Brenac Chorus lines

 

To complete our visit to Brenac’s church, all that now remains is to look at the paintings in the last part of the church: the choir. These representations are laid out in two distinct parts: one part is the ceiling of the cupola, the other are the walls.
For the lower part, the semicircle of the walls, there are five segments. The central segment is that of Christ with a cross. The four other show the four Evangelists: from left to right: St John, St Mark, St Matthew and St Luke. The higher part, the cupola, is also divided into five segments. The decorations represent three characters framed by the Tables of the Law. The segments are, from left to right, the Tables of the Law (first part), a character with a chalice, another character holding a stick, a third character holding a radiating heart, and finally, the second part of the Tables of the Law. The centre of the cupola is decorated with a blood red triangle, in a yellow sun, against a blue background.

The choices of Courtade

Courtade, the priest of Brenac, was both the instigator and the author of these decorations, if we are to go on local statements. However, when we study the painting, we do notice that there seems to be two hands at work here. The series painted on the semicircular wall of the choir, showing the Evangelists, is definitely more naïve and in a style that is different from the rest of the scenes on the ceiling, nave and choir. We should add that when we say “naïve” we in no way mean this is disrespectful. On contrary, it is merely a statement that it depicts “just” the Evangelists, and nothing but…

The lower paintings

John the Evangelist

Mark

Let us start with the lower paintings, those of the four Evangelists, which from left to right, go as follows:
- John the Evangelist: depicted with his characteristic open book, he also has the eagle next to him.
- Mark the Evangelist: leaning on a large blue book, he seems to continue writing, suggesting from the position of his raised right hand, holding a type of pencil. Behind him, we see what seems to be a strange animal… but which on closer inspection turns out to be the lion.
- Matthew: wearing a brown coat, he is presented with a page in his left hand and, next to a small man.
- Luke: shown as reading a book, also blue, he is the only one to have a beard and not have a raised hand. On his left is a bull.
Let us not forget the large figure of Christ in the middle, between Marc and Matthew.

Matthew

Luke

Paintings above all suspicions?

There seems noting remarkable about this, except perhaps that is somewhat uncommon that the Evangelists are listed with their animal figures. What is of more interest, is the fact that paintings are framed in decorations, medallions, which are made not from the normal curves and curls, but instead depict fruit – specifically pears! This in itself is an odd choice, and in light of the pears being the primary coat of arms of the lords of Perillos even more so.
Let us also note that the fruit symbolized Venus or Aphrodite, even though for religion, this fruit is seldom if ever used. It does not represent any model of uprightness or an example to be followed. This is somewhat remarkable, as the apple, which is used as a common symbol, was extremely expensive for Adam and Eve, and would seem to be an even worse symbol to use. Still, it seems that pears are for some apparently unknown reason never popular – except in the church of Brenac.

Paintings of the cupola

A study of the painting of the higher part of the ceiling of the choir indicates that they are similar in style to the decorations of the ceiling of the nave – suggesting that they are of the hand of Courtade. However, the topics depicted in the scenes in the nave are typically religious objects or symbols. In the choir, this seems to be somewhat different. Here we find three characters and two representations of the Tables of the Law. As such, they are very distinct from the rest of the building – a sharp contrast.
At the same time, they are difficult to interpret, as they have no obvious religious connotation. They are not aints or holy figure, as there is no depiction of their martyrdom. It is also extremely unlikely they have anything to do with the church itself, such as being the owners or benefactors. So, what are they? Merely illustrations to fill in otherwise empty space? This seems unlikely, as with hundreds of saints on the list, Courtade must have been able to pick out three that would be worthy to be depicted here. So, what are they? A rebus? Clues left behind for those who would visit and who would have “eyes to see”? Perhaps…

Three people in close-up

The first subject, on the left, has fine features on the face and it seems to be a woman, represented here as holding a chalice in her right arm. The character is crowned with a narrow and short white string, falling down her face. It is note a halo, but something closely resembling it. There is a second white string, which sits over her eyes. It does not necessarily “veil” her eyes, as the painting shows the veil as translucent. It is as if this woman is depicted, suggesting that she somehow cannot – willingly – see the chalice with the host inside. Or, if we turn things upside down, does she need her veil to be able to see it – to be able to look at it? Perhaps.
The second object is a kind of shepherd, dressed in a green tunic and a beige coat. His face is turned to the bottom of the line. Only his right hand appears to indicate something up high. Following this invitation, we distinguish a kind of stick, decorated which what seems to be a ribbon at its top. A more close look shows that this is not made of fabric, but is instead a clear. Furthermore, this stick is not just a stick, but more of a cone, finishing in a peak with a loop at the end – and thus not a weapon. This seems to be part of a large arrow, in the shape of the point of a harpoon that is curved. So are we perhaps here in the presence of a fisherman, with his tools? If so, it might explain why he is depicted in a most prominent location, situated above the central figure of the Christ on the cross.
The third subject is a female, holding in her right arm a blazing heart. On top are four dark points, but a closer inspection suggests that this might not be a heart at all, but instead might be a type of fruit or vegetable. It completes and enigmatic series of depictions, so centrally painted in this church.

