Archives
This study is focussed on the clay decorations of the little temple built around 1550 in the gardens of the castle of La Bâtie d’Urfé (Forez). Only five of the eight original masks are still extant: a female one (Lyon, Museum of Fine Arts, storages); three male masks and another female one at La Bât...
Gespeichert in:
| Veröffentlicht in: | Réforme, Humanisme, Renaissance | 100 | 1 | 2025-05-22 | p. 202-202 | 1771-1347 |
|---|---|
| 1. Verfasser: | |
| Format: | Article ou chapitre numérique |
| Sprache: | Français |
| Veröffentlicht: |
2025
|
| Online Zugang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Zusammenfassung: | This study is focussed on the clay decorations of the little temple built around 1550 in the gardens of the castle of La Bâtie d’Urfé (Forez). Only five of the eight original masks are still extant: a female one (Lyon, Museum of Fine Arts, storages); three male masks and another female one at La Bâtie (two on view, two stored). In spite of their damaged or fragmentary conditions, it is still possible to interpretate these decorations in their style and iconography. For the first time since the dismantling of the castle of La Bâtie (1874), the pictures of the surviving masks are here published together. This paper aims also to endorse the recent attribution of the masks to an Italian atelier of clay workers, as well as the recent interpretation of their meaning using the Eleusinian Mysteries as a key (cf. Bugini, dir., 2019). It’s Claude d’Urfé (1501-1558) – a gentleman coming from the Lyon countryside, sent to Italy by the Valois during the Council of Trent – to plan the transformation of the medieval castle of his ancestors into a Renaissance mansion. He led this transformation with a lot of care due to the syncretism he had learnt in Italy. The masks of the garden temple of La Bâtie are one of the demonstrations of the capability of a fervent catholic to be inspired by classical culture. |
|---|