Monument Marinette Menut

Clément CHENEVIER, Corentin ARNOULT & François ROULLAUD write...

This monument is situated on Marinette Menut square in Riom. It is a very austere rectangular stone with no colour.

Five naked people are shown. Their eyes are closed and they look very sad. They appear to be prisoners who have suffered some form of violence. There are three adults, a boy, hands tied, and a baby, asleep in the arms of one of the adults (it’s difficult to see if it’s a man or a woman). One of the men is on his knees, looking upwards, perhaps at his jailer. The cringing older man seems to be hurt.

Around the monument, a metal fence, 50 centimetres high, looks like barbed wires.

Below, there is a plaque to commemorate the bravery of all the resistance martyrs, asking us not to forget the horrors perpetrated during the Nazi occupation of France: “Aux martyres de la Résistance, pour perpétuer le souvenir des atrocités commises.”

There is a stone plaque on which is written: “Ici, terre des camps de la mort et cendres des martyres”, meaning: “Soil from the death camps and ash of the martyrs.”

There is a second stone plaque on which is written: “Les déportés, internés, résistants patriotes, survivants des camps et prisons, de la barbarie et du fascisme. N'oubliez pas notre serment et notre combat pour la liberté et la paix dans notre monde. Soyez maintenant les défenseurs de notre idéal. Plus jamais ça. En l'an 2001”, which means: “The deported, interned, patriotic resistance fighters, survivors of the camps and prisons, of barbarism and fascism. Do not forget our oath and our fight for freedom and peace in the world. Be now the upholders of our ideal. Never again. The year 2001.” The fact that the plaque was put on the monument in 2001 shows that the atrocities of the German Occupation were so terrible that they are felt even in the 21^st century.

On the other end of the street, there is another plaque, just on the right of the “Pharmacy des Puys”, which is the old pharmacy of the husband of Marinette Menut: “Marinette Menut, lieutenant pharmacien blessée au combat de Saint Just (Cantal) le 22 juin 1944, torturée et fusillée par la gestapo française et allemande sans avoir parlé à Clermont Ferrand le 19 juillet 1944 à l’âge de 30 ans.”

All these inscriptions commemorate the Résistance; the fighters wanted us to remember their struggle for the freedom of our Nation and for it to serve as an example. The monument is regularly decorated and inhabitants of Riom stand and meditate in front of it in accordance with the Résistance fighters’ wish.

The sculptor, Raoul Mabru (born 1882-1957) made eighteen other such commemorative monuments. He was from the Auvergne and specialized in commemorative monuments for WW1 and WW2. Some of his monuments are quite famous, notably the monument for the victims of the Gestapo in Royat. He did not just make patriotic sculptures.

Marinette Menut, née Anne-Mary Lafaye, was born in Laprugne on 16^th May 1914. After having studied medicine, she married a young chemist, Max Menut, who was mobilized in 1939, made a prisoner but who escaped. They created a chemist shop in Riom called “La Pharmacie Nouvelle.”

In 1941, Max Menut became a Résistance fighter and his wife agreed with this decision although she was pregnant. Marinette took part in the Résistance. She had to go undercover. After fierce battles in the Mont Mouchet, she was caught and brought to an infirmary from which she tried to escape. She failed and on 19^th July she was transferred to Clermont where she was atrociously tortured then shot, without having revealed to the Gestapo any information.

Interviews of local people on what they think of the monument in Marinette Menue Square:

Young man, walking past: “I have of course noticed this statue before, though, honestly, I’ve never really paid much attention to it. I do not like it particularly… The contrast between the black and white stones is ok. I respect what it stands for, this monument. I’m proud that our town has put up a memorial to such heroic Résistance fighters! I think the fact that it has been put up near a school is a great idea, it will remind the pupils about the war. It’s a shame though that it is in a carpark! It’s not very convenient to get to it, and it’s obviously impossible to meditate in silence in front of it!”

