Construction of the chapel 1850-1852 (≈ 1851)
Directed by the architect Fontaine for Madame Farnoux.
1852
Consecration of the chapel
Consecration of the chapel 1852 (≈ 1852)
By the bishop of Fréjus after completion.
2 décembre 1988
Registration for Historic Monuments
Registration for Historic Monuments 2 décembre 1988 (≈ 1988)
Official protection of the building and its decor.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Chapel (Box AM 5): entry by order of 2 December 1988
Key figures
Madame Farnoux - Sponsor
Have the chapel built for her husband.
Fontaine - Lyon architect
Author of the plans of the chapel.
Pradier - Sculptor
Realize the building.
Maréchal - Master glassmaker
Create the stained glass of the chapel.
Origin and history
The chapel Saint-Charles-Borromée de la Pauline, located at La Garde in the Var, is a funeral chapel built in the mid-19th century. It was erected at the initiative of Madame Farnoux in memory of her husband, according to the plans of the Lyon architect Fontaine. The works, begun in 1850, were completed in 1852, and the building was consecrated by the bishop of Fréjus. This monument, of neo-Gothic style, is distinguished by its interior decor, including a pieto carved by Pradier and stained glass windows made by the master glassmaker Marshal.
The chapel, originally intended for private use, later became a parish church. It was registered in the Historical Monuments by order of 2 December 1988, thus protecting its architecture and artistic elements. Today, owned by the municipality of La Garde, it bears witness to 19th-century religious art and the influence of private sponsors in local heritage.
The building is part of a historical context where funeral chapels reflected both the piety of bourgeois families and their desire to perpetuate their memory. The choice of neo-Gothic style, in vogue at that time, illustrates the renewed interest in medieval forms, perceived as a return to the spiritual and artistic values of the past. The presence of renowned artists such as Pradier and Marshal underscores the aesthetic and symbolic ambition of this project.
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