The Timeless Charm of Chapelle Sainte-Anne
A Medieval Sanctuary from Vence’s Past

Scattered across the French countryside, thousands upon thousands of medieval chapels stand as enduring testaments to faith, artistry, and history. These small sanctuaries, often built in remote locations, served not only as places of worship but also as landmarks for pilgrims, refuges for travelers, and focal points for local communities. In and around Vence, numerous chapels bear unique historical and architectural significance. Though usually small and simple in design, they reflect the town’s religious devotion, artistic evolution, and tumultuous past.

During the Middle Ages, these chapels played crucial roles in both spiritual and social realms. They were centers of devotion where communities gathered for Mass, prayer, and religious festivals. Many were dedicated to local saints or the Virgin Mary, reflecting the region’s deep Marian devotion. In turbulent periods, some of these chapels also provided sanctuary to villagers fleeing raids or natural disasters. Through preservation and renewed appreciation, they remain vital links to France’s medieval past, offering both historical insight and a sense of timeless serenity.

One of Vence’s oldest (and largest) chapels is the Chapelle Sainte-Anne (Saint Anne Chapel), dedicated to the Virgin Mary’s mother and located in what is today known as the l’Ara district (formerly known as Larrat, Larat, l’Arrat, and La Rat). When the Saint Anne Chapel was built in 1617, it was on the outskirts of Vence, a short distance from the fortified village. Its well-preserved structure and serene setting evoke a medieval spirit of piety and hospitality. In his book Vence Parcourue Pour Vous (2001), noted Vence historian Daniel Petite describes it as “one of the most charming scenes imaginable, often captured in paintings or photographs.”

Over the years, the chapel has been known by several names, including Notre-Dame de la Pitié (Our Lady of Pity), Notre-Dame de la Piété (Our Lady of Piety), and Notre-Dame des Sept Douleurs (Our Lady of the Seven Sorrows). It became a popular destination for the faithful immediately upon its construction, especially following the devastating plague of 1629-1631, when the small town suffered considerably.

Though the Saint Anne Chapel is usually closed to visitors, it comes alive several times during the year, most notably on July 26th, the day of its “patronal feast,” and September 15th, the Feast of Our Lady of Sorrows. During Lent and sometimes during the Journées Européennes du Patrimoine (Days of European Heritage), the doors are also opened to the public, and it is possible to take a peek inside. During these events, the small bell atop the chapel rings out across the town in recognition and honor of Sainte Anne. From time to time, the chapel may also be used for baptisms, concerts, art exhibitions, and other events.

The History of the Saint Anne Chapel

The first Bishop in Vence is thought to be Saint Audinus, who assumed the position sometime around 363 CE. Shortly thereafter, the first church was probably built in the small Roman city. Smaller chapels were almost certainly built in the nearby countryside as well. The oldest chapel to have survived, though it is currently in ruins, is the Chapelle Notre-Dame Bon Voyage, located on the outskirts of town on Chemin des Anciens Combattants. Chapelle Sainte-Colombe, on the old road to Saint-Jeannet, dates from the 12th century, and Chapelle Saint Crépin, at the base of the road to the Col de Vence, dates from this time period as well.

The Saint Anne chapel was built in 1617 at the initiative of Monsignor Pierre du Vair, who was Bishop of Vence from 1601 until 1638. We know this date due to its inclusion on the north side wall. For many years, this inscription was hidden behind a layer of plaster, likely put in place during a restoration in 1879, but it was uncovered when the chapel was restored again in 1992. According to a note in the Parish register from 1831, another inscription once existed next to the door of the chapel. There is no trace of this today. It is assumed that it disappeared when the doorway was reduced in size during the 1879 restoration.

[click on any image for a larger version]

Throughout the 1700s, mass was celebrated in the chapel every Saturday, a practice that is no longer followed.

