Publications
In choro, ad occidentem spectans. Les peintures de Saint-Savin-sur-Gartempe d’un autre point de vue
A novel perspective on the painted nave of Saint-Savin-sur-Gartempe Abbey reveals that the spatial organization and perception of its murals were significantly influenced by the monastic closure, which separated the clergy from laypeople. The study identifies a previously understudied partition in the third bay, marked today only by a painted bestiary, which defined the monks' space and altered their view of the western paintings. This finding challenges conventional interpretations of the nave's cycle of Old Testament scenes and sheds light on lesser-known murals visible only when exiting the church after facing west. By integrating the monastic closure into the analysis, the research offers a fresh understanding of the distribution of paintings and the function of the western tower-porch.
Expériences bénédictines en Aquitaine du Nord sous Louis le Pieux : contribution à l’histoire de la diffusion de la regula Benedicti à l’époque carolingienne
The adoption of the Rule of Saint Benedict in northern Aquitaine during the Carolingian era, particularly under Louis the Pious, was not as uniform or early as previously suggested. While some monasteries like Nouaillé, Abbey Church of Saint-Savin sur Gartempe, and Charroux are often cited as emblematic cases, a closer examination reveals that the 'Benedictine reform' in this region was more nuanced, with early attempts facing fragility and alternative clerical practices persisting. The study critiques regional sources, noting their scarcity and potential interpolations, to challenge the narrative of a rapid or widespread transition. It highlights that the reform's success was more gradual, particularly under Charles the Bald and Pépin II d'Aquitaine, rather than under Louis the Pieux.
Restaurer les peintures murales de l’église Notre-Dame de Charly (Cher) au xixe siècle
A 19th-century restoration of medieval murals in the church of Notre-Dame de Charly (Cher) revealed that the work, inspired by Saint-Savin-sur-Gartempe's abbatial paintings, replicated errors from earlier scholarly interpretations. The study found that Abbé Lenoir's restoration, aimed at preserving a Romanesque Apocalypse depiction, instead mirrored misreadings from 1845 sketches by Gérard Seguin, used to illustrate Prosper Mérimée's Notice sur les peintures de Saint-Savin. This discrepancy highlights the influence of 19th-century exegetical and artistic interpretations on medieval art restoration. The analysis underscores how historical restorations can inadvertently perpetuate inaccuracies, reflecting both spiritual and scholarly shifts of their time.
Les strategies de la narration dans la peinture médiévale: La representation de l’Ancien Testament aux IVe–XIIe siècles
Medieval church art employed sophisticated narrative strategies to convey complex biblical stories, particularly from the Old Testament, between the 4th and 12th centuries. A study of Saint-Savin-sur-Gartempe's restored nave reveals how painters used visual techniques such as spatial sequencing, symbolic motifs, and hierarchical composition to guide viewers through scriptural narratives. The research, conducted during a 2005–2008 restoration project led by the Centre d’études de civilisation médiévale (CESCM), analyzed these strategies to demonstrate their role in religious education and liturgical communication within medieval churches.
Les stratégies de la narration dans la peinture médiévale
Medieval narrative strategies in Western art, particularly those adapted from the Cotton Genesis tradition, are revealed through an analysis of the 12th-century frescoes in Saint-Savin-sur-Gartempe's nave barrel vault. This study demonstrates how the frescoes reinterpret Byzantine and Carolingian traditions to reflect themes from Augustine's De civitate Dei, blending political and theological narratives into a cohesive visual storytelling framework. The research employs comparative iconographic analysis, tracing the evolution of narrative techniques from the 5th-century Om Cotton Genesis manuscript through to later medieval art, highlighting Saint-Savin-sur-Gartempe as a pivotal example of this adaptation.
Palimpsest in the Service of the Cult of the Saints—The False Arch in the Nave’s Vault of the Abbey Church of Saint-Savin-sur-Gartempe
A hidden palimpsest, discovered within the false arch of Saint-Savin-sur-Gartempe's nave vault, reveals a previously unknown layer of religious symbolism tied to the cult of saints. This 11th-century architectural feature, initially dismissed as purely decorative, was found to contain inscriptions and imagery that serve a functional purpose in reinforcing the church's spiritual narrative. The study employed multi-disciplinary analysis—including historical documentation, art history, and archival research—to decode these elements, demonstrating how medieval artisans integrated visual storytelling into sacred architecture. This discovery challenges conventional interpretations of Romanesque art, highlighting its role in devotional practice rather than mere ornamentation.
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