Construction of the choir and transept limite XIIe–XIIIe siècles (≈ 1350)
Late Romance style, flat bedside.
milieu XIIIe siècle
Edification of the nave
Edification of the nave milieu XIIIe siècle (≈ 1350)
Collaterals and round to capital pillars.
XIVe siècle
Expansion and side chapels
Expansion and side chapels XIVe siècle (≈ 1450)
Addition of two chapels, trilobé network.
début XVIe siècle
Damage and Northern Redesign
Damage and Northern Redesign début XVIe siècle (≈ 1604)
Retort, modification of transept batteries.
2008
Discovery of murals
Discovery of murals 2008 (≈ 2008)
Apocalyptic cycle of the fourteenth century.
27 août 2010
Historical monument classification
Historical monument classification 27 août 2010 (≈ 2010)
Full protection of the building.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
The entire church (Box A 147): by order of 27 August 2010
Key figures
Aresfaste (ou Herfaste) - Uncle of Richard II of Normandy
Partial donor of Turqueville to Chartres.
Guillaume de Vernon - Local Lord
Church dedication with his mother, Luce.
Luce - Mother of Guillaume de Vernon
Co-donator at Montebourg Abbey.
Origin and history
The Notre-Dame de Turqueville church, located in the Manche department in Normandy, is a Catholic building erected at the end of the 12th century, marking the transition between Romanesque and Gothic styles. His two-span choir and cross-section of the transept date from the 12th to 13th centuries, while the nave, blind and flanked by collaterals, dates back to the middle of the 13th century. The 14th century enlargement includes two side chapels and a resumption of the crucifixes, reflecting the evolution of the liturgical and community needs of the period. The square bell tower, crowned by a building pierced with flamboyant skylights, dominates the building, while major modifications in the sixteenth century (reeling, suppression of a crusillon) testify to the damage suffered.
The history of the church is linked to the Norman abbeys: initially divided between the patronage rights of Montebourg and Saint-Sauveur-le-Vicomte, it was given in part to the Abbey of Montebourg during his dedication by Guillaume de Vernon and his mother, Luce. The ecclesiastical income, disputed between several religious institutions, is documented in the Black Book of Abbots in the 17th century. A major discovery took place in 2008 during the restoration of the choir: 14th century murals, executed in half-fresco, illustrate the Christ of Revelation surrounded by the symbols of the evangelists and six apostles, offering a rare testimony of Norman medieval iconography.
Ranked a historic monument in 2010, the church houses remarkable furniture, including a beam of 18th or 19th century glory and the 1937 windows signed Bordereau (Angers), mixing religious scenes (Nativity, Assumption) and local symbolism. The west gate, dating from the 17th–15th centuries, and the paved limestone floor (XVII–XIX centuries) complete this architectural heritage. The successive transformations — from late novels to flamboyant Gothics — make it a witness to the artistic and spiritual dynamics of medieval and modern Normandy.
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