records of Troyes Cathedral show that in 1517/1518 a sculptor called Jehan Briaix prepared some drawings for sculptures of Christ and Peter and Paul, but there is no record as to who subsequently carried out the carving, although it could have been Nicolas Halins, the Flemish sculptor.
960:"Die Skulptur in Troyes und in der sṻdliche Champagne zwischen 1480 und 1540: Stilkritisch Beobachtungen au dem Meister von Chaource und seinem Umkreis". by Heinz-Herman Arnhold. An inaugural dissertation put before the Albert-Ludwigs-Universität of Freiburg im Breisgau in September 1992.
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Arnhold concludes that the Mailly-le-Camp Pietà in Mailly-le-Camp followed on from the Pietà in Bayel. He sees similarities in the features of the Virgin Mary when comparing the face in the Mailly-le-Camp composition and her face in the Saint Jean church "lamentation".
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and in the interior, sculptures include a mise au tombeau in bas-relief, a depiction of Nicodemus, another of John the Baptist as well as a "Christ aux liens et socle" and a "Vierge de Pitié". There is also a triptych depicting the crucifixion and the resurrection.
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in the Aube and is thought to have been carved in the same era as the Chaource "mise au tombeau". The work is 0.95 metres high and 1.27 metres long and is carved from limestone then polychromed. Originally it was located in the Benedictine priory of Belroy.
673:, which Arnhold feels can be attributed to the Maître de Chaource, mainly for stylistic reasons. He draws comparisons in particular between the works in Langres and Saint Pouange and the way the sculptor carved the subject's features and costume.
744:
In the church of Saint-Nicolas in Troyes there is a carving which depicts Christ falling down under the weight of the Cross he is charged with carrying. Some scholars attribute this work specifically to François Gentil and to the École de Troyes.
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as well as a "Vierge de Pitié" attributed to Gentil. Gentil executed a "Christ de Pitié" for the parish church of Sainte-Savine. See Ch Fichot "Statistique monumentale du département de l'Aube, arrondissement de Troyes" published in 1884.
45:
as the artist. There is certainly circumstantial evidence which points to Bachot; he was a contemporary of the Maître de Chaource and often worked in the same locations and works by Bachot such as that in the church of Saint-Laurent in
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Of the four evangelists only John mentioned Mary of Clopas as being one of the women present at the crucifixion. John 19:25- "Now there stood by the cross of Jesus His mother, and His mother's sister, Mary the wife of Clopas, and Mary
29:. Photograph shown courtesy Jean-Marie Kinet. Figures from left to right, Nicodemus, the Virgin Mary, Saint John, Mary Salome, Mary Magdalene with a pot of ointment, Mary of Clopas with the crown of thorns and Joseph of Arimathea.
484:" in Troyes. It comprises a life-size depiction of Christ. Arnhold attributes the work to the Maître de Chaource and dates it to 1518 to 1520 and compares the style of the work to the depiction of the apostles in Saint Pouange.
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Another scholar C.Fichot, already mentioned above, in his 1884 work " Statistique monumentale de l'Aube" states that these two statues could have come from the Troyes church Saint-Jacques-aux-Nonnains or the Cathedral of Troyes.
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The altarpiece in the church of Saint Maurice in Marigny-le-Châtel depicts the six apostles and is attributed to the Maître de Chaource by most scholars. The church dates back to the 12th century and was originally called
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The "Lamentation", attributed by most scholars to the Maître de Chaource, is shown in the gallery at the end of the article. The work is in limestone with traces left of polychrome and is thought to date to 1525.
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Antoine Pierre, the church's abbé from 1502 to 1528. They make the attribution to the "Atelier de la Saint Martha" which is another name given to the Maître de Chaource's atelier. They date the work to 1528.
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The works entitled "Ecce homo" or "Christ au roseau" refer to one specific episode and that is the episode described in John 19-1 to 19.5. Jesus holds a Roseau, a palm or wears the crown of thorns and a
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The church itself dates back to the second half of the 12th century and was rebuilt in the 16th century in the shape of a Latin cross. It is the oldest building in Saint-Julien-les-Villas.
