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Church of the Nativity of the Holy Virgin of Coisy dans la Somme

Somme

Church of the Nativity of the Holy Virgin of Coisy

    4 Rue Manon Lescaut
    80260 Coisy
Markus3 (Marc ROUSSEL)

Timeline

Bas Moyen Âge
Renaissance
Temps modernes
Révolution/Empire
XIXe siècle
Époque contemporaine
1300
1400
1500
1800
1900
2000
1310
Construction of medieval church
1492
Bell font *Jehanne*
1851
Demolition of the old church
1853-1854
Reconstruction of the current church
1876
Fall of the bell tower arrow
1879
Reconstruction of the arrow
Aujourd'hui
Aujourd'hui

Key figures

Victor Delefortrie - Architect Designed the plans of the church in 1853.
Paul Delefortrie - Architect, son of Victor Worked to rebuild the building.
Louis Duthoit - Drafter The church was immortalized in 1855.
Jeanne de Saveuse - Bell sponsor Named the bell *Jehanne* in 1492.

Origin and history

The church of the Nativity-de-la-Sainte-Vierge de Coisy, located in the Somme, replaces a medieval building built in 1310. Destroyed in 1851 because of its disrepair, it was rebuilt between 1853 and 1854 under the direction of architects Victor Delefortrie and his son Paul. This project marked a regional architectural innovation, combining bricks and re-used elements of the old church, like the gate adorned with an inverted pentagram.

The 1876 storm severely damaged the bell tower's arrow, rebuilt in 1879. The neo-Gothic building is distinguished by its nave of 34 metres, narrow sides, and rich interior decoration: painted vaults, geometric stained glass windows, and a carved high altar inspired by biblical scenes. The Jehanne bell, dated 1492 and from the old church, was preserved in the new bell tower.

Inside, the capitals and vault keys have vegetal motifs, while the choir has lilies and a Marian monogram. The southern chapel houses an altar dedicated to Saint Joseph, surmounted by round-bosse statues representing the Holy Family. The stained glass windows, some of which reproduce works from the cathedral of Amiens, illuminate a space marked by late Gothic influence.

The church illustrates the transition between medieval tradition and 19th century modernity, with innovative constructive techniques for the period. Its tympanum, comparable to that of the Cathedral of Amiens, and its six-feston rose underline this dialogue between the ages. Louis Duthoit made a drawing of it in 1855, testifying to its heritage importance as soon as it was rebuilt.

Today, the building embodies both a medieval heritage, through its reused elements, and an architectural audacity of the Second Empire. Its history reflects the challenges of preserving heritage, between destruction and rebirth, while serving as a place of worship and memory for the local community.

External links