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Origin and history

The Church of Our Lady of Guebwiller, built in the second half of the eighteenth century, is one of the most imposing neo-classical religious buildings in north-eastern France. Built in pink sandstone, an emblematic material of the region, it replaces Murbach Abbey after the transfer from the Abbey to Guebwiller in 1759. This move, by Pope Clement XIII, marked the secularization of the imperial abbey, transformed into an equestrian chapter under Louis XV. The church, classified as a historic monument in 1841, symbolizes this institutional and artistic turning point.

The building of the church was launched in 1765 under the direction of architect Louis Beuque, whose neo-classical plans were initially rejected for their lack of modernity. After conflicts with the chapter and expertise of the Royal Academy of Architecture, it was replaced in 1768 by Gabriel Ignace Ritter. The latter completed the building in 1779, apart from the towers, respecting the original plans while adding a baroque and classical studded decor. The solemn consecration took place in 1785 by the Bishop of Basel, marking his central role in local religious life.

The interior furniture and decoration, made between 1780 and 1783, combine French and Germanic influences. Faithful Sporer, German sculptor, signs notably the Assumption of the Virgin of the Chorus, 17 meters high. The organ, installed in 1785 by Joseph Rabiny, is a technical masterpiece with a preserved buffet despite successive restorations. In 1792, the church became parish, and in 1844, a tower was finally added thanks to a public subscription, partially completing the initial project.

The history of the church is inseparable from that of the abbey of Murbach, whose abbey princes, like Philippe-Eberhard of Löwenstein-Wertheim, marked Guebwiller with their political and religious power. The transfer of the Abbey in 1759, after centuries of tension and monastic decline, reflects the institutional upheavals of Alsace under the Old Regime. The church Our Lady is the architectural witness, combining princely prestige and popular piety.

Ranked among the first French historical monuments in 1841, the church also illustrates the challenges of heritage conservation. His organ, despite regular repairs, now requires major restoration. The bells, two of which date from 1718, and the woodwork of Sporier recall the artistic richness of the pre-revolutionary Alsace, between imperial heritage and regional identity.

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