569:
This depiction of Christ is 0.72 metres high and, drawing comparisons with the work at Neuvy-Sautour, Arnhold attributes the work to the Maître de Chaource and dates it to 1514.
498:
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A forlorn and dejected looking Jesus, "Christ en Pitie"/"Christ souffrant", sits completely naked with hands bound with cord. He sits on a rock which is covered by his tunic.
819:
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and a detailed altarpiece depicting the "Passion" in the "Chapelle du Paradis". There is also a depiction of Christ carrying the Cross in the "Chapelle du Porte-Croix".
400:
but a study of what the woman holds in her hands does seem to favour it being of Martha. Legend was that after Christ's death, Martha carried out missionary work in the
870:
214:
As the church's brochure says: "Il faut voir ce sépulcre sous diffèrents angles at à toutes les heures du jour pour en apprécier plus complétement les diverses beautés"
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of Christ is carved from limestone and then polychromed. It is 1.37 metres high by 0.61 metres in width. Baudoin disagrees with Arnhold and dates the work to 1510.
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The church of Saint-Jean-Baptiste contains many treasures apart from the mise au tombeau and many are works from the 16th century. These include statues depicting
299:
John's hand reaches to comfort the Virgin Mary. Part of the "Lamentation" in the Église Saint-Jean au Marché in Troyes. Photograph shown courtesy Jean-Marie Kinet
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parish church to the Maître de Chaource. However, the researchers used by the French government for their "culture" website classify the authorship as "unknown"
855:
637:
Arnhold concludes that for stylistic reasons the work could have been by the Maître de Chaource but is a little more tentative than with other attributions.
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in Burgundy, is a work which has been attributed to the Maître de Chaource. The church dates back to the 13th century with changes made in the 15th century.
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which has been attributed by some to the Maître Chaource's atelier. In this depiction he wears the collar of the "Order of Saint Michel" founded in 1469 by
422:
In his thesis, Arnhold dates the work as having been executed between 1515 and 1520. A photograph of the statue is shown above courtesy Yvette Gauthier.
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is the work of the sculptor who became known as the "Maître de Chaource". The composition shows Jesus being laid into His tomb. The group includes
65:
Mary Magdalene wipes away a tear. Part of the "Lamentation" in the Église Saint-Jean au Marché in Troyes. Photograph shown courtesy of Jean-Marie Kinet
1431:
Die Skulpturen in Troyes und in der südlichen Champagne zwischen 1480 und 1540: stilkritische Beobachtungen zum Meister von Chaource und seinem Umkreis
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Depictions of Christ at the time of the crucifixion were much favoured by the sculptors or imagiers of the 16th century and particularly in the
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1317:
1201:. A full description of the controversy Martha versus Mary Magdalene . Troyes-champagne meridionale.blogspot.co.uk. Retrieved 5 April 2013.
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See also "The Pietà in French Late Gothic Sculpture: Regional Variations" By William H Forsyth, another much quoted work on this subject.
493:
269:
455:
890:
Dom Éloi Devaux, "Le Maître de Chaource". Paris, Zodiaque, 1956 and Suite à Chaource – Cahiers de l'Atelier du Coeur-Meurtry – N° 40.
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Part of the mise au tombeau in Chaource. The Virgin Mary, Saint John and Mary Salome. Photograph shown courtesy Jean-Marie Kinet
831:
795:
843:
1049:"La sculpture à Troyes et dans la Champagne méridionale au seizième siècle" Raymond Koechlin and Jean-J. Marquet de Vasselot
1161:
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the Saint-Julien-les-Villas depiction. He also points out the similarities with the Bouilly "Christ de Pitié". See below.
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for the western facade of Troyes cathedral, and hypothesizes about whether Halins could have been the Maître de Chaource.
82:
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A relief depicting the annunciation for a mantelpiece/fireplace in Troyes has been attributed to the Maître de Chaource.
50:, of which fragments are held in the Joinville Town Hall, show great similarities to the work of the Maître de Chaource.
