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The chapel of the Lycée Hoche (Versailles)
 
Restoration work on frescoes by  ARCOA 
 
Restauration Hoche  
Marie Leszczynska, daughter of the King of Poland and Duke of Lorraine, Stanislaus, and wife of Louis XV, wishing, for the death of his father in 1766, associate his name with a religious foundation. Probably also thinks she s'aménager a retreat if she needs to know the widow. The legacy of Stan gives him the means.
 
Louis XV gives to the queen a part of the former estate owned by Madame de Montespan at Clagny, a district of Versailles. The queen wants to make this house a convent education, and so, the canons of St. Augustine from the Congregation of Our Lady are called by the Queen at Versailles from Compiègne. Since their inception a century and a half earlier, the nuns take care of this task with zeal and humility in a France where public education does not exist yet.
 
Until the French Revolution, the monastery is dedicated, according to the rules of the congregation and the will of the founder, the education of girls from the gentry of the court. It is therefore an instrument of relief and social promotion, which should relieve families of the servants of the court to fall into poverty or to experience for demeaning.
 
Hoche détail Hoche détail Hoche coupole
 
Despite the evangelical life of the sisters and the nobility of the task they were charged, the convent was suppressed as all congregations in the French Revolution. The sisters and residents are scattered. The convent is a time of military hospital before returning soon its first vocation: teaching.
 
From the early nineteenth century, a high school occupies the buildings of the former convent of the Augustinian canons. The church became a chapel is classified a historical monument. It was not until 1888 that the school was renamed Lycée Hoche.
 
Hoche détail Hoche détail Hoche coupole
 
The chapel formed the heart of the former convent of the Queen. This monumental complex was built under the direction of architect Richard Mique from 1767 to 1772, while the Queen had been dead for several years. The chapel was given to the performance and extreme care was decorated with great extravagance that only explains its royal foundation. An important iconographic program was transcribed in both sculpture and painting. Thus, the reliefs carved on the interior and exterior facades, detailing the life of the Holy Family (Mary and Joseph), miraculously preserved, were entrusted to Joseph Deschamps. The central dome and its pendant were painted by Gabriel Briard and Jean-Jacques Lagrenée. The pendants represent the four Fathers of the Church (St. Gregory, St. Augustine, St. John Chrysostom and St. Jerome), while the dome shows, among other things, the act of foundation of the religious establishment by Queen.
 
Coupole
 
 
 
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