20의 바르가지 명소 & 주요 장소

Its location, near the city walls and an old city gate, corresponds to that of a primitive sanctuary, predating Christianity, probably a temple dedicated to Jupiter. A first cathedral was built during the 4th century, dedicated to Saint Saturninus. The building disappeared when Clovis captured Angoulême in 508, after he drove out the Visigoths following the victory at Vouillé in 507. Clovis and then King Charibert ordered the cathedral's reconstruction in honor of Saint Peter.[2] This second cathedral was consecrated in 566 by Saint Germain, Bishop of Paris, and Saint Euphronius, Bishop of Tours, and is mentioned in Gregory of Tours' History of the Franks.[Note 1] It was burned down, probably by the Normans. The third cathedral was the work of Grimoard of Mussidan, Bishop of Angoulême (991-1018). He was also Abbot of Brantôme in Périgord and used the abbey's revenues to finance its construction. Begun around 991 and consecrated in 1015, it lasted only a century, its dimensions being too small. Only the north wall remains in the second and third bays of the nave, beneath the windows.

The biblical accounts of the New Testament, which describe the events in the life of Jesus and his disciples, paint a very nuanced picture of the Apostle Peter (Saint-Pierre), to whom the church of Angoulême is dedicated: On the one hand, he is a convinced and determined disciple of Jesus, but also not free from human weakness and fear. In the Garden of Gethsemane, he falls asleep (like the other disciples) when Jesus turns to God the Father after the Last Supper and asks the disciples to pray as well; and after Jesus' arrest, Peter denies three times that he even knows him. But he also weeps over his weakness and, upon encountering the risen Christ, professes his love and loyalty to him. His real name is Simon, but Jesus gives him the name Peter (which means rock), upon which the church is to be built, and he gives him—according to the account of the Evangelist Matthew—the "keys to the kingdom of heaven."

Originally, the Fleurac mill – on the Charente, at the foot of the castle of the same name – was a wheat and oil mill from the 16th century. It was almost entirely rebuilt at the end of the 19th century, transformed into a paper mill in 1978, then purchased in 1983 by the General Council of Charente and transformed into a paper museum. Abandoned for several decades, it was transformed into a paper mill in 1978 by Mr. Lacombe, descendant of a family of papermakers for four generations. Faced with financial difficulties, this attempt was taken over by an association “Les amis de la tradition papetière d’Angoumois et des provinces voisins” which relaunched the activity of this mill, where paper was made in a vat from linen and cotton using 18th century techniques. The manufacturing equipment and the water wheel were rebuilt. It has been listed as a historic monument since 1984. Today, the Moulin de Fleurac is private property but the site of this mill on the banks of the Charente remains a very popular place for tourists.

In the heart of the city, this town hall is truly impressive. This public building, the former castle of the Counts of Angoulême, was built in ten years starting in 1858. Paul Abadie Fils, the architect, will preserve two towers, one from the 13th century, the other from the 15th century. The monument presents different architectural styles, witnesses to the history of the city.

The church is dedicated to Saint Peter the Apostle, who is said to be the prince of the apostles. He is the first of the 12 disciples, leader and missionary of the primitive Church and, according to tradition, first bishop of Rome and first pope. Peter is from Bethsaida, a city near the mouth of the Jordan. His real name, Simon, is of Greek origin. Pierre was certainly bilingual in Aramaic and Greek like most people in the region. His nickname of Peter (Kephas in Aramaic and Petros in Greek) means rock. It was then only a nickname which, after him, will become a name. According to tradition, Saint Peter has two keys: one in gold, heavenly, the other in silver, earthly. He thus has the ability to open and close Paradise. He is always represented holding these two keys in his hand. The Saint Pierre de Linars church was built in the 13th century. Several campaigns of works and restorations followed one another from the 12th to the 19th centuries. The church was largely destroyed during the religious wars. Its arcaded façade is characteristic of Romanesque art in the region. It is divided vertically by 4 columns supporting bust lion heads and horizontally by 3 levels of elevation separated by cornices supported by sculpted corbels. One of the corbels represents a goat's head with horns... The gable wall (triangular in shape) at the top of the facade has a flat surface decorated with a carved cord forming a miter arch supported by three heads. Above the front door, in a semi-circular space called the tympanum, you can see one of the rare tympanums carved in Angoumois. We see Christ blessing with one hand and the other seems to hold the globe of the world. Christ is not inscribed in a mandorla or a glory but here in a large circle on which he is seated. Fairly frequent image of the sky in miniatures of the same period. Two angels come towards him, their hands open in a gesture of adoration. Everything recalls the false eardrums of the cathedral and the eardrums of the abbey church of Saint Amant-de-Boixe The bell tower, of original shape, attached to the north side evokes a watchtower to monitor the surroundings! The bell was cast in 1752. This Romanesque church has been listed as a historic monument since June 13, 1913, in particular for its arcaded facade decorated with animal busts and sculpted corbels.