It was originally just a simple rectangular building dedicated to the Virgin Mary with the name of Notre-Dame de la Pitié. It follows a basic Western alignment, deviating from the usual Eastern alignment of most churches and chapels built during the Middle Ages. Apparently, there was some confusion regarding this chapel and another large chapel just up the road that is part of the Calvaire de Vence. Jacques Daurelle, the prominent Vence historian, says in his book Vence et Ses Monuments (1934) that “… over time, a certain confusion arose between this chapel (Sainte-Anne) and the large Calvary chapel, which should rightfully bear the name Notre-Dame de Larrat, mistakenly changed to Chapelle de la Madeleine. The archives indeed allow this distinction to be clarified.” It seems that over the years, both of these chapels have, at one time or another, been referred to as Notre-Dame de Larrat, though often with different spellings (similar to the district in which it is located).

[click on any image for a larger version]

Sometime after its original construction, the exact dates are unknown, the chapel was expanded. Two small annexes (or chapels) were added, one on each side. It is unclear if both were added at the same time or not. Some accounts say that the annex on the left was originally dedicated to Saint Claude, while others claim it was dedicated to Saint Joseph. The annex on the right is dedicated to Saint Anne. A bell tower was eventually added as well. There is even some speculation that the main chapel itself was expanded at one point to accommodate the large altarpiece that was installed around 1700. Today, the inside measures 16 meters in length, 5 meters in width, and 9 to 10 meters in height.

Sometime before the French Revolution, a congregation of the Sisters of Sainte-Anne became responsible for the chapel. It is from these women that the chapel came to be known not as Notre-Dame de la Pitié but as Saint-Anne. Wheat was often stored in the chapel during harvest time, a not uncommon event for what was then a “rural” chapel.

During the Revolution, everything of value was stripped from the chapel. On July 27, 1794, an appraisal was made as part of the “evaluation of national properties.” Three men, Emmanuel Maurel, Antoine Béranger, and Pierre Martin-B. Michel visited the chapel, evaluated it, and declared it to be worth 200 livres. Referring to the chapel as Notre-Dame des Sept Douleurs, they noted that it measured 33 cannes, including the “chapels” of Saine-Claude and Sainte-Anne.

It was sold shortly thereafter for 3,500 francs to Nicolas Gaitte. It seems it was returned to the church sometime before 1834, as it was listed in the cadastral survey drawn up then as among the religious properties in Vence.

In 1879, the Sisters of the Congregation of Sainte-Anne asked Canon Bruny to oversee a restoration of the chapel. This restoration included work on the facade, and the original plaster was replaced with what Daurelle called “a hideous whitewash” and stucco embellishments. The shape and dimensions of the entrance door were diminished (something that was confirmed during the 1992 restoration). Marguerite Clerici donated 200 frances for the work to the door. Barthélémy Isnard constructed the current bell tower and donated a bell. A cast iron cross was also installed on the roof at this time.

All “unfortunate” changes, according to Daurelle. It should be noted, however, that, at the time, this restoration was celebrated and hailed as a vast improvement by almost everyone. According to a parish register dated November 16, 1879, a bell blessing took place on that day, following the parish vespers. This blessing came with the authorization of Monsignor Terrisn, Bishop of Fréjus and Toulon. Bathélémy Isnard was named the “godfather” of the bell and Marie Isnard, his daughter, the “godmother.” The bell was named Marie-Anne. At the conclusion of the ceremony, the bell was rung for the first time, much to the delight and satisfaction of everyone gathered at the chapel.

In the late 1800s, a confraternity of about one hundred women and young girls took over the maintenance of the chapel. They assumed the responsibility for the upkeep of the building and ensured that masses were celebrated there on a regular basis.

In 1906, at the time of the Separation of Church and State, Monsieur de Saint-Ferréol, the then registrar in Vence, recorded the Saint-Anne chapel as church property and compiled a list of the furnishings. This consisted of a holy water font, three altars, three paintings, a statue, twenty-three benches, two candlesticks, a set of vases, and assorted other pieces of furniture. Daurelle noted in his book that in 1934, there was also a painted wooden statue representing a Centurion with a cut-off leg that he attributed to the original collection of statues from the Calvaire de Vence.

