This multimedia tour will guide you through the history and heritage of Melle and the Mellois area using videos and audio commentary about the silver mines, the medieval town, Romanesque sculptures in the area and Gallo-Roman ruins.
This stone lintel is the remains of a Gallo-Roman headstone. Follow the thread of Gallo-Roman settlement in the area to see where it takes us along an imperial road... Animations and CGI images will take you on a journey through space and time.
Acrobats, musicians, animal exhibitors and many more – this was the world of medieval entertainment that we suggest you explore in this video by looking at the Romanesque sculptures in Saint-Hilaire church and the other churches of the Mellois area.
If you look at this contemporary chancel, you’ll notice that there is a space in the floor. Do you know what it is?
If you look at this contemporary chancel, you’ll notice that there is a space in the floor. Do you know what it is?
Lost! It's a baptismal pool. In this pool, it is possible to carry out immersion baptisms by completely submerging the person, in a recreation of the scene between John the Baptist and Jesus in the River Jordan. Nowadays, churches are more often equipped with smaller baptismal fonts that are used to simply sprinkle water on the forehead.
The shape of this pool brings to mind a basin that was formed naturally in the rock by erosion. It has eight sides, like traditional baptisteries. It fits in to complete a larger structure made from white Namibian marble. This entire contemporary chancel was created by artist-designer Mathieu Lehanneur. Its design, all in curved shapes set on thin tiers, is reminiscent of the church’s location at the bottom of a natural slope, as if it were sunk into the ground.
This work was a public commission by Father Jacques Lefevbre and the Melle Plateau Cultural Association (Association culturelle du Plateau mellois) and was realised with support from the state, the regional government and the town of Melle.
Bravo! It's a baptismal pool. In this pool, it is possible to carry out immersion baptisms by completely submerging the person, in a recreation of the scene between John the Baptist and Jesus in the River Jordan. Nowadays, churches are more often equipped with smaller baptismal fonts that are used to simply sprinkle water on the forehead.
The shape of this pool brings to mind a basin that was formed naturally in the rock by erosion. It has eight sides, like traditional baptisteries. It fits in to complete a larger structure made from white Namibian marble. This entire contemporary chancel was created by artist-designer Mathieu Lehanneur. Its design, all in curved shapes set on thin tiers, is reminiscent of the church’s location at the bottom of a natural slope, as if it were sunk into the ground.
This work was a public commission by Father Jacques Lefevbre and the Melle Plateau Cultural Association (Association culturelle du Plateau mellois) and was realised with support from the state, the regional government and the town of Melle.
Lost! It's a baptismal pool. In this pool, it is possible to carry out immersion baptisms by completely submerging the person, in a recreation of the scene between John the Baptist and Jesus in the River Jordan. Nowadays, churches are more often equipped with smaller baptismal fonts that are used to simply sprinkle water on the forehead.
The shape of this pool brings to mind a basin that was formed naturally in the rock by erosion. It has eight sides, like traditional baptisteries. It fits in to complete a larger structure made from white Namibian marble. This entire contemporary chancel was created by artist-designer Mathieu Lehanneur. Its design, all in curved shapes set on thin tiers, is reminiscent of the church’s location at the bottom of a natural slope, as if it were sunk into the ground.
This work was a public commission by Father Jacques Lefevbre and the Melle Plateau Cultural Association (Association culturelle du Plateau mellois) and was realised with support from the state, the regional government and the town of Melle.
Some sections of Melle’s ramparts are still visible today. They give an insight into the shape of the medieval town, which you can explore in this audio clip.
This doorframe is made up of elements from an old rood screen. Do you know what a rood screen is?
This doorframe is made up of elements from an old rood screen. Do you know what a rood screen is?
Bravo! A rood screen is a huge partition made from stone or wood that separates the chancel, which is reserved for the clergy, from the nave, which is accessible to the congregation. It is often topped by a platform.
The elements used to frame this door originated from the rood screen in the church belonging to the convent of Puyberland. This convent was once located in the municipality of Saint-Génard, next to Melle, before falling into ruin in the 19th century. In a photograph taken around 1875, you can see the rood screen still in place in the ruined church. It was re-employed here around 1880 and is believed to date back to approximately 1660. The quality of the decorations, realised in the Baroque style, is a testament to the considerable skill of the artist who created them.