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1341:
1329:
1288:
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1146:
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R.Koechlin & M de Vasselot, "La Sculpture à Troyes et dans la Champagne méridionale au 16me siècle". Paris, 1900.
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The church is rich in 16th century sculpture and furnishings. Outside the church are sculptures of Saint Frobert and
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Baudoin attributes the piece to the Maître de Neuvy, possibly Jacques Bachot, instead of to the Maître de Chaource.
383:
352:
365:
88:
670:
467:
An example of a " Christ de pitié" in Montreuil sur Barse. Also shown in the "Le Beau XVIe siècle" exhibition.
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An example of a " Christ de pitié" in Mussy-sur-Seine" This work was included in the exhibition "Le Beau XVIe
893:
Pierre Quarré, "Le Christ de Pitié en Brabant-Bourgogne autour de 1500" (exhibition catalogue, Dijon, 1971)
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The Virgin Mary. Part of the entombment in the parish church of Saint-Jean-Baptiste in Chaource in the Aube
1021:
666:
47:
375:
69:
In 1992, Heinz-Herman Arnhold wrote that the works of the Maître de Chaource's atelier can be seen from
37:
was an unidentified sculptor who worked in the late 15th and early 16th century, in the French town of
862:
535:
93:
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The work " Ecce Homo" in Troyes Cathedral came originally from an altarpiece in the chapel of the "
142:
42:
1430:
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Valley area and would go about her work carrying amongst other things a pot holding holy water, an
263:
173:
135:
41:. While many works are attributed anonymously to him or his atelier, some scholars have identified
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Some art historians have claimed that this statue is a depiction of Mary Magdalene rather than of
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440:
1408:
1238:
1108:
1058:
1002:
492:
Both Arnhold and Baudoin believe that the figure of Christ ("Christ de Pitié") in the church of
459:
An example of an "Ecce Homo". This work is to be found in the Saint-Urbain Basilica in Troyes.
412:
1096:
739:
Depiction of "Christ falling under the weight of the Cross" in the St Nicolas church in Troyes
283:
Arnhold dates the Villeneuve-l'Archevêque work 13 years after the mise au tombeau at Chaource.
1313:
732:
Depiction of "Christ falling under the weight of the Cross" in the St Nicolas church in Troyes
511:
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better to put these under the name "The École de Troyes" or the "École du Maître de Chaource"
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336:
110:
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1381:
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1242:
1214:
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1112:
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118:
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The work "Christ de Pitié" in the église Saint-Julien-de-Brioude in Saint-Julien-les-Villas
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1028:
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The "Déploration de Saint-Jean" in the church of Notre-Dame in Villeneuve-l'Archevêque in
131:
715:
519:
275:
189:
181:
1312:
Didier Guy, Patrick Dupré, "Troyes en Champagne" Published by La Maison du Boulanger (
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Groupe sculpté : Christ mort soutenu par la Vierge, saint Jean et Marie-Madeleine
644:
447:
148:
Arnhold also links the two statues of Saint John in the "Chapelle des Annonciades" in
1451:
1229:
See Jacques Baudoin's " La sculpture flamboyante, Champagne Lorraine." pages 143–144.
560:
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295:
160:
61:
21:
1377:
1257:
1210:
1127:
1077:
756:
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324:
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208:
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Other works possibly by the Maître de Chaource, his atelier or the École de Troyes
1439:
1301:
Saint Laurent in Bouilly. Comprehensive description of furnishings in this church
1158:
234:
This work has been compared to the " Déplorations" of the great masters; that by
1277:"Christ de Pitié" in the Église de la Nativité-de-la-Vierge in Villy-le-Maréchal
527:"Christ de Pitié" in the Église de la Nativité-de-la-Vierge in Villy-le-Maréchal
405:
344:
This polychromed statue, as shown above, is located in Saint-Martin's church in
196:
and some soldiers/guards. The work is thought to have been completed in 1515.
