Construction of church 1824-1834 (≈ 1829)
Edited by Prosper Dunant, neo-classical Sardinian style.
4 novembre 2015
Historical monument classification
Historical monument classification 4 novembre 2015 (≈ 2015)
Full registration by ministerial decree.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
The Church of Saint-Jean-Baptiste, located D 902, in full (Box G 1160): inscription by order of 4 November 2015
Key figures
Prosper Dunant - Architect
Church designer, neo-classical style.
Origin and history
The church of Saint-Jean-Baptiste de Taninges, located in Haute-Savoie, is a Catholic religious building dedicated to John the Baptist. Built between 1824 and 1834 by the Annecian architect Prosper Dunant, it embodies the neo-classical Sardinian current, the last architectural style of the Savoy States. At its completion, it was the largest in the diocese of Annecy, 58 metres long, 27 metres wide and 18 metres high under the vault. Its inscription in historical monuments in 2015 underscores its heritage importance.
The exterior of the church, sober and little decorated, contrasts with a richly decorated interior: trompe l'oeil paintings on the vaults and pillars, stalls, pulpit and baptismal fonts in carved wood, as well as stained stained stained windows. Nine side altars were installed, three of which were founded by local brotherhoods. Among its peculiarities is a bell from the former Chartreuse de Mélan, integrated into the building.
The church is also distinguished by its urban integration. Built away from the original village, it allowed a recomposition of the square and its surroundings, reflecting the architectural and urban ambitions of the Sardinian period. Its architect, Prosper Dunant, marked this project with a monumental and functional approach, adapted to the spiritual and community needs of the time.
Filed entirely by decree of 4 November 2015, the church now belongs to the municipality of Taninges. Its neo-classical style, its exceptional dimensions and its interior decor make it a major testimony of the 19th century Savoyard religious heritage, between Sardinian heritage and French influences.
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