Inside the Chapel

When you first enter the chapel you notice right away how large and spacious it is compared to most of the other rural chapels in the Vence area. The ceiling seems exceptionally high and the nave (the center section) feels quite long. The floor is covered with small rectangular bricks which are somewhat dirty and uneven. The walls are beige and show some wear. The ceiling is stained in several places by water leaks.

Large arches frame the entrances of the two chapels on the left and right. Two windows are located near the top of the nave on each side, though the ones on the left have been filled in. Knee-high dark brown wooden railing is installed at the end of the nave in front of the altar and at the entrances to the chapels. Large Roman stones, part of a small “lapidary,” sit on the floor, lining the walls on the left and the right.

What really catches your attention, though, is the stunning altarpiece at the north end of the nave. Many say it is the most beautiful altarpiece in Vence, and once you take a good look at it, you will find it hard to disagree. It takes up the entire width of the chapel and reaches until it almost touches the ceiling.

Constructed of walnut wood, this altarpiece is categorized as a “retable” since it sits behind and above the altar. It is believed to be from the late 17th century. It features three sections and four fluted columns—two freestanding and two attached—framing a series of painted and sculpted scenes and an intricately designed, very colorful pediment. The central subject of this altarpiece, a painting titled “Descent from the Cross,” was originally part of a smaller, simpler altarpiece.

[click on any image for a larger version]

The altarpiece was restored in 1879, although many were unhappy with the work done at the time. Daurelle went as far as to say, “It is most regrettable that it was repainted and re-gilded in relatively recent times, thereby stripping it of all its original value. Such acts of vandalism are unfortunately frequent. However well-intentioned they may be, they remain deplorable.”

As mentioned earlier, small annexes (or chapels) were added to the main chapel at some point. The chapel to the left features a large painting depicting “Mercy with God, Christ, and the Last Judgement.” In contrast, the one to the right features a painting representing the Holy Family, specifically Anne, Mary, and Jesus. Both chapels contain small altars, though the one on the right is a bit more elaborate. A small statue sits on each altar. We might guess that the statue on the left is of either Saint Claude or Saint Joseph, while the identity of the one on the right is unclear.

Three stained-glass windows are located near the top of the front (eastern) wall. The center figure is Saint Anne, followed by the Virgin Mary on the left and Saint-Antoine on the right. I haven’t yet found any information about how old these windows might be.

The chapel also contains a few other paintings, which the Fine Arts department has cataloged as less valuable.

The Exterior of the Chapel

The outside of the chapel appears a bit eclectic, with various sections displaying different surfaces and materials. The front is the most “polished,” with a nice plaster surface that was reworked and repainted during the 1992 restoration. The large, rectangular façade boasts a harmonious design, with the door, a small niche, three stained-glass windows, and the bell tower all perfectly aligned at its center. While it could certainly benefit from a fresh coat of paint, it still stands gracefully against the picturesque backdrop of rolling hills and open skies.

The left side of the structure consists of two distinct sections: the original chapel and the “annex” which was added later. The original chapel is coated with a thin layer of plaster, allowing glimpses of the underlying stone, while the annex walls are entirely exposed stone, without any plaster covering. The roof of this section is the same height as the chapel’s roof, which explains why the windows inside have been filled in.

Stepping inside the church, a striking contrast becomes apparent—the small chapel on the left is noticeably smaller than the exterior structure. This is because the structure on the outside was once a 17th-century priory, built around 1680. Today, it is privately owned and has been converted into a residence spread over two floors with four bedrooms, two bathrooms, a living room and a kitchen.

