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La Sainte Face De Laon Université de Montréal Faculté des études supérieures et post-doctorales Ce mémoire intitulé : LA SAINTE FACE DE LAON Présenté par : Nicole Sabourin Département d’Histoire de l’Art et d’Études Cinématographiques Faculté des Arts Et des Sciences A été évalué par un jury composé des personnes suivantes : Ersy Contogouris, présidente-rapporteuse Sarah Guérin, directrice de recherche Robert Marcoux, membre du jury Août 2017 © Nicole Sabourin i Résumé La cathédrale de Laon conserve dans son trésor une précieuse icône du 13e siècle appelée Sainte Face de Laon. Selon la tradition, en 1249 Jacques Pantaléon de Troyes, chapelain du pape à Rome et futur pape Urbain IV envoie à sa sœur Sybille alors abbesse du monastère cistercien de Montreuil-en-Thiérache (Picardie) cette image sainte, copie du Mandylion d’Édesse. Une lettre, maintenant disparue, accompagne cet envoi. Une double inscription sur l’icône, une première en caractères cyrilliques et en slavon ancien et une autre en langue grecque pose encore aujourd’hui des interrogations sur l’origine de l’icône, soit russe, bulgare ou serbe. Cette recherche a pour but d’explorer les possibilités d’une origine serbe de l’icône de Laon et de retracer son trajet entre la Serbie et la France, via Rome. Pour y arriver nous ferons un détour historique à travers l’histoire de la Serbie dirigée à cette époque par la dynastie des Nemanjić, fondateurs de monastères en Serbie, en Italie byzantine et grands donateurs d’icônes et d’objets liturgiques y compris à la basilique Saint-Nicolas-de-Bari. L’origine orthodoxe de l’icône pose la question des déplacements d’œuvres entre l’Orient et l’Occident et celle de la circulation des artistes entre Constantinople et les pays limitrophes après le sac de Constantinople de 1204. Mots-clés : Sainte Face, Mandylion, Bari, Jacques de Troyes, Frédéric II, Laon, Nemanjić, Serbie. ii Abstract The treasury of the cathedral of Laon preserves a precious thirteenth-century icon of the called the Holy Face of Laon. According to a tradition impossible to confirm, in 1249 Jacques Pantaléon de Troyes, at that time chaplain of the Pope and the future Pope Urban IV, sent the icon to his sister Sybille, abbess of the Cistercian convent of Montreuil-en-Thiérache (Picardie), from Rome. The icon, a copy of the Mandylion of Edessa, has two inscriptions, one in Greek and the other in Slavonic, which pose important questions regarding the icon’s origins, whether in Serbia, Bulgaria or Russia. The current project thus aims to explore the scenario of a Serbian origin of the Holy Face and to retrace the journey of the icon between Serbia and France, via Rome. To achieve this, a detour will be made through medieval Serbia, ruled at that time by the Nemanjić dynasty. The Nemanjić were the founders of many monasteries, including several on the Italian peninsula, which proposes a vital link. The Byzantine style of the Holy Face raises another question : the movements of painters between Byzantium and Serbia after the Sack of Constantinople in 1204, a transfer which led to the creation of a distinctive national style, called Serbo-Byzantine. Keywords : Holy Face, Mandylion, Bari, Jacques de Troyes, Frédéric II, Laon, Nemanjić, Serbie. iii Table des matières Résumé ...................................................................................................................... i Abstract .................................................................................................................... ii Table des matières ..................................................................................................... iii Liste des figures ........................................................................................................ v Remerciements .......................................................................................................... ix INTRODUCTION .................................................................................................... 1 CHAPITRE 1. JACQUES DE TROYES ET L’ICÔNE DE LA SAINTE FACE .... 9 1.1 Lettre de Jacques de Troyes ................................................................................ 9 1.2 Les débuts de Jacques de Troyes ........................................................................ 14 1.3 Jacques de Troyes, archidiacre de Laon ............................................................. 16 1.4 Négociateur et légat du pape .............................................................................. 16 1.5 Pape Urbain IV ................................................................................................... 19 1.6 Laon : un oppidum à la française ....................................................................... 