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Heritage classified

Key figures

Origin and history

The Church of St.Martin of Hix, mentioned in the 10th century in the Act of Consecration of the Cathedral of the Seu d'Urgell under the name Hysi, is an early testimony of the cerdan religious heritage. The present building, mainly Romanesque, dates from the 12th century for its apse and part of the nave, although later additions (such as the bell tower) complete its structure. Ranked a historic monument on November 19, 1910, it is distinguished by its semi-circular bedside made of cut stone, adorned with a frieze of gear teeth and carved modillons (visages, balls, geometric motifs), as well as its double-brassed windows topped with acanthe-leaved capitals, evoking the ancient heritage.

The unique nave, vaulted in an ogival cradle, houses remarkable furniture: a 13th century wooden statue of Christ and a 12th to 13th century Virgin with the Child. The southern facade, partially integrated with the adjacent cemetery, has a door in the middle of the hanger reinforced with Catalan fittings, while the western facade, clean, has a human head carved in high relief. Inside, an embroidered chape of a Germanic imperial eagle of gold and silk, of mysterious origin, suggests a past linked to conflicts or exchanges with Spain, although the local archives have not kept any written records.

The church illustrates the Romanesque Cerdan architecture, marked by Catalan and Lombard influences, visible in its harmonious proportions and lapidary decorations. Its early classification (1910) underscores its heritage importance, while the descriptions of the 19th century, such as that of Corinthian palmettes or Catalan pentures, show lasting admiration for its sober yet elaborate aesthetic. The two windows of the apse, made of acanthe-leaf marble, recall ancient models, reinforcing the hypothesis of a reuse of materials or a direct inspiration of local artisans.

The site, surrounded by its cemetery, remains communal property and open to the visit. Its history, at the crossroads of French, Catalan and Spanish influences, reflects the strategic position of Cerdagne, a territory of passage and cultural exchanges since the Middle Ages. The sources of the 19th and 20th centuries (Bailbé, Mallet, Mathon) underline its role in the corpus of the Romanesque churches of the Pyrénées-Orientales, often unknown but essential for understanding regional sacred art.

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