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Origin and history

The church of Saint-Léger de Molliens-au-Bois, located in the Somme department north of Amiens, was built between 1870 and 1872 in a Gothic neo-Gothic style. Its funding was provided by Marie-Colette-Amélie Poujol de Molliens, the village's chestnut, while its design was entrusted to architect Victor Delefortrie and his son Paul Delefortrie. The building, solemnly consecrated by the bishop of Amiens in 1875, is distinguished by its Latin cross plan, its bell tower-poach surmounted by an octagonal arrow, and its brick facades resting on a sandstone base. Architectural details, such as the floral capitals carved by Auguste Hesse or the brick vaults imitating the stone, bear witness to a remarkable craftsmanship for the time.

In 1978, the church, then severely degraded, underwent a partial restoration that sacrificed its choir and transept, retaining only the nave for religious services. This choice reflects the budgetary constraints and cultural priorities of the time, but deprived the building of part of its original structure. White glass stained glass windows, six lobes roses, and sacristies connected by an outdoor gallery are among the preserved elements, illustrating the balance between functionality and neo-Gothic aesthetics.

The church houses several objects classified as historical monuments, including a statue of Notre-Dame-de-Bonne-Mort in polychrome chalk (14th century), a carved group of Saint Roch and his dog (18th century), and a cross Christ dating from the 16th-17th century hinge. These pieces, combined with the organ of the bell tower stand, underline the spiritual and cultural role of the building in the local community, despite the alterations experienced over time.

The brick construction, typical of the region, and the use of various floral motifs for capitals reveal an influence of 19th century architectural currents, combining technical innovation and reference to the medieval past. The ogival gate, surmounted by a gable and a bay adorned with shrouds, as well as the vault keys, reinforces this duality between tradition and modernity, characteristic of the religious buildings of the industrial era in Picardia.

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