Along this multimedia trial you can explore the cultural heritage of Meymac, and discover, through videos and audio commentary, the abbey and its history, agricultural heritage and also the unusual people whose actions left their mark on the area.
Meymac lies in an area mostly covered by forest, but that has not always been the case. The development of the countryside and how and why it has changed are explained in this first video.
Watch this video and explore how the town grew up around the abbey in medieval times, then beyond the walls, around the old Viscounts castle and the suburbs.
This tower is a remnant of the towns old fortifications and has served as a belfry, a free-standing spire, symbol of the towns independence from the local lord. Listen to its history.
This is a statue of Saint Léger, whose relics are preserved in the church at Meymac. Listen to the audio guide for a brief history of Saint Léger.
What can you see on both sides of this cross?
This monumental openwork cross was sculpted from granite. It dates from the late 15th or early 16th century. On one side the Virgin is shown with the child Jesus in her arms, while on the other side you might recognise the scene from the Calvary mount (Christ on the cross accompanied by Saint John).
This monumental openwork cross was sculpted from granite. It dates from the late 15th or early 16th century. On one side the Virgin is shown with the child Jesus in her arms, while on the other side you might recognise the scene from the Calvary mount (Christ on the cross accompanied by Saint John).
This monumental openwork cross was sculpted from granite. It dates from the late 15th or early 16th century. On one side the Virgin is shown with the child Jesus in her arms, while on the other side you might recognise the scene from the Calvary mount (Christ on the cross accompanied by Saint John).
Classified as a Monument of Historical Importance, this 16th century covered marketplace has a beautifully carved wooden frame in the shape of an upturned boat's hull. Listen to the audio guide to find out more.
As you enter the church at Meymac you will notice the carved Romanesque capitals that warrant close inspection. Listen to the audio guide for tips on what to look out for.
Four of the church's stained glass windows were created by Limousin master glass painter Francis Chigot (1860-1960) Listen to the next part of the audio guide to find out about their symbolism.
This organ possesses a remarkable acoustic quality specifically designed for baroque music. Its casing was inspired by various 17th century instruments. Listen to the audio guide to find out how the organ was built, and to hear an excerpt from a recording of the organ...
For a long time it was thought that this Virgin and child was a Pietà. Do you know what a Pietà is?
For a long time it was thought that this Virgin and child was a Pietà. Do you know what a Pietà is?
A Pietà, or Mater dolorosa, or even a Virgin of sorrows, is a representation of the Virgin Mary with the body of Jesus across her lap, following the Crucifixion. It was due to her sorrowful countenance that this 15th century statue was thought to be a Pietà. But the headless corpse on her lap is actually that of the child Jesus not that of the martyred adult. The child's head, which can be seen alongside the statue in the photograph, was not the original one and must have been taken from a different sculpture. It was stolen in 2006.
A Pietà, or Mater dolorosa, or even a Virgin of sorrows, is a representation of the Virgin Mary with the body of Jesus across her lap, following the Crucifixion. It was due to her sorrowful countenance that this 15th century statue was thought to be a Pietà. But the headless corpse on her lap is actually that of the child Jesus not that of the martyred adult. The child's head, which can be seen alongside the statue in the photograph, was not the original one and must have been taken from a different sculpture. It was stolen in 2006.
A Pietà, or Mater dolorosa, or even a Virgin of sorrows, is a representation of the Virgin Mary with the body of Jesus across her lap, following the Crucifixion. It was due to her sorrowful countenance that this 15th century statue was thought to be a Pietà. But the headless corpse on her lap is actually that of the child Jesus not that of the martyred adult. The child's head, which can be seen alongside the statue in the photograph, was not the original one and must have been taken from a different sculpture. It was stolen in 2006.
What nickname do you think the Black Virgin was given?
This wooden polychrome Black Virgin dates from the 12th century and has eastern-styled hair which garnered her the name "the Egyptian". On her feet she is wearing slippers resembling Limousin clogs. Note how out of proportion her head and hands are compared with the rest of her body! Although she is looking straight ahead, book in hand, with the child Jesus on her lap, her face is turned slightly to the right and seems to be staring at us with her large eyes. It is rare to find a sculpture of such antiquity and it has been granted Historic Monument status.