21 1.7 Abbaye de Montreuil-les-Dames ....................................................................... 23 1.8 Dévotion à la Sainte Face à Montreuil ............................................................... 25 1.9 Vie de l’icône après la Révolution ..................................................................... 27 CHAPITRE 2 : L’ICÔNE DE LA SAINTE FACE, DESCRIPTION ET ANALYSE 29 2.1 Description de la Sainte Face ............................................................................. 30 2.2 La querelle des inscriptions ................................................................................ 32 2.3 Les icônes byzantines ......................................................................................... 34 2.4 Les revêtements métalliques ............................................................................... 37 2.5 Le Mandylion et le Keramion ............................................................................. 38 2.6 Le Voile de Véronique ........................................................................................ 41 iv CHAPITRE 3. LA SERBIE DES NEMANJIĆ ....................................................... 44 3.1 Byzance et la christianisation de la Serbie ........................................................ 46 3.2 La Quatrième Croisade (1202-1204) ................................................................... 50 3.3 Stefan Nemanja, grand joupan de Rascie (1166-1196) ....................................... 51 3.4 Stefan 1er Couronné (Grand Prince 1196-1217, roi 1217-1228) ......................... 52 3.5 Les successeurs de Stefan 1er Couronné (1228-1371) ......................................... 54 3.6 Les fondations des némanides ............................................................................. 56 3.7 Les Mandylia slaves et la Sainte Face de Laon.................................................... 58 3.8 Les icônes serbes ................................................................................................. 62 3.9 Les passages et les différents rôles du Mandylion chez les orthodoxes .............. 67 CHAPITRE 4. TRANSLATION DES ŒUVRES ET CIRCULATION DES ARTISTES ................................................................................................................. 70 4.1 Les relations entre Byzance, l’Apulie et la Serbie ............................................... 70 4.2 Translation des œuvres et des reliques entre la Serbie, l’Apulie et Byzance ....... 73 4.3 Circulation des artistes et des techniques entre Constantinople et la Serbie ........ 78 4.4 Bari et les némanides ............................................................................................ 81 4.5 Kotor, un lien entre l’Apulie et la Serbie .............................................................. 85 CONCLUSION ........................................................................................................... 88 BIBLIOGRAPHIE ...................................................................................................... 90 ANNEXE I ................................................................................................................... 102 ANNEXE II .................................................................................................................. 103 ANNEXE III ................................................................................................................. 104 ANNEXE IV ................................................................................................................. 105 ANNEXE DES FIGURES ............................................................................................ 106 v Liste des figures Figure 1. Anonyme, Sainte Face de Laon, 13e siècle, Tempera sur panneau de cyprès, 44,1 x 40,1cm, Trésor de la cathédrale de Laon, Laon. https://commons.wikimedia.org/wiki/File:Ic%C3%B4ne_Sainte_Face_Laon_150808.jpg. Photo : Vassil. Consulté le 16 décembre 2016. Figure 2. Anonyme, Saint Nicolas de Myre, 1325, Tempera sur panneau avec revêtement d’argent doré, 84 x 45cm, Crypte de la Basilique Saint-Nicolas, Bari. © 2002–2013 Centre Saint-Nicolas. Figure 3. Atelier de Kotor, Saints Pierre et Paul, 13e siècle, Tempera sur panneau de peuplier, 49 x 74 cm. Reproduction dans Radojčić (1961), Icônes de Serbie et de Macédoine, p. 4. © Trésor de Saint-Pierre, Basilique Saint-Pierre, Vatican. Figure 4. Anonyme, Sainte Face de Laon, 13e siècle, Tempera sur panneau de cyprès, 44,1 x 40,1cm, Détail des clous anciens de deux revêtements métalliques (date inconnue), Trésor de la cathédrale de Laon. © Monuments historiques de France. RMN, No d’inventaire PM02000590. Figure 5. Anonyme, Pantocrator, 6e siècle, Encaustique sur panneau, 84 x 45,5 cm Monastère Sainte-Catherine-du-Sinaï (Égypte). Pinacothèque Sainte-Catherine-du-Sinaï,
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