page_title: Sculptures by Ligier Richier
section_title: Altarpiece of the Ancienne Collégiale de Saint-Maur
hierarchical_section_title: Sculptures by Ligier Richier / Altarpiece of the Ancienne Collégiale de Saint-Maur
caption_attribution_description: retable de l'église d'Hattonchatel (Ligier Richier)
context_page_description: Ligier Richier was a 16th-century religious sculptor working in Lorraine, France and known in particular for his depictions of scenes from the "Passion of Christ". The various episodes of the Passion, between the arrest and the crucifixion of Christ, as recounted in the Gospels, were increasingly subject to representation in the Arts towards the end of the Middle Ages, in tandem with the growing popularity of the staging of theatrical mystery plays.
  Little is known of Ligier Richier's personal life as a consequence of the scarcity of records available. Thus attribution of works to him faces the same constraints and often relies on the scholarship of people such as Paul Denis, particularly his thesis "l’artiste et son œuvre" published in Paris and Nancy in 1911. A good example of the scarcity of information available is the extent to which researchers have relied on the writing of the Troyes pilgrim Chatourop, recorded through the writings of dom Calmet, for information on the works at Notre Dame in Bar-le-Duc and Saint Pierre in Saint Mihiel. Paul Denis rejects the idea that Richier travelled to Italy and had contact with Michelangelo.
context_section_description: This work by Ligier Richier is located in the Église collégiale de Saint-Maur (St Martin) and is generally thought to have been carved in 1523. It is the earliest work that has been attributed to Ligier Richier. Hattonchâtel is a village in the canton of Vigneulles, 18 kilometres from Saint-Mihiel and is situated at the top of one of the range of hills which run from Verdun to Toul and separate the valley of the Meuse from the Woëvre plain.  The village took its name from a castle built in the 9th century by Hatton, the Bishop of Verdun at the time.
  Richier's retable or altarpiece is divided into three distinct sections or niches which are separated by four upright pillars. The central section is constructed to form an arch and is higher than the sections to the right and left.  Within each of these three niches, Richier has carved compositions in high relief whilst the pillars, arch and the rest of the retable feature elaborate carvings and embellishments which include the tools of the architect and the sculptor; a ruler and a compass and a hammer and chisel. The three high reliefs depict three episodes from the Passion.
  The first of these episodes is a scene showing Christ carrying the Cross on his way to Calvary or Golgotha. Christ is shown in the centre of the composition dressed in a long flowing robe and weakened by the flogging from one of the "executioners", whose task was to perform the crucifixion, and the suffering of the previous hours with the flagellation he had endured, he is unable to bear the heavy weight of the cross and has fallen to the ground. His face is etched with anxiety and "une intraduisible expression de souffrance résignée". In the scene and just behind Christ, Richier depicts the figure of Simon the Cyrenian, who will soon be coerced into helping Jesus to support the Cross.  Three women are shown on the left of the scene, including Veronica who looks adoringly at Christ's image on her veil. Two executioners complete the scene, one of whom is raising a stick and is about to beat Jesus with it, urging him to stand up and move forward, whilst the other appears to partially support the Cross but is no doubt telling Jesus to get on his feet.
  In the central niche is a depiction of the crucifixion itself and to the left of his composition, Richier includes a scene much favoured at the time by gothic "imagiers"; the Virgin Mary having a fainting fit, overcome by emotion, and needing physical support from St John (the "Pâmoison" or "Spasimo"). Elsewhere in what is a complex composition, Richier includes three men on horseback, Mary Magdalene and a man holding a pole at the end of which is a sponge. One of the horsemen has just pierced Jesus' side with his lance and Jesus' blood has splashed onto him and another holds a banner on which is written "Vere hic homo filius Dei erat" ("here is a man who is truly the son of God").
  In the third scene we see Jesus being attended to by various people after he has been taken down from the Cross. He is shown lying on the ground and supported by the Virgin Mary and St. John. Mary Magdalene and another woman are present, and to the rear Richier includes a bishop who holds a heavy cross in his left hand whilst a priest kneels at his feet (see below for the probable identity of the bishop and priest),
  
  The dimensions of the piece are 2.60 metres in length and 1.60 metres in height. The central niche is 0.88 metres wide by 1.20 metres in height and the other niches measure 0.64 metres by 0.70 metres. Along the base of the altarpiece is the inscription taken from St Peter.
  "XPS (Christus) PASSUS EST PRO NOBIS. OBIS RELINQUENS EXEMPLUM VT SEQUAMINI VESTIGIA EIVS"
   At the base of each pillar is the date "L'AN. 1000. 500. 23".
  During the 1914-1918 war, the German Army transferred the retable to the "Chapelle des Templiers" in Metz.  This was after a bomb had fallen on the church although the retable was not damaged. No doubt the Germans were anxious to avoid the retable being damaged should the church have been hit again.
  Casts of this work can be seen in the Musée de scu
caption: The central part of the Hattonchâtel altarpiece
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