The right side of the structure is composed of three distinct sections. At some point, the annex seems to have been altered, resulting in what now looks like two smaller annexes—likely to accommodate the road that runs alongside it. The walls in this area are largely covered with plaster. Once again, the exterior structure extends beyond the small chapel inside, enclosing an additional living space that is now used as a second residence. Though on this side the roof is not as high and the original windows of the chapel are visible.

The back of the chapel is mostly exposed stone. There’s a jumble of small structures built onto it which don’t reach too high. An odd juxtaposition is created with the different heights of the two annexes.

The Lapidary Museum

Since 1999, the Saint Anne Chapel has also been home to a small lapidary museum featuring a collection of Roman stones, inscriptions, and artifacts. Vence was once a Roman civitas (city-state) known as Vintium, situated along the Via Julia Augusta, a vital Roman road that connected Italy with southern Gaul. This strategic location made the city an important administrative and trading center. A number of these Roman artifacts have survived in Vence, each offering unique insights into the lives of its early inhabitants.

Among the pieces housed in this small “museum” is a stone containing a fragment of a dedication to Emperor Antoninus Pius from the 2nd century. Additionally, there are two mile markers from the ancient Roman road, two funerary urns and a base that once supported a statue of Emperor Claudius. The statue, unfortunately, has been lost to time.

This museum was originally set up in 1936 in the basement of the Vence Town Hall. Unfortunately, it closed just four years later in 1940. Later, the stones were transferred to what was known as an “open-air lapidary museum” on the Belvédère Fernand Moutet, a small plaza on the edge of the Vence old town that overlooks the Lubiane Valley. Sadly, some of the stones were stolen or lost at this time, so in 1964, the remaining stones were moved to the basements of the Chapel of the White Penitents and the Vence Château. More stones went missing or were stolen. Finally, in 1999, they were all moved here to the Saint Anne Chapel for permanent safekeeping.

The Mission Cross

Almost everyone in Vence who is familiar with the Saint Anne Chapel is also aware of the large cross that stands very close to it. It is so close that many assume it is related in some way to the chapel. In fact, the cross has nothing to do with the chapel. It was raised on December 26, 1875, as part of a religious ceremony known as a “mission.” The mission was held by the bequest of Pierre Bertrand, the parish priest of the Saint-Sauveur church in Toulon, who was originally from Vence. Reverend Fathers Augier and Gibelin of the Oblates of Mary preached. A parish register from the time states that over 5,000 people attended the ceremony.

[click on any image for a larger version]

Over the years, the cross has been moved several times. If you look at old photographs or postcards, you will see a long stone wall attached to the southern side of the chapel and the cross standing in front of it some distance away. Today, a large segment of the wall has been removed, and the cross is closer to the chapel. During the summer of 2009, the cross was restored by the Coulomb carpentry workshop.

Who Was Saint Anne?

While the Bible does not mention Saint Anne, her story is deeply embedded in Christian theology concerning the preparation for the coming of Christ. She remains today one of the most beloved saints in the Christian tradition. What we know about Sainte Anne comes to us through apocryphal texts (a text not considered part of the official scriptures), theological interpretations, and centuries of devotion. Her life story comes to us primarily from the Protoevangelium of James (written around the 2nd century CE). This text, while influential in shaping Christian beliefs about Anne, is not considered a historical document but rather a work of religious storytelling meant to provide context for Mary’s birth and upbringing.

Saint Anne is venerated as the patron saint of mothers, grandmothers, and women in labor, embodying the virtues of faith, patience, and maternal care. Her legacy has endured across cultures, influencing religious traditions, artistic representations, and devotional practices throughout Christian history.

According to the Protoevangelium, Anne descended from the house of David, and was known throughout her village for her kindness and piety. From a young age, Anne had devoted herself to the teachings of her ancestors, living a life of virtue and prayer.

[click on any image for a larger version]

Anne was married to Joachim, a devout man of Israel from the tribe of Judah. Together, they built a home filled with love and devotion to God. Yet, despite their deep faith and unwavering dedication, they bore no children. In Jewish society at the time, barrenness was often seen as a sign of divine disfavor. Despite this, Anne and Joachim remained faithful, praying for a child to bless their lives.