The other side of this rood screen, which is decorated identically, can be found in a villa in Royan.
Lost! A rood screen is a huge partition made from stone or wood that separates the chancel, which is reserved for the clergy, from the nave, which is accessible to the congregation. It is often topped by a platform.
The elements used to frame this door originated from the rood screen in the church belonging to the convent of Puyberland. This convent was once located in the municipality of Saint-Génard, next to Melle, before falling into ruin in the 19th century. In a photograph taken around 1875, you can see the rood screen still in place in the ruined church. It was re-employed here around 1880 and is believed to date back to approximately 1660. The quality of the decorations, realised in the Baroque style, is a testament to the considerable skill of the artist who created them.
The other side of this rood screen, which is decorated identically, can be found in a villa in Royan.
Lost! A rood screen is a huge partition made from stone or wood that separates the chancel, which is reserved for the clergy, from the nave, which is accessible to the congregation. It is often topped by a platform.
The elements used to frame this door originated from the rood screen in the church belonging to the convent of Puyberland. This convent was once located in the municipality of Saint-Génard, next to Melle, before falling into ruin in the 19th century. In a photograph taken around 1875, you can see the rood screen still in place in the ruined church. It was re-employed here around 1880 and is believed to date back to approximately 1660. The quality of the decorations, realised in the Baroque style, is a testament to the considerable skill of the artist who created them.
The other side of this rood screen, which is decorated identically, can be found in a villa in Royan.
This step allows you to understand why the Capucins convent was established here and how it has been repurposed into an administrative building and renovated in a neoclassical style.
Three coins adorn the town’s coat of arms. These are a reference to the silver mines and mints that prospered in Melle in the Middles Ages. This video will present to you Melle’s medieval mining operations and give you a taste before visiting this very unusual site.
In your opinion, what was the position of this church in relation to the medieval town of Melle’s outer wall?
In your opinion, what was the position of this church in relation to the medieval town of Melle’s outer wall?
Bravo! Saint-Savinien church was located inside Melle’s ramparts, just a few metres from the town’s south-east wall. The two other churches, Saint-Hilaire and Saint-Pierre, were in the districts outside the fortified town.
Saint-Savinien was built between 1050 and 1150 on the site of an older castle chapel that was part of the feudal motte. It was a cemetery for the lords of Melle. As it was probably initially protected by the wooden or stone outer wall of the primitive castrum, the church saw its defences strengthened by fortifications built in the 12th or 13th century, after the construction of the new castle. A part of these fortifications is still visible below the church’s apse.
Lost! Saint-Savinien church was located inside Melle’s ramparts, just a few metres from the town’s south-east wall. The two other churches, Saint-Hilaire and Saint-Pierre, were in the districts outside the fortified town.
Saint-Savinien was built between 1050 and 1150 on the site of an older castle chapel that was part of the feudal motte. It was a cemetery for the lords of Melle. As it was probably initially protected by the wooden or stone outer wall of the primitive castrum, the church saw its defences strengthened by fortifications built in the 12th or 13th century, after the construction of the new castle. A part of these fortifications is still visible below the church’s apse.
Lost! Saint-Savinien church was located inside Melle’s ramparts, just a few metres from the town’s south-east wall. The two other churches, Saint-Hilaire and Saint-Pierre, were in the districts outside the fortified town.
Saint-Savinien was built between 1050 and 1150 on the site of an older castle chapel that was part of the feudal motte. It was a cemetery for the lords of Melle. As it was probably initially protected by the wooden or stone outer wall of the primitive castrum, the church saw its defences strengthened by fortifications built in the 12th or 13th century, after the construction of the new castle. A part of these fortifications is still visible below the church’s apse.
If the church is open, go in. On the inside, you can see graffiti that is more than a century old. Who were the artists?
If the church is open, go in. On the inside, you can see graffiti that is more than a century old. Who were the artists?
Bravo! This graffiti, which dates back to the 1840s, was the work of prisoners as the church was converted into a prison in 1801. In 1926, the removal of the Melle courthouse led to the removal of the prison. The church was restored from 1930 and is now a public space for exhibitions and cultural activities after having been deconsecrated.
