#Admiral Montauban

[lesmislettersdaily]

A Double Quartette

Volume 1: Fantine; Book 3: In The Year 1817; Chapter 2

These Parisians came, one from Toulouse, another from Limoges, the third from Cahors, and the fourth from Montauban; but they were students; and when one says student, one says Parisian: to study in Paris is to be born in Paris.

These young men were insignificant; every one has seen such faces; four specimens of humanity taken at random; neither good nor bad, neither wise nor ignorant, neither geniuses nor fools; handsome, with that charming April which is called twenty years. They were four Oscars; for, at that epoch, Arthurs did not yet exist. Burn for him the perfumes of Araby! exclaimed romance. Oscar advances. Oscar, I shall behold him! People had just emerged from Ossian; elegance was Scandinavian and Caledonian; the pure English style was only to prevail later, and the first of the Arthurs, Wellington, had but just won the battle of Waterloo.

These Oscars bore the names, one of Félix Tholomyès, of Toulouse; the second, Listolier, of Cahors; the next, Fameuil, of Limoges; the last, Blachevelle, of Montauban. Naturally, each of them had his mistress. Blachevelle loved Favourite, so named because she had been in England; Listolier adored Dahlia, who had taken for her nickname the name of a flower; Fameuil idolized Zéphine, an abridgment of Joséphine; Tholomyès had Fantine, called the Blonde, because of her beautiful, sunny hair.

Favourite, Dahlia, Zéphine, and Fantine were four ravishing young women, perfumed and radiant, still a little like working-women, and not yet entirely divorced from their needles; somewhat disturbed by intrigues, but still retaining on their faces something of the serenity of toil, and in their souls that flower of honesty which survives the first fall in woman. One of the four was called the young, because she was the youngest of them, and one was called the old; the old one was twenty-three. Not to conceal anything, the three first were more experienced, more heedless, and more emancipated into the tumult of life than Fantine the Blonde, who was still in her first illusions.

Dahlia, Zéphine, and especially Favourite, could not have said as much. There had already been more than one episode in their romance, though hardly begun; and the lover who had borne the name of Adolph in the first chapter had turned out to be Alphonse in the second, and Gustave in the third. Poverty and coquetry are two fatal counsellors; one scolds and the other flatters, and the beautiful daughters of the people have both of them whispering in their ear, each on its own side. These badly guarded souls listen. Hence the falls which they accomplish, and the stones which are thrown at them. They are overwhelmed with splendor of all that is immaculate and inaccessible. Alas! what if the Jungfrau were hungry?

Favourite having been in England, was admired by Dahlia and Zéphine. She had had an establishment of her own very early in life. Her father was an old unmarried professor of mathematics, a brutal man and a braggart, who went out to give lessons in spite of his age. This professor, when he was a young man, had one day seen a chambermaid’s gown catch on a fender; he had fallen in love in consequence of this accident. The result had been Favourite. She met her father from time to time, and he bowed to her. One morning an old woman with the air of a devotee, had entered her apartments, and had said to her, “You do not know me, Mamemoiselle?” “No.” “I am your mother.” Then the old woman opened the sideboard, and ate and drank, had a mattress which she owned brought in, and installed herself. This cross and pious old mother never spoke to Favourite, remained hours without uttering a word, breakfasted, dined, and supped for four, and went down to the porter’s quarters for company, where she spoke ill of her daughter.

It was having rosy nails that were too pretty which had drawn Dahlia to Listolier, to others perhaps, to idleness. How could she make such nails work? She who wishes to remain virtuous must not have pity on her hands. As for Zéphine, she had conquered Fameuil by her roguish and caressing little way of saying “Yes, sir.”

The young men were comrades; the young girls were friends. Such loves are always accompanied by such friendships.

Goodness and philosophy are two distinct things; the proof of this is that, after making all due allowances for these little irregular households, Favourite, Zéphine, and Dahlia were philosophical young women, while Fantine was a good girl.

Good! some one will exclaim; and Tholomyès? Solomon would reply that love forms a part of wisdom. We will confine ourselves to saying that the love of Fantine was a first love, a sole love, a faithful love.

She alone, of all the four, was not called “thou” by a single one of them.

