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Origin and history

The Church of Our Lady of the Assumption of Saint Martin Vesubia replaces an earlier building attested from the twelfth century, of which only one column head and two Romanesque elements remain at the base of the bell tower. This first sanctuary, linked to the foundation of the village, was under the influence of the monks of the Abbey of St. Dalmas of Pedona, who had also established in the eighth century the sanctuary of the Madonna of Fenestre, a strategic pilgrimage site on a commercial road between Piedmont and the Mediterranean. Templars, present in the region from the twelfth century onwards, could have played a role in the history of the church, although their direct involvement in Saint Martin-Vesubia remains debated for lack of written sources.

The village's rise in the 13th–14th century, marked by the construction of a fortified enclosure, coincides with the transformation of the early church. A fire in 1470 ravaged part of the town, probably accelerating the reconstruction of the building. The current baroque-style structure was completed in 1694, as indicated by the date engraved on its façade. The bell tower, although of medieval style, actually dates from the 17th century, just like the interior decoration, attributed to the influence of the Nice architect Jean-André Guiberto. The church was listed as a historic monument in 1997 for its architecture and exceptional furniture.

The church furniture reflects its turbulent history. The statue of the Madonna of Fenestre, made of cedar wood from Lebanon, descended every winter from the neighbouring sanctuary, symbolizes spiritual continuity since the eighth century. The paintings attributed to Louis Bréa (circa 1500), like the panels depicting Saint Peter and Saint Martin, testify to the artistic richness of the region. The altarpiece of the Rosary (1697) and copies of Italian masterpieces, such as La Fuite in Egypt, illustrate Baroque influence and local patronage. The bells, dated 1687, complete this preserved furniture heritage.

The church is part of a complex historical network, linked to the lords of Venanson (the Garac family), the Counts of Provence, and religious orders such as the Templars or the monks of Saint Dalmas. Its three-nave barlong plan, its arched vault, and its baroque facade with ionic pilasters make it a remarkable example of the adaptation of the Alpine baroque. The alteration of the facade in the 19th century and the preservation of the statue of Madonna, an object of secular devotion, underline its central role in the community and religious life of the valley.

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