Baroque religious heritage

on the road to the Sacred

The Côte d’Azur is home to some of the oldest monastic settlements in the West. A testament to religious fervour, the region’s religious heritage is packed with artistic masterpieces, culminating in the marvels of the altarpiece painters, of whom Louis Bréa is the most famous. Here are some of our favourites…

The hinterland of Grasse and Vence

The Notre-Dame-de-Valcluse sanctuary in Auribeau-sur-Siagne has been a place of pilgrimage since the 12th century; a fine collection of votive offerings can be seen in the adjoining museum and the original grotto is open to devotees. The church of Saint-Jacques-le-Majeur in Bar-sur-Loup, dating from 1471, features an incredible altarpiece by Louis Bréa comprising 14 panels, including “La danse macabre”. Theformer cathedral of Notre-Dame-du-Puy in Grasse features a Saint-Honoré altarpiece dating from 1520; it is linked to the former bishops’ palace by a passageway spanning an alleyway. The Notre-Dame-de-Vie chapel in Mougins is a “sanctuary of respite” (when a stillborn child temporarily comes back to life during baptism); it contains a few votive offerings, an altarpiece on the high altar, as well as various ancient monuments and a military stele. The Collegiate Church of the Conversion of Saint-Paul in Saint-Paul-de-Vence contains some remarkable furnishings, including an 18th-century baptismal font and 17th-century canvases and carved walnut stalls. The 17th-century chapel of the Pénitents Blancs features Folon’s vast artistic project (sculptures, watercolours and mosaics). Picasso’s two works, “La Guerre et La Paix” (War and Peace), were installed in the chapel of the Château de Vallauris in 1959, giving them a sacred and universal anchorage.

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The famous little Rosary chapel in Vence is entirely Henri Matisse’s work, with its architecture, furniture and iconography steeped in symbolism. Also worth a visit Notre-Dame-du-Brusc in Châteauneuf-de-Grasse, the chapel of Saint-Claude and the church of Saint-Mayeul in Cipières, the church of Saint-Etienne in Gréolières, the chapel of Saint-Barthélémy in Mougins, the chapel of Notre-Dame-de-Sardaigne in Saint-Cézaire, the chapel of Notre-Dame-de-Gratemoine in Séranon, the church of Saint-Blaise in Valbonne, the chapel of la Miséricorde in Vallauris, theformer cathedral of Notre-Dame-de-la-Nativité, the chapel of Sainte-Elisabeth and the chapel of Sainte-Anne in Vence.

The islands and coastline of Antibes

Notre-Dame-de-Lérins abbey on the island of Saint-Honorat was the first monastery founded by Honorat d’Arles, around 400-410, although the current buildings are more recent. The cloister is the only completely preserved Romanesque cloister in the Alpes-Maritimes. Long a Cluniac abbey, it is now home to a community of Cistercian monks. The sanctuary of Notre-Dame-de-la-Garoupe at Cap d’Antibes is home to more than 250 ex-votos, particularly for the rescue of sailors. The Cistercian-influenced Romanesque cathedral of Notre-Dame-de-l’Immaculée is home to an altarpiece of the Virgin of the Rosary by Louis Bréa, the only work to have survived in its entirety. The Château Grimaldi in Cagnes-sur-Mer dates back to the Middle Ages, when it was a fortified castle and the residence of the bishops of Antibes. It is now the Musée Picasso and houses “La Déposition” by Antoine Aundi. The church of Sainte-Marie-Madeleine in Biot is home to Louis Bréa’s altarpiece of the Virgin of the Rosary and the work “Christ de Passion” by an unknown artist. Also worth seeing: the Notre-Dame-de-Protection chapel in Cagnes-sur-Mer.

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The Var plain, the Estéron and the Cians

The church of Saint-Benoît in Bonson houses a polyptych of Saint-Benoît, an altarpiece of Saint-Jean-Baptiste – one of the rare works by Antoine Bréa – and a panel of Saint-Antoine-l’Ermite. The church of Notre-Dame de Briançonnet is home to an altarpiece of the Virgin of the Rosary by Louis Bréa, a work of great interest that is both classical and unusual. The church of Saint-Jean-Baptiste in Beuil is decorated with fine Baroque gypseries, including a monumental altarpiece with twisted columns. The church of Saint-Nicolas in Châteauneuf d’Entraunes hides an art treasure: the triptych of “Christ aux Cinq Plaies” by François Bréa. The sanctuary of Notre-Dame-du-Buyeï in Guillaumes has an ex-voto classified as a Historic Monument, created by Jean Ardisson following the fire of 1682. The modest church of Notre-Dame-de-la-Nativité in Lieuche conceals one of the most accomplished altarpieces of the late 15th century, the Annunciation by Louis Bréa. The church of Notre-Dame-de-l’Assomption in Puget-Théniers houses a polyptych of Notre-Dame-de-Bon-Secours attributed to Antoine Ronzen and Antoine Bréa and a remarkable altarpiece carved with the Passion.The church of Saint-Martin in Saint-Martin d’Entraunes features a luminous altarpiece of the Virgin of the Rosary by François Bréa.The Gothic church of Saint-Jean-Baptiste in Villars-sur-Var contains an altarpiece of Saint-Jean-Baptiste by Antoine Ronzen and an altarpiece of the Annunciation.