The Tables of the Law

No illumination comes when we notice that these three figures are framed on both sides by two representations of the Tables of the Law. It would suggest that these are the Tables of the Law which Moses received – the well-known biblical story that is not at all out of place in a church – specifically not giving the other medallions in the church, some of which show the Ark of the Covenant.
The Tables are richly depicted, above the scene being an eagle that apparently holds between its wings an open book, containing a simulation of writing. The whole scene is surrounded by baroque arabesques in the style of the “Miraculous Vault” elsewhere in the church.
We need to add that the tables are presented in two groups of two tables. They contain only numbers, written in Roman numerals, not the actually texts themselves.

Panel on the left:
The first table has the numbers I, II and III. The other table has the numbers V, VI and VII. The first number should actually be IV, but this is obviously not the case.

Panel on the right:
Instead, we find the number 4 on the following table, with the sequence: IV, XVI and VV. The final table does not have any figures, but only simulations of writing, this over five lines.

A strange vision of the Tables of the Law…

This sequence of numbers is at best erroneous, and at worst, a clue. We should expect a logical sequence: I, II, III, IV, V, VI, VII, VIII, IX, X. It is a mathematical problem to display ten numbers on four plates, as ten and four do not divide easily. The same problem with a sequence of three numbers: you would need only three. But there is always an easier way out than the one Courtade had opted for:
I, II, III – logic to the extreme
V, VI, VII – somewhat logical, if only we need to wonder why he did not start from 4.
On the right hand side, Courtade goes all over the place: IV, XVI, VV. Why is there a need for 16, and VV could only be read as 5+5, or ten.
The absence of the number 4 on the first tablet could have been a blessing in disguise
I, II, III
V, VI, VII
IV, IX
VIII, X
A sequence of 3-3-2-2 neatly adds up to 10. But no such logic in Courtade’s sequence. Instead, he throws in a 16! And what to make of VV, which could be both 10, but also 55. Who knows? But whatever number, it is done incorrectly, and Courtade must have known. And Courtade must have known by default that ten commands were given to Moses, not 16, and definitely not 55!

Angels with a chalice

Under the five painted scenes, one can find a border, in white colour, which has two angels sitting. Each seems to be size of a four year old child. Together they hold a crown of shrubs, while the angel on the right holds the chalice in his right hand. Though angels they might look, as angels they will not fly, as each only has one wing, that on the outside. Though we all immediately notice these must be angels, why did the artist not depict the angels completely, rather than invalid angels? More questions to add to the long list of oddities present in this church.

The murky mind of Courtade

What did Courtade want to represent with the representations of the choir? It seems that the depictions of the choir are a strange series of depictions with no clear connecting thread. That already is a problem, for we are in a church, and a religious theme would be the least anyone would be expecting. Specifically what happened to Courtade when he began his Tables of the Laws defeats all logic. Was unaware of Roman numerals? He managed many of them and if we are to assume that the stations of the cross date from the same time, then we had a clear example there as to how to calculate (even though IV is depicted as IIII on the stations of the cross). It is obvious Courtade did know the Roman number sequence, as he must have known the number of laws Moses received. Ten, not 16, or 55.
It suggests that Courtade had an active imagination, even though we cannot fathom what he was hinting at. Does this sound at all like someone else, like one Saunière, who played similar tricks in his parish church, of the not too distant Rennes-le-Château?

A shepherd and his flock

As we leave the church, there remains one last painting to look at, even though it is not visible as the part in which it stands is not accessible to the ordinary visitor. It is a large painting, another work by Courtade, in a small corridor between the nave and the sacristy. It depicts a shepherd taking care of a lamb that has become caught in some bushes.
The features of this shepherd are obviously those of Jesus, delivering the lamb from the thorny bush. Though there is nothing peculiar about this painting, at the same time, it is not the most common theme to depict. However, it is the same theme that can be found in a sculpture ordered by Saunière, to sit on top of his confessional in the church of Rennes-le-Château. Coincidence, design, or evidence of his inspiration?