Fantine was one of those beings who blossom, so to speak, from the dregs of the people. Though she had emerged from the most unfathomable depths of social shadow, she bore on her brow the sign of the anonymous and the unknown. She was born at M. sur M. Of what parents? Who can say? She had never known father or mother. She was called Fantine. Why Fantine? She had never borne any other name. At the epoch of her birth the Directory still existed. She had no family name; she had no family; no baptismal name; the Church no longer existed. She bore the name which pleased the first random passer-by, who had encountered her, when a very small child, running bare-legged in the street. She received the name as she received the water from the clouds upon her brow when it rained. She was called little Fantine. No one knew more than that. This human creature had entered life in just this way. At the age of ten, Fantine quitted the town and went to service with some farmers in the neighborhood. At fifteen she came to Paris “to seek her fortune.” Fantine was beautiful, and remained pure as long as she could. She was a lovely blonde, with fine teeth. She had gold and pearls for her dowry; but her gold was on her head, and her pearls were in her mouth.

She worked for her living; then, still for the sake of her living,—for the heart, also, has its hunger,—she loved.

She loved Tholomyès.

An amour for him; passion for her. The streets of the Latin quarter, filled with throngs of students and grisettes, saw the beginning of their dream. Fantine had long evaded Tholomyès in the mazes of the hill of the Pantheon, where so many adventurers twine and untwine, but in such a way as constantly to encounter him again. There is a way of avoiding which resembles seeking. In short, the eclogue took place.

Blachevelle, Listolier, and Fameuil formed a sort of group of which Tholomyès was the head. It was he who possessed the wit.

Tholomyès was the antique old student; he was rich; he had an income of four thousand francs; four thousand francs! a splendid scandal on Mount Sainte-Geneviève. Tholomyès was a fast man of thirty, and badly preserved. He was wrinkled and toothless, and he had the beginning of a bald spot, of which he himself said with sadness, the skull at thirty, the knee at forty. His digestion was mediocre, and he had been attacked by a watering in one eye. But in proportion as his youth disappeared, gayety was kindled; he replaced his teeth with buffooneries, his hair with mirth, his health with irony, his weeping eye laughed incessantly. He was dilapidated but still in flower. His youth, which was packing up for departure long before its time, beat a retreat in good order, bursting with laughter, and no one saw anything but fire. He had had a piece rejected at the Vaudeville. He made a few verses now and then. In addition to this he doubted everything to the last degree, which is a vast force in the eyes of the weak. Being thus ironical and bald, he was the leader. Iron is an English word. Is it possible that irony is derived from it?

One day Tholomyès took the three others aside, with the gesture of an oracle, and said to them:—

“Fantine, Dahlia, Zéphine, and Favourite have been teasing us for nearly a year to give them a surprise. We have promised them solemnly that we would. They are forever talking about it to us, to me in particular, just as the old women in Naples cry to Saint Januarius, ‘Faccia gialluta, fa o miracolo, Yellow face, perform thy miracle,’ so our beauties say to me incessantly, ‘Tholomyès, when will you bring forth your surprise?’ At the same time our parents keep writing to us. Pressure on both sides. The moment has arrived, it seems to me; let us discuss the question.”

Thereupon, Tholomyès lowered his voice and articulated something so mirthful, that a vast and enthusiastic grin broke out upon the four mouths simultaneously, and Blachevelle exclaimed, “That is an idea.”

A smoky tap-room presented itself; they entered, and the remainder of their confidential colloquy was lost in shadow.

The result of these shades was a dazzling pleasure party which took place on the following Sunday, the four young men inviting the four young girls.

[versegm]

Renault of the Styx is out!

Renault used to be one of Charlemagne's most beloved paladins. Yet, when he is fished out of the Styx, he is disgraced, clothed in rags, and barefoot. How can a man who used to be universally admired fall so low?

A retelling of the popular tale The Four Sons of Aymon, or Renault of Montauban.

You can now get Renault of the Styx in ebook format for 2.99$usd & in paperback format for 5.99$usd! If you like retellings of obscure myths, medieval drama, and/or sibling love, give it a look!

[themuseumwithoutwalls]

MWW Artwork of the Day (4/15/20) Emile-Antoine Bourdelle (French, 1861-1929) Hercules Killing the Birds of Lake Stymphalis (1909) Gilded bronze statue, 248 x 247 x 123 cm. Musée d'Orsay, Paris

Trained first in Montauban and then in Toulouse, Bourdelle started work as an assistant in Rodin's studio. The two men were bound together by mutual admiration and respect, even if Bourdelle's desire for synthesis and construction in planes soon opposed him to Rodin's analytical modelling.   He looked to mythology for many of his subjects such as "Hercules the Archer" which enabled him to experiment on a large scale. In his own terms, Apollo was "undertaken in an attempt to master the purest aspect of my deep vision, going far beyond all past flights, I brought to it -– more than human blood, bone, cartilage and muscles -– the enveloping structure of its forces."

