Construction of the cross XVIe siècle (≈ 1650)
Period of construction of the monument.
9 septembre 1905
Historical monument classification
Historical monument classification 9 septembre 1905 (≈ 1905)
Official date of protection.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Stone cemetery cross, 16th century: by order of 9 September 1905
Key figures
Sainte Catherine - Holy martyrdom represented
Statuette with sword and wheel.
Saint Genès - Patron of the parish
Bishop represented with tiara and buttock.
Origin and history
The cross of Bonzac Cemetery, erected in the 16th century, has been classified as historical monuments since 9 September 1905. It is distinguished by its location in front of the western entrance of the church of Bonzac, in the department of Gironde. This type of cross, typical of the region, often served as a religious and funeral landmark for the local community.
The structure of the cross rests on a base consisting of three seats and a cubic base, reaching a total height of 3.35 meters. The square-section monolith drum is decorated with pilasters and hooked pinacles at its base. Four statuettes, placed under the accolades of cabbage, represent Saint Catherine, a rapist, a bishop (probably Saint Genes, patron saint of the parish) and another ecclesiastical. These stylistic elements recall other girondine crosses, such as those of Mauriac or Saint-Germain-de-la-Rivière.
The upper part of the cross, now missing or replaced, was probably similar to those of the crosses of Saillans and Nerigean, with a second group of statuettes. The current cross, lacking original decoration, is a reconstruction whose dating remains uncertain. This monument illustrates the rural religious art of the Renaissance in Gironde, mixing Christian symbols and architectural motifs characteristic of the period.
Ranked among the historical monuments of the Gironde, this cross bears witness to the importance of the hosanrine crosses in the religious and cultural landscape of the region. His iconography, centred on holy figures and devotional scenes, reflects the liturgical beliefs and practices of the sixteenth century in Aquitaine.
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