The imperial symbolism The contemporary stained glass Pontivy

Despite the unfinished state of the church, symbols of its imperial Other imperial symbols Marcellin-Emmanuel Varcollier’s overall original plan for the stained glass East and west transepts: The Gates of Heaven connections are very much in evidence in the building, from the stained- in Saint Joseph’s church is not known. With the exception of the tower, the The Church triforium and the transept rose windows, the church’s windows were all glass windows and choir pavement to the architectural ornamentation. (Sylvie Gaudin, Gaudin Studio) The Emperor’s monogram once filled with diamond-shaped, plain white glass, most of it surrounded Complete mastery of the way light works on Alongside the ‘E’ for Empress Eugenie, the ‘N’ for Napoleon III can be by a blue border. In the 1980s, significant deterioration in the stained glass glass and of the techniques available to the of Saint Joseph The coat of arms of Emperor Napoleon III seen at the centre of the stained-glass window in the west transept. The made restoration essential. In 1985, the intercommune committee stained-glass artist has enabled Sylvie monogram can also be found on the pavement of the choir, surmounted by responsible for tourism development in the Pontivy area, with the support The coat of arms is visible in the centre of the stained-glass window in the Gaudin to depict the gates as suspended the imperial crown and surrounded by bees. of the regional body for the conservation of historic monuments, launched east transept, as well as being sculpted in bas-relief on the vault keystone architectural features which luminous rays an international competition for the design of contemporary stained-glass of the choir apse and on the balustrade of the bell tower on the church attempt to penetrate. The obvious similarity The monogram of the Emperor windows. Sixty-seven responses were received from across Europe. The exterior. Comprising the imperial crown and mantle (the latter being between the stained glass in the four and Empress at the centre of winning group, comprising artists Patrick Ramette and Catherine Viollet, absent from the transept stained glass however), the sceptre and hand of Gothic-arch windows heightens the sense of the rose window in the west master glazers Sylvie Gaudin and Gilles Rousvoal, and the studios of justice (signs of sovereign authority), the eagle (associated with military transept. a unified, homogeneous space, a moment’s Duchemin and Gaudin, created the existing stained glass between 1991 victories) and the chain of the Légion d'honneur (an institution created in repose before the dazzling stained glass of and 1994 on the specific theme of the four elements. 1802 by Napoleon Bonaparte to reward civil and military services rendered the choir windows. As a result of this work, the church of Saint Joseph in Pontivy today figures to the nation), the coat of arms of the Second Empire adopts the symbols among the major historic monuments in to have contributed to the of that created by Napoleon I in 1804. A stained-glass window contemporary renaissance, from the 1980s onwards, of stained-glass art. from the east transept. The coat of arms of Napoleon III in the centre of the rose window in the east The nave side-aisles: Water wing of the transept. The choir chapels: Earth (Patrick Ramette, Duchemin Studio) The fluid, shifting nature of Patrick (Sylvie Gaudin, Gaudin Studio) 1 Ramette’s artistry suggests the sun’s rays Stark black scores and brightly coloured flat The bee reflected on water. While each window tints alternate and combine in a succession Symbolising immortality and resurrection, the bee also links the Empire to stands alone, the designs and colours of the of apparent bursts of energy and periods of the origins of France: in 1653, small bees in gold and garnet were found in windows running from east to west along the repose, as if evoking the times of adversity and abundance that earthly life can bring. 2 3 the tomb of Childeric I, father of Clovis, at Tournai in Belgium. Featuring central section of the nave engage in a in both rose windows in the transept where, alternating with stars, they cleverly orchestrated dialogue. The presence Sylvie Gaudin’s delicate artistry is perfectly surround the central motif, the bees also figure on the choir pavement, of inset jewels*, or ‘chefs-d'œuvre’ as they suited to the relatively limited dimensions of framing the imperial eagle and Napoleon’s monogram. They appear as are called in French, in the medieval tradition the chapel windows, some of which have a well on a few of the arch keystones (nave side-aisles and east chapel of the demonstrates, if proof were needed, how the more elaborate outline featuring paired A chapel stained-glass choir). techniques of traditional craftsmanship are window openings with oculus* above, and to window on the east side the more intimate nature of these two perfectly compatible with contemporary art. of the choir. A stained-glass window architectural spaces. from the west side-aisle of the nave. 4 The clerestory windows in the nave: Air The clerestory windows in the choir: Fire (Gilles Rousvoal, Duchemin Studio) (Catherine Viollet, Gaudin Studio) Less colourful than the previous ones, the The apse window openings are filled with stained-glass windows by Gilles Rousvoal the leaping, rhythmic movement of the seem to melt into the surrounding sky. Grey flames created by Catherine Viollet. In an 5 scallop shapes evoke clouds and sharp- explosion of pure colour, the stained-glass edged yellow lines suggest the rays of the windows emphasise the soaring Neo-Gothic sun. Fragments of blue borders here and architecture and carry the eye upwards to there are a reminder of the original stained the next world. The orientation of the choir 1 Imperial crown glass, as well as evoking a cloudless sky. towards the south and the inclusion of the 2 Hand of justice Whilst the windows by Patrick Ramette and triforium windows in the programme of Gilles Rousvoal constitute two separate creative contemporary stained-glass (the 3 Sceptre collections of stained glass, they combine to only example in the church) magnify the play fill the nave with a depiction of gentle, A stained-glass window of light that changes with the hours and 4 Eagle A clerestory stained-glass fluent, tranquil movement. from the choir clerestory. window to the upper east days. 5 Chain of the Légion d’honneur Detail of the choir pavement: Detail of the choir pavement: side of the nave. Emperor’s monogram and imperial Imperial eagle surrounded by bees. * Inset jewel: A piece of glass fixed in place with lead and set in the middle of another, crown surrounded by bees. larger piece of stained glass. * Oculus: A small circular or oval window. The history The furnishings Church of Saint Joseph

The men behind the building A Neo-Gothic church The Neo-Gothic wood panelling Square Lenglier Design rue Jullien Ville de Pontivy, The Parisian architect, Marcellin-Emmanuel Varcollier (1829-1895), The panels for the choir screen, stalls and 56300 Pontivy Direction Éducation-Animation, Service recommended by a cousin of Napoleon III, Princess Bacciochi, who had pulpit were created in the 1870s by Le patrimoine, 2010 – Town of Pontivy, recently settled at in , was chosen to oversee the project, Brun, a sculptor from , who is Education and Activities, over the head of Mr Marsille, a local architect who had originally been particularly renowned for having carved Heritage Services, 2010

approached. A pupil of Victor Baltard and known today particularly for his the wood panelling in the chapel of Illustrations architectural works in Paris (the synagogue in the Rue des Tournelles and Notre-Dame de Quelven at in All illustrations (except for the paragraph th the town hall of the 18 arrondissement), at the ti