Not only the hero's victory over the monsters, but also Bourdelle's victory over his own high-spirited inspiration, this work is remarkable both for its tension and for its balanced construction. The dynamics come from the interaction of solids and voids, brutal force and balance. The nude figure denotes power, high-strung energy, pulled taut between the arm bending the bow and the foot braced against the rock. The references to primitive Greek sculpture and Roman art –- the almond shaped eyes, the nose extending in a straight line from the forehead, jutting cheekbones and brows –- act as catalyst for a modern approach. (translated from the Musée website)

[lostprofile]

LE VIOLON D’INGRES

Jean-Auguste-Dominique Ingres has the distinction of being the last old master and the last champion of the classical tradition. In his lifetime, he was the director of the French Academy in Rome and then professor at the École des Beaux Arts in Paris. He maintained a large studio, received many prestigious enjoyed royal and imperial commissions, and produced over 500 portraits.

In his spare time, he was a concert violinist. While he studied art as a teenager in his native town of Montauban, he was also the second violin in the Orchestre du Capitole. The French Academy in Rome sponsored musicians as well as artists, and during his 5 years there, he became friends with Niccolò Pagannini, Luigi Cherubini, Charles Gounod, and Franz Liszt and drew and painted their portraits. Pagannini and Ingres performed Beethoven’s string quartets together. Ingres was a passionate admirer of Beethoven, Brahms, Hayden and Gluck. When Stendhal visitied the Academy and made a disparaging remark about Beethoven, Ingres instructed a servant to show him the door.

Ingres bequeathed his violin to the museum that now bears his name in Montauban.

[clemeo]

🍂Prendre un peu de hauteur et admirer 🍂⁠ .⁠ .⁠ .⁠ #nature #lacdemontagne #boismassif #lacdemontagne #forêts #foret #montauban #montagne #magnifiquefrance #magnifique #rocher #seulaumonde #lheuredubois #magnificent #magnifico #amoureux https://www.instagram.com/p/CKE5E4HjOwX/?igshid=13c7eq0jun6r6

[lydiaspaintingblog]

Research project - interiors

Brothel Scene (c.1658-1659) by Frans van Mieris the Elder 

Sources: https://www.mauritshuis.nl/en/explore/the-collection/artworks/brothel-scene-860/detailgegevens/

http://www.essentialvermeer.com/dutch-painters/dutch_art/subject_matter.html

https://www.britannica.com/biography/Frans-van-Mieris-the-Elder

The main themes of Dutch interior paintings are those of love and the virtues of domestic life and the theme of love appears in a wide variety of ways, from romantic scenes of lovers separated by distance to scenes in brothels or of sexual love treated with a frankness that is also found in Dutch literature of the period.

The theme of seduction does not necessarily imply a financial transaction, but a sexual relationship is certainly often implicit. In many of these paintings we see wine and musical instruments. In fact, alcohol is present in such quantities in scenes of seduction that it seems to have been normally associated with the subject of love. There is a instrument and a tankard hung in this painting in the top left from the wall.

In this painting, a soldier is having his glass topped up by the barmaid and with his other hand, he tries to pull her closer. The glances they exchange and her open cleavage lead us to believe that this is a brothel.

We can also see a pair of mating dogs in the background and through an open door the couple appears to have an armorous relationship. These are the clues that lead us to believe we are viewing a brothel and even without the title of this painting, knowing the date it was painted and observing the subjects’ relationships with the environment, we could probably still easily work it out.

Mieris was a chief member of a family of Leiden (a Dutch city) painters. He painted on relatively small pannels often no bigger than 12-15 inches and he characteristically painted with a shiny brightness and metallic polish. His best painted subjects were those in which he illustrated the habits or actions of the wealthier classes although he sometimes painted homely incidents with portraiture and included allegory.