193:
185:
74:
896:
Jacques Baudoin, "La sculpture flamboyante en Champagne". Lorraine, Creer, 1990
53:
481:
251:
168:
This sculpture in the parish church of Saint-Jean-Baptiste in Chaource in the
57:
The Lamentation or "Déploration" in the Église Saint-Jean au Marché in Troyes
665:
In the " Chapelle des Annonciades " in Langres there are two statues, one of
255:
177:
567:
This church contains many 16th century works including a "Christ de Pitié"
268:
Below is one of the most famous works depicting the "Lamentation", that in
254:
in Florence and in Munich, by Andréa del Sarto in Florence, by Véronèse in
660:
The depictions of Saint John in the "Chapelle des Annonciades" in Langres
653:
The depictions of Saint John in the "Chapelle des Annonciades" in Langres
416:
401:
291:
The Lamentation or "Déploration" in Église Saint-Jean au Marché in Troyes
247:
180:
holding Jesus' body before it is placed in the tomb. Also featured are
114:
38:
26:
259:
149:
78:
235:
105:
1433:", Albert-Ludwigs-Universität, Fribourg-en-Brigsau, septembre 1992
689:"La belle Croix" in the church of Saint-Symphorien in Neuvy-Sautour
682:"La belle Croix" in the church of Saint-Symphorien in Neuvy-Sautour
25:
The mise au tombeau in the parish church of Saint-Jean-Baptiste in
755:
643:
620:
552:"Christ de Pitié" in the parish church of Saint-Laurent in Bouilly
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87:
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52:
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Statue of Saint Martha in the church of Saint Madelaine in Troyes
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Saint John and the Vièrge de Calvaire (The Virgin of the Calvary)
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works in churches in Avant-lès-Ramerupt and in Mussy-sur-Seine.
169:
1397:
Christ tombant sous la croix in the St Nicolas church in Troyes
1289:
Christ de Pitié the Église paroissiale Saint-Laurent in Bouilly
534:"Christ de Pitié" in the Église de la Nativité-de-la-Vierge in
1368:
French Government website Haut-Marne. Retrieved 10 April 2013
1356:
French Government website/Haut Marne. Retrieved 10 April 2013
1031:
Aubosementcorrect.com. Troyes website. Retrieved 2 April 2013
559:"Christ de Pitié" in the Église paroissiale Saint-Laurent in
223:
The "Lamentation" or "Déploration" in Villeneuve-l'Archevêque
1159:
Retable in the church of Saint Maurice in Marigny-le-Châtel
969:
the article will use the French word "atelier" for workshop
311:
This dimensions of the work are 0.73 x 1.42 x 0.50 metres.
590:"Christ de Pitié" in the church of Saint Nizier in Troyes
1330:"Christ de Pitié" in the church of Saint Nizier in Troyes
993:"Chaource l'église Saint-Jean-Baptiste et son patrimoine"
583:"Christ de Pitié" in the church of Saint Nizier in Troyes
1440:
Le beau XVIe. Chefs d'œuvre de la sculpture en Champagne
595:
The "Christ de Pitié" in this church is described thus
340:
The "Vierge de Pitié" in Saint Martin's church in Bayel
1303:
Sculpture in Champagne website. Retrieved 7 April 2013
279:"Lamentation" in Kayserberg, Alsace, by another artist
825:
Saint John depicted in the Chaource mise au tombeau.
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close to Jesus had to come to terms with his death.
494:Saint-Julien-de-Brioude in Saint-Julien-les-Villas
1168:Marigny-le-Châtel website. Retrieved 3 April 2013
914:La sculpture flamboyante en Champagne, Lorraine
837:The Virgin Mary in the Chaource mise au tombeau
596:
510:The church also has 16th century depictions of
474:
930:V. Boucherat,"L'atelier du Maître de Chaource"
1344:. www.culture.gouv.fr. Retrieved 7 April 2013
916:, éditions CRÉER, Nonette, 1990, p.133 et sq.
876:St Peter in the Marigny-le-Châtel altarpiece.
