Church of Saint Aubin à Saint-Aubin-de-Bonneval dans l'Orne

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Heritage classified

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Origin and history

The church of Saint-Aubin, located in Saint-Aubin-de-Bonneval in the Orne, is a religious building built in the early 13th century, perhaps even in the 12th century for parts like the nave. It then became a dependency of the abbey of Saint-André-de-Gouffern, after the latter had received the right of patronage. The family of Aunou is mentioned as possible initial sponsor, especially for the nave with Romanesque archatures.

In the 15th century, the church underwent major architectural changes, including the addition of a polygonal wood-paned bell tower decorated with arms of the Houllay family of Lobbraye. This bell tower, a remarkable element, surmounts a porch whose gable wall will later be demolished. The openings are also pierced with ground bays, transforming the exterior appearance of the building.

The 18th and 19th centuries saw new developments, with the replacement of narrow bays with curved brick and stone openings, as well as a complete overhaul of the interior. The vault of the choir is rebuilt in plaster, and the panel of the nave is preserved. In 1895 damage caused by lightning caused a restoration of the bell tower, blanket and furniture. A last major intervention in the 20th century (1959) concerned the repair of the bell tower, while the western elevation was restored in the middle of the century, with the suppression of its feel.

The building is distinguished by its furniture and painted decorations of the seventeenth century, still visible today. The nave also preserves medieval modillons, testimonies of its original construction. Ranked a historic monument in 1991, the church illustrates the architectural and artistic evolution of a Norman rural place of worship over nearly eight centuries.

The materials used reflect this complex history: stone for walls (except the sacristy in brick and partially coated stone), wood for the fore-nave, slate for the nave and flat tiles for the choir. These technical and aesthetic choices highlight the successive adaptations to the liturgical needs and constructive modes of each era.

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