In another link to the justice system, the epitaph of a judge from Melle is in this church. This man was Pierre-Saturne Houillier (1593-1665). In 1644, when faced with a tricky case, he was unable to decide who was telling the truth. Therefore, he decided to settle the case by having the plaintiffs draw straws, leaving it to divine Providence to indicate the guilty and innocent parties. This very unique story, which caused a scandal among the local Protestant community, inspired Jean de la Fontaine (1621-1695) to write the fable Juge des Bûchettes (The judge of straws).
Lost! This graffiti, which dates back to the 1840s, was the work of prisoners as the church was converted into a prison in 1801. In 1926, the removal of the Melle courthouse led to the removal of the prison. The church was restored from 1930 and is now a public space for exhibitions and cultural activities after having been deconsecrated.
In another link to the justice system, the epitaph of a judge from Melle is in this church. This man was Pierre-Saturne Houillier (1593-1665). In 1644, when faced with a tricky case, he was unable to decide who was telling the truth. Therefore, he decided to settle the case by having the plaintiffs draw straws, leaving it to divine Providence to indicate the guilty and innocent parties. This very unique story, which caused a scandal among the local Protestant community, inspired Jean de la Fontaine (1621-1695) to write the fable Juge des Bûchettes (The judge of straws).
Lost! This graffiti, which dates back to the 1840s, was the work of prisoners as the church was converted into a prison in 1801. In 1926, the removal of the Melle courthouse led to the removal of the prison. The church was restored from 1930 and is now a public space for exhibitions and cultural activities after having been deconsecrated.
In another link to the justice system, the epitaph of a judge from Melle is in this church. This man was Pierre-Saturne Houillier (1593-1665). In 1644, when faced with a tricky case, he was unable to decide who was telling the truth. Therefore, he decided to settle the case by having the plaintiffs draw straws, leaving it to divine Providence to indicate the guilty and innocent parties. This very unique story, which caused a scandal among the local Protestant community, inspired Jean de la Fontaine (1621-1695) to write the fable Juge des Bûchettes (The judge of straws).
Above the doorway, you will notice a cornice that is decorated with tracery. What animals are sculpted on 5 out of 7 modillions that support the cornice?
Above the doorway, you will notice a cornice that is decorated with tracery. What animals are sculpted on 5 out of 7 modillions that support the cornice?
Lost! Five of the sculpted modillions represent horses’ heads. The sixth is an ox. The representations on the metopes, placed between the modillions, are varied on both sides. You can see here a soldier armed with a spear and wearing a great helm that is raised, alongside many animals, such as dogs, birds and fish. Three representations reference sins: a naked man lying on his side, two figures fighting and an intertwined couple.
The door lintel is decorated with a Christ in Majesty, seated with crossed legs and flanked by two lions. The shape of this lintel, known as “gable”, is rarely used in Poitou. It is more typical in Limousin and Auvergne.
The sculpted capital to the left of the door also depicts two lions on either side of a creature that is half woman, half griffin.
Lost! Five of the sculpted modillions represent horses’ heads. The sixth is an ox. The representations on the metopes, placed between the modillions, are varied on both sides. You can see here a soldier armed with a spear and wearing a great helm that is raised, alongside many animals, such as dogs, birds and fish. Three representations reference sins: a naked man lying on his side, two figures fighting and an intertwined couple.
The door lintel is decorated with a Christ in Majesty, seated with crossed legs and flanked by two lions. The shape of this lintel, known as “gable”, is rarely used in Poitou. It is more typical in Limousin and Auvergne.
The sculpted capital to the left of the door also depicts two lions on either side of a creature that is half woman, half griffin.
Bravo! Five of the sculpted modillions represent horses’ heads. The sixth is an ox. The representations on the metopes, placed between the modillions, are varied on both sides. You can see here a soldier armed with a spear and wearing a great helm that is raised, alongside many animals, such as dogs, birds and fish. Three representations reference sins: a naked man lying on his side, two figures fighting and an intertwined couple.
