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Ivoy-le-Pré Cemetery Cross dans le Cher

Patrimoine classé
Patrimoine religieux
Croix
Croix de cimetière

Ivoy-le-Pré Cemetery Cross

    Route du Gué de la Pierre
    18380 Ivoy-le-Pré
Ownership of the municipality

Timeline

Révolution/Empire
XIXe siècle
Époque contemporaine
1800
1900
2000
1840
Creation of the cross
22 janvier 1991
Historical Monument
décembre 1996
Theft of crying
Aujourd'hui
Aujourd'hui

Heritage classified

Cemetery Cross (Box C 312): Registration by Order of 22 January 1991

Key figures

Léonce Louis Melchior de Vogüé - Marquis and patrons Sponsor and donor of the cross.

Origin and history

The cemetery cross of Ivoy-le-Pré, located in the Cher department in the Centre-Val de Loire region, is a funeral monument dated the 2nd quarter of the 19th century. Made in 1840 by the local foundry, it embodies the neo-Gothic style then in vogue, with moulded elements reminiscent of the weeping tomb of Duke Jean de Berry. This artistic choice reflects the romantic interest in the Middle Ages and medieval funeral art, typical of the period.

This cross was offered to the church of Ivoy-le-Pré by Marquis Léonce Louis Melchior de Vogüé, a member of a local aristocratic family. The mourning, a major decorative element, was stolen in December 1996, depriving the monument of part of its historical and symbolic value. Classified as a Historical Monument by decree of 22 January 1991, it remains owned by the commune and bears witness to the industrial and artistic heritage of the 19th century.

The location of the cross, in the cemetery of Ivoy-le-Pré, underlines its initial role as a funeral marker and religious symbol for the community. Its inscription in the title of Historical Monuments guarantees its preservation, despite the degradations suffered. The accuracy of its geographical location is estimated as satisfactory a priori (note 6/10), according to available data, with an approximate address at 7 Rue Nicolas Leblanc.

The context for the creation of this cross is part of a period of renewal of religious arts in France, marked by the rise of local foundries and aristocratic patronage. The Marquis de Vogüé, by financing this monument, was part of a tradition of artistic and religious patronage, common among the provincial elites of the 19th century. The theft of the mourners in 1996 illustrates the risks incurred by works of art exposed outside, despite their legal protection.

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