Fabienne, a middle-aged woman who goes frequently past the monument: “It’s really badly placed! They should put it somewhere where it can be seen properly. I mean, the triumphal arch is in a big square of Riom, everybody sees it, so why can’t we put this monument somewhere like that? This sculpture is beautiful because of the precision of the sculpture, it shows really well the emotions of the people. I prefer this sort of memorial to those patriotic statues because it denounces more the horror of the fighting. This statue shows the suffering of the Resistance fighters, it has more meaning, a stronger message. It reminds me of the memorial in Gentioux (in Creuse), do you know it? There’s a phrase on it: “Maudite soit la guerre!” (“War be damned!”) with the statue of a child. I prefer a message which condemns the suffering rather than one glorifying war, because, today, this monument is for all the victims of war in the world.”

A dialogue with God...

God: What’s the matter with these humans; they are always fighting each other! Having to send my angels to Earth every time these limited little creatures start quarrelling is becoming tedious!

Kneeling man: God, please don’t blame us! Look at me and my friends, we are French, good French patriots! We are fighting for the freedom of France, the beautiful country you have always treasured! Please help us, we need your help to get rid of the evil Nazis!

Standing man: Stop imploring God! If He existed, He would have prevented this war. He would punish all those who kill their fellow men… No, we are all alone. This world is bad, and we alone are to blame…

Kneeling man: Well, we’ve got nothing to lose. If He does exist, then maybe He will help us?

Standing man: Don’t be ridiculous, no one can help us. We can only help ourselves! Don’t be such a coward, get up and fight!

Kneeling man: Dear God, I’m sorry about my friend, he doesn’t believe in You.

God: I’m listening. You were telling me about the horrors and atrocities of the creatures you described as bloodthirsty monsters?

Kneeling man: Yes, the Gestapo are the Devil’s henchmen!

God: Hmm… Maybe the Germans aren’t as good as I thought they were. I’ll think about how to punish them.

Kneeling man: Thank You, oh God! You are a  generous God.

God: You’re welcome, My son.

Le Gaulois Mourant

Tom GRELLIER & Enguerrand LAMY write...

This 1902 statue, made of marble, on top of a grotto, is situated in Virlogeux square, Riom. The sculptor is Henri Leon Greber. A man tries to save his friend whose left arm is injured. Our photo was taken from a low angle to give a dramatic effect. The fuzzy effect is our way of symbolizing an event forgotten in the mists of time… There is a plaster cast entitled "The Death of the Chief".

Henri-Léon Gréber (born in Beauvais in 1854, died in Paris in 1941) is a French sculptor, engraver and ceramist. He was the student of Antonin Mercie at the School of Fine Arts in Paris. He is the father of the architect Jacques Gréber. He made many patriotic works, such as:

• 1880: La Résistance, a marble statue in Dijon
• 1900: L’industrie, a limestone statue at the Grand Palais in Paris
• 1913: statue of Emmanuel Frémiet in the Jardin des Plantes in Paris.
• 1919: Monument to the teachers from the Lycée François Truffaut who died in the war, Beauvais
• 1921: War memorial, Montreuil-sur-Mer

The statue is in Virlogeux square. A square is a place for walking and relaxation in an urban setting (‘Irrespective of the more or less extensive farms, we find in our cities smaller spaces, but which are nonetheless a very important contribution from the perspective of aesthetics and hygiene. Whenever the imperative necessities of circulation permit, all the available seats are to be transformed into lawns and planted. In general, it gives these places the name of squares’ according to The Good Gardener, 1947).

During the second half of the eighteenth century, the triangular plot of one hectare was a mulberry nursery for rearing silkworms. The planted area, on the outskirts of the boulevards, was, during the revolutionary period, converted into a ground for country fairs where the butchers of the city come to buy animals. 

Then, from 1858 to 1868, it served as a training ground for the nearby Vercingetorix barracks. It was provisionally a landscaped garden for the visit of Napoleon III on 5^th July 1862 hence its name at the time of Square Napoleon. A few years later, it was landscaped as we see it today (including the grotto and double basin with footbridge).

The triumphal arch, a First World War Memorial, was added in 1923. The Dying Gaul and La Marseillaise (1902) by Ernest Dagonet (1856-1926) have a patriotic aim. The statue in Carrera marble of Narcissus (1814) by Sébastien Caldelari was given to the City of Riom to decorate the square.

