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Origin and history

Notre-Dame de Montfarville Church is a Catholic building located in the municipality of the same name, in the department of Manche, Normandy. Built in the 13th century, it preserves its bell tower in a building. The essential part of the present building, however, dates back to the 18th century, after a major reconstruction in 1763 financed by the parish priest Maître Caillet, as evidenced by the inscription above the gate: "1763: Messire C. Caillet, parish priest of this place had this church built at his expense". The church, blessed on February 12, 1764, thus blends medieval architecture with Norman classicism in white granite.

The church's cradle vault is decorated with 19 marouflage paintings, made between 1879 and 1881 by the local painter Guillaume Fouace. These works, commissioned by Abbé Goutière and financed by donations (including those of François Debrix and Bernard Lebaron), illustrate scenes from the New Testament. Classified as historical monuments in 1983-1984, they give the building an artistic singularity. Fouace represented the inhabitants of the village as role models, including his daughter incarnation of angel Gabriel.

The church houses remarkable furniture, including a statue of Notre-Dame de Consolation (14th century, ranked in 1905), a Louis XV high altar (classified in 1955), and 20th century stained glass windows evoking the Revolution, such as that of the condemnation of Abbé Nicolas Cléret (1726–92). The baptismal fonts (1784) and a perch of 1765, supporting a 17th century Christ, complete this ensemble. The building, partially listed as historical monuments since 1994, reflects centuries of Norman religious and artistic history.

The 13th century bell tower, the only medieval vestige, contrasts with the nave and choir rebuilt in 1763 in a sober and elegant style. The stalls, works by a Morsalines Huchier (Guillaume Godefroy), and the painted wooden altars (Louis XV style) highlight local craftsmanship. The stained glass windows of Charles Lorin (1922–1924) add a modern touch, while the Sulpician iconography of the paintings of Fouace bears witness to the 19th century religious currents. A communal property, the church remains a place of worship and active heritage.

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