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Chapelle Saint-Charles-Borromée de la Pauline à La Garde dans le Var

Patrimoine classé
Patrimoine religieux
Chapelle gothique
Var

Chapelle Saint-Charles-Borromée de la Pauline

    247-435 Avenue Antoine Becquerel
    83130 La Garde
Chapelle Saint-Charles-Borromée de la Pauline
Chapelle Saint-Charles-Borromée de la Pauline
Chapelle Saint-Charles-Borromée de la Pauline
Crédit photo : Cyphylo - Sous licence Creative Commons

Timeline

Révolution/Empire
XIXe siècle
Époque contemporaine
1900
2000
1850-1852
Construction of the chapel
1852
Consecration of the chapel
2 décembre 1988
Registration for Historic Monuments
Aujourd'hui
Aujourd'hui

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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