Also worth seeing the church of Saint-Véran in Ascros, the church of Notre-Dame de l’Assomption and Saint-Trophime in Bouyon, the church of Saint-Sauveur in Gars, the church of Saint-Nicolas in Gattières, theformer parish church of Notre-Dame and Saint-Arnoux and the church of Saint-Sauveur in Le Mas, the churches of Notre-Dame-du-Plan and Saint-Pierre-Pape in La Penne, the church of Sainte-Pétronille in Roquesteron-Grasse, theéglise Saint-Arige de Roquesteron, the church of la Chaire de Saint-Pierre and the chapel of Notre-Dame-del-Bosc in La Roquette-sur-Var, the chapel of Notre-Dame-d’Entrevignes and the parish church of Saint-Michel et Saint-Blaise in Sigale, the chapel of Saint-Sébastien chapel and the Saint-Pons Notre-Dame-de-la-Nativité church in Entraunes, the Saint-Etienne parish church in Guillaumes, and the Saint-Vincent-de-Saragosse church in Péone.

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The Tinée, Vésubie & Roya rivers

The walls of the chapel of Saint-Antoine Abbé de Clans contain some of the most important wall paintings in the Alpes-Maritimes: the life of the holy abbot is recounted in 30 episodes in a rich and refined work. The elegant Baroque church of Saint-Pierre-aux-Liens in Isola is decorated with gypseries and houses prestigious furnishings, including a monumental altarpiece with a copy of Noël’s “Delivrance de Saint Pierre” by Noël Hallé, four elements of the altarpiece of Saint-Pierre by François Bréa, not forgetting the beautiful Romanesque bell tower of Saint-Pierre, isolated in a meadow since an unfortunate flood. The chapel of Saint-Sébastien in Roubion is decorated with delightful scenes with commentary in old Provençal. The chapel of Saint-Bernard Saint-Sébastien de Roure and its poorly jointed facade offer little reason to expect its rich decoration, painted in 1510 by Andrea da Cella. The Saint-Sébastien chapel in Saint-Etienne-de Tinée, with its exceptional frescoes by Giovanni Baleison and Giovanni Canavesio, was built in the 15th century as a barrier against epidemics, particularly the plague. The chapel of Notre-Dame des Pénitents Blancs in La Tour was decorated with frescoes of touching simplicity in 1481 by two painters from Nice, Brevesi and Nadal. The church of Saint-Laurent in La Bollène is home to a number of important pieces of furniture: the late 17th-century painting of the Trinitarians and the painting of Saint Laurent and Saint Maur, by Emmanuel Costa (1833-1921), a leading artist of the Belle-Epoque period.

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The church of Saint-Michel-du-Gast in Roquebillière is a precious example of southern Gothic art, with carved wooden altarpieces from the second half of the 17th century, including a triptych of Saint-Antoine-l’ermite. of the 17th century, including a triptych of Saint-Antoine-l’ermite, and numerous paintings by some of the region’s finest artists (Bottero de Nice, Gastadi de Triora, Giuge). The church of Saint-Martin et de l’Assomption in Saint-Martin-Vésubie houses four panels of saints attributed to Louis Bréa. The Madone-de-Fenestre sanctuary has had an eventful history, full of legends and vicissitudes.It is modelled on Rubens’ Descent from the Cross, painted in 1614 for Antwerp Cathedral. The collegiate church of Saint-Martin in La Brigue boasts a rich heritage illustrated by several altarpieces: the Adoration of the Child by Louis Bréa, the Crucifixion, Sainte-Marthe, Saint-Erasme, a panel of the Assumption and a triptych of Notre-Dame-des-Neiges. There are also two adjoining chapels: the Annunciation and the Assumption. Last but not least, the isolated chapel of Notre-Dame-des-Fontaines boasts the largest painted decoration in the region by Piedmontese artists Baleison and Canavesio; it is known as the “Sistine Chapel of the Southern Alps”. The church of Saint-Michel de Sospel, long a cathedral, boasts a magnificent 12th-century Lombard Romanesque bell tower, as well as an altarpiece of the Immaculate Conception by François Bréa and a Pietà by the Pénitents Blancs.

