Lyon
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...
محفوظ في:
| الحاوية / القاعدة: | Réforme, Humanisme, Renaissance | 100 | 1 | 2025-05-22 | p. 227-230 | 1771-1347 |
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| المؤلفون الرئيسيون: | , |
| التنسيق: | Article ou chapitre numérique |
| اللغة: | Français |
| منشور في: |
2025
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| الوصول للمادة أونلاين: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RHREN_100_0227 |
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cairn |
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cairn-RHREN_100_0227RHRENRéforme, Humanisme, Renaissance https://shs.cairn.info/revue-reforme-humanisme-renaissance-2025-1-page-227?lang=fr https://doi.org/10.3917/rhren.100.0227 Lyon Clément, MichèleMounier, Pascale2025 fre Réforme, Humanisme, Renaissance | 100 | 1 | 2025-05-22 | p. 227-230 | 1771-1347 RHREN_10048 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.L’article porte sur le décor en terre cuite du tempietto édifié vers 1550 dans les jardins de la Bâtie d’Urfé (Forez). Des huit têtes de l’ensemble d’origine, seules cinq subsistent de nos jours: un mascaron féminin (Lyon, musée des Beaux-Arts); trois têtes masculines et une tête féminine encore conservées à la Bâtie. Malgré leur état souvent endommagé ou fragmentaire, le style et l’iconographie des mascarons se lisent encore. Pour la première fois depuis le démantèlement de la Bâtie (1874), on en réunit ici les images; on en confirme aussi l’attribution à un atelier de modeleurs italiens, aussi que leur interprétation, en tant qu’hommage aux mystères éleusiniens. Gentilhomme lyonnais au service des Valois envoyé en Italie pendant le Concile de Trente, Claude d’Urfé (1501-1558) développera un goût prononcé pour le syncrétisme lorsqu’il entreprend les aménagements Renaissants de la demeure médiévale de ses ancêtres. Les têtes du tempietto sont l’un des témoignages de ce syncrétisme: l’ambassadeur était friand de la culture et de l’art classique en dépit de sa foi chrétienne sincère.Cairn restricted access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| description |
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. |
| author |
Clément, Michèle Mounier, Pascale |
| spellingShingle |
Clément, Michèle Mounier, Pascale Lyon |
| author_facet |
Clément, Michèle Mounier, Pascale |
| author_sort |
Clément, Michèle |
| title |
Lyon |
| title_short |
Lyon |
| title_full |
Lyon |
| title_fullStr |
Lyon |
| title_full_unstemmed |
Lyon |
| title_sort |
lyon |
| publishDate |
2025 |
| container_title |
Réforme |
| container_issue |
Humanisme, Renaissance | 100 | 1 | 2025-05-22 | p. 227-230 | 1771-1347 |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-reforme-humanisme-renaissance-2025-1-page-227?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rhren.100.0227 |
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1877246641319182336 |