Neoclassical reconstruction entre 1820 et 1826 (≈ 1826)
Sardinian style and central dome.
1828
Added bell tower
Added bell tower 1828 (≈ 1828)
Completion of the current building.
1947
Classification of the bell
Classification of the bell 1947 (≈ 1947)
Historical object dated 1558.
1984
Classification of furniture
Classification of furniture 1984 (≈ 1984)
Tabernacle and 19th century statues.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Key figures
Évêque de Genève - Religious Authority
Ordone the restoration in the 15th century.
Ploruto - Italian sculptor
Author of the central dome.
Origin and history
The church of Saint-Jean-Baptiste de Villard found its origins in the early 14th century. In 1302, a chapel dedicated to Saint John the Baptist, attached to the priory of Burdignin, was erected as a parish. By 1305, it was enlarged to become the parish church, although the parish priests – with the exception of the first one – did not reside there. This first, modest place of worship marks the birth of a religious community organized in the village.
In the 15th century, the church, which had become old, was restored by the bishop of Geneva. At that time, it housed three side chapels dedicated to the Virgin Mary, Saint Catherine and Saint Grat. The French Revolution partially spared its heritage: the 18th century altarpiece was hidden behind a wall to preserve it. These interventions reflect tensions between cultural preservation and political upheaval.
The major reconstruction took place between 1820 and 1826, in a neo-classical style called "sard", characterized by a Latin cross and a central dome carved by Italian Ploruto. The bell tower, added in 1828, completes the building. The church is distinguished by its exceptional furnishings, such as a bell of 1558 classified in 1947, or a nineteenth-century tabernacle decorated with a statuary group representing the baptism of Christ, classified in 1984.
Current architecture, sober and monumental, contrasts with its turbulent history. The blind sanctuary and the emblematic bulb underline the influence of the Alpine artistic currents, while the wall decorations and furniture testify to the spiritual and artistic richness of Haute-Savoie in the 19th century.
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