Timeline

Heritage classified

Key figures

Origin and history

The church Notre-Dame-de-la-Nativity de Villaines-sous-Bois, located in Val-d-Oise, is attested from 1253 by a donation from Marie, wife of Jean Sans-Pitié. The bell tower, lacking distinctive style, could date from this medieval era. The parish, initially dependent on Belloy-en-France, is mentioned for the first time in an act of 1253, although it is abssent from the 13th century stilts. The first known priest, Jean Terrée, appeared in 1384.

In the 16th century, the choir was rebuilt in a hybrid style combining flamboyant Gothic (nervures, broken arches) and Renaissance (pending keys, carved capitals). This choir, although modest (a square span), is distinguished by a complex nine-key vault, decorated with vegetal and geometric motifs. The nave, meanwhile, was rebuilt in the 18th century as a sober rectangular room, reflecting the small size of the parish (less than 30 fires).

During the Revolution, the parish was abolished, and the furniture (master altar, statue of the Virgin) was transferred to Belloy-en-France. The cemetery, blessed in 1528 by Bishop Poncher, was moved. In the 19th century, the church was restored thanks to private donations (Jules Dandoy in 1926). Ranked as a historical monument in 1969 for its choir, it is now remarkably preserved. Despite its small size, it still hosts Masses according to the tridentine rite, perpetuating a rare liturgical tradition.

The furniture includes notable elements such as a bronze bell of 1701, classified as a historical monument, offered by Baron Auguste Macé Leboulanger and blessed by the parish priest Pierre Pelcerf. A commemorative plaque of 1601 recalls the assassination of Guillaume de Verthamont, local lord, by a resident of Villiers-le-Sec. The baptismal fonts, made of monolithic limestone, and a statue of St James the Major (17th century) complete this modest yet evocative ensemble.

Architecturally, the church combines hardiness and refinement: the bell tower, with third-point bays, contrasts with the sober nave and the decorated choir. The Renaissance capitals, inspired by ancient metopes, and the pending vault keys (including a mutilated during the Revolution) bear witness to an unexpected artistic influence for a rural church. The recent stained glass windows and the shell bentier add a picturesque touch to this preserved heritage.

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