Denomination: CATHOLIC |
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Denomination: CATHOLIC |
he interior decoration of the chapel of the Monastery of the Ursulines of Quebec still stands today as one of the most beautiful ensembles of existing carved wood in Quebec. While it undoubtably underwent changes, it remains as an important testimonial to Quebec art before 1759.
The decor's ensemble (originally conceived for the chapel of 1723, executed in 1739 for the celebrations marking the first hundred years since the arrival of the Ursulines in Quebec, and moved in their entirety in 1902 to the present chapel) consists of three principle elements: the pulpit, the altar of the Sacred Heart and the main altar.
The pulpit Pierre-Noël Levasseur, 1726 Sculpture in gilded and polychrome wood Photo: Michel Elie Centre de Conservation de Québec |
Main altar Pierre-Noël Levasseur, 1736 Sculpture in gilded and polychrome wood Photo: Michel Elie Centre de Conservation de Québec |
Sacred Heart altar Pierre-Noël Levasseur, 1729 Sculpture in gilded and polychrome wood Photo: Michel Elie Centre de Conservation de Québec |
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he sculpture is the work of Pierre-Noël Levasseur (1690-1770) and probably other members of his family; the gilding is the work of the Ursulines themselves.
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he lamp of the sanctuary, made with the silver of Madam de la Peltrie, lay founder of the Ursulines, is the work of Paul Lambert. It dates back to 1739.
The chapel is decorated with many paintings in the styles of French and Italian schools, the majority having been brought over to Quebec during the French Revolution to avoid damage. These paintings were acquired for the Ursulines around 1820 by their former chaplain, the abbot Philippe-Jean-Louis Desjardins (1753-1833). The painting The Nativity: Adoration of the Shepherds, above the main altar, is attributed to Lebrun (1619-1690). Jesus in the Home of Simon the Pharisee, above the entrance door, is by Philippe de Champaigne (1602-1674).
any commemorative plaques also decorate the walls of the nave, among them being a tumulary stone placed. In 1831, Governor Lord Aylmer laid a tumulary stone where the Marquis de Montcalm was buried on September 14, 1759. Another stone was placed in commemoration of Father Jean de Quen (1603-1659), Jesuit and missionary for the Hurons. His mortal remains were recovered from the Belmont cemetery and transported to the chapel of the Ursulines in 1891.
St-Augustin statue Pierre-Noël Levasseur, c. 1730-36 Sculpture, assembled, sculpted and polychrome wood H:186.5 cm; W:83.5 cm; D:50 cm Photo: Michel Elie Centre de Conservation de Québec |
Angel figure (main altarpiece) Pierre-Noël Levasseur, c.1730-36 Wood sculpture Photo: Michel Elie Centre de Conservation de Québec |
Saint Ursula statue, patron saint of the Ursulines Pierre-Noël Levasseur, c. 1730-36 Sculpture, assembled, sculpted and polychrome wood H:171 cm; W:71.5 cm; :58.5 cm Photo: Michel Elie Centre de Conservation de Québec |
Saint Joseph with the Infant Jesus Pierre-Noël Levasseur, c. 1730-36 Wood sculpture assembled, painted and gilded linden (St Joseph)H:147.5 cm; W:73 cm; D:41.5 cm (Infant Jesus)H:47 cm; W:25 cm; D:25 cm Photo: Michel Elie Centre de Conservation de Québec |
Notre-Seigneur révélant son Coeur à des religieuses Charles Lebrun École française Photo: Michel Elie Centre de Conservation de Québec |
Angel with trumpet François-Noël Levasseur, c. 1726 Sculpture, polychrome wood H:96 cm Photo: Michel Elie Centre de Conservation de Québec |
Oratory of Marie de l'Incarnation, 1972 Photo: DEXTER |
djoined to the chapel on the right is the oratory of Marie de l'Incarnation. It was erected in memory of the founder in 1972 to mark the 300th anniversary of her death. The sculptures in the oratory are the work of Bourgault of St-Jean-Port-Joli. The statue in the mezzanine is by Emile Brunet; it represents Marie de l'Incarnation as MOTHER OF THE CANADIAN CHURCH.
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he two stained glass windows were produced by the Bettinger workshops. One illustrates Saint Joseph appearing in a vision directing future missionaries to Canada. The other depicts the founder in her evangelical role.
The chapel of the Ursulines of Quebec is opened to the public from April 3rd to the end of October in the mornings from 10 a.m. to 11:30 p.m. and afternoons from 1:30 p.m. to 14:30 p.m. On leaving the chapel, on the same grounds (Donnacona Street) are the Centre of Marie-de-l'Incarnation where guides talk about her life, her writings and her work, and the Museum of the Ursulines which exhibits an old and diversified collection in situ of works of art and everyday objects illustrating the religious life and the work of the Ursulines since their arrival in Quebec in 1639.
he Cultural and Artistic Heritage of the Ursulines of Quebec
Ages 40 and 36 respectively, Marie de l'Incarnation from Tours, a city of great importance for the silk trade, and Madame de la Peltrie, lay founder of the Ursulines in Quebec, from Alençon, a city famous for its lace-making, brought with them to New France an experience and artistic know-how which made the Monastery of Ursuline of Quebec the first site of women's art in New France.
his art was developed further with the arrival in 1671 of Mother Marie-des-Anges, an Ursuline from Paris. Born into a well-to-do middle-class family of merchants, Marie Lemaire des Anges left for Quebec at the age of 30 possessing two great artistic traditions that had been developed in the French convents: gilding and embroidery, already practised by the founding nuns in New France.
For 46 years, Mother Lemaire-des-Anges (1641-1717) imbued the artistic production of the Ursulines with a genius that the workshop maintained throughout the 18th century.
Immaculée-Conception parement c. 1700-15 Silk with embroidery gold and silver thread H: 91 cm; W: 188 cm Photo: DEXTER |
Le Pére Éternel Embroidery with wool and silk thread Photo: Michel Elie Centre de Conservation de Québec |
he collection of liturgical ornaments housed at the Monastery of the Ursulines of Quebec is regarded as one of oldest and richest in North America. Most notable in the collection are forty-five parements. These priceless screens were executed approximately between 1650 and 1820, are embroidered with silk, gold and silver threads and have medallions painted with needles of subjects drawn from the Scriptures or from the life of the Saints.
Altar and parement Photo: Michel Elie Centre de Conservation de Québec |
he altar screen, or antependium, was originally a piece of fabric stretched onto a wooden frame and placed in front of the tomb of the altar. This richly decorated fabric hid the simple stone altar until the appearance of wood-carved or gilded altar tombs at the end of 18th century.
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s for the gilding, because it was practised exclusively in New France by the Ursulines, all orders for gilding from the parishes of Quebec went to the Monastery. Gilding, either by soaking or with the use of adhesives which took seventeen steps, was very difficult to do and very expensive, but its effects were beautiful. The gilding workshop closed its doors in 1828.
Many of these works are exhibited in the Museum of the Ursulines of Quebec, 12 Donnacona Street (through the same entrance as the Centre of Marie-de-l'Incarnation) Quebec (Quebec) G1R 4T1) Telephone: 694-0694, Fax: 694-4741.
 Text: Monastère des Ursulines de QuèbecEnglish translation: Alice Ming Wai Jim |
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