Historical Monument 1929 (≈ 1929)
Protection of remaining remains.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Church of the Great Carmelites (ruins of the old): Order of 28 October 1929
Key figures
Pierre Perrat - Architect and contractor
Church designer, died in 1400.
Alexandre Lenoir - Heritage conservator
Backup of items before 1818.
Origin and history
The church of the Great Carmelites of Metz, built at the end of the 14th century and completed in 1415, is the work of architect Pierre Perrat, also master work of the cathedral of Metz. The latter, who died in 1400, supervised the beginning of its construction. The building, rebuilt during the second half of the 15th century, suffered major destruction, especially during the French Revolution. Today, only picturesque ruins remain, including a visible span in the Old Town district, Marchant Street.
Before its partial destruction in 1818, certain remarkable architectural elements of the church were saved by Alexandre Lenoir. He reused parts of the structure to build the chapel of the castle of Mont-l'Évêque, where they are still visible. A fragment of the bell tower's arrow was included in the funeral monument of Héloïse and Abélard, located at the Père-Lachaise cemetery in Paris. These recoveries demonstrate the heritage importance of the building, despite its almost total disappearance.
Classified as historical monuments since 1929, the Church of the Great Carmelites illustrates the medieval heritage of Metz. His history is documented by several sources, including the works of Ernest de Bouteiller (1860) and Eugene Voltz (1973), which highlight his role in Lorrain religious architecture. The present ruins, though fragmentary, recall its glorious past and its integration into the Messin urban landscape, marked by centuries of Catholic and architectural history.
The property of the building now belongs to the municipality of Metz. Its classification in 1929 preserved the remaining remains, offering a material testimony of local Gothic art. Archaeological and historical studies, such as those conducted by Amédée Boinet (1920) or Gérald Collot (1989), continue to inform its evolution, from its construction to its partial destruction and posterity through the reuse of its elements.
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