The Angel of Le Lude is a remarkable sculpture bridging the gap between medieval artistry and early Renaissance innovation. Created in 1475 by Jean Barbet, a master bronze founder from Lyon, this monumental work stands at 110 cm tall and is the largest known bronze statue of the Middle Ages. Originally crafted as a weathervane for the Sainte-Chapelle in Paris, it is both a spiritual and technical marvel, embodying a profound connection between faith, artistry, and the cosmos.
A Guardian Angel for the Sainte-Chapelle
Saint-Chapelle, Paris – photo by Diego Delso / Wikimedia Commons
Perched atop the spire of the Sainte-Chapelle, the Angel of Le Lude symbolically presided over Paris for centuries. This iconic chapel, constructed in the 13th century under Saint Louis, was built to house some of Christianity’s most sacred relics, including the Crown of Thorns.
The angel originally held a cross in its left hand, representing Christ’s sacrifice and redemption, while its right index finger pointed in the direction of the wind. This dual symbolism, blending spiritual guidance with practical utility, provided Parisians with a sense of direction drawn from nature, faith, and divine order.
Bronze Casting in Decline?
Photo by Eden, Janine and Jim / Flickr
It is often repeated that bronze sculpture fell into disuse during the Middle Ages, with works of such grandeur being exceedingly rare. Historical records like Étienne Boileau’s 13th-century Livre des métiers describe Parisian metalworkers as small-scale artisans, leading many to assume that large-scale bronze casting was beyond their capabilities. However, modern archaeological discoveries tell a different story.
In 2003, excavations in Paris uncovered a copper moulding workshop that challenges this assumption. The site reveals evidence of significant metallurgical activity, indicating that large-scale metalworking was more advanced than previously believed. Spanning approximately 250 square metres, the workshop housed a sizable furnace capable of melting at least four crucibles simultaneously, allowing for the casting of up to 20 kilograms of alloy per batch.
Evidence suggests that casting operations, likely performed monthly, could process hundreds of kilograms of alloy in a single day. The scale of investment, stockpiles of materials, and the number of workers required paint the picture of a small “factory.”
Yet, even this level of industrial activity fell short of the capabilities needed to produce monumental bronzes like the Angel of Le Lude. The technical and logistical challenges of casting such a large, detailed sculpture, which required immense furnaces and precise expertise, highlight its exceptional nature.
The Renaissance of Artistic Authorship
A late 19th or early 20th-century photo of the Angel of Le Lude, by Séraphin-Médéric Mieusement (1840–1905) – Wikimedia Commons
The Angel of Le Lude also reflects the artistic transformation of the late medieval period. An inscription on the reverse of its left wing reads:
“On the 18th day of March in the year 1475, Jehan Barbet, known as of Lyon, made this little angel.”
This signed work signifies a shift toward the Renaissance ethos, where artists began to claim authorship and assert their individuality. Jean Barbet’s connection to Lyon, a thriving hub influenced by Italian art and innovation, further underscores this transition. The influence of Italian bronze casting techniques is evident in the angel’s craftsmanship and the self-assured signature, which mirrors the humanist ideals spreading across Europe.
From Paris to the Sarthe
A replica at Chataeu de Lude – photo by Martpan / Wikimedia Commons
In the 19th century, the Angel left its perch atop the Sainte-Chapelle and found a new home at the Château of Le Lude, transported there by the Marquis de Talhouët. By the early 20th century, the marquis sold the original sculpture to the Frick Collection in New York to fund château restorations. A faithful replica was crafted and remains at the Château of Le Lude today.
A Testament to Revival
The Angel is now in the Frick Collection – Photo: Wikipedia / Shakko (Sofia Bagdasarova)
The Angel of Le Lude stands as a testament to the evolving techniques and ambitions of its time. Created at a moment when large-scale bronze casting was fraught with difficulty, it symbolises a revival of ancient expertise, blended with Renaissance ideals of artistry and authorship.
Holding a cross, pointing to the wind, and bearing its maker’s mark, this angel unites the celestial and the earthly, offering a vision of renewal and harmony that continues to inspire.
