Brenac The frescoes of Brenac

 

Who painted the decorations?

The interior decoration of the church of Brenac is largely the responsibility of Courtade, who was both author and craftsman of the majority of the work (sculptures, statues, pulpit, frescoes, etc.). The question that needs to be asked is whether or not he was also the artist responsible for the frescoes on the ceiling. And if he was, what was the intention behind the often enigmatic and intriguing decorations?
At the same time, we do not know what the old decorations – before the restorations – of the walls and ceiling consisted of. Perhaps it was merely a stone wall, without any ornaments. Perhaps the entire interior of the church was covered with a coating, which was then painted.

The nave is now divided into four distinct, but has irregular spans. When entering, the first two seem to be the same length as the last. The third is shorter. Perhaps this variation in length is a result of the original layout of the church before its modifications, which not only restored it, but also changed the entrance and changed other aspects of the church. We know that work on the entrance porch was carried out in 1837, after Mgr. de Laporte noted in 1809 the abysmal state of the roof and the deplorable state of its interior.

Courtade: painter?

The booklet about the church, created in 1993, states that in 1843, the interior decoration of the church was finalised. The ceiling of the nave was decorated with painted panels. In the same brochure, we learn that it was François Courtade who was the person responsible for the “cartouches” on the ceiling. However, there is a small problem with this account. As Courtade became the priest of Brenac only in May 10, 1848, he cannot be the creator of the paintings if they were carried out in 1843. Perhaps we need to envision a sort of “general framework” being created in 1843, which was left unexecuted and with the details only finalised by Courtade?
In either case, it should be obvious that the artisan responsible for the work had to rely on a significant amount of scaffolding to reach the height of the ceiling. If Courtade was the executor, then we are definitely in the presence of a very motivated priest. Still, it is clear that this type of scaffolding was only available from a professional supplier, which must have left some trace, either with the supplier or with the church of mayor. We are trying to retrieve that information.

Alchemical paintings

LThat the paintings were the work of Courtade was confirmed by the mayor of Brenac. Moreover, their nature is such that if it was anyone else but Courtade, it would make the story even more interesting, intriguing, if not surreal.

We have labelled the various spans, from the entrance I, II, III and IV. In each of these spans are four illustrations, numbered 1, 2, 3 and 4. For the narrow span (III), we find only two illustrations, hence 1 and 2. The letter G will furthermore identify the left side of the church, and D the right hand side.

The ceiling itself is white, but the medallions always have a black interior, with various colours, normally yellow, brown, rusted reddish or orange.

Span I

1G

2G

4 medallions:
1G: a pelican nourishing from its own blood. Above the scene a IHS, from which three rays leave. A cross surmounts the horizontal bar of H.
2G: a tower surmounted by 6 crenels and decorated by a door. A palm tree and coppices ensure the vegetable decoration. The tower is made of an equipment of… 17 stone rows. Half of the tower is in darkness and for the enlightened part one distinguishes… 33 gilded stones.
3D: a star on top of sixteen rays and a ship’s anchor.
4D: an eagle (?) flying over 7 forms, suggesting flames. Below are two blazing hearts, which on the right hand side are surrounded by a crown of spines. The whole is displayed in a setting of clouds.

3D

4D

Span II

1G

2G

4 medallions:
1G: a sailing boat, whose mast is surmounted by a cross. In the boat a character sitting against the back seems to hold something in his left hand. Above, there is a cloud from which a triangle leaves, point in top, with 17 rays of light.
2G: a kind of tomb decorated with a cranium and two bones (i.e. skull and bones). On the top two crescents finish towards a gate on which a bird bleeds abundantly (let us note that it is one of the two decorations where red is used as red, without any additional colour). On top, a triangle with rays descending.
3D: on the cloud, a gilded triangle from which falls the rays of light on a dog (or a wolf), with two birds on its side.
4D: on a crown of 6 flowers, a gilded triangle from which fall the rays, on which one finds on the right a large leaning cross with a crown of spines around the vertical of the cross.

3D

4D

Span III (narrow)

1G: in a cloud a large high cross with three blazing hearts. That in top is surrounded by a crown of spines and both of the lower parts have a kind of sword or dagger. In top of the cross an inscription with: "IN HOC SIGNO VINCES.”
2D: a high cross surrounded by the instruments of passion: lance, sponge, three nails, hammer, clipper, whip, rod and two yellow round points that are not identified. One notes, at the top of the cross, where one normally finds the letters "INRI "…here one reads "NRJ. "; it is possible that the last letter is an I but it is presented differently. At the epicentre of the cross, one distinguishes a kind of sharp yellow sun.

1G

2D

Span IV

1G: only one blazing heart.
2G: a chalice, as well as a yellow circle, with a blazing pyramid inside.
3D: the Ark of the Covenant, surmounted by two kneeling angels, their wings spread high.
4D: only one pierced heart.

2G

3D

First impressions

On these 14 medallions we especially note:
- 7 ` blazing hearts '
- 3 times the cross
- 3 texts or gathered letters: ` IHS ', ` NRJ ', ` IN HOC SIGNO VINCES'
- 5 radiant triangles with always the point in top.
To some extent, it is clear that some themes could be interpreted within a Christian context, whereas others seem less so – or are definitely open to other interpretations. Finally, there are some intriguing references, such as the Ark of the Covenant and what seems most likely to be a Grail cup.

Links between Brenac and Saunière?

Is there any link between these enigmatic medaillons and the equally quaint or enigmatic decorations in the church of Saunière, in nearby Rennes-le-Château? Perhaps. There is similarity between medallion II-1G and the illustration of the coat of arms of Mgr. Felix-Arsene Billard, as seen on the porch of the church of Rennes-le-Château, installed there by Bérenger Saunière.

The coat of arms of Mgr. Billard as it appears at the entrance of the church of Rennes-le-Château

The pierced heart can also be found in the stained glass of the villa of Saunière. The only sentence, in Latin, is “IN HOC SIGNO VINCES”. This is identical to the inscription left on the porch of Rennes-le-Château… and also found again with the devil just inside that church.
For sure, the parallels are not massive in size or quantity, but still it is clear that there is some similarity between the two churches – coincidence, or design? It suggests that latter, though not too much should be read into this. Both priests knew each other and the church of Brenac existed in its finished form when Saunière corresponded with Courtade, and thus, Saunière may have been inspired by the work of his neighbour. Like anyone trying to renovate a building, he must have gone elsewhere to find inspiration.

Window in the estate of Saunière

There is, however, another relationship, namely between the medallions of Brenac and those of Notre-Dame-de-Marceille, a church – a basilica – just outside of Limoux, with which Saunière was also familiar with – and where, it seems, he might have known much more about than most are currently willing to believe… But that is another story, and not one for here…

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