Old Woman at Prayer (1656) by Nicolaes Maes 

Sources: http://www.essentialvermeer.com/dutch-painters/dutch_art/subject_matter.html

https://beautyofbaroque.wordpress.com/2015/07/11/old-woman-at-prayer-by-nicolaes-maes-1656/

In this painting we are taken to the home of what would appear to be an average Dutch woman. There is no sense of any extravagance and so we assume she is a member of the merchant class and not someone very wealthy at the time of this portrait. The work speaks of simplicity and humility.

Maes most frequently depicted this type of subject, the intention was almost always exemplary; these were representations of virtuous behavior which remind us that homes were not just physician places but also the centre of society's moral instruction.

The protagonists of most of these scenes are women of all ages who, by being located in the home, occupy the place which society considered appropriate to them, and behaved according to the models set out for each age and social situation.

It is suggested that this woman may be a widow as she has prepared her food and eats alone, the only other subject in the picture being her cat in the bottom right corner who sees the perfect opportunity to pinch something.

This type of painting reflected the profound transformations which were taking place in society. The rapid commercialization of daily life, one of the most notable features of 17th-century Holland, meant that the large number of paintings dedicated to this social space and whose quiet, meditative qualities markedly separated them from the exterior world, provided their owners with a certain degree of calm which enabled them to deal more confidently with the major changes that were affecting their lives and the resultant anxiety.

Some of the objects in this painting include a key which may indicate that the ‘key’ to a long and happy life is simple living, an open book possibly meaning there are no secrets here as she prays and an hourglass whose sand has run out potentially hinting at the woman’s old age.

The Astronomer (1668) by Johannes Vermeer

Sources: https://vermeer0708.wordpress.com/about/

https://www.theguardian.com/artanddesign/2017/feb/21/vermeer-and-the-masters-of-genre-painting-review-louvre-paris

Portrayals of scientists were a favourite topic in 17th century Dutch paintings and this painting is believed to be coupled with and features the same subject as in Vermeer’s other painting The Geographer. He is believed to possibly be the scientist Van Leeuwenhoek who invented the microscope and was born the same year as Vermeer.

This globe in this painting presents different and complex constellations and reflects the 17th century human fascination for astronomy and science.

This painting harmonizes space, colour, and light to convey a single human activity, a unified moment in time. The composition is not narrative but rather forms the context of a sole figure, frozen in a pose of profound preoccupation.

Vermeer often painted women as his main subjects and it is only in these two paintings that men are depicted as they were believed to be the founders of science as was appropriate.

Like in this painting, Vermeer often places his subjects beside a window and the light illuminates his face to reveal his youthfulness, insight and anticipation.

His hands are also expressive and having them placed over the globe may suggest that he is exploring and opening up the eyes of people to a new and undiscovered world.

He is surrounded by books and academic illustrations which suggests that this academic has dedicated his life to learning and furthering the development of science.

source: https://www.britannica.com/art/genre-painting

Genre painting is the painting of scenes from every day life and ordinary people in work and recreation generally depicted in a realistic way. The scenes that are painted are quite intimate in content as they are painted within interiors and give us an insight into the life of the Dutch painters who created the work and the people around them. It is generally used to describe the work of some famous 17th century dutch painters but also extends to the 18th century and through to the late 19th century.

As far as realism goes, I quite like the work of the Dutch genre painters. I like the fact that we as the viewer get an insight into Dutch life at the time and that we can take some history from these paintings as well as artistic value. As Jonathan Jones writes for The Guardian, “Such paintings of everyday moments turn the drama of art inward, and make it hesitant, uncertain, complex. Right and wrong are not obvious.” I much prefer them to the Dutch still life paintings which I previously researched as they are generally far brighter and less dingy in colour. I also admire the mastery of these painters who have been able to create realistic textures and perspectives in their paintings.

Maugis of Aigremont and Isanne in the Queen's Bedroom (15th Century) by Loyset Liédet 

sources: https://gallica.bnf.fr/ark:/12148/btv1b8426778v/f270.item

https://en.wikipedia.org/wiki/Loyset_Li%C3%A9det

https://en.wikipedia.org/wiki/The_Four_Sons_of_Aymon#Dutch_version

Loyset Liédet was an early Netherlandish miniaturist and illuminator. He was very successful and patronized by many of the leading collectors of his day but today he is scarse heard of.

Liédet illustrated and painted for the Medieval manuscript of The Four Sons of Aymon,  sometimes also referred to as Renaud de Montauban. It is a medieval tale spun around the four sons of Duke Aymon , his brothers Guichard, Allard and Richardet, their magical horse Bayard and their adventures and revolt against the emperor Charlemagne.