776:Relief for a mantelpiece/fireplace in Troyes
8:
1399:www.culture.gouv.fr. Retrieved 7 April 2013
1332:www.culture.gouv.fr. Retrieved 7 April 2013
1291:www.culture.gouv.fr. Retrieved 7 April 2013
1279:www.culture.gouv.fr. Retrieved 7 April 2013
1149:www.culture.gouv.fr. Retrieved 3 April 2013
926:
924:
922:
801:An atmospheric view of the mise au tombeau.
1342:Statues of Peter and Paul in Saint Pouange
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849:Nicodemus in the Chaource mise au tombeau.
772:
760:Depiction of Christ on the Cross at Fueges
735:
705:
685:
656:
617:Statues of Peter and Paul in Saint Pouange
586:
555:
530:
156:The Chaource mise au tombeau or entombment
104:Arnhold's thesis covers that sculpture of
954:
952:
950:
948:
946:
944:
942:
940:
938:
936:
1099:Nominus.cef.fr. Retrieved 15 April 2013.
435:The work "Ecce Homo" in Troyes Cathedral
411:In the same church there is a statue of
387:Part of the Marigny-le-Châtel altarpiece
369:Part of the Marigny-le-Châtel altarpiece
159:
20:
1022:Mise au Tombeau Villeneuve-l'Archevêque
1007:Mise au Tombeau Villeneuve-l'Archevêque
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791:
1382:Groupe sculpté : Vierge de Pitié
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987:
985:
218:Other works by the Maître de Chaource
7:
1415:, Ministère français de la Culture.
1384:, Ministère français de la Culture.
1264:, Ministère français de la Culture.
1245:, Ministère français de la Culture.
1217:, Ministère français de la Culture.
1134:, Ministère français de la Culture.
1115:, Ministère français de la Culture.
1084:, Ministère français de la Culture.
1065:, Ministère français de la Culture.
1009:, Ministère français de la Culture.
714:Arnhold attributes the Pietà in the
109:arts in the neighbouring regions of
1262:"Christ de Pitié" in Sainte-Savine
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332:The "Vierge de pitié" in Bayel
141:Arnhold discusses the work of
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1463:16th-century French sculptors
1458:15th-century French sculptors
1215:Statue : Christ de Pitié
752:Christ on the Cross at Fueges
152:with the Maître de Chaource.
709:The Pietà in Mailly-le-Camp
92:Detail of the altarpiece at
702:The Pietà in Mailly-le-Camp
625:Saint Paul in Saint Pouange
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272:in Kaysersberg, Alsace.
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1164:21 October 2010 at the
356:Full view of Bayel work
83:Villeneuve-l'Archevêque
1180:Retrieved 4 April 2013
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1318:978-2-913052-21-5
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912:Jacques Baudoin,
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1409:Base Mérimée
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1443:(in French)
1435:(in German)
1417:(in French)
1386:(in French)
1266:(in French)
1247:(in French)
1219:(in French)
1136:(in French)
1117:(in French)
1086:(in French)
1067:(in French)
1011:(in French)
979:Magdalene."
520:Saint Louis
497: [
406:aspergillum
325:Saint André
194:Mary Salome
192:, St John,
186:Virgin Mary
1452:Categories
901:References
482:Cordeliers
252:Botticelli
609:Pitié".
264:Delacroix
256:Leningrad
178:Nicodemus
48:Joinville
1162:Archived
1025:Archived
417:Louis XI
248:Florence
117:and the
115:Burgundy
111:Lorraine
75:Ravières
39:Chaource
27:Chaource
561:Bouilly
260:Poussin
150:Langres
79:Langres
1316:
518:) and
236:Giotto
184:, the
106:Troyes
501:]
472:robe.
402:Rhône
346:Bayel
250:, by
242:, by
240:Padua
229:Yonne
71:Reims
1314:ISBN
176:and
170:Aube
33:The
258:by
238:in
1454::
1411::
1380::
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1241::
1213::
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1080::
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1005::
984:^
935:^
921:^
516:fr
499:fr
419:.
378:.
188:,
138:.
113:,
1320:)
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