Quand on connaît un sujet très à fond, on est généralement le plus mal placé pour en parler simplement. Et cependant, il arrive aussi qu'on soit le seul à pouvoir le faire, et qu'il faille donc se plier à cet exercice ingrat-car il est difficile et insatisfaisant-dès lors que des valeurs et des principes supérieurs sont en jeu, comme la défense et l'illustration du patrimoine. De fait, aussi effarant que cela puisse paraître, il est exact-ainsi que je vais immédiatement le prouver-que personne jusque-là n'avait jamais réellement travaillé sur Germigny, ce qui rend ce patrimoine éminemment vulnérable. Plus préoccupant encore : tout le monde semble s'autoriser à en glisser périodiquement un mot, alors que depuis cent ans, aucun historien ou historien de l'art-exception faite de Gilberte Vezin 1 (vers 1945) et de Willbald Sauerländer 2 (en 1965)-n'est jamais venu voir l'église en personne. "Sur Germigny, on n'a vraiment écrit que des sottises abyssales" (W. Sauerländer)

Listes des épitaphes de la noblesse Lorraine

According to Carl Schmitt’s concept of the political, the specific distinction to which political actions and motives can be reduced is that between friend and enemy. In the Middle Ages, Peter the Venerable (1092-1156), the abbot of Cluny, was the first to conceive the Church as a spatial entity surrounded and contrastively shaped by the nature of its assailants: Jewish, Muslim, and heterodox religious competitors. From then on, the Ecclesia perceived and established itself as a fortress constantly under siege, but interiorly illuminated by the Sapientia, the inner light of the Holy Spirit. At the same time, the « true social mutation of the year 1100 » (D. Barthélemy) that transformed the old religion based on the cult of relics into the sacramental «religion of new times» began to narrow the acceptation of the word Ecclesia to the clerical elite who had the power to invoke the Holy Spirit in the sacrament of the Eucharist. Through the Eucharist, the communicant was taken into Christ’s mystical body and took part of the supernatural society of the Church. The devil, therefore, was identifiable in all his disguises by his constant blasphemy against the Incarnation of Christ, which is the raison d’être of the Fortress Church, and the condition of possibility of the Eucharist, and therefore of Christian society. At Saint-Gilles du Gard (ca.1160-70), Notre-Dame de Laon (ca.1190-1205) and Notre-Dame de Germigny (ca.1215), I propose that the Incarnation tympana with their claim of kinship to authoritative Antiquity («1200 style») emerged and resurfaced as a key, but ephemeral, composition translating this ideology in the transition between Romanesque and Gothic.

Analyse du siège de Germigny-l'Exempt par Louis VI le Gros, événement à l’origine de Notre-Dame de Germigny-l'Exempt comme édifice. Comment l'interprétation attentive des expressions de Lucain puisées par Suger dans La Pharsale et les descriptions qu'il donne dans la Vita Ludovici Grossi suggèrent les rapports réels entre les protagonistes du siège et leurs mobiles véritables. Analysis of the siege of Germigny-l'Exempt by Louis VI le Gros, the event at the origin of Notre-Dame of Germigny-l'Exempt as a religious building. We show how the careful interpretation of the expressions drawn by Suger from Lucan’s Pharsalia and the descriptions the abbot of Saint-Denis gives in the Vita Ludovici Grossi contribute to unveil the real relationships between the protagonists of the siege and their true motives. Analyse der Belagerung von Germigny-l'Exempt durch Louis VI le Gros, das Ereignis am Ursprung von Notre-Dame von Germigny-l'Exempt als religiöses Gebäude. Wir zeigen, wie die sorgfältige Interpretation der von Suger aus Lucans Pharsalia gezogenen Ausdrücke und die Beschreibungen des Abtes von Saint-Denis in der Vita Ludovici Grossi dazu beitragen, die wahren Beziehungen zwischen den Protagonisten der Belagerung und ihre wahren Motiven zu enthüllen.

"This work analyses the relevant role played by the sculptors who arrived from the other side of the Pyrenees in the Aragonese artistic scene in the first part of the XVI century, paying special attention to the artistic names of Gabriel Joly, Esteban de Obray and Pierres del Fuego. Of Picard origin, Joly played an important role in the arrival of new compatriots and came to lead one of the most distinguished sculptural studios in Saragossa at that period. Esteban de Obray, who came from Normandy, settled down in Navarre lands, but he kept close ties of collaboration with the Saragossa artistic scene throughout his professional career, which helped him to work with leading personalities such as Gabriel Joly first, and Giovanni Moreto e Pedro Lobato later. Finally, a native of Beauvais, in the limits of Picardy, Pierres del Fuego also got to hold a very close personal relationship with Gabriel Joly. Later, he settled down in Tarazona, at the border of the kingdoms of Castile and Navarre, where he is recorded together with other professionals of French and Flemish origin as developing different works of stone and plaster sculpture, a professional facet which was continued by his son, Bernal del Fuego".