In this painting, the furniture and objects are depicted not as a central focus but instead are secondary to the human drama taking place. You can tell that the owner of this room is wealthy because of the elaborate patterns on the fabrics and the floors.

There is little volume in this piece and the painting is incredibly flat. Some of the proportions and the foreshortening are completely off such as the bed and the angle of the door. This is probably due to a lack of understanding at the time of shading and maths coming together to create a realistic illusion of depth.

The doors and windows in this painting play a critical role in the narrative. Some men have come to visit the queen at her door and the space behind them seems peaceful and expansive. However, very close by through the window we can see what appears to be an army of men  marching past. This leads us to question the narrative and it foreshadows a treacherous event to come.

I personally think this is an excellent painting for its purpose as an illustration in a manuscript. It has a clear narrative and shows the progression of the story in a creative way. The setting and colours in this painting clearly illustrate the wealth of the queen and also the time period it is set in.

Just what was it that made yesterday’s homes so different, so appealing? (1956) by Richard Hamilton

Sources: Art Since 1900 Modernism Antimodernism Postmodernism published by Thames & Hudson

https://www.tate.org.uk/art/artworks/hamilton-just-what-was-it-that-made-yesterdays-homes-so-different-so-appealing-upgrade-p20271

http://www.bbc.com/culture/story/20150824-richard-hamilton-and-the-work-that-created-pop-art

This piece is a collage designed by Hamilton not as an art object but to reproduce as a poster and in a catalogue. It is a pop-physiological parody of postwar consumer culture made with its own ad-slogans and image-bits.

This collage features two contempories of the time depicted as being narcissistic. They are connected only by the lollipop which acts as a phallic symbol and points towards the woman’s breasts and the commodities positioned in the room around them.

A woman speaking on the telephone is on the TV and there is a poster for romance on the wall. An advert for a cleanign service comes to life on the stairs and the extra long hose reinforces the theme of ‘comodity-appliance-as-phallus.’

There is an abundance of ‘the woman’ in this collage and she seems to rule this appartment but it is implied that she too is a commodity. Although she may fantasize about the body builder, there is a portrait of a patriarch on the wall looking over her and the man of the house is implied missing by thr newspaper on the armchair.

This interior is completely overtaken by the outside world. There are hints of media through the TV, radio, advertisements and posters which test boundaries between public and private and the window indicates the room is wide open to influence from the outside world.

The imagery we associate with pop art is often American celebrities and consumer goods but pop art in fact came about in Britain from the Independant Group lead by Richard Hamilton who is now known as the progeitor of British pop. As Alastair Stooke comments as an art critic of The Daily Telegraph, “Hamilton’s collage is often described as the first work of Pop Art, perhaps even its manifesto.”

This type of college art is something that particularly intersts me. I have a fascination with the 1950′s and their lifestyle and culture in Britain and America. This collage combines these factors to present a rosy but cynical look at post-war life and I think it is successful at portraying its obserdity.

Prince (2010) by Gillian Carnegie

Sources: Colin Perry, Vitamin P2 published by Phaidon p.72

http://www.andrearosengallery.com/exhibitions/gillian-carnegie/7

Gillian Carnegie often paints in a dull pallette of greens and greys which tend to make her work appear old-fashioned. In her paintings she often paints the same motifs which can include a black cat, a vase of wilting flowers and a staircase, two of which are featured in the painting above.

Her subtle tones speak of a high contrast with mainstream media and modern art which is so full of colour and eye-catching vibrancy. As Perry says, “her works are particularly sophisticated in their ability to destabilise  icons of macho modernism, whose fierce denial of representative content has been questioned since the 1970′s.” Modernism is a genre that rushed ahead of itself but Carnegie takes a slower and more relaxed approach.

Her paintings main focus is the suggestion of inhabiting space and with her use of vertical arrangements of line and form she suggests an urban environment that has been compressed. Despite the claustrophobic atmosphere, she does not imply a sense of busy city life, but rather a feeling of calm.

Her paintings could be read as arguments in favour of a way of living in a busy city yet heading towards enjoyment of space free from modern chaos as suggested by Perry.

