Birth of Pierre-Victor Loth 1842 (≈ 1842)
To Saint-Maixant, son of a mason.
1900
Construction of the monument
Construction of the monument 1900 (≈ 1900)
Edited by Pierre-Victor Loth himself.
1932
Death of Pierre-Victor Loth
Death of Pierre-Victor Loth 1932 (≈ 1932)
In Saint-Maixant, owner of the monument.
18 décembre 1981
Historical Monument
Historical Monument 18 décembre 1981 (≈ 1981)
Registration by ministerial decree.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Funeral monument: concession no. 4 (Case AC 40): inscription by decree of 18 December 1981
Key figures
Pierre-Victor Loth - Stone tailor and mason
Manufacturer and builder of the monument.
Origin and history
Pierre-Victor Loth's funerary monument, located in Saint-Maixant (Creuse), is a vault built in 1900 by its owner himself. This monument is distinguished by its ingenuous composition and picturesque esotericism, mixing sacred objects, plant motifs and superimposed symbolic elements. Its rectangular structure comprises four levels: a degree base, a carved trapezoidal block, two adorned piles supporting a slab, and a complex crowning (canned pillar, basin, globe, cross and pyramid). Loth, born in 1842 in Saint-Maixant and died in 1932, was the son of a mason and became a stone tailor, working in Langres and Paris. His logbook, kept in town hall, bears witness to his artisanal journey.
Ranked Historic Monument by decree of 18 December 1981, this vault reflects the autodidaxis and popular creativity of its author. The protected elements correspond to concession number 4 (cadastre AC 40), and the monument embodies a unique synthesis between Masonic know-how and personal symbolism. The location, noted as little accurate (level 5/10), would locate the site near the 5001 in Saint-Maixant, in the former Limousin region (now New Aquitaine).
The mysterious iconography of the monument — hooks, volutes, stylized foliage — questions the influences of Loth, between Christian tradition (cruix, sacred objects) and personal reinterpretations. The globe adorned with hooks and the pyramid evoke Masonic or alchemical references, although no source confirms a formal affiliation. This monument thus illustrates the porosity between popular art and spirituality at the turn of the 20th century, in a rural context where artisanal know-how was often passed on from father to son, as demonstrated by Loth's professional heritage.
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