Foundation of the Priory 1119–1130 (≈ 1125)
Created by Robert d'Arbrissel for Fontevrault.
fin XIIe–début XIIIe siècle
Construction of the nave
Construction of the nave fin XIIe–début XIIIe siècle (≈ 1325)
Romanesque nave not arched today.
XIVe siècle
Restoration and additions
Restoration and additions XIVe siècle (≈ 1450)
West facade and northern collateral.
vers 1610
Post-fire reconstruction
Post-fire reconstruction vers 1610 (≈ 1610)
Initiated by John VI Martin.
1789
End of Priory
End of Priory 1789 (≈ 1789)
Abolition of the Revolution.
1948
Registration MH
Registration MH 1948 (≈ 1948)
Protection by ministerial decree.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Church of Fontaine: inscription by decree of 24 June 1948
Key figures
Robert d’Arbrissel - Founder of the Priory
Between 1119 and 1130.
Jean VI Martin - Bishop of Périgueux
Reconstructed the church around 1610.
Origin and history
The church of Saint-Jean-Baptiste de Fontaine, located in Champagne-et-Fontaine (Dordogne), is a historic monument listed in 1948. From Romanesque origin, it was partially rebuilt in Gothic style between the 12th and 16th centuries. The nave, dated from the end of the 12th or the beginning of the 13th century, is devoid of vaulting, while a north-bottom, vaulted dogives, was assistant to it. The choir, larger than the nave, has 16th century vaults. The square bell tower, of Romanesque origin (12th century), was restored in the 19th century. The interior capitals, decorated with foliage, vines and clusters of grapes, contrast with the exterior modillons of fantastic animals, death heads and devils.
The church was originally a Benedictine priory for women, founded between 1119 and 1130 by Robert d'Arbrissel under the dependence of Fontevrault Abbey. The 13th century goutreal walls are the oldest remains. After a fire during the English wars, the building was rebuilt around 1610 under the impulse of John VI Martin, bishop of Périgueux. The Revolution ended the priory, of which no convent building remains. Protected elements include arches on dogives cross, lamp-ends representing angels, and lily-flowered coats.
The successive restorations, especially in the 14th century (Western and North Collateral Facade) and in the 19th century (clocher), bear witness to its architectural evolution. The exterior crows, with macabre or symbolic motifs, as well as the interior capitals, reflect late Romanesque and Gothic art. Today the communal property, the church preserves traces of its monastic past, although its state of localization is considered a priori satisfactory (note 7/10).
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