Looking at Prince instantly gives me a feeling of relaxation and calm. The colours speak to me in a way I cannot explain which bring me into a place of rest. The title of this painting to me suggests that the main focus of this painting, the cat, rules over the stairway and is comfortable and pampered in his own space. A lack of windows or doors in this painting suggests to me that this is a comfortable environment, free from threat and devoid of destructive behaviour.

There is a lack of human drama in this painting which utters a sense of calm although the cat turns its head as if stirring to a noise somewhere else in the house. Although the foucs is on a very small space, having stairs in the composition hints at a larger, perhaps more busy place away from this cat’s safe, quiet space.

[wikitopx]

Besides the timeless river, Nevers is the capital of the quiet and rural Department of Nièvre in central France.

In the past, the city was ruled by the Counts and Dukes of Nevers, whose opulent Renaissance house is now the Town Hall. If you know the art of decorating, you probably already know the prosperity of Nevers, the fine earthenware crafted by master potters in an industry that employed thousands of people in the 17th and 18 centuries. A few workshops still practice this art, and the city’s museum is replete with pieces of astounding workmanship. Let's explore the best things to do in Nevers.

[toc]

1. Nevers Cathedral

Anyone familiar with the church will feel something special about this sublime medieval building: There are two gates, one on the western end where the usual gate would be, and the other on the common freezing.

This makes the church completely unique and appears because the church on the west end is a relic from a previous Roman church that was burned down in 1308. In this old church, there is a painting. The mural was painted in the 1100s, and you can fall into the catacombs to see a combination from the 1400s.

The nave and east apse meanwhile are Gothic and mainly from the 13th and 14th centuries.

2. Palais Ducal

On the high ground where the Nevers political and religious organizations were located was the Palace of Ducal, a symbol of power for the Old Earl and the Duke of Nevers.

Architecture is spelled; It features a mix of Renaissance and 16th-century Renaissance designs, with dozing windows, decorative chimneys and a central spiral staircase that you can see from the front.

The one who started it was Jean de Clamency, the Earl of Never, who wanted to live in something more solemn than a fortress. The palace is now the town hall but there is also the Nevers tourist office and a former city exhibition.

3. Musée de la Faïence

Heaven for people with an eye for fine decorative items, this museum in a Benedictine abbey has hundreds of pieces of local faience. You’ll appreciate the technical know-how of the Nevers Manufactories.

And this comes in all forms, including tiles, dishes, ceremonial plates statuettes and bottles, all representing more than four centuries of expertise.

But the galleries don’t end there as you can also admire almost 300 pieces of intricate enameled glass from the 17th and 18th centuries, crafted with a technique that has since been lost. On top of all this, there’s a stash of art from the French and Italian Schools.

4. Faience Workshops

The faience Nevers industry took off in the late 1500s when Italian potters settled here at the invitation of the Duke of Nevers. Everything was just right for this craft, as the Loire promised swift export and the wood sourced from the Morvan forest could belt out the 1000°C heat to bake these ceramics.

The trade went into decline at the end of the 18th century and only one of the original 12 manufactories survived.

Since the 20th century, there has been a rebirth, and you can call in at three workshops, Faiencerie d’art de Nevers, Faiencerie Georges, and Faiencerie Bleue to see a master potter at work and make a purchase.

5. Porte du Croux

There’s a really evocative slab of medieval heritage on the west side of the old center: Looking at the Porte du Croux as you enter the city you can see the slits in the front of the gate for the chains on the drawbridge.

Back in the 14th century, this would have been lowered to allow people to cross the Passière River, which has since moved underground. Look higher and you’ll see the machicolations and turrets that are supported by corbels. Inside there’s a little archaeology exhibit for Nevers and its region spread over three floors.

6. Promenade des Remparts

From the Porte du Croux you can stroll down to the right bank of the Loire in a pretty garden complemented by a long sliver of the city’s old walls. These defenses were built in the 12th century by the Count of Nevers, Pierre de Courtenay to defend the Abbey of Notre-Dame.

After the 1600s they were never needed again. But this long stretch of the wall remained incorporated by local properties, while the land that became the garden was never developed because of its marshy ground.

So by a quirk of history and the landscape, there’s now a big chunk of the medieval wall beside pergolas, trees, a rose garden and flowerbeds, all ending with vistas over the Loire from the Quai des Mariniers.

7. Église Saint-Étienne

Although not many tourists make it to this church on the east side of the city, anyone who values historic architecture should make the short walk.