In 2011 began a major clean-up of the square (the chestnut, plum and maple trees were cut down and replaced by hawthorn, magnolia, cherry and birch).

A 1920s map of Riom

Virlogeux square is south of the town centre

Interviews of local people about what they think of the sculpture

An elderly person: “This statue is part of my daily life. I live next to this square. I find it significant cultural heritage of our Auvergne. Artistically, it is well done.”

A young person: “I like it! I want to be a soldier in the future, so I like this virile statue!”

A student: “I often go to this park, I have seen this statue and I think it’s really horrible! I'm not interested in the heritage of the city of Riom because I find that it’s an ugly city. I would prefer to live in New York (laughing)”.

A teacher: “This statue is just amazing! I have already studied this statue with my pupils and they adored studying this period of history! Moreover the park is quiet and very beautiful! I often come to feed the pigeons in this park.”

We asked twenty other people if they liked the statue and if they thought it was well situated; the majority said yes. We also asked them if they knew about the history of the statue (sculptor, date, significance, etc.); the majority said they did not.

The soldier speaks...

“Help, someone, help, my friend is hurt! Marcus, don’t abandon me, Marcus! You taught me to fight, to be brave. Marcus, this war has no meaning without you; you saved my life so many times. My friend, my protector, do not die! Damn these Romans! Gergovia was our victory but Vercingetorix still needs us; Caesar has sent two legions after us; we must keep fighting if we don’t want to be made prisoners! I swear to you, Marcus, if you die, I will not mourn your death, no, not until I have killed the Roman dog who has hurt you!”

La Sainte Famille

Clémence THELLIER & Alexandre DROULLE write...

This 20^th century sculpture shows the Holy Family (the Christ Child, Saint Mary and Joseph) under the protection of a praying angel with braided hair and whose wings are spread. The statue is on Saint Joseph’s chapel in Pascal Street, Riom. The sculptor was Raymond Coulon.

This deconsecrated chapel dates back to 1935-1940; it was built for the missionaries of the Society of Mary. It replaced another one built in 1871 for the same owners.

The nave has three vessels, divided by two colonnades and the front. Three domes that were supported by columns were replaced in 1967 by a concrete ceiling and glass bricks. The architect is unknown. The style is Romano-Byzantine.

In 1958, the chapel and the house to which it is attached were sold to M. Cordeboeuf de Montgon who set up the Regional Museum of Auvergne in them.

We interviewed three groups of local people about this sculpture. The group of elderly people told us that they did not like the unusual, symmetrical, style of the sculpture. The group of young adults said they quite liked it because the fact that it was all white made it look modern. The children told us that they had studied the sculpture at school and that it showed the baby Jesus and there was a beautiful angel who looked like a girl.

The angel speaks...

"I am the angel. Welcome! Let me tell you about the humble sculpture you are looking at. We are in a quiet street of Riom called Rue Pascal. I have been protecting the Holy Family here since 1943, above the door of the small and simple Saint Joseph chapel which dates from the end of the 19^th century. It was once a private chapel, but today it is part of the regional folk museum. Our sculptor was Raymond Coulon who made other beautiful statues in the region of Auvergne, some of which are very well known. We are made of white marble in a simple figurative Art Deco style. We are not very well known, but we decorate rather nicely, don’t you think? Mary is holding the infant Jesus and Joseph puts his left hand lovingly on the head of the infant."

The snail and lion, n°24 rue Hyppolyte Gomot

Guillaume MARSAL & Hugo ABELARD write...

Historical context

In the Middle Ages, Riom was (re)built around Saint Amable church which became a place of pilgrimage to the holy relics of the saint. Riom was an important place in the Auvergne: in 1212, it became the capital of the region. Thus, Riom had it first prosperous period: the appanage of Alphonse de Poitiers between 1241 and 1271.  An appanage is the granting of an estate, title, office, or other thing of value to a younger male child of a sovereign, who would otherwise have no inheritance under the system of primogeniture. It was common in much of Europe. In this period, a new urban plan was created: two principal axes were drawn. Later, Riom had a new prosperous period: the appanage of Jean de Berry between 1361 and 1416. During this period, the Ducal Palace and the Sainte-Chapelle were constructed.