First placed under the authority of the Benedictine abbey of St-Cybard d'Angoulême, then that of the cathedral chapter from 1110, this Romanesque church adopted the vaulting in a row of domes on pendentives for the nave and the false square placed under the steeple. The surprise is revealed inside with murals dating from the 15th century. They develop in a frieze along the entire length of the south wall of the nave of the 2nd bay up to the backsplashes, while a piece is preserved on the western part of the south backsplash at 1.50m from the ground. This painting had its counterpart on the north wall of the same span and continued on the wall of the right span. It represents scenes of martyrdom of saints and an isolated fragment which represents a monk holding a kind of club. The fragment isolated on the western part of the backsplash represents a monk, dressed in a crude habit simply indicated by a thick black outline, who holds in his right hand a sort of yellow club at the end of which stands thorns. The face has retained its flesh color and we can clearly see the nose, the arches and the ears indicated by a thin red line. The frieze of characters represents 3 women wearing blue dresses for 2 of them and red for the other, and in the 2nd plan 2 men dressed in high breeches, all standing on a red ground delimited by a thick black line, and on a background of rosettes with red petals. Further on the 1st martyr undergoes his ordeal between 2 men. A large fitted column separates this scene from the previous one. Then a martyr, attached to a green column whose capital bears an angel, is scratched by an instrument handled by one of the 2 men who surround him. The 3rd martyr, suspended by the feet from a wooden gibbet, is about to be plunged into a tank containing, no doubt, a liquid. He is framed by 2 executioners. The 4th martyr is attached to a blue column with an angel at the top. 2 men also flank him. The 5th martyr, lying down, is held in suspension by 2 torturers who subject him to the ordeal of the grill or the fire. With the exception of the 1st, the martyrs stand out against a background composed of intersecting yellow, red and blue lines. The 5th is martyred in a room where 5 semicircular arches stand out. Although the colors have retained a beautiful tint, the whole has suffered until the complete obliteration of details which might have made it possible to better identify the martyrs of the mural.

A temple dedicated to Jupiter would have been erected on the site of Angoulême cathedral in Gallo-Roman times. In the 4th century, a cathedral dedicated to Saint Peter was built. The Visigoths destroy it. The cathedral was rebuilt in the 6th century. This second building was destroyed in 981 following a fire linked to the Norman raids in the region. A new cathedral was then built by Bishop Grimoard de Mussidan. Nevertheless, the current cathedral is due to the eminent bishop Girard, legate of the Pope. The latter manages the site himself. He chose to cover his cathedral with cupolas as he observed similar ones in Périgueux and Cahors. It also shows originality by covering its facade with sculptures. Work began in 1110. The cathedral was probably almost completed in 1138, when it was consecrated. The cathedral is looted during the Wars of Religion. It served as the Temple of Reason under the Revolution. It underwent a radical restoration by the architect Paul Abadie who added to the facade its gable, its pinnacles and its equestrian statues. He also reconstructed the dome of the crossing and the bell tower.

Angoulême Town Hall is a public building built from 1858 to 18693 in the heart of the upper town of Angoulême. Designed by the architect Paul Abadie in a fairly eclectic style inspired in large part by medieval aesthetics and punctuated by some references to the Renaissance or Classicism3, it stands on the site of the former count's castle, which it does not only the Lusignan keep (13th century) and the Valois tower (15th century) remain 4. The belfry, which overhangs the whole and accentuates its monumental character, is largely posterior to these two constructions (19th century). The town hall is surrounded by terraces of cafes and restaurants as well as flower beds inspired by French gardens. Nearby, Place New York connects the town hall with the promenade du rempart Desaix, a little further to the west.