Episcopal Donation 1104 (≈ 1104)
Ramnulfus Focaudi ceded the church to the abbey of St. John's Angely.
vers 1130–1140
Sculptures of the facade
Sculptures of the facade vers 1130–1140 (≈ 1135)
Realization of capitals and moralizing modillons.
1200
Benedictine completion
Benedictine completion 1200 (≈ 1200)
Construction completed, installation of the statue of the Virgin.
1327
Papal Prayer
Papal Prayer 1327 (≈ 1327)
Visit of a envoy of Pope John XXII.
1628
Establishment of a pilgrimage
Establishment of a pilgrimage 1628 (≈ 1628)
Cult around the Marian statue.
1822
Restoration of the bell tower
Restoration of the bell tower 1822 (≈ 1822)
Reconstruction of the structure.
1860
Restoration campaign
Restoration campaign 1860 (≈ 1860)
Expansion of sacristy and renovation of capitals.
1910
Historical monument classification
Historical monument classification 1910 (≈ 1910)
Official protection of the building.
1971
Conservation work
Conservation work 1971 (≈ 1971)
Sanitization of the walls and demolition of the false apse.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Ranked MH
Key figures
Ramnulfus Focaudi - Bishop of Saints (1083–1106)
Giver of the church at the abbey of St. John's Angely.
Jean XXII - Pope (1316–1334)
Sending a representative to pray before the statue in 1327.
Origin and history
The Church of Notre-Dame de Corme-Écluse, listed as a historic monument in 1910, is a jewel of Saintongeese Romanesque art. Founded in the early 12th century by the Royal Abbey of St. John's Angely, it replaces a former priory dependent on the Abbey of the Ladies of Saints. The sanctuary was rebuilt around 1104 thanks to a donation by Bishop Ramnulfus Focaudi, and then completed around 1200 by Benedictines, who installed there a venerated statue of the Virgin in oak. Its latin cross plan, slightly asymmetrical, and its tripartite facade decorated with moralizing sculptures illustrate the regional influence.
The western facade, typical of the Saintongeese novel, is distinguished by its historic capitals and its modillons warning against capital sins, including lust and pride. Inside, the sober nave contrasts with the sculptural richness of the transept square, where four columns support a dome on tubes. Successive restorations (XIX–XX centuries) preserved its medieval elements, despite minor damage during the Wars of Religion. The statue of the Virgin, mutilated in 17?3, and traces of funeral liters recall its role both religious and community.
The bell tower, partially redone in the 15th century, dominates the building with its lancet bays and geometric patterns. The restoration campaigns (1822, 1860, 1971) aimed to preserve its authenticity, such as the move of the cemetery in 1890 or the renovation of the blankets in 1926. Today, the church bears witness to regional Romanesque art, mixing moral symbolism and local history, from its Benedictine priory to its heritage classification.
Exterior sculptures, such as the models of the abside representing scenes of temptation (laid men, devoring animals), or the inner capitals with the motifs of basketry, highlight the didactic dimension of Romanesque art. The canonial dial on the south wall and the remains of mural paintings complete this heritage, while the bells, repaired in the 21st century, perpetuate its liturgical and memorial function, as evidenced by the commemorative plaques of 1914-1918.
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