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Église Saint-Éloi de Rainneville dans la Somme

Somme

Église Saint-Éloi de Rainneville

    1 Rue de Pierregot
    80260 Rainneville

Timeline

Révolution/Empire
XIXe siècle
Époque contemporaine
1900
2000
1860
Foundation start
28 juillet 1861
Sitting of the top
15 juin 1862
Blessing of the Church
1870
Installation of bells
1923
Reconstruction of the bell tower
1968
Replacement of arrow
1990
High altar classification
Aujourd'hui
Aujourd'hui

Key figures

Victor Delefortrie - Architect Designer of the neo-Gothic church.
Adolphe et Nathalie Vaysse de Rainneville - Sponsors Construction financiers in 1862.
Louis Alexandre Vaysse de Longueval - Donor (cloche) Offered the bell *Marie-Nathalie* in 1775.
Éloi Sellier - Donor (cloche) Finished the bell *Marie-Josephine*.
Marie-François Hubert, baron de Mallet de Coupigny - Former owner Ordered the marble high altar.

Origin and history

The Saint-Éloi church of Rainneville, located in the Somme department, was built in 1862 to replace a 17th century church. This project, led by architect Victor Delefortrie, was funded by Adolphe and Nathalie Vaysse de Rainneville, owners of the local seigneury. Work began in 1860, with the attic laid in July 1861, and the building was blessed in June 1862. Its neo-Gothic style, marked by the use of bricks and sandstones, reflects the architectural trends of the era.

In 1923, the bell tower, damaged by the weather, was completely rebuilt. The original 16-metre high arrow was replaced in 1968 by a lower roof (4.5 metres) for budgetary reasons. The three bells, installed in 1870, bear names linked to their donors, such as Marie-Nathalie, offered by the Vaysse family of Longuval, or Marie-Josephine, gifted by Éloi Sellier.

Inside the church, 40 metres long, houses a master altar in pink, grey and white marble, classified as a historical monument since 1990. The latter, offered by Nathalie de Rainneville in 1862, comes from a family chapel. The neo-Gothic pulpit is also protected. A side chapel is dedicated to Notre-Dame de Lourdes, with reference to the contemporary appearances of construction.

The arms of the Vaysse family of Rainneville, the project's sponsors, adorn the axial window of the abside. The church thus illustrates the influence of local noble families in the 19th century religious heritage, while mixing traditional symbols (like the cross on the portal) and stylistic innovations specific to the neo-Gothic.

The building, characteristic of the rural churches of Picardie, combines local materials (bricks, sandstones) and decorative elements made of stone, such as the columns of the gate or the fillings of the bays. Its structure, with a unique nave and a choir flanked by chapels, meets the liturgical needs of the period, while affirming a regional architectural identity.

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