The fourteenth century in Europe was a very difficult century. It started with a drought with an exceptional year in 1303 (the Rhine could be crossed on dry ground), followed by a very wet period 1312 to 1319; the Black Death of 1347 to 1352 killed more than a third of the European population. Finally, the Hundred Years War ravaged France and was accompanied by famines. These events are the crisis of the late Middle-Ages.

The fifteenth century is a hinge period between the Middle-Ages and the Renaissance. Historians locate the end of this century in 1492 with the discovery of America by Christopher Columbus.

The decapitated lion

The snail

The doorway

The doorway of n°24 rue Hyppolyte Gomot, in the medieval centre of Riom, was built in the last quarter of the fifteenth century. Actually, this doorway was probably reconstructed after a terrible fire: the ornamentation of the doorway shows that it was ruined during this fire and then reconstructed.

Interpretation

The lion symbolizes the king or the appanage of the country, the power, the nobility. His head has been decapitated and some unknown period… The snail symbolizes the common people of the Middle Ages, the lack of power of this population.

Certainly, it was a sculptor (of the king?) who sculpted this doorway because he may have wanted to show the appanage’s power over the people. It is probably a commoner, wanting to protest against the power of the king, who decapitated the head of the lion during the appanage of Jean de Berry. Nobody replaced the head and the population of the Auvergne seemed stronger than the appanage.

I like these little sculptures because they give us an amusing insight into an important part of the history of Riom. This doorway is an interesting, albeit hidden, part of the town’s heritage.

What do the locals think of their medieval sculptures and sculpted ornaments?

Most of the people that I interviewed don’t even know that these sculptured ornaments exist. And even if they have heard of them, they don’t know where they are in Riom. Most people are not able to talk about them but nonetheless they are interested in the town’s heritage. A man in the street I talked to said: “I think these sculptures are very interesting. They have an important history… I didn’t know that Riom was so important in the Middle Ages.” A second man in the street said: “I think the sculptures’ stories are captivating and they explain part of the history of our town.”

Dialogue

Narrator (pointing at the door): The snail symbolises the common people and the lion symbolizes the king.

Lion: My people…

Snail: (interrupting) We want bread! Life is hard your Majesty!

Lion: Oh, dear, but I wanted to increase taxes so I can buy a big new bed for myself and my Queen!

Snail: What!? Folk are starving and you prefer to buy a new bed!? The destiny of the town is in your hands, Sire!

Lion: Well, you can’t expect us to sleep on an old bed surely?

Snail: Kill the king! We want food, we too want new beds!

Narrator: The king tries to escape but a courageous young man takes his axe and decapitates the king and lifts the king’s head up to show the cheering crowd!

Desaix monument

Manon COUCAUD & Naïs BATISSE write...

Interviews of local people on what they think of the Desaix statue on the roundabout, Boulevard Clémentel:

Richard, 73: “Though it is on the very busy boulevard Clement, nobody really notices this statue, despite the floral decoration, because it is stuck in the middle of a roundabout! I do not know the story of this statue at all though I have lived in this town more than ten years… I only know that it is the statue of Desaix because you told me!”

Adrien, Richard’s grandson, aged 8, adds: “I never noticed there was a fountain there!”

Mathieu, a middle-aged man: “Yes, I pass every day in front of it to go to work, but I never really give it much attention. It is a very big statue… It must be of someone important?”

Anne-Laure, Mathieu’s wife, adds: “I think it’s a very beautiful statue! I work at the museum, so I know a little about it. It’s a famous statue that used to be in Paris. It’s in marble, and was made in 1802, in the Neo-Classical style. We are very lucky to have such a beautiful monument in our town. It's a pity people do not realize it!”

Jeanne, 86: “When I open my shutters in the morning, I see this statue. I have always lived in Riom and this monument has always been there. My three brothers and I, when we were small, often dipped our feet in the fountain basin in summer. Happy memories! However, I do not know anything about the statue; I believe my husband knew the history of this monument well...”