The door lintel is decorated with a Christ in Majesty, seated with crossed legs and flanked by two lions. The shape of this lintel, known as “gable”, is rarely used in Poitou. It is more typical in Limousin and Auvergne.
The sculpted capital to the left of the door also depicts two lions on either side of a creature that is half woman, half griffin.
Gothic and neo-Gothic styles stand side-by-side in this ancient, 15th-century private mansion that was converted into a courthouse. Can you tell which is which? This audio will give you the key points about the history and architecture of the building.
From which material has this panther been sculpted?
Bravo! It is a limestone sculpture, created by Georges Vacossin (1870-1942). Note the detail in the big cat, depicted on the hunt, tensing its muscles to prepare for the attack and with its ears flattened.
Elsewhere in the town is a much more peaceful lioness who watches over the entrance to the town hall’s garden. This statue is also made from limestone and is a work by Gustave Guétant (1873-1953). Very close to the lioness and in front of the town hall is an elegant allegory for song. This marble sculpture by Félix Charpentier (1858-1924) won a medal at the Salon in Paris in 1890.
These three sculptures were left in Melle by the State in 1947.
Lost! It is a limestone sculpture, created by Georges Vacossin (1870-1942). Note the detail in the big cat, depicted on the hunt, tensing its muscles to prepare for the attack and with its ears flattened.
Elsewhere in the town is a much more peaceful lioness who watches over the entrance to the town hall’s garden. This statue is also made from limestone and is a work by Gustave Guétant (1873-1953). Very close to the lioness and in front of the town hall is an elegant allegory for song. This marble sculpture by Félix Charpentier (1858-1924) won a medal at the Salon in Paris in 1890.
These three sculptures were left in Melle by the State in 1947.
Lost! It is a limestone sculpture, created by Georges Vacossin (1870-1942). Note the detail in the big cat, depicted on the hunt, tensing its muscles to prepare for the attack and with its ears flattened.
Elsewhere in the town is a much more peaceful lioness who watches over the entrance to the town hall’s garden. This statue is also made from limestone and is a work by Gustave Guétant (1873-1953). Very close to the lioness and in front of the town hall is an elegant allegory for song. This marble sculpture by Félix Charpentier (1858-1924) won a medal at the Salon in Paris in 1890.
These three sculptures were left in Melle by the State in 1947.
At the top of the street, on your right,, you can see a circular building. What was its purpose?
At the top of the street, on your right,, you can see a circular building. What was its purpose?
Lost! It is one of the two towers that flanked the north entrance to the town from the 13th or 14th century. They guarded the Saint-Jean gate, which led to the Saint-Pierre district with a church of the same name.
The castle was located outside the ramparts, but still at the top of the mound, which you are now going to visit. It was demolished on the order of the King in 1577 before becoming a simple space in the 18th century and then a fairground.
Bravo! It is one of the two towers that flanked the north entrance to the town from the 13th or 14th century. They guarded the Saint-Jean gate, which led to the Saint-Pierre district with a church of the same name.
The castle was located outside the ramparts, but still at the top of the mound, which you are now going to visit. It was demolished on the order of the King in 1577 before becoming a simple space in the 18th century and then a fairground.
Lost! It is one of the two towers that flanked the north entrance to the town from the 13th or 14th century. They guarded the Saint-Jean gate, which led to the Saint-Pierre district with a church of the same name.
The castle was located outside the ramparts, but still at the top of the mound, which you are now going to visit. It was demolished on the order of the King in 1577 before becoming a simple space in the 18th century and then a fairground.
For what purpose was this pavilion built?
Lost! It is a music pavilion, which was built around 1930 by the local musical society with help from the local council. Its decorations were inspired by the Art Deco style. Note at the top of the polygonal dome on the roof, the musical instrument placed there as a roof ornament. It is a lyre, a symbol of music and poetry.
Through their function and their shape, pavilions originated from “follies”, which were small decorative buildings for gardens in fashion in the 18th and 19th centuries.
Bravo! It is a music pavilion, which was built around 1930 by the local musical society with help from the local council. Its decorations were inspired by the Art Deco style. Note at the top of the polygonal dome on the roof, the musical instrument placed there as a roof ornament. It is a lyre, a symbol of music and poetry.