One evening, a brilliant light filled the sky as Anne sat in quiet reflection. A radiant figure stood before her— an angel of the Lord, clothed in celestial splendor. The angel’s voice was gentle yet filled with power. “Anne, do not weep,” the angel proclaimed. “The Lord has heard your prayers, and He will bless you. You shall conceive and bear a daughter, and she will be filled with the grace of God. Her name shall be Mary, and she will be revered among women.”

Overjoyed, Anne promised to dedicate her child to God. In due time, she gave birth to Mary, who would later become the mother of Jesus. Anne is often depicted as a devoted mother who nurtured Mary in faith and righteousness, preparing her for her divine role. As Mary reached the age of three, Anne recalled the promise she had made to dedicate her daughter to God. With heavy but faithful hearts, Anne and Joachim took Mary to the Temple in Jerusalem, where she would be raised in the sacred traditions of her people. Anne lived to see her daughter grow into a woman of great virtue, though she did not witness the fullness of Mary’s destiny.

Sainte Anne’s veneration gained prominence in the early centuries of Christianity, especially in the Eastern Church. By the sixth century, Emperor Justinian dedicated a church in her honor in Constantinople, signifying her importance in Christian devotion. The Crusades particularly influenced the spread of her cult, as returning knights brought relics and stories of her intercessions. The Western Church gradually embraced her cult, with widespread recognition emerging in the Middle Ages.

Pope Gregory XIII officially extended her feast day, celebrated on July 26, to the entire Catholic Church in the 16th century. Today, she is honored by millions of Catholics, Orthodox Christians, and other Christian denominations worldwide. Her devotion is particularly strong in France. All over the world, many churches, shrines, and places of pilgrimage have been dedicated to her, including the famous Basilica of Sainte-Anne-de-Beaupré in Quebec, Canada as well as Sainte-Anne d’Auray and the Apt Cathedral (where relics of Sainte-Anne are said to be stored) in France. In Brittany, sailors and fishermen have long prayed to Sainte Anne for protection at sea.

In Christian art, Sainte Anne is often depicted in a triad with Mary and the infant Jesus, symbolizing the generational transmission of faith. She is sometimes shown teaching Mary to read the Scriptures, emphasizing her role in Mary’s spiritual upbringing. One of the most famous representations of Sainte Anne is Leonardo da Vinci’s painting The Virgin and Child with Saint Anne, where she is shown with both Mary and Jesus.

Feast Days

Every canonized saint recognized by the Catholic church has a “feast day.” As the patron saint for housewives, women in labor, miners, and cabinet makers, Saint Anne is celebrated on July 26th. On her feast day, a special celebration is held at the chapel. The faithful come from near and far to pay their respects.

The 1992 Restoration

Many of the chapels in Vence have survived the centuries, though not without challenges. Wars, secularization, and changing religious practices led to the abandonment or repurposing of some of these treasured structures. In recent decades, efforts by heritage organizations, local communities, and religious groups have sought to preserve some of these historical sites.

By the early 1990s, it was apparent to everyone that the Saint Anne Chapel was in desperate need of attention. The walls were crumbling and the floor was deteriorating. The beautiful altarpieces were decaying due to time, humidity, and neglect. The colors had faded and some of the plaster moldings had almost disappeared. If something wasn’t done relatively soon, it might be too late. The biggest obstacle was, of course, money. There were no funds in the municipal budget to provide for such work. If it was going to be done at all, it would have to be done by volunteers.

In 1992, the Lions Club de Vence les Baous celebrated its fiftieth anniversary. To mark the occasion, they undertook the enormous task of restoring the Saint Anne Chapel. Along with the Association of Vençois Enterprises, the Lions Club worked for almost four months (beginning in early February and ending in late May), overseeing a large team of volunteers who donated money, time, materials, and labor to complete the job. In the end, over 3,500 hours of work, spread out mostly over 15 weekends, was completed. The mayor of Vence was even seen at the site manning a jackhammer on at least one occasion!