Dr Lorris Chevalier, who has a Ph.D. in medieval literature, is a historical advisor for movies, including The Last Duel and Napoleon. Click here to view his website.
By Lorris Chevalier
The Angel of Le Lude is a remarkable sculpture bridging the gap between medieval artistry and early Renaissance innovation. Created in 1475 by Jean Barbet, a master bronze founder from Lyon, this monumental work stands at 110 cm tall and is the largest known bronze statue of the Middle Ages. Originally crafted as a weathervane for the Sainte-Chapelle in Paris, it is both a spiritual and technical marvel, embodying a profound connection between faith, artistry, and the cosmos.
A Guardian Angel for the Sainte-Chapelle
Perched atop the spire of the Sainte-Chapelle, the Angel of Le Lude symbolically presided over Paris for centuries. This iconic chapel, constructed in the 13th century under Saint Louis, was built to house some of Christianity’s most sacred relics, including the Crown of Thorns.
The angel originally held a cross in its left hand, representing Christ’s sacrifice and redemption, while its right index finger pointed in the direction of the wind. This dual symbolism, blending spiritual guidance with practical utility, provided Parisians with a sense of direction drawn from nature, faith, and divine order.
Bronze Casting in Decline?
It is often repeated that bronze sculpture fell into disuse during the Middle Ages, with works of such grandeur being exceedingly rare. Historical records like Étienne Boileau’s 13th-century Livre des métiers describe Parisian metalworkers as small-scale artisans, leading many to assume that large-scale bronze casting was beyond their capabilities. However, modern archaeological discoveries tell a different story.
In 2003, excavations in Paris uncovered a copper moulding workshop that challenges this assumption. The site reveals evidence of significant metallurgical activity, indicating that large-scale metalworking was more advanced than previously believed. Spanning approximately 250 square metres, the workshop housed a sizable furnace capable of melting at least four crucibles simultaneously, allowing for the casting of up to 20 kilograms of alloy per batch.
Evidence suggests that casting operations, likely performed monthly, could process hundreds of kilograms of alloy in a single day. The scale of investment, stockpiles of materials, and the number of workers required paint the picture of a small “factory.”
Yet, even this level of industrial activity fell short of the capabilities needed to produce monumental bronzes like the Angel of Le Lude. The technical and logistical challenges of casting such a large, detailed sculpture, which required immense furnaces and precise expertise, highlight its exceptional nature.
The Renaissance of Artistic Authorship
Séraphin-Médéric Mieusement (1840–1905) – Wikimedia Commons
The Angel of Le Lude also reflects the artistic transformation of the late medieval period. An inscription on the reverse of its left wing reads:
“On the 18th day of March in the year 1475, Jehan Barbet, known as of Lyon, made this little angel.”
This signed work signifies a shift toward the Renaissance ethos, where artists began to claim authorship and assert their individuality. Jean Barbet’s connection to Lyon, a thriving hub influenced by Italian art and innovation, further underscores this transition. The influence of Italian bronze casting techniques is evident in the angel’s craftsmanship and the self-assured signature, which mirrors the humanist ideals spreading across Europe.
From Paris to the Sarthe
In the 19th century, the Angel left its perch atop the Sainte-Chapelle and found a new home at the Château of Le Lude, transported there by the Marquis de Talhouët. By the early 20th century, the marquis sold the original sculpture to the Frick Collection in New York to fund château restorations. A faithful replica was crafted and remains at the Château of Le Lude today.
A Testament to Revival
The Angel of Le Lude stands as a testament to the evolving techniques and ambitions of its time. Created at a moment when large-scale bronze casting was fraught with difficulty, it symbolises a revival of ancient expertise, blended with Renaissance ideals of artistry and authorship.
Holding a cross, pointing to the wind, and bearing its maker’s mark, this angel unites the celestial and the earthly, offering a vision of renewal and harmony that continues to inspire.
Dr Lorris Chevalier, who has a Ph.D. in medieval literature, is a historical advisor for movies, including The Last Duel and Napoleon. Click here to view his website.
Click here to read more from Lorris Chevalier
Further Readings:
Nicolas Thomas, David Bourgarit. Une industrie médiévale du bronze. La Recherche, 2006, 403, pp.56-5
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