The Church of Saint-Étienne is an exceptional Romanesque building, built from a subtly golden limestone more than 900 years ago and hardly altered since then.

The great 19th-century restorer Viollet-le-Duc called it “the most perfect 11th-century monument left to France”. The architecture is sober, and there isn’t much sculpture or ornamentation, but for the purity of style and preservation, you’ll have to travel a long way to beat this church.

8. Nevers Magny-Cours Circuit

Petrolheads will be aware that the French Grand Prix was a yearly fixture at this racetrack up to 2008 when the French Motorsports Federation pulled out of the tour.

The track is only 15 minutes down the road and apart from welcoming a few minor international events, is mostly used for heritage rallies, testing and “track days”.

So if you’d fancy taking a spin on a circuit graced by the likes of Michael Schumacher, Mika Häkkinen and Ayrton Senna you can book a driving experience with one of the companies putting you behind the wheel of a Ferrari, Lamborghini, Porsche or F1 car.

9. Espace Bernadette

Nevers is also a big pilgrimage site as it was where Bernadette Soubirous became a postulant and worked in a convent until she passed away in 1879. In case you’re wondering, Soubirous was the woman who witnessed the supposed Marian Apparition that turned the town of Lourdes into one of the most important places in the Catholic world.

There’s a museum here, at the Motherhouse of the Sisters of Charity, explaining her life and routine around the former Saint-Gildard Convent. Her apparently incorrupt body is displayed in the adjacent chapel.

10. Église Sainte-Bernadette du Banlay

If you wander up to Nevers’ northern suburbs you’ll come across a building that looks nothing like the delicate architecture in the old center. You’ll be forgiven for thinking that you’ve found a relic from the war, as this church bears a striking resemblance to a German concrete bunker.

That is no coincidence because the functionalist designer Paul Virilio was a big admirer of the blockhouses that were scattered around France in the post-war years. There are two half-shells of concrete cantilevered on a central pillar, and we can guarantee that you’ve never seen a church like it.

More ideals for you: Top 10 things to do in Montauban

From : https://wikitopx.com/travel/top-10-things-to-do-in-nevers-709297.html

[thefreelancehistorywriter]

New Post: The Battle of Montlhéry, France - 1465

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When people think of Monza, most likely they think of the famous Formula 1 racing held here every year - this exciting city has a lot to offer however and is a tourist destination. great in its own right.

Monza is actually located 9 miles northeast of Milan and is the capital of the provinces of Monza and Brianza with a population of approximately 120,000. Roman discoveries date back to the Monza settlements from the 3rd century BC and since then, the city has played an important role in Italian history. Monza was actually used as a summer residence by the queens of Bologna and was also used periodically as a military headquarters. Throughout the Middle Ages, the city was embroiled in various factional feuds, and in modern times, the city became a center of economy and industry.

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1. Duomo di Monza

This immense cathedral is undoubtedly the most beautiful religious building in Monza and is a true gem of Italian Gothic architecture.

Constructed in 1300 but not completed until 1681, this cathedral has a similar front facade to the famous Florence Duomo and makes use of polychrome marble panels to add color to the structure.

The front facade is outstanding and features a green and white striped pattern and several ornate circular windows – the most notable window is the Rose window that is surrounded by a series of small marble sculptures and rose reliefs.

Inside the cathedral, you will find an even greater level of detail and the ceiling and columns are lavishly decorated with stucco artwork and Renaissance frescos. Finally, the Theodelinda Chapel features some amazing artwork from Zavattari and is dedicated to the Lombard Queen.

2. Parco di Monza

As the largest walled park in Europe, the Parco di Monza covers a staggering 688 hectares and is a true treasure of the city. This epic park was created by the stepson of Napoleon during the French occupation of Italy during the 19th century and originally served as an extension to the royal palace.

Within the grounds of the park, you can find a variety of historic villas including Cascina Frutteto, Cascina San Fedele and the opulent Villa Mirabello. Furthermore, the park features vast open expanses of lawns that are perfect for sunbathing and ball games. Additionally, there are also large sections of woods that feature walking trails.

3. Autodromo Nazionale Monza

This is one of the main reasons people visit Monza – to see the historical Autodromo and racing tracks. Created in 1922, it is one of the oldest purpose-built racing circuits and has hosted the Italian Formula One Grand Prix since the tournament's inception.

