Monuments and museums

Palais des Papes

Pont Saint-Bénezet

Musée Calvet

Musée du Petit Palais

Musée Requien

Musée lapidaire

Musée du Vieil Avignon

Palais du Roure

Musée du Mont-de-piété

Musée Louis-Vouland

Musée Angladon Dubrujeaud

Maison Jean Vilar

Collection Lambert
Information
Le musée du Mont-de-Piété
 


At the beginning of the nineteenth century the Mont-de-Piété of Avignon found itself ravaged by the revolution and law of 4 Pluviôse an II prescribing interest-free Ioan/pawn redemptions.

Its administrators then came up with the ingenious idea of establishing another sort of public institution that would respond to local commercial and industrial needs, while at the same time enabling the flow of capital it required to sustain its loans. Thus on 22 Frimaire an X (December 12, 1801), which the active support of the municipality of Puy, they instituted the Condition des Soies d’Avignon.

As opposed to other French conditions, such as those of Lyon or Saint-Etienne, managed by chambers of commerce, this one was administered by the Mont-de-Piété. It assured the various technical and drying operations requiered for silk producers and merchants. First established in the former chapel of the Mont-de-Piété, the Condition des soies progressibely expanded until it came to occupy the large building embellished with two lovely facades, one on Rue de la Croix and the other facing the court of the Mont-de-Piété, Rue Saluces (Boudroy, architect ; 1877).

Museum collections

The first space you enter containing the objects relating to the functioning of the Mont-de-Piété and the Condition des soies is the former chapel of the Congregation of Notre-Dame-de-Lorette where the brotherhood periodically met to discuss concerns of the institution. Almost certainly the work of the architect Jean-Baptiste Franque, it used to be decorated with tableaux (Mignard, Parrocel) that are currently displayed on the large staircase (not accessible to the public).

The facade of the Condition des soies (1877), as well as the tracks and carts used for silk delivery, can be seen from the chapel. Neglected after the Revolution, the chapel was converted into a reception area for deposits and redemptions in the nineteenth century. A large transom with four apertures permitted access to these sectors as well as to the « appréciateur » who was in charge of evaluating objects that were left as surety against loans.

The documents and objects relating to the Mont-de-Piété retrace the history of this venerable institution. The composition of the institution is revealed through the catalogues of its broterhood, an then, starting in the second half of the nineteenth century, of its administrators. The earliest example is adorned with a small painting of the Annunciation, on wood. This is a preferred theme, discernible throughout the establishment.

The documents reveals the names of Avignonnais aristocracy and bourgeoisie that are traditionally found in this sort of institution. Notables representative of these social groups are also found on numerous donatifs (painted canvases or marble plaques) executed in honor of their generosity.

Sometimes names of the most eminent appear, such as the Emperor Napoléon III, the Archbishop de Marinis of the Duchesse de Berry. Portraits of the most generous adorn the chamber of the administrative council.

The bull granting the establishment of Notre-Dame-de-Lorette on the Mont-de-Piété (1610), the Grand Livre Récapitulatif, summarizing the titles of the institution (impressive eighteenth-century binding), the registry of deposits and redemptions (detailing the items and names of « clients »), and the designs for storage arrangements, among other pieces, give the visitor a fine idea of the quality of the archives which are maintained within the building itself.

Certain objects, such a cart used for the conveyance of pledge items and and administrator’s funerary pall, illutrate both the functioning of the establishment and the great dignity with which the administrators conducted themselves event into the final moments of their existence on eart.

Note the pall’s four gold embroidered escutcheons representing the city’s coat of arms, the Ecce Homo (also sculpted on the facades of the Mont-de-Piété and the Condition des soies), and most of all the Annunciation beneath the Sancta Casa (the Virgin’s house, being delivered by angels to the village of Lorette, Italy, where it can be still be seen).