Magalie, 17: “We pass in front of it every day when we go to school, but never pay much attention to it.”

Romain, 17: “I didn't realize it's a fountain!”

Portage de Croix

 

Map showing where the sculpture can be found

Portrait of Yves Guérin, the artist

 

In red: the cross, in blue: the figure of Christ

 

Annaëlle BRUNEL &  Alice TRIDEMY write...

Since April 2014, more than 20 monumental sculptures have been put up by the Puy-de-Dôme Départment in various towns including Riom, Ambert, Vertolaye, Arlanc and Marsac-en-Livradois. These works, collectively called Gold and Iron, forged from pieces of railroad track, can be up to 12 meters tall.

Yves Guérin is the sculptor. He lives and works in Romagnat. He teaches drawing and sculpture at the Art School in Riom and the College of Art in Clermont-Ferrand. Yves Guérin says “Contemporary art questions the people passing by. When a work of art is placed in an everyday landscape, it invites us to look at the world differently.”

The material Guérin uses consists of pieces of iron, in particular segments of railway track and iron bolts. The sculptures are placed in front of train stations, so there is a link with the materials used.

The statue in Riom was created in 2005. The shape is modern and looks abstract. Nevertheless, this statue is a religious work… We can see Christ bent over under his heavy cross. The title is Portage de Croix (Carrying of a Cross).

It is in on the square in front of the SNCF railway station, in Etienne Clémentel street. When one comes out of the station, the statue is the first thing one sees…

Comments by local people

Jean-François, 40 years old: “I pass in front of this sculpture regularly, but I do not know its meaning… It’s big isn’t it?! A bit overpowering too… Does it have something to do with railroad journeys? It’s a great place to have put it, anyway, right in front of the railway station; it makes the space a bit more interesting.”

Gabin, 12 years old: “I see it every time I take the train. I do not find it very attractive but it’s quite popular. I like it that they recycled old rails into art!”

Fanny, 20 years old: “It’s plain ugly! You can’t miss it it’s so big and just in front of a busy railway station. I don’t know anything about it, and quite honestly, I’m not interested.”

Laurent, 50 years old: “I’m curious about it, yes. It’s a bit abstract; it’s not obvious what it represents… Maybe I’ll look into it when I have time!”

The statue recites a poem...

Friends, travellers,

You who speed past

Or shuffle back

Heavy-laid with luggage,

A smile on your lips

Or a tear in your eye,

Look for me!

I carry my cross

Indefinitely

Fixed in the iron.

I would like to leave,

Like you, travel the rails of life!

Hugo JALLAT & Simon ROQUET add…

Portage de croix (The Carrying of the Cross) was made in 2005. It belongs to the series of monumental sculptures De Fer Et Dore (Made of Iron and Gold) by Yves Guérin, a sculptor from Clermont-Ferrand. It is in front of Riom train station. It is made of wrought iron railway rails. It symbolizes homelessness, transmission and mobility. It evokes aspects of our region’s identity: blacksmithing (“De Fer…” means “made of iron”) and the exploitation of water resources (“…Et Dore” is a pun: the Dore is a river that has its source in the Auvergne and its name sounds like “or” meaning “gold”).

Interviews of local people about the sculpture

Hugo’s little brother finds this statue rather ugly. He’s only nine and doesn't know anything about contemporary art!

Hugo’s mother said: “I think that this statue is not very welcoming and not very joyful. However, I recognize that the artist has a lot of talent; it’s an impressive piece!”

Simon’s father thinks this statue has its place in Riom because it is a religious town (the statue shows Christ carrying his cross). However, he finds it strangely made; if you do not know the title of the sculpture, it’s difficult to guess what it is about…

An elderly man who was looking at the sculpture said: “You know, an old person like me usually likes simplicity. This is too abstract for me, but I find the theme well chosen.”