Because the chapel had never been classified as a historical monument, the restoration work was able to proceed without the involvement of the Architecte des BIatiments de France (the official French organization responsible for overseeing the protection, conservation, and regulation of architectural heritage and historic sites), removing some constraints that might otherwise have been put in place. Still, everyone was in agreement that all the work should be done in a way that was faithful to the history and heritage of the original structure and that everything must be restored as faithfully as possible to its original condition. To that end, the city of Vence provided architects from the C.A.U.E. (Council for Architecture, Urban Planning, and Environment) to advise and oversee the project. Various local companies either donated materials outright or provided them at a substantial discount. This included excavation, masonry, carpentry, electricity, sheet metal, ironwork, painting, landscaping, cleaning, and more.

A substantial amount of money was needed to complete the repair work. The budget was estimated to be almost 400,000 francs, just under 100,000€ in today’s market. The AVE and donations from private individuals covered some of this. Enamel pins marking the occasion were sold to raise additional funds. One of the pins was even designed by the locally renowned American artist Fred Nall Hollis, professionally known as Nall, who was a resident of Vence.

A long list of improvements were made to the chapel. A drainage system was built around the foundation of the building. The facades were stripped of all existing plaster, revealing the bare stone beneath, before a new layer was applied, followed by a coat of ochre paint. The roof and bell tower were restored allowing the bell, which had been silent for many years, to once again chime. The interior walls were repaired and cleaned. The floor was scrubbed and protection was added to it.

The entire entrance door was rebuilt according to traditional techniques by M. Désidérato. The stone uncovered on the north side of the building with the date 1617 was placed just above the new door. New metalwork was installed, the electricity was updated, and the gutters were cleaned and repainted. Some of this work confirmed what had long been suspected, that sometime in the 20th century, the right wing of the chapel was reduced in size to make room for the road that runs beside it today.

One of the most difficult restorations involved the altarpiece. The front panel was reconstructed, new plaster friezes were crafted, and the entire structure was repainted. A navy blue outline, intended to distinguish it from the white wall behind it, was added.

On June 6, 1992, a mass and key exchange celebration occurred. The restoration was complete.

Access

Vence can easily be reached from just about anywhere in France by taking the A8 until you get to Cagnes-sur-Mer. If you are coming from the east get off on Exit 48 and if you are coming from the west you’ll want Exit 47. Take the M336, then the M36 and finally the M236 north into Vence. The most accessible parking is in the Parking du Grand Jardin, right next to the old town. Parking Toreille and Marie Antoinette Parking are both close by as well.

There are two buses which run from Nice to Vence: #9 and #655. Just be careful with the #9, it can be a bit confusing because it has two routes leaving from the Park Phoenix in Nice. One route stops at the Shopping Promenade mall which is still about 8kms from Vence. Look at the route displayed on the front of the bus at the top. It should say “L’Ara” which is the last bus stop in Vence. All the #9 buses returning to Nice from Vence go all the way to Park Phoenix.

There is no train service directly to Vence. You can take the train to Cagnes-sur-Mer and then take either the #9 or #655 bus from Cagnes-sur-Mer to Vence.

To reach the Saint Anne Chapel, proceed to the large roundabout where Avenue de la Résistance and Avenue Emile Hugues meet. Take Boulevard Emmanuel Maurel until you come to the chapel on the right, located at 362-378.

The Vence Office de Tourisme is located near the center of town just across the street from the Grand Jardin. Unless you come on one of the dates specified above you won’t be able to visit the interior of the Saint Anne Chapel, but you can, of course, view the outside. I would suggest that you try to come on any day but Sunday or Monday so that you might also enjoy some of the shops and boutiques in Vence that might otherwise be closed.