This impressive complex features the main formula one track with dedicated seating, but also an oval time-trial track that covers 4.25km of the road complete with banked curves. Even if you are not a fan of motorsport, a trip to Monza would not be complete without a visit to this historic track whilst exploring the grounds of the Parco di Monza.

Don’t forget to walk along the River Lambro and cross the beautiful Ponte Delle Catene.

4. Villa Reale

Located in the western part of the Parco di Monza, the Royal Villa of Monza was the original reason for the creation of the park and was used as a residence for the Viceroy of Italy, Eugene de Beauharnais.

Within this palatial complex is the Royal Chapel, the Teatrino di Cotre, the Orangery, and the Royal Apartments. The main building is impressive and features a central structure with two protruding arms – at the front of the palace is a large pond and fountain.

Furthermore, the gardens are well presented and feature many different varieties of flowers and plants. Guided tours of the staterooms and grounds are possible and will provide a great insight into the history of this important residence.

5. Arengario

The historic town center of Monza has a plethora of interesting structures that have stood for hundreds of years – one such structure is the Palazzo dell Arengario which originally served as the town hall.

It is said that this building is inspired by the Palazzo della Ragione in Milan and it features a large bell tower and the ground floor has a series of ornate arches. This portico is often covered with ivy and other plant life and looks absolutely stunning in the summer months.

On the southern side of the building, there is a loggia where important speeches would have been conducted. Whilst walking through the historic center, the Arengario is a fantastic building to admire.

6. Watch the F1 Italian Grand Prix

The Formula One Italian Grand Prix is one of the longest-running events in the competition – a race has been held annually at Monza since 1921, and has subsequently been held every following year except in 1980.

This fantastic and fast-paced race is held at the historic Monza Autodromo and spectators come from around the world to watch their heroes race around the track at unimaginable speeds.

Witnessing this competition is a truly wonderful experience and the atmosphere is simply buzzing. If you are lucky, you can watch the technicians working on the cars, see the pit stop lanes, or simply watch the race from one of the well-equipped stands.

Wherever you watch the race from in the Autodromo, you are guaranteed an unforgettable experience.

7. Ponte dei Leoni

This bridge is one of the most well-known in Monza and was created in the early 19th century during the creation of a military pathway heading to Lecco. Dedicated to the King of the Lombard-Veneto Kingdom, the bridge was made to be opulent and contains some fantastic design features.

The main part of the bridge is undoubtedly the four marble Lions that stand guard at either end of its entrance – these animals are finely sculptured and look sternly across the incoming roads.

Looking down the bridge you can see a stretch of the Lambro River and some of the beautiful houses that sit on its banks.

8. Expiatory Chapel of Monza

As stated previously, Monza has a plethora of historical sites and monuments, and the Expiatory Chapel of Monza is one such structure that pays tribute to King Humbert I who was actually murdered on that very spot in 1900.

This monument/chapel was created by Giuseppe Sacconi and was finished in 1910. Set in beautiful grounds, the chapel features a large central column that is covered mainly by a large crucifix.

Various emblems and icons can be found on the chapel representing the royal coat of arms, and there is a bronze statue of the iconic Pieta.

9. Museo e Tesoro del Duomo di Monza

If you visit the Duomo di Monza, you must also take a trip to the Museum and treasure of the Duomo. Located behind the epic cathedral you can find the museum and it can be accessed through the grounds of the church.

The collection of this church centers on religious artifacts and the history of the Duomo and some of the relics stored here are absolutely stunning.

Items include the opulent Agilulfo Cross that is made of solid gold and studded with precious gems, the Ferrea Crown that is also encrusted with jewels, and the crown of Theodolinda who was the Lombard Queen of this region.

Furthermore, there is a host of tapestries, chalices, statues, and manuscripts and for anyone who loves history, this museum is a must-see.

10. Take a walking tour of the historic center

The historic city center of Monza spans a wide area and is considered to be confined within the Via Alessandro Manzoni, and the Via Azzone Visconti. Within this area, you can find most of the important historical sites and a guided tour of the old town is a great way to learn about the cities history.

Starting at the Piazza Trento e Trieste, you can walk to the Duomo and maybe visit the Civic Museum, after this, consider walking over the Ponte de Leoni and then up towards the Piazza San Paolo.

From here you can make your way northwards up to the Villa Reale and then onto the vast expanse of the Parco di Monza.

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From : https://wikitopx.com/travel/top-10-things-to-do-in-monza-709229.html