Also worth seeing the chapel of Saint-Erige in Auron, the collegiate church of Sainte-Marie, the chapel of Saint-Michel in Clans, the church of Saint-Michel in Ilonse, the church of Saint-Pons in Marie-sur-Tinée, the Notre-Dame-du-Mont-Carmel church in Roubion, the Saint-Laurent church in Roure, the Saint-Dalmas church and the Sainte-Marguerite chapel in Saint-Dalmas-le-Selvage, theéglise Saint-Etienne, the chapel of Saint-Maur and the Trinitaires convent in Saint-Etienne-de-Tinée, the church of Saint-Michel-Archange in Saint-Sauveur-sur-Tinée, the church of Saint-Martin in La Tour, thede-la-Sainte-Croix in Valdeblore, the church of Saint-Pierre et Saint-Paul in Belvédère, the church of Saint-Pons in Lantosque, the chapels of the Pénitents Blancs and Noirs in Saint-Martin-Vésubie, the church of Saint-Véran and the sanctuary of the Madonna in Utelle, the chapel of Saint-Sébastien in Venanson, the church of Sanctaglise Sancta-Maria-in-Albis in Breil-sur-Roya, the church of Saint-Martin in La Brigue, the church of Notre-Dame-de-la-Visitation in Fontan, the church of Saint-Bernard, the chapel of Sainte-Catherine and the chapel of la Menour in Moulinet, the church of Saint-Marc and the chapel of la Menour in La Rochelle, the chapel of la Madone in Utelle and the chapel of la Madone in Utelle.église Saint-Marc et la chapelle Notre-Dame-de-la-Visitation de Piene Haute, l’église Saint-Sauveur, l’église Notre-Dame-des-Miracles et la chapelle Notre-Dame-del-Poggio de Saorge, la chapelle Sainte-Croix de Sospel, l’église Notre-Dame-de-l’Assomption, the chapels of the Pénitents Blancs and Pénitents Noirs and the chapel of the Annonciade in Tende.

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Nice

In Nice, the Chapel of the Blessed Sacrament is the most important in terms of its wealth and doctrinal content: a grandiose marble altarpiece with double twisted columns frames the painting depicting the exaltation of the Blessed Sacrament, painted by Francesco Penni, a disciple of Raphael, and a cleverly elaborate set of symbolic images. The chapel of the Holy Sepulchre marked the solemn end of the road to Turin, in Piazza Garibaldi; here you can admire the venerated statue of the Madonna of Sincaïre, a beautiful canvas celebrating the Assumption of the Virgin Mary, and a painting of the Holy Sepulchre.Here you can admire the venerated statue of the Virgin of Sincaïre, a fine painting of the Assumption by Abraham Van Loo and an interesting collection of painted wooden elements representing life-size figures from the Passion of Christ, known as “cartelami”. The church of Saint-Martin Saint-Augustin remains a fine example of regional Baroque influenced by Liguria, with a high altar in polychrome marble by the sculptor Nicolas Ravena and a Pietà panel by Louis Bréa, the only piece of a lost altarpiece. The Chapelle de la Miséricorde is a masterpiece of Nice architecture, designed in 1740 by the great Turin architect Bernardo Vittone.The sacristy houses two altarpieces dedicated to the Virgin of Mercy, 15th-century works by Jean Miralhet (the oldest in the region, yet preserved in its entirety) and Louis Bréa. The church of Notre-Dame-Auxiliatrice, the largest church in the Nice diocese, erected in 1927, is an eloquent example of the Art-Deco style, with the collaboration of several artists. The Russian Orthodox cathedral of Saint-Nicolas raises its five green domes of glazed tiles crowned with gilded crosses above the trees, while the interior featuresThe Cimiez monastery houses three altarpieces commissioned from Louis Bréa: the Pietà (the painter’s first dated and signed work, and his best-known), the Crucifixion and the Deposition.

Also worth seeing the Basilica of Sainte-Réparate, the churches of Gesù, San Giaume and de l’Annonciade, Saint-François-de-Paule, Notre-Dame-des-Grâces, Sainte-Jeanne-d’Arc, The Holy Trinity Church, Notre-Dame-du-Port, Saint-Barthélémy, the chapels of the Pénitents Rouges and Pénitents Blancs de Nice, and Saint-Pons Abbey.

The hinterland of Nice and Menton

The Gothic church of Sainte-Marguerite and Sainte-Rosalie in Lucéram, housed in the former castle, is home to five paintings by the Nice Primitives: the polyptych of Sainte Marguerite and the panel of Saint Peter and Saint Paul by Louis Bréa, the altarpiece of Saint Anthony of Padua and the polyptych of Saint Bernard of Menthon by Giovanni Canavesio or his workshop. The Notre-Dame-des-Douleurs chapel in Peillon is dedicated to the Passion, with chevets and walls by Giovanni Canavesio. The church of Notre-Dame-de-l’Assomption in Eze remains faithful to the classical Renaissance style: with its sober façade and rich interior (faux marble cornices, triumphal arch with Corinthian pilasters gilded with gold leaf and trompe l’oeil decoration on the vault). The basilica of Saint-Michel in Menton, with its bell tower of glazed tiles by Cantone, features trompe-l’œil paintings, 17th-century pictures and one of the last altarpieces by the Nice Primitives: the altarpiece of Saint-Michel by Antoine Manchiello. Monaco Cathedral was built in the Romanesque-Byzantine style, as evidenced by the large mosaic in the apse dedicated to the Virgin Mary, the ambulatory, the burial place of the Princes, and several works of art: the altarpiece of Saint Nicolas by Louis Bréa, the Pietà of Curé Teste by the Bréa workshops, and the Pietà of the Pénitents Blancs by François Bréa. The Saint-Pierre chapel in Villefranche-sur-Mer, decorated by Jean Cocteau in 1957 and dedicated to fishermen, illustrates several episodes from the life of Saint Peter; the artist also designed the furniture (candelabra, high altar, crucifix).