Construction of the cross 1546 (≈ 1546)
Date engraved on the monument.
20 décembre 1907
Historical monument classification
Historical monument classification 20 décembre 1907 (≈ 1907)
Official protection by order.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Stone cemetery cross, 16th century: ranking by decree of 20 December 1907
Key figures
Léo Drouyn - Historian and archaeologist
Described and compared the cross.
Origin and history
The Cemetery Cross of Nérigean is a hosannière cross, type of religious monument that appeared in the 15th century and often placed in the center of cemeteries for the blessing of the branches. It dates from 1546 and is distinguished by its high square base on three steps, giving it elegance and height. Originally, it was decorated with statuettes representing saints and biblical figures, such as the angel Gabriel, St.Peter or St.Madeleine, arranged in a similar manner to the cross of Saillans, from which it was inspired directly. These sculptures were usually made by master masons rather than by professional sculptors, reflecting a local craftsmanship marked by gifts from wealthy lords.
The original sommital cross was later replaced by a simpler stone version, made by a local mason. Among the remarkable details are the attributes of the Evangelists at the top of the barrel, as well as four lower statuettes, including a saint depicted with a tree, a rare motif. Léo Drouyn, in his writings, highlights the striking resemblance between this cross and Saillans, assigning the two works to the same anonymous artist. Ranked as historical monuments since December 20, 1907, it bears witness to the importance of the hosanrine crosses in the parish and liturgical life of the Gironde.
These monuments served not only as a religious landmark, but also as a symbol of prestige for parishes, highlighting the local patron saint. In Nerigean, the cross was probably linked to St.Martin's Church, around which community life was organized. Its early classification at the beginning of the twentieth century underscores its heritage value, both for its architecture and for its role in local traditions. Today, it remains a significant example of the funeral and religious art of the Renaissance in New Aquitaine.
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