Construction of the monument XVIe siècle (≈ 1650)
Main construction period identified.
19 février 1926
Historical Monument
Historical Monument 19 février 1926 (≈ 1926)
Registration by official order.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
House of Jeanne d'Arc (cad. AW 581): inscription by order of 19 February 1926
Key figures
Jeanne d'Arc - Associated historical figure
Represented on a carved panel (uncertain attribution).
Famille Stuart - Presumed or related owner
Buched on the facade.
Origin and history
Jeanne d'Arc's house in Aubigny-sur-Nère is a 16th century monument, composed of two houses: one overlooking the street, the other overlooking an inner courtyard. The street façade, in torchi, is decorated with wooden cross of Saint-André, while the bays have carved pillars. This mixture of materials and decorations reflects the constructive techniques of the time, combining functionality and aesthetics.
The interior courtyard reveals more elaborate facades, with stands and arches of ground and carved bays. The entrance door, particularly remarkable, is decorated with a brace and wood panels. One of them represents a female character often interpreted as Joan of Arc, although this identification remains hypothetical. The Stuarts' ecu, which is now staked, suggests a link with this Scottish family, then close to the French crown.
Classified as a Historical Monument by decree of 19 February 1926, this house illustrates Renaissance civil architecture in Berry. Its state of conservation and its decorative details make it a precious witness to the bourgeois or aristocratic homes of the region. The approximate location between rue des Dames and rue de l'Équerre reflects the uncertainties associated with its historical documentation.
The building, although named in reference to Jeanne d'Arc, has no formal proof of its passage. This designation is more of a local tradition or later interpretation, common for medieval or reborn monuments in France. His interest lies as much in his architecture as in the narratives associated with him.
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