Through their function and their shape, pavilions originated from “follies”, which were small decorative buildings for gardens in fashion in the 18th and 19th centuries.
Lost! It is a music pavilion, which was built around 1930 by the local musical society with help from the local council. Its decorations were inspired by the Art Deco style. Note at the top of the polygonal dome on the roof, the musical instrument placed there as a roof ornament. It is a lyre, a symbol of music and poetry.
Through their function and their shape, pavilions originated from “follies”, which were small decorative buildings for gardens in fashion in the 18th and 19th centuries.
How many different materials were used to build this covered market?
How many different materials were used to build this covered market?
Lost! The covered market was built with seven different materials: stone for the foundations and the doors, glazed brick (natural and white) and arranged in geometric patterns for the walls, iron and glass for the iron-framed walls and the roof lights, cast iron for the posts, steel for the framework and slate for the roof.
The hall was also built in the Baltard style and was the work of architect Paul Mongeaud. It was built in 1903 to replace the old wood and stone market from 1836. The initial project, designed in 1900, planned for a much larger building that included a function room. This also planned for a stone building with an upper level in the centre that was extended on either side by a metal awning.
Bravo! The covered market was built with seven different materials: stone for the foundations and the doors, glazed brick (natural and white) and arranged in geometric patterns for the walls, iron and glass for the iron-framed walls and the roof lights, cast iron for the posts, steel for the framework and slate for the roof.
The hall was also built in the Baltard style and was the work of architect Paul Mongeaud. It was built in 1903 to replace the old wood and stone market from 1836. The initial project, designed in 1900, planned for a much larger building that included a function room. This also planned for a stone building with an upper level in the centre that was extended on either side by a metal awning.
Lost! The covered market was built with seven different materials: stone for the foundations and the doors, glazed brick (natural and white) and arranged in geometric patterns for the walls, iron and glass for the iron-framed walls and the roof lights, cast iron for the posts, steel for the framework and slate for the roof.
The hall was also built in the Baltard style and was the work of architect Paul Mongeaud. It was built in 1903 to replace the old wood and stone market from 1836. The initial project, designed in 1900, planned for a much larger building that included a function room. This also planned for a stone building with an upper level in the centre that was extended on either side by a metal awning.
Do you recognise the style of the doors on the ground floor of this house?
Bravo! This is an Art Nouveau building, built in 1910. The house, built from breeze blocks and cut stone, dates back to 1840. Works carried out in 1910 altered the three doors of this façade, as well as elements of the interior design.
The Art Nouveau style can be seen here in the choice of curved shapes and the floral decorations. The sculpted capitals on the two columns of the large, three-part bay window are embellished with branches and vine leaves with bunches of grapes, while the ironwork that protects the windows follows the same theme. The stained glass, made from transparent, tinted and painted glass, resembles a vault of peach tree branches laden with leaves, flowers and fruit.
Lost! This is an Art Nouveau building, built in 1910. The house, built from breeze blocks and cut stone, dates back to 1840. Works carried out in 1910 altered the three doors of this façade, as well as elements of the interior design.
The Art Nouveau style can be seen here in the choice of curved shapes and the floral decorations. The sculpted capitals on the two columns of the large, three-part bay window are embellished with branches and vine leaves with bunches of grapes, while the ironwork that protects the windows follows the same theme. The stained glass, made from transparent, tinted and painted glass, resembles a vault of peach tree branches laden with leaves, flowers and fruit.
Lost! This is an Art Nouveau building, built in 1910. The house, built from breeze blocks and cut stone, dates back to 1840. Works carried out in 1910 altered the three doors of this façade, as well as elements of the interior design.
The Art Nouveau style can be seen here in the choice of curved shapes and the floral decorations. The sculpted capitals on the two columns of the large, three-part bay window are embellished with branches and vine leaves with bunches of grapes, while the ironwork that protects the windows follows the same theme. The stained glass, made from transparent, tinted and painted glass, resembles a vault of peach tree branches laden with leaves, flowers and fruit.
This creation by Françoise Quardon, built in 2000, symbolises the transition from the second to the third millennium. The town of Melle highlights contemporary art with a biennial festival, during which several works are on display along the streets.