This wooden polychrome Black Virgin dates from the 12th century and has eastern-styled hair which garnered her the name "the Egyptian". On her feet she is wearing slippers resembling Limousin clogs. Note how out of proportion her head and hands are compared with the rest of her body! Although she is looking straight ahead, book in hand, with the child Jesus on her lap, her face is turned slightly to the right and seems to be staring at us with her large eyes. It is rare to find a sculpture of such antiquity and it has been granted Historic Monument status.
This wooden polychrome Black Virgin dates from the 12th century and has eastern-styled hair which garnered her the name "the Egyptian". On her feet she is wearing slippers resembling Limousin clogs. Note how out of proportion her head and hands are compared with the rest of her body! Although she is looking straight ahead, book in hand, with the child Jesus on her lap, her face is turned slightly to the right and seems to be staring at us with her large eyes. It is rare to find a sculpture of such antiquity and it has been granted Historic Monument status.
This former Deputy for the Popular Front party was very heavily engaged in Meymac life between 1913 and 1973. He was active in the development of farming and forestry, archaeological digs and he collected objects of ethnographic interest.
The collections he amassed over the course of his life are on display in the museum that bears his name.
This is the story of local man, Jean Gaye-Bordas, who developed a very unusual business in Meymac in the 19th century, all based around a geographical fib!
Explore the heritage of the buildings which sprang up in the late 19th and early 20th centuries due to the economic rise of the Meymac wine merchants, who grew rich following the example of Jean Gaye-Bordas.
What is the intended purpose of this sculpture?
Created by the artist Robert Jacobsen, this work acts as intermediary between the works on show and the public. Nowadays, this sculpted monument appears not only to be a beacon guiding visitors towards the entrance of the arts centre but also a symbol of the permanence and vitality of the artistic endeavours that take place here. Born in Copenhagen, Denmark, in 1912, Robert Jacobsen was a self-taught sculptor. He started out sculpting wood before changing to working with iron. "Welding was my lucky break. That's why I became an ironwork sculptor. That's it, no need embroider the tale, or invent pretty stories. With stone, you navigate between the forms. With iron you know the form, you choose the space." He received the grand prize at the 1966 Venice Biennial.
The Robert Jacobsen sculpture that stands in front of the Abbey of Saint André in Meymac was commissioned in 1991. He was very well acquainted with the town as he had stayed here many times during the 1950s and even considered buying the abbey to turn it into a creative space.
Created by the artist Robert Jacobsen, this work acts as intermediary between the works on show and the public. Nowadays, this sculpted monument appears not only to be a beacon guiding visitors towards the entrance of the arts centre but also a symbol of the permanence and vitality of the artistic endeavours that take place here. Born in Copenhagen, Denmark, in 1912, Robert Jacobsen was a self-taught sculptor. He started out sculpting wood before changing to working with iron. "Welding was my lucky break. That's why I became an ironwork sculptor. That's it, no need embroider the tale, or invent pretty stories. With stone, you navigate between the forms. With iron you know the form, you choose the space." He received the grand prize at the 1966 Venice Biennial.
The Robert Jacobsen sculpture that stands in front of the Abbey of Saint André in Meymac was commissioned in 1991. He was very well acquainted with the town as he had stayed here many times during the 1950s and even considered buying the abbey to turn it into a creative space.
Created by the artist Robert Jacobsen, this work acts as intermediary between the works on show and the public. Nowadays, this sculpted monument appears not only to be a beacon guiding visitors towards the entrance of the arts centre but also a symbol of the permanence and vitality of the artistic endeavours that take place here. Born in Copenhagen, Denmark, in 1912, Robert Jacobsen was a self-taught sculptor. He started out sculpting wood before changing to working with iron. "Welding was my lucky break. That's why I became an ironwork sculptor. That's it, no need embroider the tale, or invent pretty stories. With stone, you navigate between the forms. With iron you know the form, you choose the space." He received the grand prize at the 1966 Venice Biennial.
The Robert Jacobsen sculpture that stands in front of the Abbey of Saint André in Meymac was commissioned in 1991. He was very well acquainted with the town as he had stayed here many times during the 1950s and even considered buying the abbey to turn it into a creative space.
It is extraordinary to have a centre for contemporary arts in the midst of such a rural setting. In this interview the centre's founder, and current Director, Caroline Bissière, explains how the renowned centre works and what it hopes to achieve in the contemporary art world.
