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Heritage classified

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Origin and history

The Abbey of Saint-Ferme, founded in the 6th century by Benedictines, was rebuilt in the 11th and 13th centuries to welcome the pilgrims of Compostela. The original monks, accused of nicolaism and simonia, were replaced in 1080 by disciples of Saint Maur, under the authority of the Bishop of Bazas. The abbey, rich of 7 priories and vast lands, became a key stage on via Lemovicensis, between Pellegrue and Monségur.

During the Hundred Years War (XIVth century), the abbey was fortified: dug moats, windows walled in murderers, and gallery of the cloister removed. The Wars of Religion (XVIth-17th centuries) led to new defensive changes, such as the assemblage above the door and the wall of the rose. From the 16th century onwards, the trading abbots marked its decline by living in luxury, building the castle of the Park and abusing their right to justice.

In the 18th century, the monks left the abbey before the Revolution. The abbey became the parish church, and the buildings were transferred to the commune to set up a school and town hall. Classified as a historical monument in 1886 (church) and 1990 (buildings), the abbey now houses a museum on monastic life and a treasure of 1,300 Roman coins discovered in 1986. Its architecture combines Romanesque elements (historical capitals of the 12th century) and defensive elements (tours, murders).

The church, on a Latin cross with a vaulted nave in a cradle, has 18 historic capitals (biological scenes, symbolic animals) and a vault on yousures among the first of Aquitaine. The monumental 16th century limestone fireplace of Monbazillac, and an allegorical painting of Justice (18th century) bear witness to its judicial past. The abbey also illustrates the daily life of the monks, with scriptorium, dormitory, and hostellery for pilgrims.

Among the remarkable works are an 8-metre cross Christ (18th century) and a cherry wood lutrin (18th century), formerly adorned with a statue of St Michael. The capitals, such as those representing Daniel and the lions or The Tentation of Adam and Eve, reflect a moralizing iconographic program. The successive changes (fortifications, destruction by the Huguenots) have altered certain elements, but the whole retains a strong historical and artistic coherence.

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