Jersey Museum, Jersey, United Kingdom

The Jersey Museum and Art Gallery is located in St Helier. It presents history from 250,000 years ago when the first people arrived in Jersey and continues through the centuries to explore the factors that have shaped this unique island and the people who live there. Find out why Jersey remained loyal to the English Crown despite being so close to France; listen to Jersey-French being spoken; learn about the Island's traditional farming industry and watch fascinating archive footage of the early years of tourism.

On display in the Art Gallery you will find the work of Claude Cahun, recognised worldwide as one of the leading artists of the Surrealist movement. Jersey Museum cares for one of the largest collections of Cahun's work, which comprises photographs, original manuscripts, first editions, books and other personal material. Find out more about Claude Cahun and Marcel Moore.

References:

Jersey Heritage

User Reviews

David and Janet Healey (2 years ago)
Very interesting, giving a good overview of Jersey history. We enjoyed the film of the Jersey story and found the Merchants' House fascinating.

June Haycox (3 years ago)
Had a wonderful day at Jersey Museum. Lots to see. Staff friendly and very helpful.

Ian Pace (3 years ago)
Well presented museum with a mix of audio and video areas alongside the traditional galleries. Great cafe on the ground floor which becomes a restaurant in the evenings. Good video wall showing an aerial tour of the island.

Tim Brown (3 years ago)
A great place to start your visit to Jersey. In the foyer there is a very nice cafe and restaurant. Great cake! There is a film of the landscape of the Island. In a theatre off the foyer there is a very well put together film of the history of Jersey. Well worth seeing. The museum itself covers the history of Jersey and also has an exhibition of 1980s Jersey and Bergerac. Attached is the merchant's house: a very atmospheric interpretation. The whole thing is worth seeing: museum, merchant's house, films, cafe and restaurant.

Martin Oakley (3 years ago)
Regular visitors to the museum when we go to Jersey. The layout and information is superb. The ground floor has changed for us with an excellent aerial photography of the island and better shop. The first floor museum is a brilliant view of the island, occupation years, life at the time and geology. The second floor has a Bergerac exhibition which is fascinating even if you weren't around or a fan of the series. Like all the Jersey Heritage sites on the island they are really well presented.

Featured Historic Landmarks, Sites & Buildings

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Historic Site of the week

Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.

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