Splendeur du Baroque

The Nave seen from entrance

The Nave seen from entrance, photo Philippe Dumont

The nave

The Nave seen from entrance

Entering by the main entrance, the nave looks inconspicuous and the look is at once directed towards the imposing baldachin, as architect Delamonce wished it.
In spite of the restraint, some greatness comes out of the nave due to :

  • four arcades which open on to the side chapels,
  • the light given by the four high windows on each side,
  • the vault in penetration without transverse ribs (the strength of the structure is assured by powerful exterior buttresses,
  • a strong cornice with teeth which contributes to the harmony of style between the nave, the transept and the choir.
To notice :
  • the frieze making alternate in the metopes the doves (symbol of the Holy Spirit) and the rose, a frequent decorative design in the 17th century,
  • the Crucifix, dating of the 17th century,
  • the Chair and the Way of the Cross of the XIXth century.

 

 

West side
West side
Vault
Vault
Frieze
Frieze
Chapels
Chapels
Crucifix
Crucifix
Chair
Chair
Coupe
Longitudinal section 1736

 


The nave, west side

 

Photo Anne-Lise Goujon

 


Vault of the nave

 

 

Vault of the nave, photo Jean-Marie Refflé, DRAC Lyon

 


Frieze of the nave

 

The cornice with indentations of plaster separates the lower part of the vault. Underneath a frieze alternates in its metopes the dove, symbol of the Holy Spirit and the rose, a decorative motif popular in the 18th century.

 

Photo J-M Reffle, Drac Lyon

 

 

 

Photo Anne-Lise Goujon

 


Chapels of the nave

Eight lateral chapels line the nave from east to west.

They were transformed between 1823 and 1879 under the direction of architects Tony Desjardins and Sainte-Marie Perrin; in each case the window was closed, the altar placed against the exterior wall, and the decoration redone with stucco and gold based on the model created for the chapel of the Virgin.

Although these chapels date from the 19th century, have reached us in very poor condition and notwithstanding some very conventional plastering, they present considerable interest. They house some very high quality sculptures such as the statues of Saint-Bruno, the lying Christ, the Virgin and paintings such as the Baptism of Christ, the quieted storm, the wedding of the Virgin, the entombment.

 

Photo Philippe Dumont

 


Crucifix of the nave

 

 

Crucifix of 17th century

Photo Anne-Lise Goujon

 


The chair

 

The chair is dated 1815.
The marble base with simple coloured panels is in the taste of the 17th century.
It is covered by a hemispherical shade with an angel playing the trumpet.

 

 

Photo Philippe Dumont

 


Longitudinal section of the church from 1736

by Ferdinand Delamonce

This is the plan of the second church building campaign. The completion of the church will be completely faithful to that plan.
Ferdinand Delamonce enhances the choir of monks built a large nave for the faithful, provides a wide transept surmounted by a high drum crowned with a dome, which rises to 50 meters high.
Note the pitch shifting vaults between the choir and the nave, offset by the arc Munet (name of assistant architect Delamonce) between the choir and transept.
The small door at the bottom choir opens onto the small cloister by which one reached the chapter house and the refectory.

(Archives départementales du Rhône)