Tugal Caris (active 1630 – 1666),Marie-Dominique Menant, "Tinténiac, Ensemble 1 du maître-autel", Inventaire général du patrimoine culturel: Bretagne, 2006, archived from the original on 14 December 2014 . also spelled Carris or Cariste, was a 17th-century French ecclesiastical sculptor and ecclesiastical architect who worked in Nantes and Rennes. He was one of the creators of in a new style invented by sculptors from Laval.Michel Morineau, Review of Jacques Salbert, Les ateliers de retabliers lavallois aux XVIIe et XVIIIe siècles. Étude historique et artistique, Annales 36.2 (1981) 319–20 .
Biography Caris was born in the late sixteenth or early seventeenth century, and was from Laval; in 1630 there is a record of him living there.Jules-Marie Richard, "Notes sur quelques artistes lavallois du xviie siècle. — Les Constructeurs de Retables", Bulletin de la Commission historique et archéologique de la Mayenne 1906, offprint Goupil, 1907, p. 18 . He later moved to Rennes and died in Nantes.
He married Jeanne Barais, probably the sister of Catherine Barais, wife of the architect Michel Bellier. One of their children, Jacques Caris, also became an architect in Nantes."CARIS Jacques", Henri Bourde de la Rogerie, Fichier Bourde de la Rogerie: artistes, artisans, ingénieurs—en Bretagne, Association pour l'inventaire de Bretagne, 1998 .
Altarpieces His first known commission for an altar was at Vaiges in 1634; this is no longer extant. The altars in the church of St Denis at Saint-Denis-du-Maine (1632) and in St Peter's at Nuillé-sur-Ouette (1633) can probably also be attributed to him. From 1634 to 1636, he created the altarpiece at Redon Abbey.Paule Maloubier-Tournier, "Les retables du XVIIe et du XVIIIe siècle en Ille-et-Vilaine", Annales de Bretagne et des pays de l'Ouest 69.1 (1962), p. 97 .Véronique Orain, "Redon, Abbaye de bénédictins Saint-Sauveur", 1944, Inventaire général du patrimoine culturel: Bretagne, archived from the original on 14 December 2014 ., Base Mérimée
Caris's most important altarpieces were created while he was living in Rennes. In 1642 he is believed to have created the high altar ensemble with side altars in the church at Availles-sur-Seiche,Marie-Dominique Menant, "Availles-sur-Seiche, Ensemble du maître-autel", Inventaire général du patrimoine culturel: Bretagne, 2004, archived from the original on 14 December 2014 Maloubier-Tournier, p. 120. as well as the altarpiece at Rannée.Marie-Dominique Menant, "Rannée, Ensemble de l'autel de saint Pierre, saint Sébastien et saint Roch", Inventaire général du patrimoine culturel: Bretagne, 2005, archived from the original on 14 December 2014 . The altarpiece of the high altar of the church at Tinténiac may also be his work. In 1651 he was responsible for the main altarpiece at Gaël.
Caris's altarpieces are relatively restrained in their ornamentation compared to those of other sculptors in the Laval school, such as Pierre Corbineau and his son , and the .Maloubier-Tournier, pp. 106–07.
Architect at Rennes and Nantes In 1640, his reputation in Brittany led the chapter of Rennes Cathedral to engage him to oversee the completion of the façade, and he worked there until 1654, when Pierre Corbineau took over; according to Léon Palustre, Caris directed the work as far as the cornice on the first floor.Richard, pp. 18, 30 . Richard states that Caris died in about 1654.
In 1648 he left Rennes for Nantes, where in 1656 he was contracted to oversee work on the cathedral.Charles Durville, Études sur le vieux Nantes, Volume 2, Nantes: Durance, 1915, , p. 26 .
References
Further reading Roger Blot, "Les retables de Tugal Caris", Vie Diocésaine, Rennes, 20, 10 November 1999, pp. 532–33 Jacques Salbert, Les ateliers de retabliers lavallois aux XVIIe et XVIIIe siècles. Étude historique et artistique, Paris: Klincksieck, 1976,