Splendeur du Baroque

Chapter house

(Saint Antoine's Chapel)



Vaulted with herringbone patterns, this chapel has kept some of its 18th century’s decoration. The altar made of wood is painted in a false coloured marble.

Photo Philippe Dumont

The painting of Saint Anthony is a luminous work of Claude Vignon (17th century).
The Saint is recognizable by two attributes: the “tau” on his shoulder and the handbell used to brush aside the demons.
Before the Revolution, this painting was located in the hall of the royal chapel (now destroyed) of the White Penitents of “Notre-Dame du Gonfalon”.

Photo Pierre Clavel CRDP Lyon


The Sacristy

The sacristy dates back from the first campaign of works. It hasn’t been changed since then. Beautiful vaults with penetration are separated from the walls by a cornice. The vaults were painted in the 17th century. Rocaille works soften the sobriety of the architecture and underlines its structure.

The furniture and the woodwork of 1620 made of walnut are characteristic of the time of Louis XIII. Wainscotings are around the room. Decorative motives above the wainscotings and the doors are also characteristic of the first 17th century.

Altar in wood painted in false marble with bright colours. Its sculptures are golden. The painting of Saint Bruno in the desert takes quite well its place, between two pilasters, and a curved fronton bearing a palm. An important rocaille motive and palms enhance the Cross.


Photo Philippe Dumont

Altar of the Sacristy

Saint Bruno in desert


Painting of Saint Bruno in the desert by Bon Boullogne : the saint, with his hand on the skull of the vanity, is prying in the desert. Small very kind angels are comforting him by showing him Christ’s Cross.

This painting is a copy of a lost painting, but known by an anonymous engraving dedicated to Dom Maurin, prior of the Charterhouse in Paris.

Photo Pierre Clavel CRDP


The small cloister

The small cloister dates from the 1st construction campaign; it was completed in 1631. Arcades of semi-circular arches open into a courtyard which was used as a cemetery for the monks until the closing the Charterhouse in 1791. The gallery’ roof is a ribbed cross-barrel vault. It was decorated with frescos representing scenes of the life of Saint-Bruno, painted in the 17th century by Horace Leblanc and François Perrier.
The small cloister is not open to visitors.


Photo Philippe Dumont