A teenage girl also commented the statue: “I find it appropriate to the atmosphere of the place, and I like it when an artist tries to represent things he has in his mind…”

The sculpture speaks…

"I look like a scarecrow, don't you think? I try to welcome the people who come out of the station, but I am only an old scrap heap put out on an empty and gloomy square... People are puzzled when they look at me. Every morning, the same people pass and every evening they come back. I had a lot of sympathy for one young man because he was one of the only people who did not look at me contemptuously, but I suppose that he has become used to me and now he doesn't pay attention to me anymore. Why are people so indifferent to me? I would like to get away from here, jump into the first train…"

Click HERE to see a video of the statue speaking!

La Marseillaise

Héloïse HOUDELOT & Lise FAYOLLE write...

"La Marseillaise," commissioned for the State by Mr Chaumié, the Minister of Fine Arts, for the city of Riom, was created by Ernest Dagonnet (1856-1926). It was inaugurated on the 15^th August 1904 by a minister called Mr Vallé in Napoléon Square (called Virlogeux Square after the Second World War, in honour of Pierre Virlogeux, a Résistance fighter).

In 1789, the French people railed against the monarchy; the sculptor wanted to pay tribute to those who died during this revolution, that is why he picked that subject to carry out his work for Etienne Clémentel, the town mayor. He has written the names of several major battles on the plinth (Valmy, Jemmapes, Hondschoote, Wattignies, Fleurus). He wanted to make the citizens at the start of the 20^th century remember the patriotic sacrifice of the people in the 18^th century, when the Republic was first set up: "Every citizen should be a soldier, every soldier a citizen" is written on the plinth (this was said in the national assembly in 1789).

This work of art, costing 2000 Francs, is in bronze and the base is made of black Volvic stone. It shows a young woman walking, holding up a laurel branch and carrying a drum. There is a quote by the historian Michelet written on the base: “Ils furent les soldats de la loi et moururent avec la République” meaning “They were the soldiers of the law and died with the Republic”. It is of course a tribute to the revolutionaries.

Most of the people we interviewed know this statue, either because they pass through the park where it is located or because they have heard of it. But nobody knew much about it because they are not that interested in art and do not pay particular attention to statues and their meaning. However, we met a person who said that it was, from his point of view, the most beautiful in Riom.

The statue speaks…

Many are those who walk past me every day, but rare are the ones who know my story, though I am an important symbol of what they believe in and what their ancestors fought for: freedom from tyranny!

I was made in 1904, of bronze, by Ernest Dagonet, a sculptor who deserves to be better known.

Through me, the artist and the State who paid for the sculpture, wanted to pay tribute to the people died during the French Revolution of 1789.

They call me the “Marseillaise.”

The Virgin and Child with Bird

Guillaume MARSAL & Hugo ABELARD write:

The Virgin and Child with Bird is a remarkable sculpture carved at the end of the fourteenth century or early fifteenth century. It is the late medieval treasure of Riom…

The fourteenth century in Europe was a very difficult century. It started with a drought with an exceptional year in 1303 (the Rhine could be crossed on dry ground), followed by a very wet period 1312 to 1319; the Black Death of 1347 to 1352 killed more than a third of the European population. Finally, the Hundred Years War ravaged France and was accompanied by famines. These events are the crisis of the late Middle Ages. The fifteenth century is a hinge period between the Middle-Ages and the Renaissance. Historians locate the end of this century in 1492 with the discovery of America by Christopher Columbus.

The 1,58m-tall limestone statue is in Our Lady of Marthuret church in Riom. It was made by Pierre de Thury (historians have not found out anything so far about him). The style is typical of French late Gothic sculpture.

The Gothic church of Notre-Dame du Marthuret was built from 1308. In the early sixteenth century, the chapel dedicated to Saint James was added and, in 1538, a stained glass window given by the brotherhood of the Tanners was added. The church was enlarged during the nineteenth century.

The statue was hidden and protected by the guild of butchers during the 18th century revolutionary period and it was covered with grey paint. The sculpture was placed on the pier of the Neo-Gothic portal of Notre-Dame du Marthuret in the nineteenth century and it was placed in the chapel of Saint-Jacques in 1932 thanks to the intervention of the Mayor Etienne Clémentel (Mayor of Riom between 1904 and 1935). Thanks to a good restoration in 1991, the sculpture has regained its original polychrome.

