Date engraved on the lintel 1577 (≈ 1577)
Testimonial of the Renaissance construction.
1776
Construction of wooden vault
Construction of wooden vault 1776 (≈ 1776)
Painted shingle vault and hanging keys.
1777
Addition of sacristy and panelling
Addition of sacristy and panelling 1777 (≈ 1777)
Major inland work.
1855
Paintings of the vault by X. Darré
Paintings of the vault by X. Darré 1855 (≈ 1855)
Signed polychrome decoration.
28 août 1989
Historical Monument
Historical Monument 28 août 1989 (≈ 1989)
Official protection of the building.
2014
Restoration and discovery
Restoration and discovery 2014 (≈ 2014)
Updating of a funerary liter.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Church (Box A 241): Order of 28 August 1989
Key figures
X. Darré - Decorative painter
Author of the paintings of the vault (1855).
Origin and history
The church of Saint-Martin de Beaudéan is a Catholic religious building located in the heart of the village of Beaudéan, in the department of Hautes-Pyrénées, in the Occitanie region. Built between the 15th and 18th centuries, it embodies a mixture of late Gothic architecture and baroque elements, with an imposing bell tower with a blackout arrow and four polygonal bell towers. Its central location, rue du Pouey, makes it a major visual and historical landmark of the municipality.
Classified as a Historical Monument by decree of 28 August 1989, the church is characterized by a vaulted nave of wood, decorated with polychrome paintings (blue, red, orange, white, gold) made in 1855 by the Tarbese painter X. Darré. The vault, built in 1776, and the sacristy, added in 1777, testify to major changes in the 18th century. The lintel dated 1577 and the cut-up bedside remind of its Renaissance origin, while the bell tower-fortress, typical of the churches of this valley, evokes a defensive function.
A restoration carried out in 2014 revealed a funerary liter, trace of an aristocratic or seigneurial past linked to the building. The church, the property of the commune, thus combines Gothic elements (crossed ground dogives, hanging keys) with later additions, reflecting the artistic and social evolutions of the Hautes-Pyrénées region over almost four centuries.
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