The Neo-Gothic portal of the church of Notre-Dame du Marthuret houses a copy of the Virgin and Child with Bird made in the nineteenth century (cf. photos).

Inspired by the apocryphal Gospel of Thomas the Israelite, the sculpture tells a story of the Christ Child. Jesus, as a boy, modelled birds out of clay and would give them life by blowing on them. One of them, prisoner in the hands of the child, pecked his finger. This theme fascinated artists of the late Middle Ages.

The Virgin, wearing a sober and elegant cloth, wears a crown of great simplicity. She smiles kindly on the child, her eyes half-closed. She has a straight nose and slightly puffy cheeks. The Child in her arms is wearing a short purple dress. Looking up, he is holding tight in his left hand a bird that pecks his finger.

The sculpture is typical of the style from the Gothic period showing a tender representation of the Virgin. It appeals to our “realist” aesthetic sense today.

Roxanne BACHELET & Coline MICHAUD add...

The “Vierge à l’oiseau” (“The Virgin and Bird”) is 1,58m tall, so it’s life size. It is a Gothic sculpture. It is made of limestone. It represents Mary, the mother of Jesus, holding her son in her arms. The child is looking up at his mother and has a little bird in his left hand. The theme of the Virgin with bird was very popular at the end of the Middle Ages. This statue is from the end of the 14^th century.

The Virgin is standing. She is simply dressed: a long gown, a shawl on her shoulders, a lovely crown on top of a veil. She is contemplating the child. She is calm and smiles tenderly. She is about 20 years old. The Infant sits on her left arm; her right hand holds the right foot of the child. The child is about 18 months old and wears a tunic.

The sculpture captures the tenderness of the mother, the love she feels for her child. Christ’s feet represent the humanity of the Lord. This work refers to the mysteries of the Incarnation and of the Redemption.

The sculptor was inspired by the Gospel of Saint Thomas the Israelite: “And a certain Jew when he saw what Jesus did, playing upon the Sabbath day, departed straightway and told his father Joseph: Lo, thy child is at the brook, and he hath taken clay and fashioned twelve little birds, and hath polluted the Sabbath day. And Joseph came to the place and saw: and cried out to him, saying: Wherefore doest thou these things on the Sabbath, which it is not lawful to do? But Jesus clapped his hands together and cried out to the sparrows and said to them: Go! And the sparrows took their flight and went away chirping.”

The bird in our statue has spread wings; Jesus shows his index to the sparrow and the bird pecks it. The child’s expression is one of surprise and pain. It’s also why the Virgin’s smile is happy and sad at the same time.

We don’t really know many things about the statue and its creator. Indeed, in the past, artists rarely signed their sculptures; the “Vierge à l’oiseau” doesn’t have any signature. However some historians think that it could have been made by Pierre de Thury, a relative of Jean, duc de Berry. The Duke was Pierre’s patron. Jean, born in 1340 and died in 1416, was the third son of Jean II, the French King. He was the patron of Riom; he ordered the building of the Sainte Chapelle and of the palace of Riom.

During the Revolution, the statue was saved and hidden by the butchers’ corporation. Then, in the 19^th century, it was placed on top of the portal of Marthuret church, after having been covered with white paint.

To protect the beautiful sculpture from the weather, the mayor, Etienne Clémentel, had it moved into the church in 1932.

In 1991 the “Vierge à l’oiseau” was restored; traces of color were found.

Nowadays, the authentic statue is inside Marthuret, with the original colors. And outside is a reproduction that you can see from the street, entirely white.

Marthuret church in Riom is situated in Rue du Commerce.

We asked some local people what they think of the “Vierge à l’oiseau”. Several people didn’t know it at all; they had never seen it, maybe because to see it you have to go inside the church.

However those who have noticed the sculpture, appreciate it. They find it very beautiful, atypical and really interesting. It inspires good feelings. Most knew at least part of its story.

A man told us that he was proud of the very rich architectural heritage that he can see in Riom.